knokke experimental film festival

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FRG 1967 | Directors: Edith Marcello (former Schmidt), David Wittenberg | Production: ZDF | b/w | digital | 9 min | german OV

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Exprmtl 4 knokke

Late 1967: the Belgian seaside resort of Knokke-le-Zoute is hosting the experimental film festival. A raft of side events, performances, happenings and protest actions are put on, involving Harun Farocki, Jean-Jacques Lebel, Shirley Clarke,Gustav Lamche, Armand Gatti, Mauricio Kagel, among others. This exhilarating atmosphere is what forged the legend of a festival that gave a decisive boost to Europe’s independent cinema.

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I’m presently working on several of next year’s exhibitions, the big one being Free Radicals: Cinema on the Wrong Side of the Tracks (opening in April 2018). Looking at Len Lye’s experimental films as a gateway to the wider world of experimental cinema, I grabbed the title from a quote by Pip Chodorov in his Free Radicals: A History of Experimental Film documentary.

As I’m slowly scratching away at details for this exhibition I was delighted to get a copy of the EXPRMNTL film directed by Brecht Debackere. EXPRMNTL is a documentary about the Knokke Experimental Film Festival held on just five occassions: 1949, 1958, 1963, 1967 and 1974 in the Belgian seaside town of Knokke-le-Zoute.

Nine of Len Lye’s films screened in the first festival in 1949; however, my particular interest in this festival is the second edition, held as part of the 1958 World Exhibition in Brussels. It was here that Lye’s Free Radicals (1958) was awarded Second Grand Prize (from a total of 137 participating films) by a panel of judges which included John Grierson, Man Ray and Norman McLaren. Lye’s financial gain from this win wasn’t enough to cover the costs of making Free Radicals and in the months following this win he decalared himself on strike, formally publishing notice of this strike in his 1963 Film Culture essay, ‘Is Film Art?’.

Check out the trailor for EXPRMNTL below and more details here .

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Aantekeningen van Leonardo, hoofddoodgraver van Dodenstad.

EXPRMNTL 4 , poster by Pierre Alechinsky

EXPRMNTL , also known as the Knokke Experimental Film Festival and Festival du Film Expérimental de Knokke-le-Zoute was the largest Belgian festival dedicated to experimental cinema . The festival succeeded the Brussels Experimental Film Festival (1947 and 1958) and was held under the EXPRMNTL moniker in 1963 ( EXPRMNTL 3 ), 1967 ( EXPRMNTL 4 ) and 1974 ( EXPRMNTL 5 ). It was conceived and curated by Jacques Ledoux and the Cinémathèque royale de Belgique in Knokke-le-Zoute . It was organized five times between 1949 and 1974.

There is no equivalent of its kind today, except perhaps for the programmers at Cinema Nova , and the people at MuHKA cinema and other film museums in Belgium. Another worthwhile film festival is the Brussels International Festival of Fantasy Film.

Production: Eventstructure Research Group, Amsterdam, SIGMA Projects, Amsterdam

Initiated by SIGMA Projects led by Tjebbe van Tijen, this expanded cinema performance was created for the Knokke Experimental Film Festival. In the foyer of its casino venue, three persons dressed in white overalls carried in the inflatable structure and unrolled it on the floor. As the structure gradually inflated, film, slides and liquid-light show effects were projected onto its surface. Its fully inflated shape was a cone, 7 metres in diameter and 10 metres high, with an outer transparent membrane and an inner white surface. The projected imagery first appeared faintly on the outer envelope and then fully on the semi-inflated inner surface. In the intermediate space between these two membranes performers engaged in various material actions, including playing with large white balloons and manipulating inflatable tubes that they were inside of.

This artwork intended to transmute the conventional flat cinema projection screen into a three-dimensional kinetic and architectonic visualisation environment. The multiple projection surfaces allowed the images to materialise in many layers, and the bodies of the performers, and then of the audience—many of whom spontaneously took off all their clothes—became part of the cinematic spectacle. In this way the immersive space of cinematic fiction included the literal and interactive immersion of the viewers. They modulated the changing shapes of the pneumatic architecture, which in turn transmuted the shifting deformations of the projected imagery. With speakers placed both outside and inside the structure, the acoustic environment, created by the Musica Elettronica Viva, was also transfigured in this way.

https://imaginarymuseum.org/imp_archive/AAA/1967_moviemovie/index.html

1967/12/25 - 1968/01/02

4th International Experimental Film Festival, Knokke-le-Zoute, Knokke-Heist, Belgium

1968/03/01 - 03/28

Structures Gonflables, Musée d’Art Moderne de la Ville de Paris, Paris, France

Experimental Film - Exhibition and Distribution

Exhibition and Distribution

Beginning in 1946, Frank Stauffacher ran the "Art in Cinema" program of experimental and avant-garde films at the San Francisco Museum of Modern Art.

From 1949 to 1975, the Festival international du cinéma expérimental de Knokke-le-Zoute—located in Knokke-Heist, Belgium—was the most proeminant festival of experimental cinema in the World. It permits the discovery of American avant-garde in 1958 with Brakhage's films and many others European and American filmmakers.

From 1947 to 1963, the New York-based Cinema 16 functioned as the primary exhibitor and distributor of experimental film in the United States. Under the leadership of Amos Vogel and Marcia Vogel, Cinema 16 flourished as a nonprofit membership society committed to the exhibition of documentary, avant-garde, scientific, educational, and performance films to ever-increasing audiences.

In 1962, Jonas Mekas and about 20 other film makers founded The Film-Makers' Cooperative in New York City. Soon similar artists cooperatives were formed in other places: Canyon Cinema in San Francisco, the London Film-Makers' Co-op, and Canadian Filmmakers Distribution Center.

Following the model of Cinema 16, experimental films have been exhibited mainly outside of commercial theaters in small film societies, microcinemas, museums, art galleries, archives and film festivals.

Several other organizations in both Europe and North America helped develop experimental film. These included Anthology Film Archives in New York City, The Millennium Film Workshop, the British Film Institute in London, the National Film Board of Canada and the Collective for Living Cinema.

Some of the more popular film festivals, such as Ann Arbor Film Festival, the New York Film Festival's "Views from the Avant-Garde" Side Bar and the International Film Festival Rotterdam prominently feature experimental works.

The New York Underground Film Festival, Chicago Underground Film Festival, the LA Freewaves Experimental Media Arts Festival, MIX NYC the New York Experimental Lesbian and Gay Film Festival, and Toronto's Images Festival also support this work and provide venues for films which would not otherwise be seen. There is some dispute about whether "underground" and "avant-garde" truly mean the same thing and if challenging non-traditional cinema and fine arts cinema are actually fundamentally related.

Venues such as Anthology Film Archives, San Francisco Cinematheque, Pacific Film Archive in Berkeley, California, and the Centre Pompidou in Paris often include historically significant experimental films and contemporary works. Screening series no longer in New York that featured experimental work include the Robert Beck Memorial Cinema, Ocularis and the Collective for Living Cinema.

Recently Pacific Film Archive eliminated their experimental Tuesday night program. The new curator (since 2000) of the Whitney Museum stated in a 2001 interview on Charlie Rose that he believed it was the responsibility of the Anthology Film Archives to show the work because the work is essentially unsellable and the Whitney was not interested in "renting" video art and films. He went on to intimate that it would fall out of favor in coming biennials. (PBS/Charlie Rose).

Some distributors of experimental film today include Le Collectif Jeune Cinema, Cinédoc, and Light Cone in Paris, Canyon Cinema in San Francisco, Canadian Filmmaker's Distribution Centre, The Film-Makers' Cooperative in New York, and Lux in London. Sixteen mm prints are still available through these organisations.

All these associations and movements have permitted the birth and development of national experimental films and schools like “body cinema” ("Écoles du corps" or "Cinéma corporel") and “post-structural” movements in France, and “structural/materialism" in England for example.

Read more about this topic:  Experimental Film

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• Joseph Cornell

Knokke Experimental Film Festival

• The festival took place in 1947 as part of a another festival, in 1958 as part of the World Exhibition in Brussels, in 1963, 1967 and 1974.

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INDISCIPLINE (WIELS)

Indiscipline is an annual one-day happening with performances and experimental interventions set at the Grand Casino in the Belgian seaside resort of Knokke-Heist. Known for its rich art and film history—in particular the legendary EXPRMNTL film festival (1947-1974)— the casino offers a rare and surprising context that encourages new forms of perception, experience and corporeality.

The 2024 edition features (among others): Ufuoma Essi, Gary Farrelly, Lenio Kaklea, Jonathan Franz, Margaux Schwarz, Michael Snow, Nafaq (Amina Abouelghar & Hanin Tarek) with Lander Gyselinck, Hagar Tenenbaum & Irina Jasnowski Pascual, Eleanor Ivory Weber, and Xavier Garcia Bardon on EXPRMNTL.

15 Euro 10 Euro < 26 years

Online presale via Ticketmaster . On the day itself at the door. 

Your ticket gives access to all performances. Don't want to attend all performances? No worries, you can leave the Grand Casino Knokke and come back later in the evening.

What to expect 

The fourth edition of Indiscipline, curated by WIELS, will kick off with a screening of Michael Snow’s legendary film "Wavelength" in the Bonaparte theater room, the same location where it won the Grand Prix of the 4th International EXPRMNTL Film Festival back in 1967. Described by its director as a metaphor for the "nervous system", Wavelength is considered as a masterful exploration of the nature of perception. Often labelled as "structuralist" and "minimal", the film is also an obliquely narrative bricolage.

Eleanor Ivory Weber’s performances are conducted through scored and improvised experiments in text and voice, alternating spoken and sung language, in settings that pay attention to quotidien space and habitual behaviour. With a nod to Michael Snow's Wavelength, a cinematic vocabulary is created with anachronistic technologies and theatrical convention over the course of the evening.

The Bonaparte theater room will also host an imageless, new play by Margaux Schwarz where the artist pursues her interest in the notion of backstage by foreseeing discreet or even invisible service and control devices. 

France-based Greek artist Lenio Kaklea has conceived a new performance for the specific context of Indiscipline. In the emblematic room surrounded by hybrid characters of René Magritte’s frescoes, Lenio Kaklea will present a solo piece driven by a study of the sailor, crossing sources from painting, poetry, pop culture, and queer repertoires.

Belgian drummer Lander Gyselinck follows Nafaq, the dance duo from Cairo formed by Amina Abouelghar and Hanin Tarek. Together, they present an improvised adaptation of the dance piece Extending Further, conceived as a journey through the conflicting powers of connectedness and distance between the dancers’ moving bodies and the audience.

In addition, the event features two video installations: London based artist Ufuoma Essi presents All That You Can’t Leave Behind, an experimental film that works with appropriated video footage to explore the relationship between our collective experience with music, history, and the act of reclamation, and Hagar Tenenbaum & Irina Jasnowski Pascual have created a new video installation under the veil of uncanny and hallucinatory figures.

Lastly, a series of photographic archives by Étienne Bernard of the 1974 EXPRMNTL festival curated by Xavier Garcia Bardon will offer audiences a glimpse into the history of experimental film and art.

Curator: Pauline Hatzigeorgiou

In collaboration with Knokke-Heist  

INDISCIPLINE will take place at the Grand Casino Knokke, Zeedijk-Albertstrand 509, 8300 Knokke-Heist The entrance is on the Zeedijk side.

The doors of the Grand Casino Knokke open at 4.30pm and Indiscipline lasts until 11pm.

Centre for contemporary art WIELS and the Municipality of Knokke-Heist invite you to an annual - indiscipline - happening with recent performances and experimental interventions, in the spirit of the Grand Casino's rich art and film history.

Visit WIELS in Brussels.

Below are some atmospheric images from the previous editions.

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Michael Snow Wavelength

On The Set Of Michael Snow’s Wavelength

• Runtime 68 min
• Director Brecht Debackere
• Genre Documentary
• Released 2016

also available on

In the early days of cinema all films were experimental. Filmmakers actively explored this new medium, searching for ways to tell a story, to convey  leaning and spread ideas by structuring moving images in time. While Hollywood would start growing into a major industry in the late 1920s, others would continue the search for innovation and question its hegemony. Their work would seep slowly yet steadily into the mainstream and help shape our image culture and visual language into what it is today.

Knokke, Belgium. A small mundane coastal town, home to the beau-monde. To compete with Venice and Cannes, the posh casino hosts the second ‘World Festival of Film and the Arts’ in 1949, organised in part by the Royal Cinematheque of Belgium. To celebrate cinema’s 50 year existence, they put together a side program showcasing the medium in all its shapes and forms: surrealist film, absolute film, dadaist films, abstract film,… The side program would soon become a festival in its own right: ‘EXPRMNTL’, dedicated to experimental cinema, and would become a mythical gathering of the avant-garde…

EXPRMNTL knew only five editions, in 1949, 1958, 1963, 1967 and 1974 but those five editions became known as the most legendary of all experimental film festivals.

Amongst the visitors settling down in Knokke in wintertime between Christmas and New Years: Yoko Ono, Jean-Luc Godard, Agnes Varda, Jonas Mekas, Jean-Jacques Lebel, Roman Polanski, Stan Brakhage, Nam June Paik, Jeffrey Shaw… Most of them as students or early-career filmmakers.

Why did Yoko Ono receive a jail sentence? What did Polanski, Godard, Mekas, Varda and a number of other guests do, crammed in a hotel room? How did Holger Meins, future Rote Armee Fraktion member, end up in Knokke?

The festival was a meeting place for filmmakers, avant-garde artists, the Belgian policital elite and beau-monde. The mundane Knokke, the ‘Saint-Tropez on the Belgian coast’, consequently wasn’t spared from the clash between bourgeoisie and counterculture.

EXPRMNTL tells the story of experimental film through the history of this festival, a history which questions the nature of film and how a large part of how we understand our world is based on our understanding of moving images.

Written & directed by Brecht Debackere | Edited by Beppe Leonetti | Produced by Steven Dhoedt | Sound-editor Boris Debackere

With JONAS MEKAS I AGNES VARDA I HARUN FAROCKI I PETER KUBELKA I JEAN-JAQUES LEBEL I BIRGIT HEIN I ERIC DE KUYPER I BORIS LEHMAN I ROLAND LETHEM I WERNER NEKES I GODFRIED-WILLEM RAES I MICHAEL SNOW I ROBERT STÉPHANE I GABRIELLE CLAES I JACQUES LEDOUX

A co-production with CINEMATEK | RTBF | VRT

Supported by FLANDERS AUDIOVISUAL FUND | BELGIAN TAX SHELTER

• 12/01/2019 18:30 London

in the media

Rekto-verso | sofie verdoodt.

I n zijn nieuwe documentaire EXPRMNTL  belicht Brecht Debackere een tot de verbeelding sprekende episode uit ons culturele geheugen. Tussen 1949 en 1974 was Knokke warempel het Walhalla voor de liefhebber van radicale cinema, underground muziek en bandeloze experimenteerdrift tijdens het filmfestival EXPRMNTL dat er vier maal georganiseerd werd. En dit is relevanter dan ooit nu het debat rond vertoningsmogelijkheden voor experimenteel werk hoog oplaait.

DeWereldMorgen | Ivo De Kock

“Met deze documentaire willen we een weerwoord bieden aan de kritiek die cultuur momenteel ondergaat en het voortdurende in vraag stellen van diens economische nut. Hoewel de film een historische gebeurtenis verbeeld, benadrukt hij eveneens hoe ons culturele en sociale leven blijvend in beweging is, en is wat het is bij gratie van verandering, vernieuwing en evolutie.

Sabzian | Ruben Demasure

In de nieuwe documentaire Exprmntl (Brecht Debackere, 2016) noemt Robert Stéphane, journalist en voormalige RTBF-baas, Ledoux “un type qui était vraiment un passeur d’avenir, quelqu’un qui a reussi d’amener les gens vers ce qu’était le futur.”

Kutsite | Jan Sulmont

Net als die andere vrolijke documentaire The Sound of Belgium fêteert EXPRMNTL de Belgische avant-garde attitude van eertijds. Dat resulteert in een feel good metafilm van formaat.

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• SUFF – Sydney Underground Film Festival
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• Opening film
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Rotterdam Reveals First 13 Titles Including Latest From Tiger Winner Daniel Hoesl, Venice Winner Alexander Kluge

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International Film Festival Rotterdam has unveiled the first tranche of films selected for its 54th edition, which runs Jan. 30 – Feb. 9. These 13 titles, which will play in the Bright Future or Harbour sections, will each have their world premiere at IFFR .

Bright Future is dedicated to feature-length debuts, while Harbour offers a broad range of contemporary cinema.

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Vanja Kaludjercic, festival director at IFFR, said: “One of the biggest joys of curating IFFR is working with our team of programmers to create a lineup that showcases the breadth of cinematic experiences and a multitude of perspectives – and our first selection of titles demonstrates our commitment to this ambition.

“We can also see each year what a vital launch platform this is for titles which go on following their IFFR debut to commercial and critical success – and continue to champion and celebrate the progress of the projects we shared earlier this year in our 2024 edition.

“Across Bright Future and Harbour, we already have some incredible emerging and established voices, and an amazing blend of genres and human stories, that we know our avid and curious audiences are going to love discovering.”

The first selections across Bright Future and Harbour are as follows:

BRIGHT FUTURE

1 GIRL INFINITE (World Premiere) Director: Lilly Hu U.S., Latvia, Singapore Two teenage girls, Yin Jia and Tong Tong, live together in this color-drenched vision of Changsha, China. When Tong Tong drifts away and falls in with a drug dealer, Yin Jia’s love for her means she’ll risk everything to keep Tong Tong by her side.

CAMP D’ÉTÉ (World Premiere) Director: Mateo Ybarra Switzerland, France In Switzerland, the Scout Movement is not a nostalgic fantasy but a vibrant social reality. This bubbly documentary captures the communal cycle of activities during a 14-day camp for youth. No reality TV-style contrived scenes here, this is a moving, joyful glimpse into life-changing experiences.

LATER IN THE CLEARING (World Premiere) Director: Márton Tarkövi Hungary, Spain In a small Hungarian town, painter Péter Molnár leads filmmaker Márton Tarkövi on a journey through meadows, clearings and Molnár’s drawings. The viewer joins them, as they discuss art, time and life itself.

INVISIBLE FLAME (World Premiere) Director: Oskar Weimar Kenya When fish begin to vanish, community members are quick to blame Dani, the elderly woman rumored to be a witch. Daisy, a fisherman’s daughter, must decide whether to stand by her friend or heed the warnings of those around her.

YOUR TOUCH MAKES OTHERS INVISIBLE (World Premiere) Director: Rajee Samarasinghe Sri Lanka, U.S. As many as 100,000 people, predominantly members of the minority Tamil community, are estimated to have disappeared during the 26-year-long Sri Lankan Civil War. Through a synthesis of interviews, news clips and re-enactments this docufiction feature reflects on this harrowing history as families search for loved ones that disappeared without a trace.

AND THE REST WILL FOLLOW (World Premiere) Director: Pelin Esmer Turkey, Bulgaria, Romania Dreamy housekeeper Aliye spends her days between hotel rooms, escaping into the lives of the guests. But after a brief encounter with a famous filmmaker, Aliye decides that she has a story to tell, which leads to an entanglement of lives and fictions.

DEAD DOG (World Premiere) Director: Sarah Francis Lebanon Walid and Aida, husband and wife, are reunited after Walid’s many years spent living abroad. Answers to long-hidden secrets are sought in Sarah Francis’ dissection of an estranged marriage.

FINDING RAMLEE (World Premiere) Director: Megat Sharizal Malaysia An endearing retro dramedy set in swinging seventies Kuala Lumpur. Destitute and deep in debt, Zakaria is offered a lifeline by his loan shark: impersonate the Malaysian screen icon P. Ramlee in order to entertain his homebound, time-warped sister.

PRIMITIVE DIVERSITY (World Premiere) Director: Alexander Kluge Germany Filmmaker Alexander Kluge loves to use the expression “primitive diversity” in relation to the origins of his art: the first films that were made, their genres, motives and moods. With the development of AI, Kluge asks, what could its primitive diversity look like?

THANK YOU SATAN (World Premiere) Director: Hicham Lasri Morocco, France In this dark comedy set in the early 1990s, all Serge wants to do is write his “fucking best-seller!” When his publisher nags him to shake things up and bring out his “mainstream potential,” he gives it all he has and, with a killer edge.

THE NIGHT IS DARK AND BRIGHTER THAN THE DAY (World Premiere) Director: Christina Friedrich Germany Filmmaker Christina Friedrich asks 33 primary school children about their fears, taking us on a long night-journey through a magic world of their creation. What can the “real world” learn from the games and rituals of children?

UN GRAN CASINO (World Premiere) Director: Daniel Hoesl Austria The largest casino in Europe but is it just a big mess? Daniel Hoesl presents “Un gran casino” as an angry musing on a building, an Italian village and all that is done in the name of the unfettered creation of wealth.

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