Here a link to the review of my film Trapped Between Frames ( 2014 ) written by David Finkelstein for Filmint :
I have contributedÂ to Found Footage Magazine issueÂ 3 with a book review on Cinema by Other Means by Pavle Levi.
ALREADY ON SALE!!!
FOUND FOOTAGE MAGAZINE ISSUE#3
Special on Yervant Gianikian and Angela Ricci Lucchi
Found Footage Magazine is just released in English version and includes more contents than ever.
Sergi Ãlvarez Riosalido, Paula Arantzazu Ruiz, Alejandro Bachmann, James Benning, Joseph Bernard, Michael Betancourt, Stephen Broomer, Antonin Charret, Jeroen Cluckers, Miriam De Rosa, David de Rozas, Anja Dornieden & Juan David GonzÃ¡lez Monroy (Ojoboca), Thomas Draschan, Atom Egoyan, Siegfried A. Fruhauf, Yervant Gianikian & Angela Ricci Lucchi, Arine Kirstein HÃ¸gel, Kevin B. Lee, Matthew Levine, Manu Luksch, Scott MacDonald, Mukul Patel, Edwin Rostron, Nazare Soares, Makino Takashi, Ignacio Tamarit, Guillaume VallÃ©e and Martin Zeilinger.
More info: www.foundfootagemagazine.com
Last night, Other Cinema hosted a gathering of witches, both embodied and bound in celluloid. The night began with a brewing of cups by the Church of Color and Light, a local ritualistic performance collective that uses overhead projection, dance movement, and incantation for audience involvement and transformation. One slithering spirit even abandoned a rubber snake in my lap. Soundtracked by the buzzing of flies, their cultus ceremony set tone for a spooky evening with intermittent camera flashes punctuating the dark.
Cohesively curated experimental film and video from past iterations of the Häxän Festival filled the remainder of the evening’s program. Häxän celebrates witchcraft and the personal occult from a feminine perspective, with all works curated and made by women. The program was strong yet scrappy, with a generous dose of silence and nudity. A couple of pieces veered too close to the works of experimental film great Maya Deren (unsurprisingly) and animator Lewis Klahr, to be truly original. But the lovely, ghostly Trapped Between Frames by Nazare Soares seemed outright possessed with its multi-exposed film frames trembling and twitching
A article by Adrianne Finelli on the recent GAZE screening Film series in San Franscisco, Past Perfect • Future Tense: Voices and Visions of Women in Film Across Time and Space
” (…) Trapped Between Frames by Nazare Soares. The piece is a single-channel version of a stereoscopic photography installation that was the culmination of Soares’ studies at the University of Brighton. It was inspired by Japanese folklore and the Kaiser-Panorama, a pre-cinematic display made in 1883, and is the story of the sun goddess, Amaterasu portrayed through a painterly hybrid of formats—16mm, VHS, HD and 3D animation. There is a physical element involved in viewing this film, as your optic nerve works overtime to transport you from dream to myth to history. Memory becomes a visceral concept as the shrouded figure walks between stereoscopic images of caves flickering. Soares brings intent to the myth of Amaterasu, and an unwavering strength to the screen as she reverses the gaze to remind us that we part of something bigger than ourselves.
Past Perfect • Future Tense includes 16 individual voices and visions that would resonate in many contexts with diverse audiences. To me this collection of films builds in a strong and compelling way, creating new meaning between the works––space where silence has value and time connects us to one another.
Thoughts on Work Programme 68 in October 2014 at CAC by Jennifer Milarski.
“Nazare revisited her existing moving image work Hic Non Est, created during a residency in Palestine last year, and reconstructed the work in response to the space. The rooms were set up as a visual diary of her Palestinian memories and experiences and the theme of the tree of life was repeatedly visually present, even in the form of an actual olive tree which transformed the space into an organic part of the show. This is one of the best things about CAC that it has the ability to shape shift with each show, if you brought a tree in to a conventional white cube type gallery it would very much be apparent that it had been deliberately brought in an artwork. At CAC the tree looked as if it could’ve grown out of the ground and perhaps the whole exhibition had come about around the tree.” Jennifer Milarski