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IFI & AEMI & IMMA: DELIRIOUS RHYTHM, 1936-2017
FILMS SELECTED BY VIVIENNE DICK

FILM INFO: Introduced by Vivienne Dick
Programme runs for 67 minutes, Digital, 1936-2017

In connection with her current exhibition at IMMA, ‘93% STARDUST’, which is now in its final two weeks ending on 15 October, Vivienne Dick presents a personal selection of films that inspire her work. The films chosen for this programme are about anarchic moments, about being alive to music, to rhythm, and the value of staring into space. In an era obsessed with targets and prescriptive living, the importance of daydreaming and dawdling is often overlooked. This programme serves as a reminder of the important role played by chance interaction and sheer nerve in creativity.

Featuring works by Len Lye, Helen Levitt, Masha Godovannaya, Vivienne Dick, D.A. Pennebaker, Moira Tierney, Bev Zalcock & Sara Chambers, Sarah Pucill and Chantal Akerman, this exhilarating programme foregrounds films that relate to the street, the domestic and the unconscious.

To open the programme, Vivienne Dick will introduce her choice of screenings. Programmed in collaboration with aemi & Irish Film Institute (IFI). To purchase tickets visit the IFI booking office at http://ifi.ie/delirious-rhythm-vivienne-dick

Screening Details:

A COLOUR BOX (1936) Len Lye, 3mins, colour, sound,16mm.
This was Len Lye’s first camera-less animation which combined popular Cuban dance music with hand-painted abstract designs. The film was funded and distributed by John Grierson’s Film Unit as an ad for the postal service.

IN THE STREET (1948) Helen Levitt, Janice Loeb + James Agee , 17mins, b/w, sound, 16mm.
This was shot in the streets of Spanish Harlem in the mid 40’s by all three and edited by photographer Helen Levitt. The piano soundtrack is by Arthur Kleiner.

THE FIRST ROUND DANCE (2001) Masha Godovannaya, 3 mins, colour, sound ,16mm.
‘While walking around my Brooklyn neighborhood, I noticed these children joyfully playing in the spring sunshine. By chance I had my 16mm camera with me – and was able to film them. They were not afraid of me and my presence didn’t bother them. Somehow I was invited into their game, so similar to the first Round Dance of spring.” (M.G)

TRISHA’S SONG (2008) Vivienne Dick, 3.17mins, colour, sound, DV. Trisha sings ‘The Rose’ in the rain by a Galway canal.

DAYBREAK EXPRESS (1953) D A Pennebaker, 5mins, colour, sound, 16mm.
‘I wanted to make a film about this filthy, noisy train and its packed-in passengers, that would look beautiful, like John Sloan’s New York paintings, and I
wanted it to go with my Duke Ellington record, ‘Daybreak Express’. (D.A. P.)

AMERICAN DREAMS # 3: Life, Liberty, and the Pursuit of Happiness, (2002) Moira Tierney, 5mins, colour & b/w, 16mm
‘One of the most remarkable sights was the mass movement of people, on foot, along the highways usually reserved for motorized traffic. The Brooklyn and Manhattan bridges, as well as the FDR Drive, which runs along the East river from Lower to upper Manhatten, became human rivers with an unhurried but steady flow and no end in sight’ (M.T.)

SOUTHWARK SPRING (2017) Bev Zalcock & Sara Chambers. 2.30 mins, colour, sound, Super 8/slides.
A psychedelic landscape film shot in south east London.

BACKCOMB (1995) Sarah Pucill, 7 mins, b/w, sound, 16mm
In Backcomb the demonic is unleashed on domestic space. It takes the form of two of femininity’s mildest tokens, hair and embroidery, that serve here in the creation of a sexualised surrealist experience. Within the claustrophobic space of a table-lay, a forceful and erectile mass of. hair comes alive and slithers across its surface. The hair probes into vessels and punches through the cloth till finally order overturns and all smashes to the ground. (S.P.)

SAUTE MA VILLE (1968) Chantal Ackerman, 12.30mins, b/w, sound, 16mm.
This first film made by Ackerman when she was 18. 16mm.
‘A pungent and tragicomic critique of domestic life and the literal explosion of the so-called ‘feminine universe’ (Nicole Ferandez Ferrer, in Senses of Cinema, Issue 77).

TWO LITTLE PIGEONS (1990) Vivienne Dick. 4 mins, colour, sound, Super 8.
This film – a homage to Jack Smith – juxtaposes a civilised world of London parks in the Summer with another, a ruined overgrown wilderness where a strange couple live amongst half toppled ruins.

UNTITLED NO. 1 (2005) Masha Godovannaya, 4 min, b/w, sound, Super 8.
‘While walking along Nevskiy Prospect in St. Petersburg, Russia, I saw a young girl dancing this harsh, passionate and seductive dance.” (M.G.)

Vivienne Dick, 93% STARDUST
93% STARDUST is a survey exhibition of Vivienne Dick’s work comprising selected films from the ‘No Wave’ period including Guérillère Talks (1978), Beauty Becomes The Beast (1979) and Liberty’s Booty (1980). Recent film works include The Irreducible Difference of the Other (2013) and Red Moon Rising (2015). Dick also premieres her new film work Augenblick made while on IMMA’s Residency Programme in 2017. The exhibition is free to visit ending on 15 October 2017, for more details visit http://www.imma.ie/en/page_237203.htm

About Vivienne Dick
Vivienne Dick was born in Donegal (b. 1950) and began making Super 8 films while living in New York in the late seventies. These early films were shown extensively in that period throughout the USA and in Europe and they continue to be screened on a regular basis. Living in London in the eighties and nineties she worked mainly in 16mm and in video, receiving a number of awards from The British Arts Council and The Arts Council of Ireland. Since returning to live in Ireland she continues to make new work.

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