Tuesday, March 26, 2013 at 7:30pm
Hollis Frampton's Poetic Justice + Beatrice Gibson's The Tiger's Mind

155 Freeman Street, Brooklyn

Poetic Justice, Hollis Frampton, 16mm, 1972, 31 mins
The Tiger's Mind, Beatrice Gibson, HD, 2012, 23 mins

In 1972, Hollis Frampton made a film from a script, but not in the way you’d expect. He completed Poetic Justice, which he called “a film script in the act of becoming a film,” consisting of a series of consecutive images of a handwritten screenplay. The stack of letter-size paper is situated on a table (as Frampton put it, “between a cactus, since unfortunately deceased, and a cup of coffee”), and the shots of its 240 pages are interrupted by flash frames. Like (nostalgia), which would also come to serve as one of the seven works in Frampton’s Hapax Legomena cycle, Poetic Justice plays with the optical and conceptual relationships between the still and moving image, between photography and film, describing a second-person narrative about lovers with cameras that takes place at the moment of its reading, in the invisible cinema of the spectator’s imagination. Or, as Annette Michelson observed, “the projection is that of a film as consonant with the projection of the mind.”

In 2012, Beatrice Gibson played a musical score, but not in the way you’d expect. She took composer Cornelius Cardew’s 1967 narrative score The Tiger’s Mind and rethought its sextet of characters—Tiger, Mind, Tree, Wind, Circle, and Amy—as the elements in a film production—the set, music, sounds, special effects, director, and narration, respectively. With five collaborators—artist Jesse Ash, architect Céline Condorelli, designer Will Holder, and musicians John Tilbury and Alex Waterman—she used Cardew’s piece as the basis for four week-long conversations, which in turn led to the development of the film itself. Set in and around a Brutalist villa, the result took the form of an elliptical crime story, with each character’s contribution working against the others in a dialectical struggle. For the viewer, The Tiger’s Mind functions as a kind of philosophical riddle, pointing back through its many layers of becoming to Cardew’s enigmatic notation. “I suggested another kind of language, the language of things, the language of shapes, surfaces, and wide screens. I suggested speaking through objects and glass. The film became the landscape of those things, the thing made up of those things, the remnants of a conversation.”

Tickets - $7, available at door.

Please note: seating is limited. First-come, first-served. Box office opens at 7pm.