|27.10.2009 - 08.11.2009 A BRIEF CHOICE OF FILMS
On the 13th of october a very special event took place in Sub urban Video lounge.
Melbourne experimental filmmaker Dirk de Bruyn together with sound artist Joel Stern created a hallucinating mixture of light, movement and sound in the small basement of the Urban Espresso Bar.
For two weeks Sub urban Video lounge will show some recent films of this artist who was born in Dordrecht and moved with his parents to Australia when he was eight years old. Most of his work deals with the bodily trauma of migration and cultural displacement, expressed in the nature of the medium film itself with the flicker and the after image.
ROTE MOVIE 1994 12:00 16mm optical sound
Rote Movie is made from images of road signs, cars and billboards, the passing landscape rendered as elegantly simple rotoscope drawings, reprinted and texturally manipulated filmic images, and the inevitable repetition of countdown leader. In subsequent films Dirk has been refining the more associative and illustrative relationships between image and sound of Rote Movie, into more abstracted forms, equally personal and subjective but more dynamically reflexive.
SCHIST 1998 8:00 16mm silent
Silent walk through Vancouver Island in the middle of winter.
ANALOG STRESS #1, #2, #3 2004 12:00 16mm optical sound
Analog Stress (2004) combines reworked and reanimated found industrial and discarded personal footage into something like an audio-visual/filmic version of a scraped back advertising billboard; multiple layers of tattered posters ripped and covered in spray paint, sinking into decay; a chaotic concrete soundtrack reconstructed from scratches, pen marks, Letraset strips and found music and phrases. It is a restless and arresting abstract description of excess and distress. Published versions: #1, #2, #3 are all slightly different to each other.
H2 2005 5:34 16mm optical sound
2ND HAND CINEMA 2005 7:00 16mm optical sound
A celebration of the offal of cinema, old films, old soundtracks, drawing directly on the film, using stamps and food-dyes to create discarded imagery. To chew film up and spit it out as painting direct.
In the 2nd Hand Cinema films there is a more deliberated manipulation; clear snatches of the retro signifying veneer of found footage heavily worked over with hand colouring, dyes, drawing, shapes, semi-random text, images of faces merge with more and faster movement, stuttering voices, scratching, the sound of counting, like so much cognitive excess.
More info on Dirk de Bruyn on the website of Melbourne Independent Filmmakers: http://www.innersense.com.au/mif/debruyn.html