Our continuous work with analogue film and photography is sustaining a sensibility in the region. Drawing attention to these art forms and facilitating the exchange between audiences, professionals and labs in the nordic baltic countries can be seen as a long term goal.
The topics of the conference will span the past, present and future. An overview of the history of experimental analogue film in Finland will show us where and how things began, where things originated from. In the panel about Distribution of experimental film and expanded cinema, the status quo is discussed and evaluated. In the last panel Analogue Futures, we will direct our view to the times to come to see what is needed to sustain these art forms in the future.
The conference facilitates a context for analogue film and photography and forges connections between professionals, artists, art students and independent artist-run film labs.
On this day we gather people from various geographical and professional backgrounds. Thereby bringing together international representatives from a wide range of fields. Main focus points in the presentations and discussions are the future and sustainability of photochemical arts as well as its distribution.
There is a distinct nordic baltic focus for the conference to research the situation and its challenges in the north and to facilitate nordic baltic collaborations in the future, whilst still in close connection to global initiatives.
Leif Magne Tangen will chair the conference of When The Light Hits Just Right in Vaasa, August 2021.
The conference is taking place at KinoRitz, Vaasa.
Kirkkopuistikko 22A 65100 Vaasa
Attendance to the conference is free.
Introduction and presentation of publication 'when the light hits just right'
Keynote Kari Yli-Annala
Kari Yli-Annala will talk about the analogue filmmakers practice in the light of the human, more-than-human and non -human collaboration, materials and methods as he has understood it in the light of his personal experience, research and his history as a viewer of the works.
Panel on Distribution of experimental analogue film and expanded cinema
How does distribution work with analogue film and works which require an expanded element? How is this organised in the Nordic and Baltic? And what about the artists themselves as an expanded element, in light of the tradition of filmmakers following their films on tour in covid age?
Speakers: Martin Grennberger, Greg Pope, Ingel Vaikla
Moderated by Leif Magne Tangen
Panel on Analogue Futures
What could the future look like for analogue film and photography? How sustainable is it, when film stock, resources, facilities and platforms are disappearing?
Practically-focussed summing-up discussion about sustainability/future of photochemical arts in the north and baltic, addressing the challenges and what kinds of (international) collaborations might be needed to sustain it.
Speakers: Petteri Kalliomäki, Egle Razumaite, Mika Taanila
Moderated by Leif Magne Tangen
Filmprogram 'Creating doesn't stop', curated by Kari Yli-Annala
scroll down for full program
Martin Grennberger (SE) is a writer and film programmer based in Stockholm. He has curated screenings at Light Industry (New York), EXiS (Experimental Film and Video Festival, Seoul), International Film Festival Message to Man, Saint Petersburg.
Petteri Kalliomäki, born in Ylöjärvi, Finland 1982. Film projecting and film club activities since 2006 under Keski-Suomen elokuvakeskus, Jyväskylä (film club Toveruus, "Comradeship" etc.). After digitalization of mainstream cinemas in 2012 has concentrated solely on presenting and preserving films on analogue format. MA majoring in Finnish history 2014. Artistic leader and producer of film festivals Arktisen upeeta 2012 & 2013, Saarijärven elokuvaviikko 2014, Artova Film Festival 2015. Film projectionist and programme planner since 2016 at WHS Teatteri Union, Helsinki. Archivist responsible for National Audiovisual Institute's (former Finnish Film Archive's) foreign film collection since 2018, also part of Institute's programme team at Kino Regina, Helsinki. Other film activities include maintaining a webpage filmikulttuuri.fi that informes about Finnish analogue film screenings, children programming at Midnight Sun Film Festival (Sodankylä) since 2015 and live cinema performances with his wife, visual artist Natalia Kozieł-Kalliomäki.
Greg Pope (NO/UK) is an artist and filmmaker based in Oslo, Norway. After dabbling in punk rock bands and absurdist performance, he founded film collective ‘Situation Cinema’ (Brighton 1986) and ‘Loophole Cinema’ (London, 1989). Working collaboratively and individually, Pope has made video installations, live art and single-screen film works since 1996.
Eglė Razumaitė (LT) is an artist based in Vilnius, Lithuania. She was a participant of the art centre Rupert’s alternative education programme and, in 2019, she founded analogue film studio Spongé. Her works are mostly motion-picture, audio-visual or photographic. Razumaitė is a part of the Lithuanian Culture Research Institute and is deeply concerned with the history of civilizations, nationality, attachment to a specific land or space, and dialectics of inclusion and exclusion to the centres of power.
Leif Magne Tangen
Leif Magne Tangen (b. 1978 in Reine and Lofoten) is a curator and writer with contemporary art and experimental films as his main interests.
Mika Taanila (FI) is a filmmaker and visual artist. He works with documentaries, experimental film and visual arts. Human engineering, utopias, failures and man-machines are recurring themes in his films and installations. Taanila’s works have been shown at major international group shows, such as Venice Biennale (Nordic Pavilion 2017), Aichi Triennale (2013), and dOCUMENTA (2012).
Ingel Vaikla (EE) is visual artist and filmmaker based in Brussels. Vaikla’s artistic research focuses on the relationship between architecture and its users, and the representation of architecture in photography, video and film. Her works have been screened internationally at film festivals and art institutions such as IDFA in Amsterdam, Kunsthalle Wien in Vienna, Tramway in Glasgow, Beursschouwburg in Brussels, Manifesta 13 in Marseille etc.
Kari Yli-Annala (FI) is a visual artist, moving image researcher and teacher. He has been engaged with making video works since the early 1990s. Yli-Annala’s works explore time, space and movement combining narrational techniques with non-narrative structural forms. Yli-Annala is the founder of a pedagogical project called Nomadic Academy of Experimental Arts and he is the Artistic Director in the annual AAVE – Alternative AudioVisual Event in Helsinki.
Creating Never Stops
A diverse program with filmic acts of material creation, appearing, disappearing and co-existing.
Curated by Kari Yli-Annala, in addition to his keynote lecture
Stan Brakhage, 1979 / color / silent / 1S / 16' 00
«(...) almost like the Earth itself–the green ice-covered rocks, the slicing feeling, the compressive feeling of the glaciers. The whole time I was watching I kept thinking that you were a master of the north, the arctic landscape–the red flowers in the dusky light, the deep blue light, the tall trees with running mists, and Jane looking... The ice, the water, the moss, the golden light. A visual symphony.» Hollis Melton
Pablo Marín, 2014, Super 8/16mm, b&n, mudo, 14 min
Super 8 film as Super film. In-camera investigations of (filmic) nature. Rustic homages to early avant-garde landmarks and wild landscapes of the 21st Century.
Sami van Ingen, 1991 00:09:50
Hammu is the name of the hamster I had as a child. It seemed to be my only friend and some-one to identify with. One day it disappeared and was never to be seen again. That marked the end of my childhood, of unreserved trust and commitment. This film is a visualisation of memories I had about this event, of obsession and loss.
Pasi ”Sleeping” Myllymäki, 1979 00:01:42
The faceless rebel's declaration of war and "a rousing stab into the gunky eye of Finnish amateur cinema" (Myllymäki).
Sini Pelkki, 200600:04:20
Work composed entirely of still photography (35mm), moving inside four single photographs. From detail to landscape opens up a figure in the middle of a wintery landscape. With the subtle play of shadow and light, the day turns into night turning the figure and its surrounding into a silhouette.
BOUQUETS ÉCOLOGIQUES 21–30
Rose Lowder, 2001-2005, 00:14:00
BOUQUETS 21-30 (2001-2005) is a part of the ecological BOUQUETS series, consisting of one-minute films composed in the camera by weaving the characteristics of different environments with the activities there at the time. The filming basically entails using the film strip as a canvas with the freedom to film frames on any part of the strip in any order, running the film through the camera as many times as needed. Thus each bouquet of flowers is also a unique bouquet of film frames.
Karel Doing, 16mm 00:08:09 minutes colour 2020
Phytography dives into the rich and varied world of plant chemistry. This collection of organic objets trouvés demonstrates how nature generates multiple creative solutions, each one structured intricately. Through the application of a simple chemical process, the selected leaves, petals and stems have imprinted their own images on the film's emulsion. Shapes, colours and rhythms whirl across the screen drawing the viewer into a world beyond language and speech
Elina Oikari, 201800:08:43
Govadas explores the contradiction and harmony between humans and nature through Sámi poetry. The cyclical perception of time among the only indigenous people living in the European Union is presented in the work as unfolding forms and layers based on the archive material from the 1940's and the super 8 mm film footage from 2010’s. Govadas creates a kinetic meditation on time, memory, landscape and the ruptures between them.
WHEN WE ARE NOTHING LEFT
Milja Viita, 2020 00:07:11
A minimalist film about time, infinity and life cycle, created in the spirit of William Blake. The film is shot and hand processed at the Film Farm in Ontario, Canada, during the summer 2018.
STADT IN FLAMMEN
Film material is subjected to biochemical processes by burying it in the garden, storing it in a pond, or overheating it. The results of these natural processes of decay or aging are then copied back onto film and thus conserved in the state of their dissolution. In "Stadt in Flammen" the scenes melt due to overheating, producing an infernal image impression of disappearance. The images no longer show a figuratively represented scene, but rather its dissolution as a temporal process