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Bodies in Space: recent 16mm film works by Australian experimental film artist Richard Tuohy and Dianna Barrie

  • Wolf Kino 6 Wildenbruchstraße Berlin, Berlin, 12045 Germany (map)
dot matrix 2 300dpi.JPG

These seven works explore palpably different dark room and camera based experimental techniques, yet together, reveal an abiding fascination: the movement of figures in cinematic space. We see bodies engaged in cinematic ballets of competing and co-operating movements-within-movements giving rise to sums and differences, superimpositions and interferences and presenting through the paths they trace, a novel articulation of space. On the screen, space emerges from bodies and bodies merge in space.

Blending and Blinding
Richard Tuohy, 11 minutes, 16mm, 2018
Screens and partitions; windows and shutters; grids, curves and arches. Three peoples, one country: Malaysia.

Blue Line Chicago
Richard Tuohy and Dianna Barrie, 10 min, 16mm, 2014
Architectural abstractions of the second city.

Pancoran
Richard Tuohy and Dianna Barrie, 9 minutes, 16mm, 2017
Jakarta traffic moves with the harmonious chaos of complex self organising entities everywhere. Through contact printer matteing techniques this mass transport becomes denser and denser until only the fluid futility of motion/motionlessness remains.
Jakarta traffic stands as proof of the paradox of motion.

Crossing
Richard Tuohy 11 min 16mm 2016
Across the sea. Across the street. Cross processed and grain enlarged images of fraught neighbours Korea and Japan in a pointillist sea of grain.

Last Train
Dianna Barrie and Richard Tuohy 12 minutes, 16mm, 2016
Found in the (now possibly lost) film archive at Lab Laba Laba, footage from a trailer for the 1981 Indonesian propaganda film 'Kereta Api Terakhir' (The Last Train) melts into a soup of chemigrammed perforations. A film about the silence that follows the unspeakable; about blurred visions, untold histories and inaccessible archives.

China not China
Richard Tuohy and Dianna Barrie, 14 minutes, 16mm, 2018
Hong Kong marked 20 years since its hand over; half way through the planned 40 year 'one country, two systems' transition. Taiwan, once imperial China, once Formosa, now ROC on the edge of the PRC. Multiple exposures of street scenes distort space and place creating a fluid sense of impermanence and transition, of two states somewhere between China and not China.

Dot Matrix
16mm x 2, 22 minutes , 2013
Dot Matrix is dual 16mm projector expanded cinema film involving two almost completely overlapping projected images. The ‘dots’ were produced by laying sheets of half-tone ‘dot’ paper (which are used in manga illustrations) directly onto raw 16mm film stock, exposing the film through the paper with a flash-light and thus photographically transferring the dot images onto the film. These dots were then contacted printed with ‘flicker’ (alternating black frames) creating strobing 'interuptions' to the dots. The drama of the film emerges in the overlap of the two projected images of dots. The product they make is greater than the parts. The sounds heard are those that the dots themselves produce as they pass the optical sound head of the 16mm projector.

Biographies
Richard Tuohy (b. 1969, Melbourne, Aus.) began making works on super 8 in the late nineteen eighties. After a brief hiatus from cinema (including formal study in philosophy for seven years) he returned to film-making in 2004. Initially working exclusively in Super 8, the next five years saw an extremely productive period with dozens of experiments and works finished in the small gauge. In 2006 he, along with his partner Dianna Barrie, launched nanolab, a super 8 film processing laboratory based at their home in Daylesford Victoria. The establishment of this lab afforded the opportunity to set up darkrooms and install 16mm film processing and most importantly printing and sound recording equipment. Since 2009 he has been an active and vocal member of the international artist run film lab scene. In 2011 Richard and Dianna started the Artist Film Workshop which in 2012 became a membership based artist-run film lab, itself also part of the international labs network. AFW has become the center of experimental film practice on film in Australia, being the focus for regular experimental film screenings, touring artists programs, workshops and supporting numerous artists in their personal film practice. As of the end of 2017, AFW has held more than 120 screening events among other activities. Tuohy's own works are firmly in the 'hand-made' film tradition. An advocate for the possibilities of hand made cinema, Tuohy has devoted much time and effort in sharing his knowledge through workshops and classes both in his native Australia and internationally. His films and film based performances have screened at venues including the Melbourne IFF, EMAF (Osnabruck), Rotterdam IFF, New York FF, Ann Arbor and Media City and he has repeatedly toured Europe, North America and Asia presenting solo programs of his work and conducting experimental film-making workshops. He is the instigator of the AFW magazine Film Is and, along with Dianna Barrie and Sue K, was also a co-founder of the AIEFF experimental film festival in Melbourne.

Filmography (16mm and post 2007 only):
Cyclone Tracery (2018, 15 min, 2 x 16mm)
China not China (2018, 14 min, 16mm)
Blending and Blinding (2018, 12 min, 16mm)
Pancoran (2017, 9 min, 16mm)
Crossing (2016, 11 min, 16mm)
Inside the Machine (2016, 12 min 3 x 16mm performance)
On the Invention of the Wheel (2015, 14 min, 16mm)
Blue Line Chicago (2014, 10 min, 16mm)
Ginza Strip (2014, 9 min, 16mm)
Dot Matrix (2013, 16 min, 2 x 16mm performance)
Seoul Electric (2012, 8 min, 16mm)
Screen Tone (2011, 16 min, 16mm)
Etienne's Hand (2011, 13 min, 16mm)
Tasmanian Splintering (2010, 16 min, 16mm)
Echo Bones (2010, 7 min, 16mm)
Horizontals (2010, 11 min, 3 x 16mm performance)
Flyscreen (2009, 8 min, 16mm)
Tree Lines (2009, 8 min, 16mm)
Landscape Rippled and Rifted (2009, 7 min, 16mm)
Ironwood (2009, 7 min, 16mm)
Eucalyptus Intoxication (2008, 7 min, 16mm)


Dianna Barrie (b. 1972, Melbourne) found her way into filmmaking as a middle ground between the pursuit of abstract music and philosophy, both of which she has studied formally at the post graduate level. Ever pushing the limits of the hand processing of super 8 led to the establishment of nanolab with Richard Tuohy in 2006. Nanolab is a commercial super 8 film processing laboratory, the only such lab in Australia. Dianna's film work could perhaps be characterised as 'direct chemical' filmmaking. Works generally begin with some form of camera image capture. This is followed by interventions during hand processing and exacting editing and/or printing processes; they are then completed with simple layered sound constructions. This exploration has spread beyond individual work to her joint establishment in 2012 of Artist Film Workshop, where celluloid is embraced and advocated by a community of practitioners in Melbourne. Dianna has emerged as a noticeable feature in the international artist-run film labs movement. She and her partner spend a significant amount of time each year touring their joint film programs and conducting workshops and masterclasses in hand-made film practice. Dianna was also a founding director of the Australian International Experimental Film Festival.

Earlier Event: November 18
Eva Trobisch zu Gast: ALLES IST GUT
Later Event: November 20
Baby Wolfgang präsentiert: In My Room