Malcolm Le Grice Trailers
Eighteen fragments from Malcolm Le Grice’s After Leonardo TrailerArt & the 60s TrailerBirth of a Nation Trailer
Born in May 1940, Malcolm Le Grice started as a painter but began to make film and computer works in the mid 1960's. Since then he has shown regularly in Europe and the USA and his work has been screened in many international film festivals. He has also shown in major art exhibitions like the Paris Biennale No.8, Arte Inglese Oggi, Milan, Une Histoire du Cinema, Paris, Documenta 6, Kassel, X-Screen at the Museum of Modern Art, Vienna, and Behind the Facts at the Fondacion Joan Miro, Barcelona. His work has been screened at the Museum of Modern Art, New York, the Louvre Museum in Paris and the Tate Modern and Tate Britain in London and is in permanent collections including: the Centre Georges Pompidou, Paris; the Royal Belgian Film Archive, Brussels; the National Film Library of Australia, Canberra; German Cinamatheque Archive, Berlin; Canadian Distribution Centre, Montreal and Archives du Film Experimental D'Avignon. A number of longer films have been transmitted on British TV, including 'Finnegans Chin', 'Sketches for a Sensual Philosophy' and 'Chronos Fragmented'. His main work since the mid 1980's is in video and digital media and includes the multi-projection video installation works 'The Cyclops Cycle' and 'Treatise'.
Le Grice has written critical and theoretical work including a history of experimental cinema 'Abstract Film and Beyond' (1977, Studio Vista and MIT). For three years in the 1970's he wrote a regular column for the art monthly Studio International and has published numerous other articles on film, video and digital media. Many of these have been collected and recently published under the title 'Experimental Cinema in the Digital Age' by the British Film Institute (2001).
Le Grice is a Professor Emeritus of the University of the Arts London where he is a collaborating director with David Curtis of the British Artists Film and Video Study Collection.
Most Popular Malcolm Le Grice Trailers
Total trailers found: 65
24 June 1993
Several well-known and pioneering abstract filmmakers discuss the history of non-objective cinema, the works of those that came before them and their own experiments in the field of visionary filmmaking.
01 January 1985
Home movies shot on Super 8mm by W+B Hein over 10 years.
17 February 1995
From the earliest point when I started to make film one of the biggest influence on my way of thinking came from Franz Kafka.
24 October 2001
Osama Bin Laden – Britain and the USA in Iraq as through television reportage – camera only inchn
06 September 1973
Abstract art film made for gallery exhibition.
16 November 1970
Two fragments of 8mm home-movie footage shot by the artist near Berlin weave together in repeating cycles of action, temporal manipulation, and colour distortion, heightening the viewer’s awareness of film-time and the film-image, and perception of colour in motion.
22 December 2011
An anthology of one-minute films created by 51 international filmmakers on the theme of the death of cinema.
10 June 1973
Four simple changing colour loops are projected continuously into the corners of a gallery space - a form of site specific film sculpture.
01 January 1975
Le déjeuner sur l’herbe is simultaneously perceived from four different camera positions in a work which engages with the pro-filmic in order to question documentation, illusion and the film viewing process.
07 July 2015
"3D Video SBS (side by side) format. For viewing on 3D monitor or television" -Le Grice
09 October 1998
An allegory for the passage from being alive to being dead. The cyclops is the one-eyed father - the one-eyed king in the land of the blind - the single lens of the camera - three screens beyond stereoscopy.
01 January 1987
Arbitrary Logic, an interactive audio-visual synthesiser was first presented under the working title Osnabruk at the Osnabruk festival of 1987 and later as part of an improvised and computer music performance with Keith Rowe at the London Filmmakers Cooperative, December 1989.
01 January 1973
A white screen marked only by a scratch running across clear celluloid activates an intense perception of projection time.
02 February 1968
Found film sequences brought together in the paranoia of the cold war and Vietnam.
01 January 2006
Music J S Bach digitally reconstructed by Le Grice.
21 February 2008
"My experience of Monet’s large-scale panoramic paintings of his water lily garden when I was about 14 years old became a crucial artistic memory.
19 August 2006
A simple event becomes rhythmically complex through changes of speed and multiple superimposition. The title refers to the inevitable inclusion of detailed meta-data in all future digital recordings – locating for example global time, place, temperature for example.
01 January 1967
Rocky, granite outcrops, a derelict quarry-worker and Dartmoor prison.
01 January 1994
Colour - Water –Rain – not a water colour – bougainvillea in extreme close-up – touching the lens – swimming pool below in the dark.
01 January 1973
Loops. "A four screen film projection onto four vertically placed screens, which span the gallery space from floor to ceiling.
17 October 1968
Originally the work was presented as a pre-ordered sequence of 35mm slides showing two unknown people walking around the wall of a sea-side swimming pool.
15 August 2003
A digital manipulation exploiting the transcoding ‘mosaic’ of video shot on a train journey from Berlin to southern Germany with Mark Webber.
04 June 2013
An impromptu portrait of Jonas Mekas shot at the Serpentine Gallery, London on the occasion of a celebration of his 90th birthday.
01 January 1965
Shot with two 8mm cameras then projected side by side accompanied by an audio tape of "prepared piano".
17 July 1998
This multi-image work is based on Le Grice's longer, color-field film-loop installation Joseph’s Coat (1973).
10 July 1979
Emily - Third Party Speculation is the second of a ‘domestic trilogy’ exploring the relationship between the restricted camera viewpoint and the construction of documentary narrative.
01 January 1993
An encounter with a small man-made waterfall presented in a triptych format.
02 January 1966
A film made with found newsreel footage combined with sequences of a flashing light bulb. It is projected with a real flashing bulb hanging in front of the screen as a film performance.
21 October 2008
Self Portrait looks for an approach to a specific relationship between the duration of a work and material conditions in the projection as did William Raban in the film-performance Take Measure.
01 January 1972
"This is a two screen film where a full frame colour field slowly changes from blue to towards green over a period of about six minutes.
10 March 1971
A re-worked version of Your Lips 1 with multiple colour superimpositions. Originally shown with a soundtrack from computer artist Alan Sutcliffe but replaced by a re-mixed track of one of the prepared piano pieces made by Le Grice in 1964/5.
14 September 2004
‘Critical Moment One’ was an un-planned recording of a one-year old boy exploring shells and sand on a beach.
03 May 2010
In October 2009 I did a show in Prague. I returned to the Kafka house of my ‘Benefit of Mr K’ but found the whole street and Castle area had become a tourist trap – so I wandered into the back-streets at the bottom of the hill and found a little local bar for a plate of sausage, mustard and strong brown bread.
01 January 1967
A double projection of images of lapping water and the Battersea Power Station all transformed by negative positive superimposition creating a moving Bas-Relief effect.
07 July 2015
Malcolm Le Grice - 3D.
01 May 1995
A video work based on video8 and hi8 material shot over six years. Chronos is the Titian – the time god who rules the universe – the flux in which events are born, mature and decay.
01 January 1968
Blind White Duration is a film concerned with constructing an experience from limited perceptions. The viewer is introduced to a limited range of images (a snowy day in Harrow, walking to the Metropolitan Line station) shown in brief fade-ins and outs or quick flashes.
06 January 2004
Documentary about British Art in the 60's produced by the BBC starting with Fraser and Kasmin, moving to the modern sculpture movement lead by Caro largely at Central Saint Martins, and finishing with political and performance art in London.
10 August 2004
Every cheap visual effect in the editing package and a sound track made with free software from a corn-flakes packet.
13 June 1984
A single performance made at the National Film Theatre against a blank screen – the performer twice leaves the stage on one side, exits the building and re-enters the stage on the other side – the duration was determined by the time it took to walk out of sight around the theatre.
02 January 1983
Directed by Malcolm le Grice.
08 June 1973
Illuminated by two blank screens projected from empty slides, four performers read texts drawn from the history of cinema – a dictionary of cinema, the chemical production of film materials and a fragment of a Hollywood narrative film script.
01 January 2006
Originally shot as part of Finnegan’s Chin, this sequence is re-edited as a portrait of performer Jack Murray.
14 July 2005
When I reviewed the video material it reminded me of a theatre performance which I recalled as “A Lecture to an Academy”, given by Tutte Lemkow at the Arts Lab in Drury lane in 1968.
03 March 2011
[Originally] six virtual screens matted into three Blu-ray projections. First exhibited at the Centre Multimedia Gantner in 2011, then on an immersive 18 metre curved screen at Tate Britain in 2012.
01 January 1972
Film performance, using a back projection screen as well as several projection sources, including a red and green source close together (requires 3D glasses).
06 August 1997
Jonas Mekas assembles 160 portraits, appearances, and fleeting sketches of underground and independent filmmakers captured between 1955 and 1996.
20 December 1969
This film was made by punching circular holes into fully opaque film stock and laying discs of colour film into some of the punched holes.
01 January 2021
The travelogue footage that appears here – the landscape rushing by, fragments of cityscapes, figures in cafes, forests, and beaches – is reminiscent of other videos made by Le Grice since the 1990s.
28 May 2016
"This installation or performance work puts my own earlier film of the Mona Lisa (1973) through another stage of transformation – my own irretrievable self of some 34 years ago is now also part of the subject I first saw the ‘actual’ ‘Mona Lisa’ when I was about thirteen.
01 January 1972
Le Grice no longer simply uses the printer as a reflexive mechanism, but utilises the possibilities of colour-shift and permutation of imagery as the film progresses from simplicity to complexity… With the film’s culmination in representational, photographic imagery, one would anticipate a culminating “richness” of image; yet the insistent evidence of splice bars and the loop and repetition of the short piece of found footage and the conflicting superimposition of filtered loops all reiterate the work which is necessary to decipher that cinematic image.
01 January 1967
A nostalgic exploration, comprising fragments of reworked 9.5mm home movie footage. The deterioration of the original film, like memories, contributes to the film’s meaning.
21 May 1970
Yes – just looping images of pigs on three screens with a tape sound track of a Chinese pop song.
01 January 1974
"Like all the works I have done which refer directly to another artist, After Lumière… is not directly 'about' the Lumière original.
02 January 1971
Film shadow performance. "First presented in 1971 using three 16mm projectors each with a short loop of changing colour.
01 July 2019
Dark Trees starts with a view from a window in silhouette through which one sees a garden, tall trees, rooftops and the sea.
01 January 1977
As the title indicates this is a deliberately academic work, conceived in much the same way that a composer might make a 'study'.
01 January 1971
Double projection. No images, only colour, first changing slowly in spectrum order, yellow, or red, purple, blue, green, yellow.
01 January 1971
A one-off performance, never repeated but led to Horror Film 1.
01 January 1972
A person walks backwards and forwards across two white screens casting a shadow, later his actual shadow is joined by pre-filmed shadows performing the same actions.
