This November many films in many places…!
Nikita Kino will be screened at the ENSA Limoges (France) on Monday 6 November
But Elsewhere is Always Better will be shown on Thursday 16th November at 9 p.m. and DizzyMess will be shown on Saturday 18th November at 5.30 p.m., both at Spazio Oberdan in Milan.
More infos : www.mostrainvideo.com
But Elsewhere is Always Better will be shown at the next London International Documentary Festival from 24 to 26 November
P.W. – Paintbrushes and Panels will be part of the Official selection of the festival ULTRAcinema in the category ARCHIVE FEVER and will take place from November 30th to December 3rd at Mexico
Copacabana Beach will be shown in a new restored version in Los Angeles at:
The Hammer Museum – the 11/30 at 7.30 pm
The Pacific Film Archive – the 12/03 at 4.30 pm
Manhattan, New York was where I happened to be born. After 6 months of stress, I boarded the first plane to Rio de Janeiro, Brazil, to meet my parents and sister. My primary and secondary school was not too far from Copacabana Beach.
My university years were spent in Paris, suffering in the Institute of Psychology (Institut de Psychologie). To make life less tedious, I ended up seeing more films near by rather than attending classes. After my B.A. in Psychology I enrolled in Film Studies at Paris 3-Sorbonne, at the Institut d’Art et Archeologie (Eric Rohmer’s classes) and at the Cinematheque Française (Henri Langlois’ classes).
In the early 1970s I travelled throughout Europe in a rundown Renault pick-up truck, organizing women’s film festivals and distributing films made by women (the distribution company was called Cine-Femmes International). My debut as an experimental filmmaker came in 1980, when I co-directed CAROLYN 2 with Martine Rousset (starring choreographer/dancer Carolyn Carlson). It was an expanded cinema /slide installation. Many films came afterwards, mostly shot in super-8 then blown-up to 16mm. Today I shoot mainly on mini-DV but still use super-8 whenever possible.
These films have been shown in festivals worldwide (Toronto, Berlin, Locarno, Rotterdam, Tribeca, Viennale and others), in cinematheques and in art fairs such as the São Paulo Biennale and Arco, Madrid. Other venues have also screened them, such as: M.O.M.A., NY, Lincoln Center, NY, Hirshhorn Museum, Washington D.C., Centre Georges Pompidou, Paris, Anthology Film Archives, NY, Pacific Film Archives, Berkeley, US.
But elsewhere is always better, 2016
Losing the Thread, 2014
CORrespondência e REcorDAÇÕES, 2013
Wherever was never there, 2011
Pincéis e panéis, 2010
The Title was shot, 2009
Ne pas sonner, 2008
Fone fur follies, 2008
Nikita Kino, 2002
Work and Progress, 1999
American International Pictures, 1997
Public Domain, 1996
Uta Makura ( Pillow Poems), 1995
M.M. in Motion, 1992
* * * ( Trois étoiles), 1987
Copacabana Beach, 1983
Movie (VO), 1982
Top Ten Designers in Paris, 1981
Arret sur nuage, 16.04.2006
(co-directed with François Scullier), commissioned as part of a series of programs reflecting on the twentieth anniversary of the Tchernobyl catastrophe, by the ‘Atelier de Création Radiophonique’ , a program of the French radio station France Culture and first aired on April 16th, 2006.
“Atelier de Création Radiophonique” , a program of the French radio station France Culture 1/60éme
16mm film installation by Vivian Ostrovsky and Silvi Simon.
Artistic collaboration and production: Ruti Gadish
Production: Jet Lag Productions
SPLASH!, a 16mm film installation, is a collaboration by artist-filmmakers Silvi Simon and Vivian Ostrovsky. Created from film projections screened upon or through Silvi’s optical sculptures (Filmatrucs) or seaside ready-made objects, the images evoke a dream-like ocean environment. Ostrovsky and Simon’s film loops are projected onto devices that fracture and manipulate them, creating a mosaic of deconstructed images that evoke evanescent seaside memories.
The elements of SPLASH! use the sea to connote the gulf that separates the analog world from the digital.
The core of this installation refers to the nascent days of early motion picture projections and to the first, personal cinema cameras – super 8 and 16 mm.
SPLASH! is an ode to film-stretching and researching its material qualities, proposing playful and inventive interpretations for viewing and experiencing it.
SPLASH! was presented at: Warehouse 2, Jaffa Port, Tel Aviv, 10 – 28 October 2013, Production: Jet Lag Productions /The Center for Contemporary Art, Tel Aviv. cca.org.il/en
OCEAN BAZAR – The precursor of SPLASH! was presented at: Les Voûtes, Paris, 15 September 2012, Scratch Expanded, Light Cone lightcone.org/en . Solar, Cinematic Art Gallery, Vila do Conde, Portugal, 9-17 July 2011. Production: Jet Lag Productions / Curtas Metragens CRL/ Vila do Conde – International Film Festival curtas.pt/solar/
The Washington Post, 20-04-1995
Voice Choices, 7-13 June, 2006
Chicago Tribune, 12-04-1991
New City, 11-04-1991
O Globo Online, 16-6-2007
O Estado de São Paulo, 7-11-1989
- “L’Art du Mouvement”, National Museum of Modern Art,
Centre Georges Pompidou, Paris, 1999.
– “Bref”, nO56, Paris, 2003, pp 54-55, “Le Cinéma Nomade de Vivian Ostrovsky”
by Raphaël Bassan.
– “Cinéma Expérimental, Abécédaire pour une contre culture”, Editions Yellow Now, Belgium, 2014, pp 222-224, interview by Raphael Bassan.
– “Experimental Eating”, Black Dog Publishing Ltd., London, 2014, pp 140-141, interview by Thomas Howells.
– “Images/Discours”, AFEA Editions, Avignon, 2006, pp 47-61, by Rose Lowder.
– “Poussière D’Image”, Edition Paris Expérimental, Paris, 1998,
in ‘Cinéma-je ou cinéma-jeu by Yann Beauvais.
– “Mode de remploi dans les films de Vivian Ostrovsky”, a Master’s thesis by Claire Lenfant-Preus, Université de la Sorbonne Nouvelle, Paris, 2011.
– “Cinexpérimentaux” nO3, Re:Voir , Paris, 2001, video interview by Frédérique Devaux and Michel Amarger.
(Entretiens avec: Nicholas Rey, Vivian Ostrovsky,
William English, Yannick Koller)
Collection Sine Qua Non
Cinema -je ou cinéma-jeu par Yann Beauvais
Edition Paris Experimental