- Images (33)
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- Agenda
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Light Cone presents the 12th edition of Scratch Expanded (Paris 13th), a biennial event dedicated to expanded cinema – a cinematic form that breaks free from traditional theatrical projection, bringing together various moving image practices such as multi-screen projection, performance, and installation.
From artist Peter Miller’s reenactment of a historic lecture given by Hollis Frampton (at Hunter College in New York in October 1968), which blends film projections with reflections on the nature of cinema and its history, to filmmaker Gill Eatherley’s extension of her Light Occupations (1972-1974), in which she revisits her performance Cool as a Shadow in a new configuration conceived specially for this occasion in collaboration with the visual and sound artist ErikM, this new edition of Scratch Expanded can clearly be placed under the sign of proto-cinema, featuring works that are situated "at the beginnings of" and thus engage with the question of archeology, especially through a recurrent use of cast shadows which evoke the ancestors of the cinematograph and, in particular, shadow theater.
Filmmaker Gaëlle Rouard returns to Scratch Expanded this year to present a new project, Silver Sillon, an "improvised piece for four hands" in collaboration with percussionist Lê Quan Ninh, while the Barcelonian trio of Barbara Ghidini, Antonio Bértolo, and Alfredo Costa Monteiro, an offshoot of the artist-run laboratory Crater Lab, will present an expanded cinema performance featuring a triple 16mm projection set in motion by pendulum movements. To complete the program, multi-screen projections will take place in the Voûtes, as well as 16mm and 35mm projections outdoors, including a guest program by Braquage to mark the organization’s 25th anniversary. Meanwhile, the garden of the Voûtes will be inhabited by artist Noé Grenier’s installation Cristaux Solides. The evening will conclude with a musical performance of hand-cranked sirens activated by the duo En Lieu Sûr.
Saturday, June 20, 2026
Doors open at 7.00pm, program starts at 7.30pm.
Meal options will be available for purchase.
Tickets (sold on-site)
Full rate: 18 €
Reduced rate (students, under 26): 15 €
Binocularity refers to the "set of phenomena involving interaction between the two eyes." Here, two 16mm projectors are made to interact instead, following a few of the paths hewn by dual projection, one of the variants of expanded cinema. Through plays on duplication, color harmonies or dissonances, or the overlapping of images producing a three-dimensional effect, these works explore the simultaneity of heterogeneous visual and auditory fluxes and call for an active perception by the viewer. By transcending the traditional frame of cinematographic projection, they pave the way for radical forms, from an affirmation of the materiality of the film medium to a deconstruction of language and discourse.
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THE ZONE OF TOTAL ECLIPSE
by Mika TAANILA 2006 / 16mm / b&w / sound / 6' 00 / double écran |
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THRESHOLD
by Malcolm LE GRICE 1972 / 16mm / color / sound / 10' 00 / double écran |
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VO/ID
by yann BEAUVAIS 1985-1986 / 16mm / color-b&w / sound / 7' 00 / double écran |
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BLACK TV
by Aldo TAMBELLINI 1964-1968 / 16mm / b&w / sound / 10' 00 / double écran |
“This whole business of words – the whole sense of tense and complicated problems about knowledge, about making things in relation to all the things that were already made with words – seems to have fallen into film.”
Born in Burlington, Vermont, Peter Miller is an artist specializing in film and photography based in Essen, Germany, and Paris, France. He received his MFA from the School of the Art Institute of Chicago and apprenticed to be a silversmith. His film and photographic works are preoccupied with magic and generally investigate the phenomena of the cinema and its constituent, irreducible elements: lens, light, flicker, audience, projection, etc.
If all life on Earth began with Light Occupations—then this is one of mine.
My activities now are in uncomplicated experimental Nature.
We will share it with you under these Voûtes of curves and past atmospheres—far from the white cube.
Light travels in a straight line until something blocks its path—could be the moon or it could be a leaf.
I show no tricks.
Only you will see, feel and hear underfoot. Creep in.
Musician ErikM will accompany me and I will accompany him...
He will be sounding where there are actions depending upon what follows what—where the truest order is seldom obvious.
I will be shrouded.
The ErikM electro-acoustic roots will slide and sing through the space
meeting the umbras and penumbras of nature on the way.
Our paths will cross well during these explorations.
– Gill Eatherley, April 2026
(Cool as a Shadow – created for John Latham’s FlatTime House in London 2015 and recreated here with ErikM)
Gill Eatherley is an interdisciplinary artist whose work spans black and white still life drawings of nature, impactful charity projects with Mexican rainforest tribes, and a broad-ranging career encompassing art teaching, film, and curation. Her art is characterized by a clean, minimalist aesthetic, while her life’s work reflects a deep commitment to cultural connection and social engagement.
ErikM [Erik-M] is a sound and visual artist, a digital concrète musician, and a composer of mixed music. Since his early experiments in the visual and plastic arts, he has deliberately resisted any hasty categorization. Very quickly recognized (as early as 1994) as a virtuoso of electronic devices and sound art practices, he has navigated both so-called “independent” and “institutional” systems, across France and internationally. He develops a decidedly forward-looking approach to technological media. He creates acousmatic works and composes mixed music for instrumental ensembles (Ensemble Intercontemporain, Phoenix Basel, Les Percussions de Strasbourg, Dedalus, among others). He has collaborated with Luc Ferrari, Jean-Luc Nancy, Christian Marclay, Thurston Moore, Bernard Stiegler, Mathilde Monnier, FM Einheit, Will Oldham, and others, and creates transversal works that articulate a singular kaleidoscopic vision, placing the intimate and the political, the popular and the learned, in productive tension.
Gaëlle Rouard: Films, 16mm projectors, objects
Lê Quan Ninh: Turntables, records
Turn, turn, turn with me, (ear and) my eye:
One who turns on beds of diamonds
To heart’s content before our eyes, while the hand still unwinds,
Swirling, dance a dance of sound,
Like great lizards, drinking light’s gold, flee behind the curtains, then reappear again!
We play together because we are moved by objects that spin: records, film reels, disco balls… We play together because we appreciate – as one might appreciate a distance – the resemblances in what transpires from their whirling. We play together because “where there’s a will, there’s a way” with all this bric-a-brac. And we confirm what intuition has always suggested to us: the co-existence of light, shadow, sound, and silence, the collision of photons with particles of sound, evocation, contradiction, anecdote, and counterpoint. We play together because we love working in the studio, challenges, paying attention to detail or to the nuances of a sound mix, ruptures, abruptnesses, and untimely idlenesses…
Gaëlle Rouard is a filmmaker working manually since 1992. She has developed and continues to explore various methods of processing photochemical film, in parallel with an instrumentalist approach to the 16mm projector. She is a former member of 102 Rue d’Alembert (a venue dedicated to presenting experimental music and film) and Atelier MTK (an artist-run film laboratory) in Grenoble. Her work has been widely screened internationally.
Musician, percussionist, improviser, composer, and field recordist. Trained in classical music, percussionist Lê Quan Ninh (b. 1961) has, since the early 1980s, pursued a musical practice that includes both performing contemporary music and free improvisation. He has been at the origin of groups such as La Flibuste, the Hélios Quartet, and the ]h[iatus ensemble. He is also the artistic advisor of Epicentre, Territoire de l’Écoute (Jarnages, Creuse). He is currently the president of Sonatura, an organization that unites French-speaking audio naturalists.
And the towers will collapse, presaging new chimeras.
This piece slowly expands into a triptych that, through pendulum movements, evokes not only a temporality without beginning or end, but also a state of transition.
This perpetual movement reveals traces of human activity in the form of post-industrial landscapes that did not survive the passage of time, carrying within them the omen of a change to come.
A change towards natural horizons that in their opposite rectilinear movements recalls the circularity of time, accentuated by the materiality and texture of the rocks that are a symbol of durability and permanence.
The sound, obtained with several oscillators connected to three photoelectric cells, adds very subtle sonic transformations, depending on each of these movements.
This device is used here in a way that does not disturb the fluidity of the images, thus creating a very intricate relationship between what is seen and what is heard.
And little by little that materiality is dissolving, finally becoming air.
Image
Barbara Ghidini: 2 x 16mm NT projectors, zoom lenses, water, transparencies
Antonio Bértolo: 2 x 16mm NT projectors, zoom lenses, image multipliers, filters, prisms, transparencies
Sound
Alfredo Costa Monteiro: oscillators, photoelectric cells, radios
This piece has been developed at Crater Lab within the framework of the European project Spectral.
Barbara Ghidini is a self-taught photographer who works and experiments with different analog formats and photochemical techniques. In her projects she uses the materiality and immateriality of photography, as well as performance to generate sequential images that push her beyond the known, beyond the apparent limits.
Antonio Bértolo studied photography at CEV (Madrid) and film direction at Center d'Estudis Cinematogràfics de Catalunya. He currently carries out his work within the Crater Lab collective as an independent artist and teacher promoting the analog medium.
Alfredo Costa Monteiro is a sound artist, composer, improviser and sound poet born in Porto, Portugal. He lives and works in Barcelona since 1992, the year he graduated in sculpture / multimedia at the Ecole des Beaux-Arts in Paris. His installations and sound pieces, all of a low-fi character, have in common an interest for unstable processes, raw materials and conceptual constrictions, often of a disconcerting simplicity but always with a strong phenomenological aspect.
For the 12th edition of Scratch Expanded, Light Cone invites Braquage, an organization dedicated to programming experimental films (and more) that was created 25 years ago.
Since 2000, countless workshops, innumerable screenings, and a multitude of presentations have bestrewn the life and activities of the organization. One of the main axes of our programming is to screen films on film, to accompany and analyze them. Through our programs, we seek to bring together films of different natures, from diverse eras and origins, and to show unique artistic visions. The invitation to participate in Scratch Expanded fits perfectly with the alternative, open, and itinerant mode of operation of Braquage: having no fixed location, we are hosted by numerous partner organizations. Our screenings tend to adapt to the contexts in which they take place. And so, on this Saturday of early summer, in the open air, we have selected films that will accompany the viewers as night falls, to paraphrase Robert Desnos, losing ourselves in the shifting flames of a forge with its pale light of a homicidal ocean (Robert Desnos, Deuil pour deuil, 1924).
Film program to be announced soon
Resulting from a series of back-and-forth passes between the grid of a video screen and 16mm film, the installation Cristaux solides is based on a system of translation of forms, in which the human figure and digital abstraction are set in tension. This work extends Noé Grenier’s research on reuse in a broad sense (of both films and objects), here coming together in a setup that diverts the functioning of backlit LCD screens.
Noé Grenier is a visual artist and filmmaker. He graduated from ESBA-MOCO (Montpellier) and Le Fresnoy – Studio national des arts contemporains. A member of the experimental film collective l’Etna, he creates films and installations that combine different media, often making use of photochemical film and found footage.
Presented on the eve of the shortest night of the year, this open-air screening explores various ways to make light appear on the screen. Some films bring it out of the darkness in fragments and vibrations, as an experience of gradual revelation where seeing becomes a sensory process rather than a given. Others, by contrast, open up to the brilliance of broad daylight, to summer luminosity and color as a living substance. The program concludes with a celebration of color as a pure visual experience: a way to further prolong, through sight, the clarity of the nascent night.
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LIEBESSPIEL
by Oskar FISCHINGER 1931 / 16mm / b&w / silent / 3' 00 |
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CINQ MINUTES DE CINÉMA PUR
by Henri CHOMETTE 1925-1926 / 16mm / b&w / silent / 5' 00 |
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QUATTRO STAGIONI
by Giovanna PUGGIONI 1999 / 16mm / color / silent / 3' 30 |
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FUGUES D'ÉTÉ : LA FAGE
by Alain-Alcide SUDRE 1989 / 16mm / color / silent / 7' 00 |
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CÔTÉ JARDIN
by Rose LOWDER 2007 / 16mm / color / silent / 4' 17 |
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HERE, THERE, NOW, LATER
by Fred WORDEN 1983 / 16mm / color / silent / 3' 00 |
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TAPESTRY
by Francien VAN EVERDINGEN 2003 / 16mm / color / silent / 3' 20 |
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SHEDDING
by Vicky SMITH 2024 / 16mm / b&w / silent / 4' 00 |
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STUDY FOR THREE STREAMS
by Kyujae PARK 2023-2024 / 16mm / b&w / silent / 4' 50 |
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BENEATH YOUR SKIN OF DEEP HOLLOW
Bajo tu lámina de agujero profundo by Malena SZLAM 2010 / 16mm / color / silent / 3' 40 |
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AUTUMNAL
by Stan BRAKHAGE 1993 / 16mm / color / silent / 4' 00 |
Tunnels, warehouses, underpasses, ports, bridges, tanks, ravines, dams, barricades.
Émilien Leroy and Jérôme Bouve have long been seeking, in the shadows, to conjure up angels of steel by sounding two hand-cranked sirens.
Lightweight “Bouyer”-type loudspeakers and battery-powered amplifiers allow them to access both unspoiled and damaged zones and to set up quickly, making spaces and situations resonate. The reverberation of the sites themselves, the rotational motion, and the frequency of the turns of the cranks create phasing and dephasing effects that give rise to a disorienting sensory experience for both ear and mind.
Factory drones, industrial folklore, rotational motion, and proto-cinema will be their fields of experimentation on that evening.
| address |
Les Voûtes 19 rue des Frigos 75013 Paris France |
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| metro | Bibliothèque François Mitterand (line 14) |
| tel | +33 (0)1 46 59 01 53 |
| lightcone@lightcone.org | |
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