( av / sound / music) :
Makino Takashi
Signe Liden
(film) :
Bertrand Mandico
Elina Löwensohn
Katrin Olafsdottir
Sebastien Ronceray
(residenciess) :
Benedicte Clemetsen
Brendan Colvert
Douce Mirabaud
Rikke Benborg
Simon Hjermind Jensen
Stuart McLean
(storytelling) :
Erin Catriona Farley
Tom Muir
(pgn open call) :
Anne Robinson
Arnont Nongyao
Calum Stirling
Dan Shay
Deniz Üster
Elen Gruber
Gabriel Otero
Grace Schwindt
Gustaf Broms
Jessica Cheeseman
Maren Dagny Juell
Mademoiselle L
Ola Surdacka
Richard Ashrowan
Verena Kyselka
Cassia Dodman and Duncan Herd
(partners programme):
Makino Takashi
Makino Takashi Papa Westray Orkney
live av performance

2014 / 62min
In the history of development of cinema itself, somehow got its strange position. The position is exceptionally very close to the commercial, and is totally different from any other art forms. But my attitude of cinema is different. I think cinema can be, and it should be one of the art activities. I create cinema by this point of view. Cinema is projecting on to the audiences same images, and audiences are in their common fluxing time. But, once images came into sight of each of audiences, it immediately brings out their each original imagination and senses. The big difference between cinema and other art is how the images depend on to its observer. What I most focusing and interested is the relation between extrinsic image and our inner image and also, the third image, created by the relation between extrinsic image and inner image. An image having a story or a definite standpoint such like famous documentary of world war II, or a very recognizable objects are sometimes despotic. My stance, on the other hand, is against those images. in my works, they are crossed over and over until the images are extremely lost its original shape and means. It is something like an organism that its observers to be able to find their infinity possibility of watching. And I expect it will become a generator for imagination. The title of my recent work "Generator" is derived from this idea. Famous Cinematic technique, the multiple exposures had been used usually for fantastic sequences or easy cutting. But I found something more in multiple exposure technique. I use this idea combine together with the other idea, the idea of collage that has been found by surrealist in 1920 at Paris. There are nothing created by the hand of mankind, they can only recomposing original nature by their unfettered thought. I can say I found this nature in the idea of collage. my process of making film is recomposing original nature on film and to convert them into the image that surpassed my expectations. Soundtrack of my film is also approached from same thought. I never use synchronized sound to images. I use sound that has no relation to the image for searching new view. My collaboration with many musicians is also based on this collage technique of attracting 'unexpected discovery'
Makino Takashi born in Tokyo in 1978. Makino began making films in 1997. In 2001, after graduating from the Cinema Department of Nihon University College of Art, where he majored in Cinematography, he went to London alone to study under the Quay Brothers. He mainly studied film music and lighting. Makino continued to make films after returning to Japan and has held solo screenings regularly since 2004. He met Jim OfRourke in 2005, which accelerated his film making pace. His film, No is E won the Terayama Shuji Prize at the Image Forum Festival 2007. Makino was prominently featured at the International Film Festival Rotterdam 2008, where Elements of Nothing was nominated for the Tiger Award. Since then, as Japanfs leading experimental film artist, his films have been invited for screenings at more than 30 international film festivals and video art festivals. His installation using 35mm film and HD was exhibited at the Tokyo Metropolitan Museum of Photography. In 2009, still in cosmos won the Grand-Prix at the 25FPS International Experimental Film & Video Festival 2009. His first medium-length film, The World, was premiered at a late show at the Kichijoji Baus Theatre in Tokyo, marking the new dawn of experimental films.
  SNÆ #4