Nazlı Dinçel | 66 minutes | 6:30pm, Thursday 21 February at the Institute of Modern Art
This free screening, Laser Engraver, Leather Puncher & Exacto Knife: The Marked Surfaces of Nazlı Dinçel is presented as a partnership between the Queensland Film Festival and the Institute of Modern Art.
Facebook event can be found here.
An emigrant from Turkey to the United States, Nazlı Dinçel’s practice finds an analog between the body of the film and the body flesh. Her hand-make work reflects on experiences of personal and cultural disruption, documenting instantiations of arousal, immigration and dislocation that, as if memory, are scoured and assembled into new traces. Divided by the Turkey-filmed Shape of a Surface, the first four films tend personal while the final two, Between Relating and Use & Instructions on How to Make A Film, draw on this personal element to explore the fetishistic act of construction.
Her Silent Seaming | Nazlı Dinçel | 2014, 10 minutes
An amalgam of: what I was told during intimate experiences while separating from my husband, destroyed sections from my prior work Leafless, motifs of the ‘feminine’ alluding to Jack Smith’s Flaming Creatures, and the reconstruction of a pomegranate. These four decorative objects are re-valued through controlled cutting and the interplay of synchronisation into a translation of the past.
Courtesy of Nazlı Dinçel
Solitary Acts #4 #5 #6 | Nazlı Dinçel | 2015, 25 minutes
Three films, three solitary acts of masturbation, consumption and abortion. Each act is overwritten by social discourse, embedding the filmmaker’s body. The films’ bodies are similarly overwritten—scenes of weaving interlocking close-ups are overwhelmed by waves of text, scratched and aural—inverting the passage of signs as private acts become public.
Courtesy of Nazlı Dinçel
Shape of a Surface| Nazlı Dinçel | 2017, 9 minutes
The ground holds accounts of once pagan, then christian and now muslim ruins of the city built for Aphrodite. As she takes revenge on Narcissus, mirrors reveal what is seen and surfaces, limbs dismantle and marble turns flesh.
Courtesy of Nazlı Dinçel
Between Relating and Use | Nazlı Dinçel | 2016, 9 minutes
“Exhibitons, whether of objects or people, are displays of the artifacts of our disciplines. They are for this reason also exhibits for those who make them, no matter what their ostensible subject. The first order of business is therefore to examine critically the conventions guiding ethnographic display…” Barbara Kirshenblatt-Gimblett, Destination Culture.
Borrowing words from Laura Mark’s “Transnational Object” and DW Winnicott’s “Transitional Object”, this film is an attempt to ethically make work in a foreign land. Transitioning from assuming the position of an ethnographer, we turn and explore inwards—to how we use our lovers.
Courtesy of Nazlı Dinçel
Instructions on How to Make a Film | Nazlı Dinçel | 2018, 13 minutes
Shot at the Film Farm in Mt.Forest, this comedy is a quest about performance, educational voiceover, analogue filmmaking, ASCII, language, ethics of ethnography and narrative storytelling under a metaphor of instructions to farm land. Text by Barbara Kirshenblatt-Gimblett and Wikihow/shoot-film.
Courtesy of Nazlı Dinçel
Unrated 18+
This screening contains content of a graphic sexual nature.