#bea haut

[viv-allen]

Greg Pope

March 2nd 2018

https://gregpope.org/films/

Working in collaboration with Bea Haut, his work Windscreen

https://vimeo.com/27923148

uses close up shots of back-lit slides, each a single moment of a sheet blowing in the wind on a beach and revealed to the viewer as a sequence. The work develops to show live action of people holding the sheet. I like the combination of still images before moving image.

Bea Haut says:

‘His work alludes to perceptions of inter-related moments, space and actions in between’.

I grapple with so many concerns in my practice which both Pope and Haut seem to manifest through their work. I want to use still and moving image alongside each other. I love the rawness of this piece, it’s straight forward presentation and consequently I find it relatable.

[viv-allen]

Bea Haut

February 28th 2018

https//:beahaut.com

I spent time looking at the work of Bea Haut, she works 16mm film, producing sculpture, installation, projection and photography. Her work is stark and striking, using black and white film. My research overlaps with so many of her concerns, but she has developed into installation and performance, which are growing interests to me. Her works:

‘Allude to perceptions of interrelated moments, spaces and actions in between’

‘…….regarding the mutating dialogue between the self and her surroundings’

‘…multi-dimensional and site responsive’

[helennias]

"When I came back to film in 2010, it had died, but I completely rejected that" Bea Haut 

There was no way I could miss an event called ANALOGUE! ACCIDENT! ALCHEMY! so I headed over to Close Up Film Centre on Monday 27th June for this panel event and screening for the East End Film Festival.

On the panel, introduced and hosted by Helen Dewitt, Head of Cinemas at the BFI, we had Nick Abrahams, music video director; artist filmmaker Bea Haut; and musician and music video director Douglas Hart. Analogue film is an integral part of all three filmmakers’ practice so we had a perfect panel to discuss analogue’s place in film and moving image in the present day.

At #EEFF2016 @closeupcentre tonight: Douglas Hart loves materiality of film, which digital lacks;it's just 0s and 1s pic.twitter.com/oBBKNh9Tjp

— Helen Nias Filmmaker (@HelenNias) June 27, 2016

I’m familiar with Bea’s work through an annual event she runs called Analogue Recurring, and loved seeing the two pieces of work she screened. The first piece was especially clever and humorous and throws the materiality of the film right into your face (that’s a good thing in my book). Bea filmed herself on black and white 16mm film, tearing and unravelling pieces of white paper of varying size and thickness. As she did so her hands and the paper would leave the left hand side of the screen, and because that’s the side of the film strip where the optical soundtrack runs down, each time this happens the contrast of the white against the black made a noise relative to the visual image of the white paper on the black background. It was awesome!

It wasn’t all about film either - we had some analogue video thrown in the mix and Nick treated us to quite an educational screening showing an ad for the Fairlight CVI.

The discussion was wonderful and thought provoking, and it was great to carry on the conversation in Close Up’s cafe-bar afterwards. I had an interesting chat with Nick and Douglas about all manner of analogue video and film fun. It’s invaluable to talk with people who are practicing, who you can learn from and find new influences and directions to explore. I’m looking forward to seeing Douglas’ new film with Samantha Morton, Anywhere Out of This World, at the Stanley Kubrick exhibition at Somerset House.

I loved visiting Close Up again too - they have a fantastic DVD library there where you can get all manner of independent, artist and popular films out. It’s an important resource for any moving image maker and I should find more excuses to visit Shoreditch and explore the collection more regularly again (I used to go every week!).

Excited to be back at @closeupcentre for ANALOGUE! ACCIDENT! ALCHEMY! panel discussion on old technology in film 🎞 pic.twitter.com/VYNBDCorqp

— Helen Nias Filmmaker (@HelenNias) June 27, 2016

[monsmartyrium]

[helennias]

Helen Nias A Version of Us 16mm, B&W, optical sound (2011) Here, stills awaken, as they do in dreams. They come to life while being pushed almost disorderly into and more so under the skin of celluloid. What happens is not a film running as a story but a broken narrative, motion arising as if by accident from their symbiosis. The sequencing is made of repellent frames, it feels disjointed, and this is accentuated by the optical sound. The once immobilized now galvanized souvenir speaks a language that differs from the vulgar linear book ended memorabilia of the photo album. The substance of photographic memory is deconstructed, disparate frames sewn up together to approximate the actuality of a moment. In this, it is so much closer to a live memory; savage, ephemeral, elusive and practically unreadable. Copyright © Pascal Ancel Bartholdi 2012

Pascal Ancel Bartholdi had this to say about A Version of Us after seeing it at Analogue Recurring in March. Read the rest of the review here. I would really like to show this film at more places, so if anyone knows of any screening events around London using a 16mm projector please let me know.