From Material to Emotion and Beyond
Malcolm Le Grice interviewed by Alberte Pagán
[published online 02-04-2020]
[collected in the book Emotional Materials / Personal Processes. Six Interviews with Experimental Filmmakers, StereoEditions, 2022]
[mi traducción al español aquí]
Malcolm Le Grice by Alberte Pagán
Filmography of Malcolm Le Grice
16mm films
China Tea (1965, 10′, 8mm, colour, sound)
Castle 1 (1966, 22′, b&w, sound)
Little Dog For Roger (1967, 13’, b&w, sound)
Yes No Maybe Maybenot (1967, 7’, b&w, silent)
Talla (1967, 20’, b&w, silent)
Blind White Duration (1967, 10’, b&w, silent)
Castle Two (1968, 32’, b&w, sound, two-screen)
Grass (1968, 10’, tape-slide, colour, sound)
Wharf (1968, 8’, tape-slide, b&w, sound)
Spot the Microdot (1969, 10’, colour, sound)
Your Lips 1 (1970, 3’, computer generated, silent)
Lucky Pigs (1970, 4’, b&w, sound, three-screen)
Reign of the Vampire (1970, 16’, b&w, sound; one and two-screen versions)
Berlin Horse (1970, 9’, colour, sound; one, two and four-screen versions)
Love Story 1 (1971, 8’, film-shadow performance)
Love Story 2 (1971, 10’, colour, sound, two-screen)
Horror Film 1 (1971, 14’, colour, sound, film-shadow performance)
Your Lips 3 (1971, 3’, colour, sound, computer generated)
1919 (1971, 12’, three-screen)
Newport (1972, 15’, b&w, silent)
Whitchurch Down (1972, 10’, colour, sound; one and three-screen versions)
Threshold (1972, 17’, colour, sound; one and four-screen versions)
Love story 3 (1972, 10’, film-performance)
Horror Film 2 (1972, 25’, colour, 3D shadow-performance)
Blue Field Duration (1972, 8’, colour, sound, two-screen)
White Field Duration (1973, 12’, b&w, sound, two-screen)
After Leonardo (1973, 22’, colour, silent; six-screen and performance)
Don’t Say (1973, 10’, b&w, silent, two-screen)
Pre-production (1973, 15’, slide-performance)
Matrix (1973, 18’, colour, sound, six projector-performance)
Four Wall Duration (1973, 22’, colour, film-loop installation)
Gross Fog (1973, colour, sound, film-loop installation)
Joseph’s Coat (1973, colour, film-loop installation or performance)
Principles of Cinematography (1973, 15’, film-performance)
Screen Entrance Exit (1974, 10’, film-performance)
After Lumière – L’arroseur arrosé (1974, 12’, colour and b&w, sound)
After Manet – Le déjeuner sur l’herbe (1975, 60’, colour and b&w, four-screen)
Art Work Series (1976-77, 21’)
Includes:
Academic Still Life (Cézanne) (1976, 6’, colour, silent)
Time and Motion Study (1977, 15’, colour, sound)
Domestic Trilogy (1977-1981, 260’)
Includes:
Blackbird Descending – Tense Alignment (1977, 120’, colour, sound)
Emily – Third Party Speculation (1979, 60’, colour, sound)
Finnegans Chin – Temporal Economy (1981, 80’, colour, sound)
Video/Digital films
Sketches for a Sensual Philosophy (1988, 60’, TV Commission)
Includes 9 films:
Digital Still Life (1984-6, 8’, colour, sound, computer and video)
Like a Fox (1988, 6’, colour) (in collaboration with Gill Eatherly)
Rock Wave (1988, 8’, colour, sound)
Arbitrary Logic (1984-86, 5’, colour, sound, computer and video)
Juniper and the Myths of Origin (1988, colour, sound)
Veritas (1988, 6’, colour, sound)
Heads I Win – Tails You Lose (1986, 7’, colour, sound; computer and video)
Beware (1988, 5’)
Et in Arcadia Ego (1988, 8’, colour, sound)
Trials and Tribulations (1990-2004, 48’)
Includes:
Rape (1990, 3’, colour, sound)
Weir (1993, 1’, colour, sound; 2007 three-screen version)
Prelude (1993, 2’, colour, sound)
Race (1993, 3’, colour, sound)
Warsaw Window (1994, 2’, colour, sound)
Cidre Bouche (1994, 2’, colour, sound)
Balcony Water Colour (1994, 3’, colour, sound)
Seeing the Future (1994, 1’)
Out of the Crypt (1995, 12’, colour)
For the Benefit of Mr K (1995, 1’, colour, sound)
Joseph’s Newer Coat (1998, 16’, colour, sound; three-screen version)
Digital Aberration (2004, 4’, colour, sound)
Chronos Fragmented (1995, 55’, colour, sound; broadcast 1997)
The Cyclops Cycle (2003, 60’, colour and b&w, sound)
A series of three-screen video works including:
Joseph’s Newer Coat (1998, 16’, colour, sound; three-screen version)
Even the Cyclops Pays the Ferryman (1998, 17’, colour, sound)
Still Life and Lunch in Little Italy / Still Life and Letter from Toronto (1999, 7’)
Jazzy – Jazzy – Jazzy (2000, 5’, colour)
Neither Here Nor There (2001, 8’, colour, sound)
Travelling with Mark (2003, 6’, colour, sound)
Cherry (2003, 2’, colour)
Unforgettable – That’s What You Are (2002, video and photo installation)
Portraits and Particulars (2004-08, 49’)
Includes:
Critical Moment 1 (2004, 1’, colour)
Autumn Horizon number 3 (2005, 6’, colour)
Unforgettable (that’s what you are) (2006, 5’, colour; single screen version)
Lecture to an Academy (2006, 9’, colour, sound)
Of Keys and Beauty (2006, 2’, colour)
Anthony Dundee (2006, 2’, colour)
Waiting for Ian (2006, 3’, colour)
H2O-0C-24.02.06-12.01GMT – 03,50.40W – 50.16.30N (2006, 3’, colour)
DENISINED – SINEDENIS (2006, 3’, colour, sound)
Again Finnegan (Portrait of Jack) (2006, 3’, colour, sound)
Taint (2007, 3’, colour)
Self Portrait after Raban Take Measure (2008, 8’20’’, colour, sound)
Water Lilies after Monet (2008, 3’, colour, sound)
Absinthe (2010, 1’, colour, sound)
Jonas (2013, 3’, colour, sound)
Yann (2014, 9’, colour)
FINITI (2011, 30’, multi-screen video)
Where When (2015, 26’, colour, sound, stereoscopic video)
Marking Time (2015, 6’, colour, sound, stereoscopic video)
The Probability of God is About Zero (2015, 23′, colour)
Dark Trees (2020, 9’, colour, sound)
After Leonardo – Behind Leonardo (Le Grice, 1958). (Courtesy of Richard Saltoun Gallery, London.)
Lightbulb Assemblage (Le Grice, 1965). (Courtesy of Richard Saltoun Gallery, London.)
The light bulb and its shadow, in and out the screen. Castle 1 at the (S8) Mostra.
“The light bulb had actually appeared before all this in three or four paintings of mine.” Castle (Le Grice, 1964). (Courtesy of Richard Saltoun Gallery, London.)
Little Dog (Le Grice, 1968). (Courtesy of Richard Saltoun Gallery, London.)
Berlin Horse Composite (Le Grice, 1970)
Malcolm Le Grice performing Horror Film 1 at the (S8) Mostra.
Filmaktion in Liverpool 1973 (photo by Louise Curham).
After Manet composite print by Malcolm Le Grice (courtesy of the author).
Malcolm Le Grice in After Manet.
Who is Emily? Malcolm Le Grice in Emily.
The negative space in Blackbird Descending.
Timing script of Finnegans while editing (courtesy of Malcolm Le Grice).
Diagram of the space in Finnegans while preparing the film (courtesy of Malcolm Le Grice).
Dark Trees. |