FONS AUDIO #44
Malcolm Le Grice
Malcolm Le Grice (Plymouth, Great Britain, 1940) is a pioneer of British experimental film. Although he trained as a painter, by the mid-sixties his interest in computers and particularly celluloid made it clear that he would focus on other media and tools.
Concerned with generating experiences rather than concepts, his works often juxtapose visual and sound loops, eschewing the traditional notion of narrative in favour of immersion in an eminently chromatic, dreamlike world governed by a raw, non-linear logic.
“Ideas emerge from sensation from colour, image, sound, movement, and time,” he says. Le Grice, who was fundamental to founding the Coop Film workshop -together with David Curtis- and an active member of the Coop in 1966, has also written theoretical texts and worked in the field of education. He was one of the first filmmakers to use multiple screens and to introduce experimental soundtracks to enhance what he calls the awareness of presence.
In FONS AUDIO #44, Malcolm Le Grice talks about his 1970 work “Berlin Horse”, which is part of the MACBA Collection and moves on to expanded cinema, materialist structuralism, latency, suspense, and the representation of time in his work.
Luke Fowler
Luke Fowler talks about music, computers, and instruments, about infrasound, ultrasound, and thresholds of the listenable, about archives and obsessions, about affect as a film editing criteria, and about the enormous complexity involved in representing a person’s life. We also talk about the forces that make some artists disappear from the cultural canon altogether in spite of having created fascinating, ground-breaking work.
Cildo Meireles
Meireles has the ability to materialise philosophical ideas through small gestures and a great economy of means. His processes are simple, owing to his propensity to not complicate things. In FONS ÀUDIO #45 Cildo Meireles talks about his works in the MACBA Collection.
Mircea Cantor
Mircea Cantor talks about his work 'Chaplet' (2007), about the impact of borders and the society of control, and about the poetic resonance of tracks, materials, and other physical traces.