Sensory Overload: Six Frenetic Films

Posted by | Conversations at the Edge | Posted on | February 18, 2004

Thursday, February 18, 2004, 8pm

Paul Sharits, T,O,U,C,H,I,N,G (1968).
Paul Sharits, T,O,U,C,H,I,N,G (1968).

From the School of the Art Institute’s collection of landmark structuralist and materialist films, student Zachary Hall has selected six gems to tickle the eye and the imagination: In Passage a l’acte (1993), Martin Arnold transforms a clip from To Kill a Mockingbird into a museum of emotional nuance; relationships merge with architecture in Sharon Couzin’s explosive optical-printing collage A Trojan Horse (1981); foot traffic makes fields of motion in Tatsu Aoki’s meditative  Harmony (1992); the aggressive, flickering colors of Paul Sharits’s  T,O,U,C,H,I,N,G (1968) remind us: Don’t play with scissors! A New York tenement foyer is the meeting place of memory and fantasy in Ken Kobland’s Vestibule (1978); and Takashi Ito deconstructs a pixilated gymnasium through photography and motion in his neuron-frying Spacy (1981) (Zachary Hall). 1968—1993, various directors, Austria/Japan/USA, ca. 92 min, 16mm.

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