Portfolio : MALENA SZLAM

Chronogram of Inexistent Time a été présenté dans le cadre de Ville multiple à la Maison-de la Culture Villeray-Saint-Michel-Parc-Extension à Montréal en 2017.

 Présentée par la commissaire Mariza Rosales Argonza, Ville Multiple observe les transformations de l’espace urbain provoquées par les enjeux sociaux et les échanges culturels qui transforment l’espace physique et symbolique. Dans cette exposition, Juan Ortiz-Apuy, Malena Szlam et José Luis Torres explorent Montréal, en tant qu’espace de création et de réflexion. La diversité des regards et des médiums offre ainsi des visions multiples de la métropole qui reflètent les dynamiques transculturelles montréalaises. C. P.

Dans Ville multiple la vidéaste Malena Szlam décortique la pensée cognitive et plonge dans un monde d’images urbaines oniriques où l’expansion du cadre cinématographique remet en cause la médiation entre l’espace fictionnel et réel. Tournée avec une caméra analogique 35 millimètres, Cronograma de un tiempo inexistente (2008) remet en cause la perspective frontalement imposée par l’observateur et déconstruit l’écran comme unité indivisible pour offrir une panoplie de perspectives qui se chevauchent à la manière cubiste. Cette installation vidéo explore la mémoire et le souvenir dans la spatialité et la temporalité de l’être.

Nuria Carton de Grammont

“A film and video installation consisting of multiple projections onto layered asymmetrical surfaces. This intricate, hybrid work is constructed from 35mm and 16mm film, as well as analogue and digital video images which have been hand-processed, re-photographed and digitally manipulated. The work examines the architectural possibilities of ephemeral images, their displacement and the traces that they leave behind – repetition, memory and time.

Szlam developed the work using a 35mm still film camera to re-photograph sequences of recognizable films while they played on a television monitor from VHS tapes. These images were composed and edited in-camera to create frameless sequences on filmstrips. This process and subsequent creation of large-scale photomontages led to a continually evolving series of images from the same source material. When projected these strips become a collage of non-linear, non-synchronized visual compositions exploring stillness and motion. The shifting angles and perspectives allow the viewer to experience space through Szlam’s fragmented poetic vision.

The results of this process are projected onto a collection of protruding canvases and frames, layered and mounted at various angles on two of the conjoining walls in the gallery space. These architectural elements further fragment and modulate the projections. Coupled with this intervention in the physical space, the ephemeral quality of the projected images – their transparency, layering and repetition – suggest both loss and renewal. This malleable reconstitution of what is visible and invisible invites us to reflect on the role memory plays in our perception, the way in which we mentally reconfigure fragments to conform to our own experience and attempt to construct stability and meaning in an environment of perpetual flux.”

Kate MacKay, Images Festival, Toronto

Malena Szlam est une cinéaste d’origine chilienne dont les films, les installations et les performances explorent les relations entre le monde naturel et le soi, le sens du temps, l’intuition et les processus engagés avec les différents aspects matériels du film en tant que médium.

Son travail se situe ainsi à l’intersection du cinéma, de l’installation et de la performance.

Ses productions ont été exposées dans de nombreux lieux, dont le Festival international du film de Rotterdam, TIFF Wavelengths, le Festival du film Ann Arbor, le Musée des Beaux-Arts de Boston, le Festival du film de Hong Kong et le Musée d’art moderne de Buenos Aires. Membre de Double Negative un collectif de films d’artistes montréalais dédié à l’exposition et à la production de cinéma expérimental. Ses films sont distribués par CFMDC à Toronto et à Light Cone à Paris.

Son dernier film ALTIPLANO a été présenté en première à Toronto au Festival International du Film dans la section Wavelengths (films visionnaires et expérimentaux).

Bio:

Malena Szlam is a Chilean-born artist and filmmaker currently living in Montreal, Canada. Working at the intersection of cinema, installation, and performance, her practice explores the relationship between the natural world, perception, and intuitive process. The poetics developed through her time-based works and in-camera edited films—35mm, 16mm, and Super 8mm—engage the material and affective dimensions of analogue film practice. Her dreamlike, collaged, and flickering imagery leave viewers with a sense of wonderment and an expanded sense of time.

Szlam’s work has been exhibited in numerous festivals, museums and galleries, including the International Film Festival Rotterdam, the Edinburgh International Film Festival, the Toronto International Film Festival, the New York Film Festival, Los Angeles Filmforum, the Hong Kong Film Festival, and the Louisiana Museum of Modern Art, and the Leonard and Bina Ellen Art Gallery. Her latest film ALTIPLANO premiered at the Toronto International Film Festival’s Wavelengths section. She is a member of Double Negative, an artist collective dedicated to the production and exhibition of experimental cinema. Light Cone in Paris and CFMDC in Toronto distribute her films.

http://www.yyzartistsoutlet.org/event/malena-szlam-cronograma-de-un-tiempo-inexiste-chronogram-of-inexistent-time/

Links Chronogram:

https://vimeo.com/100164641 (Installation view)

https://vimeo.com/100182223 (Single-screen excerpt)

Articles

Revue Esse, Ville Multiple, 2017, commissaire Mariza Rosales Argonza, Maison de la Culture Villeray-Saint-Michel-Parc-Extension, Montréal

Mice Magazine, The labour of imagining by Nasrin Himada, 2016. Interview with Malena Szlam and Daïchi Saïto. http://micemagazine.ca/issue-one/labour-imaging

Pisapia, Jasmine. “Through the Keyhole: (Photographic) Desire and the Astronomical Imagination.” Scapegoat: Architecture | Landscape | Political Economy, Issue No. 10 Night, Spring 2017, Toronto: 193 – 206. http://www.scapegoatjournal.org/docs/10/23.pdf

Recent articles about ALTIPLANO & film retrospective:

http://elagentecine.cl/2018/10/24/informe-xxv-ficvaldivia-4-extranamientos-naturales-i/

http://desistfilm.com/tiff-2018-wavelengths-altiplano-by-malena-szlam/

http://specchioscuro.it/wavelengths-shorts-a-palimpsest/

https://thefilmera.com/2018/09/09/tiff-2018-dispatch-2/

https://mubi.com/notebook/posts/toronto-wavelengths-preview-we-do-not-care-if-we-go-down-in-history-as-contrarians

 

Portfolio

https://drive.google.com/file/d/1wYOipHiYkA2lGPuCS7yLhvwilYK5GEUj/view

https://vimeo.com/malenaszlam

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