weirdo/outer limits music and film, Cork

Black Sun is a space where the adventurous can gather, whatever their musical preference, to find something new, strange and fantastic; a space where the experimental is not something clique-ish for the afficionado, but precisely the opposite - an opening of possibility.

Rouzbeh Rashidi @ Black Sun Cinema, Triskel, Wed Oct. 9th


Black Sun Cinema, in partnership with Triskel Christchurch Cinema presents the Irish premiere of HSP: There Is No Escape From The Terrors Of The Mind, a new feature film by experimental filmmaker Rouzbeh Rashidi.  

Wednesday, 6.30pm, October 9th 2013

Taking its title from Edgar Allen Poe, TERRORS follows the visions and travails of a tormented loner who appears hounded by a mysterious pursuer. Creating an intensely hypnotic audio-visual dream realm that is as uncannily beautiful as it is unsettling, Rashidi summons and sustains the atmosphere of dread of a horror film, but without the expected narrative trappings.

The director will be present at this Black Sun Cinema event, held in partnership with Triskel Christchurch.

“Rouzbeh Rashidi’s latest film […] is a stunning work of art and cinematography… This film truly invades your dreams and plays fruitfully with popular iconography, and is haunting and mindblowing in the truthful sense, and stretches the borders and limits of western and eastern imagery as well as those of cinema… Cinephiles’ hearts must melt now. To non film buffs and all the others I say watch this film wherever you can see it.” (Mario Mentrup, Der Weisse Hei Ist Gut)

For more details:

HSP: There Is No Escape From The Terrors Of The Mind (2013) / Trailer from Rouzbeh Rashidi on Vimeo.

Design by Danielle Smith.

Design by Danielle Smith.

Black Sun: Richard Youngs | Aine O’Dwyer | Vicky Langan

This concert closes the 2013 Avant Festival, Cork’s annual festival of experimental and progressive art. It also marks the final Black Sun music event. Since 2009, Black Sun has invited many renowned makers of strange sounds from around the world to play for the first time in Ireland. Black Sun was conceived as a space where the experimental is not something clique-ish, reserved for the afficionado, but precisely the opposite – an opening of possibility for the adventurous, wherever they’re coming from.

RICHARD YOUNGS (Jagjaguwar Records)
Áine O’Dwyer
Vicky Langan 

Sat July 27th 2013

TDC @ Triskel Arts Center

Facebook event:


Richard Youngs is a British musician with a prolific and diverse output, including many collaborations. Based in Glasgow since the early 1990s, his extensive back catalogue of solo and collaborative work formally begins with Advent, first issued in 1990. He plays many instruments, most commonly choosing the guitar, but he has been known to use a wide variety of other instruments including the shakuhachi, accordion, theremin, dulcimer, a home-made synthesizer (common on early recordings) and even a motorway bridge. He also released an album which was entirely a cappella.

For many years, live performances were very occasional and almost always in Glasgow; he has stated publicly that he finds live performance “incredibly nerve-racking: stomach cramps, tension headaches…”. However, in recent years, he has performed more regularly (including a tour of New Zealand in 2010 and a UK tour in support ofDamon and Naomi in 2011) and many of his recent shows have been predominantly vocal – he told The Wire (issue 284) “I went to a laptop concert and decided I was going to sing”.

THE iconic figure of the modern UK underground
The Quietus

Imagine Richard Youngs as the junior member of a cabal of prolific and puritanical English musician-mystics, including The Fall’s Mark E Smith, Van der Graaf Generator’s Peter Hammill, Martin Carthy and The Clangers’ composer Vernon Elliot, and still his nature will elude you
Stewart Lee


Áine O’Dwyer hails from Pallasgreen, Co Limerick, and is currently based in London. She is best known as a harpist, and has worked with United Bible StudiesThe CloistersMark FryThe A LordsRichard Moult and Piano Magic among others.

Last year Áine recorded Music For Church Cleaners, a series of improvisations on the organ in St Mark’s Church, Islington – as the title suggests, in the presence of the (occasionally audible) cleaning staff. The eight pieces are meditative and often melancholic, driven by Áine’s strong melodic and structural sensibility, and drenched in the rich Gothic ambience of the space. The spirit of John Cage is evident both in the minimalist approach and in an openness to serendipitous (and comical) interjections from cleaners and stray children. An album of tremendous depth, power and beauty.

I was late in discovering Aine O’ Dwyer’s music. It was the home of the Second Language label where I (indirectly) came across this gifted musician. Last year’s treasured gem ‘I Lived In Trees’ by Mark Fry and The A. Lords was my avenue into Aine O’ Dwyer’s beautiful music. The harpist adds dreamy soundscapes to the A. Lords’ divine tapestry of warm, pastoral sounds. Soon, I discovered more collaborations on the same label-from Piano Magic to The Cloisters. Plugd introduced me to O’ Dwyer’s ‘Music For Church Cleaners’. An album of church organ music performed by Aine in St Mark’s Church, Islington. The spiritual music possesses this meditative power throughout with melancholic shades of colours. Amazing. I can’t wait to see Aine O’ Dwyer in concert and playing directly after Cubs, the prospect is simply mouth-watering!
Fractured Air


Through her solo work, Irish artist Vicky Langan has gained a reputation for raw and intense performances that are as likely to leave audiences feeling deeply unsettled as profoundly moved. As Wölflinge, Langan projects vunerability, offering an intimate physical theatre loaded with personal symbolism and unguarded emotion.
The Wire

There are some musicians who entertain us, fine; some who stimulate us, better; and then some who immerse us in something so powerful that, almost, primal emotions surface instantly; making us ultra-defensive, or, finally open to illumination. One of the latter is Vicky Langan… You may love her, hate her, be astonished, be repelled-but you will not be unmoved. Promise. In a world of bland s**te we need to treasure artists like this -even if they burn…
Bernard Clarke, NOVA, RTÉ Lyric Fm.

Dirt (2012) from Vicky Langan on Vimeo.

Black Sun Cinema: Necrorealism/Nekromantik at Triskel Christchurch

Black Sun Cinema presents

Jörg Buttgereit’s NEKROMANTIK

& 3 Necrorealist Films by EVGENY YUFIT

Triskel Christchurch Cinema

Saturday 27th July, 2.30pm

in partnership with Cork Film Centre

Death is the subject of Black Sun Cinema’s most confrontational programme to date. Death or, more precisely, the subversive energy and perverse eroticism of the abject. Two extreme, taboo-busting visions from ‘80s underground cinema will be exhumed for a very rare big-screen presentation in partnership with Triskel Christchurch Cinema and Cork Film Centre this July 27th. Three raw and utterly berserk short films by Evgeny Yufit, founding figure of the Russian art movement necrorealism, will be paired up with Jörg Buttgereit’s notorious and much-banned feature Nekromantik, cinema’s most iconic meditation on necrophilia.

Werewolf Orderlies (Sanitary-oborotny, Evgeny Yufit, 1984, 5 mins)

Woodcutter (Lesorub, Evgeny Yufit, 1985, 6 mins)

Spring (Vesna, Evgeny Yufit, 1987, 10 mins)

This trio of early films by Evgeny Yufit is a crash course in the energy and aesthetics of necrorealism. This movement began as a despairingly slapstick, punk-like reaction to the hopelessness of life in the final years of Soviet Russia:

“[It] emerged in Leningrad in the early nineteen-eighties. This was the height of the so-called stagnation period, when unliving, undead Soviet Communist Party general secretaries succeeded one another in rapid sequence… The regime’s moribund ideology nourished the new movement, which questioned one of that ideology’s pillars – immortality…  A group of young men that included artists, poets, rock musicians, and random acquaintances roamed the streets of Leningrad like a pack of wild dogs. They engaged in mock brawls in abandoned buildings and suburban commuter trains, and they would mercilessly beat a mannequin (a dummy used in forensic investigations) in front of astonished passers-by. Vigilant citizens summoned the police to stop these outrages, but the flagrant idiocy of their behavior saved the participants in these riotous actions from serious consequences on more than one occasion. Yufit was the head of this ‘pack’.” (Oleysya Turkina, Necrorealism)

When Yufit began making films, it was very much in this wild spirit:

Black-and-white silent cinema was Yufit’s main source of inspiration… These films were shot quickly, often in a single day. The plots arose spontaneously depending on the peculiarities of the landscape, the roster of participants, and suitable surroundings… They contain the energy of spontaneity and the unrestrained fantasizing of their participants on the topic of suicide, which along with their ragged avant-garde editing gained Yufit a reputation as the most uncompromising member of the cinematic underground.” (Turkina).


Nekromantik (Jörg Buttgereit, 1987, 70 mins)

This hallucinatory punk love story between a boy, a girl and a rotting corpse retains its fast won reputation as one of the most shockingly graphic low-budget horror films ever unleashed on the public. What is less often remarked on is that this ‘necro-porn-horror’ is also one of the most oddly lyrical films of its genre and one of the most personal in its experimental approach to narrative. Rather than softening its impact, these qualities succeed in making it something more unsettling than the mindlessly provocative gore-fest its detractors have often dismissed it as.

Buttgereit’s distinctively alienated musings on the existential isolation of the desiring German subject, his libidinally ambiguous re-animation of the deeply repressed historical past and his highly self-reflexive plays on cinema’s capacity for the dissemination and reproduction of regressive ideologies, position him not only as a horror director par excellence but a major contributor to recent cinematic art in Germany… Buttgereit is a director who engages creatively with that strand of Romantic irrationalism that has lain at the heart of German culture since long before the nation’s first unification in the 1870s— an irrationalism that once manifested itself in Goethe’s rendering of the Faust legend, Hoffman’s tales of the Unheimlich in prose and, much later, in the horror tales of Weimar cinema. Existing somewhere between the nightmare world of the ghost train, the crazy logic of dreams and the representational strategies of avant-garde or experimental cinema, Buttgereit’s films joyfully participate in this irrationality— especially through the frequent inclusion of lengthy or repeated sequences of highly perplexing viscerality.” (Linnie Blake, Kinoeye)

Please note: This film contains images that some viewers may find offensive.

Visual Music Screening at Sample Studios

Black Sun, Cork, in association with Sample Studios & the Avant Festival, presents:


A programme of short experimental film, spanning almost 100 years, exploring the intermedia collision of musical structures & abstract visual imagery, ranging from experiments in synchronising montage & hand-painted animation with music, to silent, geometric, synaesthetic works that seek to use rhythmic movement to create a ‘music for the eye’ comparable to the sensual effects that sound has for the ear.

Keefe Murphy (Limerick Experimental Film Society) will present the selection of works.

Tuesday 23rd July, 8pm

The Amphitheatre on 3rd Floor, Sample Studios, Former Government Buildings Sullivan’s Quay, Cork

Admission is Free.

I Don’t Feel At Home In This World Anymore (Mississippi Records/Alan Lomax Archive)


Black Sun, Cork presents:

Film, stories & images from the Mississippi Records and Alan Lomax archive

7pm Tuesday 16th July

Sample Studios, Former Government Buildings  Sullivan’s Quay, Cork

€7  Limited capacity! Email to reserve a seat.

* * DJ set from Eric Isaacson of Mississippi Records to follow in Gulpd Café at Triskel Cork after presentation. * *

A film, music and aural presentation by Eric Isaacson of Mississippi Records, Portland, USA. Featuring archival film, images & stories spanning 1890 to the present day, illustrating Eric’s own special history of underground music movements and bonafide individuals. The live footage performances are culled from Mississippi Records’ enormous library of folk blues, gospel, esoteric, international & punk music, and courtesy of the Alan Lomax Archive’s “American Patchwork” video collection, shot throughout the American South by the folklorist between 1978 and 1985.

The Lomax footage is being provided by the Association for Cultural Equity as part of their continuing effort to make important cultural information available to all who seek it.

Rare film of musicians associated with the Mississippi Records label such as one man band Abner Jay, angel channeling Bishop Perry TillisRev. Louis Overstreet & his four sons, legendary folk singer Michael Hurley & many more will be featured.. Each film segment will be introduced with brief stories about the musicians. There will also be a short slideshow that tells the story of the underground music industry & Mississippi Records.

The endless cycle of conflict and incident that exists between the subterranean and marginalised music scenes and the mainstream music industry will be explored by Eric without using language or images associated with simplified boring dogma, slogan chanting or political rhetoric. Mississippi Records, in a short time, has bypassed most antiquated record label conventions and has, through a few guiding principles and great taste, gained cult status, lots of sales and love and praise from all quarters.

Mississippi Records Tour Preview Film from plastic shaman on Vimeo.

Mississippi Records has produced over 150 releases on LP & 100 releases on cassette tape that crisscross’s borders, digging up joyous albums, singles and unheard songs and sounds that where being left under the bed, out in the shed and unloved by most record companies. They have managed to do this on a shoestring budget, without ever advertising or engaging in promotion of any kind & distributing only through DIY avenues. Among it’s catalogue you can find Fred McDowell, Mahmoud Ahmed, Irma Thomas, Dog Faced Hermans, George “Bongo Joe” Coleman, Kleenex/Liliput, The Georgia Sea Island Singers, The Clean, Alamayahu Eshete, Dead Moon, Clara Rockmore, The Ex, Washington Phillips, Philip Cohran & The Artistic Heritage Ensemble, G.I. Gurdjieff and boxes full killer comps as well as artists like Marisa Anderson, Peter Buck and Michael Hurley.

Black Sun & Plugd Records present: Daniel Higgs - Triskel Cork, May 4th


Daniel Higgs portrait by Marcin Lewandowski. Taken at Black Sun at Camden Palace Cork, 2011.

Triskel Arts Centre  / Saturday May 4th / Tickets on the door: €10



Daniel Arcus Incus Ululat Higgs is a musician and artist from Baltimore, Maryland on whose behalf superlatives are destined to fail. It’s not that his artistic output – spanning three decades, numerous albums, books of poetry and collections of drawings – simply eludes classification, it defies it. Often we hear that a true work of art is meant to speak for itself, and with the work of Daniel Higgs the maxim rings truer than ever. His art is of the cosmos, we on Earth merely lucky that it happens to be confined to our atmosphere, in our lifetime.

Higgs is known primarily for his work as the sole lyricist and frontman of the band Lungfish, a four-piece dedicated to charting, in this listener’s estimation, nothing short of the evolution of all species, known and unknown. That the band has undertaken this pursuit in the guise of a humble rock outfit, in the absence of any public relations fanfare, metanarrative, or manifesto has been enough to endear them to tens of thousands. They are enshrined as one of America’s last true folk bands, and Higgs anointed as a patron saint to artistic purity.

In recent years, Higgs has released a number of solo outings that can only be described as the ultimate in isolation, worlds away from the hypnotic, communal rock of his band.



Woven skull is the vessel with which the sound of larks, lakes and the high breeze off tree tops travels from its source to the comfortable confines of rigid amplification, battered drumskins and rusty chimes into repetitive dark melodies.

Since 2008 the core trio that makes up Woven Skull have been gathering together in the remote area in the north west of Ireland known as Leitrim. Known for its tales of ghosts, ‘tree folk’, under water creatures and the constant battle calls of the ancient Tuatha De Danann that can be heard on Letirims Iron Mountain. These are the surroundings and forces that influence the sound that Woven Skull create: A contrast of minimal drones, repetition and psychedelic distorted riffs all layered in constant unconscious rhythms.

As well as the 3 core members, Woven Skull often take other people with them when playing live or during recordings. Other ‘players’ have included members of United Bible Studies, Gnod, Core of the Coal Man, Raising Holy Sparks and more. When playing live the group incorporates visuals and creates an intimate setting with candles and dim lighting. They have a number of self-released CDs as well as a tape release (Moods of the Hill People) on Fort Evil Fruit (Dublin) and a release coming out on Golden Lab Records (Manchester).



In Deference to the Squeamish I (Willie Stewart, 2013)
This haunting track from Divil A’ Bit’s upcoming album is graced with an exceptionally lyrical and eerily delicate music video that entices viewers into discreetly experimental woodland reverie. Music by David Colohan, Natalia Beylis and Willie Stewart.


CHUMLUM (Ron Rice, 1964)

Ron Rice, director of the influential beatnik romp The Flower Thief (1960), has been called “the great tragic figure of the ‘60s underground film scene”. He completed only a handful of films before his death at age 29, but the playfully gorgeous androgynous swoon Chumlum (1964), starring Jack Smith and featuring a score by Angus MacLise (ex-Velvet Underground), remains emblematic of early ‘60s New York experimental filmmaking at its most dizzyingly creative. Shot on breaks between takes on pioneering gay underground icon Smith’s film Normal Love, it captures Smith’s cast in their full ‘Arabian Nights’ regalia decadently draped in hammocks, their bodies layering up and intertwining like the exquisite superimpositions of images Rice employs throughout. Bodies, fabrics, colours, images blend and blur into a hypnotic erotic reverie that encompasses the mind and senses like a delicate but inescapable net of the finest lace. Amongst the ‘flaming creatures’ on display in the cast are Barbara Rubin (director of the sexually graphic experimental classic Christmas on Earth) and Warhol superstar Mario Montez.

“All of yesterday’s parties seem to have exploded in the air… A hallucinatory micro-epic […] and one of the great “heroic doses” of ’60s underground cinema, a movie so sumptuously and serenely psychedelic it appears to have been printed entirely on gauze…
Chumlum [manages] to capture with unnerving fidelity the murky glories, the sudden temps morts and temps mutant, not to mention the inevitable malaise of a rich but fading high.” 

-Chuck Stephens, Cinema Scope 54 
Black Sun, Cork & Plugd Records presents:
Daniel Higgs, Woven Skull and a very special screening of Ron Rice’s Chumlum.
May 4th, 2013 // Triskel Arts Centre, Tobin St, Cork


Black Sun, Cork & Plugd Records presents:

Daniel Higgs, Woven Skull and a very special screening of Ron Rice’s Chumlum.

May 4th, 2013 // Triskel Arts Centre, Tobin St, Cork

Mike Gangloff, Tóla Custy & Bill Mousoulis (programme of Super-8)

Wednesday evening, April 3rd 8pm

Donations appreciated. image  image

Screening first, followed by sets from Tóla Custy (Clare, Ireland) and Mike Gangloff (Virginia, USA).


Photo of Mike Gangloff and Nathan Bowles by Kevin McDonnell

With US underground drone wizards Pelt and later the barnstorming Appalachian old-time band Black Twig Pickers, Mike Gangloff helped forge a unique blend of avant-garde freedom and dyed-in-the-(plaid)-wool backwoods traditionalism. But along the way, the multi-instrumentalist offered only rare glimpses of the music he plays alone. This April, Gangloff returns to Ireland for a second visit, performing fiddle, banjo and vocal tunes he learned from regional masters around his home in Southwest Virginia and stretching out into personal spaces claimed in nearly two decades of improvisational music.

His is an idiosyncratic musical landscape informed by knee-to-knee sessions with players ranging from guitar fire-breather Donald Miller of Borbetomagus to Charlie Parr, from the late Jack Rose (a bandmate in Pelt and frequent Twig collaborator) to pre-war recording artist Clayton Hall, from the Slate Mountain Ramblers to the Ivanhoe Wildcats.

Expect dones and hoots, full-on stomps and disconsolate dirges. Expect to be rocked back on your heels in a way you’ve never been before.

join pelt in celebrating the ecstatic joy that results from refusing to accept the alleged primacy of shit-culture. it does not exist if we will not believe in it. and we must refuse it on all levels always. the proof of its surrender is at hand. yr hand. right now, motherfucker!
-Byron Coley

Both scholars of the regional sounds and advocates of an ecstatic and highly personal approach to the music, the Twigs hold down local dance and bar gigs, play all manner of celebrations and every so often, hit the road. Along the way, Isak Howell, Nathan Bowles and Mike Gangloff kept company with some of underground America’s heavyweights and haunted the doorsteps of Appalachian fiddle and banjo masters. They’ve played for the National Council for the Traditional Arts and for audiences overseas. And they’ve put out a string of acclaimed albums, including 2008’s Hobo Handshake and last year’s Jack Rose & the Black Twig Pickers.” -Thrill Jockey on the Black Twig Pickers:


Also as part of this night, Black Sun is delighted to present a programme of Super-8 films by Bill Mousoulis, a legend of the Melbourne independent film scene who has created over a hundred works since the early ‘80s. Filmmaker, critic, founder of the journal Senses of Cinema, and passionate advocate personal filmmaking, Mousoulis has been hailed by Australia’s preeminent film critic Adrian Martin in glowing terms:
Can there be any doubt that (for the Super-8 world, but more generally for Australian independent film-making) Bill Mousoulis is a visionary? Tireless worker for the small movie at large, and ceaseless creator of his own contribution to cinema, he has come into this world, I believe, to inspire us… A romantic, a mystic, an artist inspired by the muse, a free spirit …I happen to think that Bill’s work is simultaneously naive (in all the best senses) and extremely sophisticated. You surely don’t have to look twice to be convinced that he is, after all, the Bresson of Super-8 … Bill’s movies aim high, and they convince you of their right to aim that high…
Cork audiences will have the rare opportunity of seeing a selection of Mousulis’ short works from the ‘80s and ‘90s, films in which he conjures witty, poetic and often soulful cinematic gems from his immediate surroundings, often with the help of an inspired ear for popular music.

For more information on Bill Mousoulis, visit his website:

Richard Dawson, Raising Holy Sparks, Birchall & Cheetham, Saul Levine screening

Black Sun, the Guesthouse & Plugd Records present:

Friday 8th March | Plugd Records at the Triskel Arts Centre | 8pm, €7


Richard Dawson

Richard Dawson has been a much-loved musical spectacle in his native Newcastle for many years now, a skewed troubadour who sings and plays guitar with a rare intensity and a very singular style. Beguiled northern audiences have long awaited the arrival of recordings that capture Dawson’s genius, and it has finally arrived with his album The Magic Bridge, a 10-song collection out now on cd and vinyl by Box Records.

Dawson’s music is a collision of opposites, his hoarsely cracking voice suddenly rising to a magical soar that’s been compared to Tim Buckley, John Martyn and Richard Youngs, while his battered acoustic guitar veers from stumble to sublime in a way that can recall Sir Richard Bishop or Captain Beefheart. Add this to his snaring way with words and Dawson’s got you pinned – stories like the one relayed in Black Dog In the Sky typify his by turns heartbreaking and hilarious self-deprecation and skill in painting a story with both words and guitar.

The listener is drawn in carefully but irresistibly from the instrumental opener Juniper Berries Float Down The Stream, which creeps in falteringly but grows and envelops before you realise it’s happened and your gripped. By track 2 and the arrival of his skyward voice (not to mention its beautifully tender conclusion) and Dawson has you under his spell.

In the words of The Wire, “What makes The Magic Bridge such a remarkable album is that every comparison one might make, however illustrious the precursor, feels both entirely justified by Dawson’s music, yet entirely inadequate as an explanation of it. This elusive freshness is why the album demands to be properly heard, compelling the listener to keep coming back to it.


Raising Holy Sparks

Fronted by David Colohan, drawing on the devotional musics of church & countryside, Raising Holy Sparks play Appalachian Kosmische hymns to the lunar/rural arcane. David (also of United Bible Studies, The Magickal Folk of the Faraway Tree, Cubs etc.) formed Agitated Radio Pilot in 1993 as his musical solo project. A great amount of material has been recorded and released over the years, genres varying from lo-fi, ambient and alternative rock to the melancholic singer-songwriter and psychedelic folk of today. Looking in new directions, David has embarked on a new project under the name Raising Holy Sparks.


Birchall & Cheetham duo

David Birchall (guitar) and Andrew Cheetham (drum kit) met when they were invited to play with Rhys Chatham as part of his G3 Ensemble in Manchester, March 2011. Since then, they have been improvising free-form deconstructed rock and drones in a tiny room within a dilapidated printing press. ‘Tipping Point’ was released by MIE Music (Pelt, Sarin Smoke, Richard Youngs, Part Wild Horses Mane on Both Sides) and they toured the UK in November 2011. David and Andrew have both toured the UK and Europe extensively with various musical projects. Recent gigs have seen them opening for Alan Silva & Roger TurnerJon MuellerVolcano the BearKen Vandermark Trio and a performance at the Hunters Moon Festival 2012 in Ireland.

"A blend of disjointed, free form cosmic edged curves performances. Their sound is not a million miles away from some sort of repressed free jazz, but is a bit too esoteric to be just that." - Hunters Moon Festival Programme

"Raw, chaotic, as if the guitars have been fashioned with tendons in place of strings, and the drums skinned with actual skin." - Fluid Radio

"Bad teach holier mulch, a cab hum-thrilled echo, David Birchall and Andrew Cheetham cut up some Elmore James tapes and spliced them back together all out of sequence then learned the results note-for-note, I reckon. “ - Braw


 Screening of Saul Levine's Notes of an Early Fall (1976, 34 mins)
Notes of an Early Fall is a classic of personal filmmaking by Saul Levine, a man hailed as ‘the king of Super-8’. Film diary and film poem in one, it collages images taken from daily life and surroundings into a throbbing yet subtle meditation on claustrophobia and a sense of entrapment. The distinctive rhythms of camera movement and editing cause this raw, tactile work to breathe and react with a vividly individualistic force. Every frame attests to the handmade nature of the work, the material fragility and luminous vitality of Super-8 in the grasp of a poet.

Saul Levine is not only a maker but also a respected advocate of avant-garde film and video. Based in Boston, he is currently a professor at Massachusetts College of Art and Design, where he has taught for over 30 years and programmed the longstanding MassArt Film Society. He is noted for his dedication to social change and personal self-expression.

“There’s something naggingly incomplete about the cinema of Saul Levine. No slight intended. Really, such a quality is intrinsic to the appeal of his films, those fluttering transmissions of stream-of-consciousness nostalgia. This is rough draft cinema, work perpetually in progress… His films scream and stretch at the seams. Splices announce themselves loudly and proudly, rudely even. The mark of the maker is evident… [The films] seem to begin and end in the middle, as though we were leaping into them mid-stream, mid-sentence, mid-thought. If there is a structural integrity, an organizing principle, it is an inherently emotional one… They churn like the endless flood of human memory.” (A. A. Dowd, In Review Online)

Our deepest thanks to Saul Levine for giving Black Sun, Cork permission to screen his work.

Experimental Film Society screening at Plugd Records, Friday January 25th, 9.30pm

This programme of contemporary experimental film features new work by Irish-based members of Experimental Film Society. It is presented as part of Art|Works, Creative Arts and Industries Platform - a new collaborative initiative between UCC, Corcadorca Theatre Development Centre and Plugd Records.

Experimental Film Society supports and promotes works by a dozen filmmakers scattered across the globe, whose films are distinguished by an uncompromising devotion to personal, experimental cinema. It was founded and is run by Dublin-based Iranian filmmaker Rouzbeh Rashidi.


WÖLFLINGE 12/4/’12 (Vicky Langan & Maximilian Le Cain, 7 mins, 2012)

Since 2010, Cork-based sound/performance artist Vicky Langan (Wölflinge) and experimental filmmaker Maximilian Le Cain have been working together in a creative audio-visual partnership built on the strikingly fitting match between Langan’s magnetic, often troublingly intense presence as a performer and Le Cain’s distinctively jarring, disruptive visual rhythms. Wölflinge 12/4/’12 is the record of a typically visceral performance Langan gave at Triskel Christchurch last year.

SOUND FROM THE VALLEY FLOOR (Dean Kavanagh, 25 mins, 2012)

Dean Kavanagh is an independent avant-garde filmmaker based in Wicklow. He favours ‘visual stories’ which radically reduce conventional narrative elements. These haunting, visually hypnotic works focus on private rituals and mysterious journeys to or from ‘home’, to or from memory. Shot mainly in Cork, Sound From the Valley Floor introduces a strain of bizarre humour into Kavanagh’s poetic evocation of displacement.

AREAS OF SYMPATHY (Maximilian Le Cain, 40 mins, 2013)

Areas of Sympathy, Le Cain’s latest solo work, is a visually raw collage of home movies, performance documentation and found footage that knits together into a frustrating but highly exhilarating series of abandoned science fiction / thriller narratives without beginning or end. The memory of an old movie partially watched late at night while more than half asleep…

HOMO SAPIENS PROJECT (Rouzbeh Rashidi, 16 mins, 2013)

The prolific and influential Rouzbeh Rashidi has been working on the ongoing Homo Sapiens Project since 2011. This series of short films is a laboratory for experimenting with cinematic forms. A ‘notebook’, sometimes an oblique ‘diary’, the films produced range from cryptic, often darkly surreal film diaries to impressionistic portraits of places and people, from found footage séances to semi-documentary monologues. Formally, they encompass everything from highly composed and distantly framed meditations to frenetically flickering plunges into the textural substance of moving images. HSP 139 was made as a response to Le Cain’s Areas of Sympathy.

Black Sun Cinema Recommends Michael Higgins @ CFC Gallery

MH Poster

Michael Higgins, one of Ireland’s most talented and exciting experimental filmmakers, has a film-based exhibition opening at 7pm on Thursday 8th at Cork Film Centre Gallery, Ballincollig. The opening will also feature a special screening of his new feature film Some Must Watch While Some Must Sleep.

Inspired by cinema and visual narrative, Michael’s work involves a wide range of both digital and analogue technologies, and concerns people’s perceptions of time and reality. In creating content, Michael acts on a single idea, be it a piece of music, an image, a character or environment. In following this initial idea through, he makes a point of being open to changes and external forces that occur throughout the various stages of production, allowing the development of the work to be self-driven. He simply assists it in materializing.

When working with film, he utilizes vintage camera equipment, expired film stocks and hand processing in order to bring out the unique characteristics of celluloid subject to destruction and decay. These processes achieve unpredictable results that resonate with ideas of time past or a ‘lost time’ and also a sense of decadence linked to an apparently dying format.

For more information, please visit:

Michael Higgins’ website:

Some Must Watch While Some Must Sleep trailer:

Black Sun presents: A Programme of Lithuanian Experimental Film

Saturday 20th October 2012

Black Sun Cinema presents:

A Programme of Lithuanian Experimental Film
in association with Tinklai International Short Film Festival (, Lithuania, and Solus Film Collective (, Dublin

Saturday 20 October 2012, 8.45pm,
Triskel Christchurch Cinema, Tobin St., Cork

Black Sun Cinema, in partnership with Triskel Christchurch, is proud to present a retrospective programme of Lithuanian experimental shorts from the ‘90s. These films, very rarely screened in Ireland, provide an eye-opening snapshot of a distinctive independent film culture in the process of defining itself.

Much of the programme highlights a tendency towards personal, poetic and formally adventurous approaches to documentary reality. The wordless, powerfully bleak yet pictorially exquisite rural worlds evoked in The Window (Julius Ziz, 1989) and Earth of the Blind (Audrius Stonys, 1992) will appeal to admirers of Bela Tarr, while Ten Minutes Before the Flight of Icarus (Arunas Matelis, 1991) offers a charmingly quirky glimpse of an urban neighbourhood in upheaval. The Black Box (Algimantas Maceina, 1994) confronts personal and national history more directly, albeit in a visually radical fashion.

Contrasting with the rest of the programme, the selection of hand-painted, hand-scratched films by artist August Varkalis plunges into visual abstraction: ecstatic, fast-paced cascades of pure cinema that make for intoxicating viewing.

Black Sun is delighted to announce that renowned Lithuanian filmmaker Julius Ziz will be present to introduce the screening.

The Window (Julius Ziz, 1989)
The Black Box (Algimantas Maceina, 1994)
Ten Minutes Before the Flight of Icarus (Arunas Matelis, 1991)
Earth of the Blind (Audrius Stonys, 1992)
Abstract films by August Varkalis (1995-2002)

Black Sun Cinema: WHITE NOISE -a film programme curated by Florian Wüst

Cork Film Centre presents:

Black Sun Cinema:
'White Noise'
a film programme curated by Florian Wüst
in association with Sirius Arts Centre, Cobh, and Arsenal – Institute for Film and Video Art, Berlin

22 September 2012, 7pm
TDC, Triskel Arts Centre, Tobin St., Cork

Black Sun Cinema is partnering with Cork Film Centre this September 22nd to present
a very special evening of experimental films from Berlin’s famous Arsenal archive. We are delighted to welcome Florian Wüst, Berlin-based artist and film curator currently on residency at Sirius Arts Centre, Cobh, who programmed and will present this selection of works with the theme ‘White Noise’.

‘White Noise’ centres on legendary German underground film icons Wilhelm and Birgit
Hein and gives Cork audiences the rare opportunity of seeing four of their films.

The programme as a whole reflects the deconstruction of cinema and television not only
as a monolithic system of representation and a dream factory, but also as an instrument
of corporate power and social control. Images of (human) disfigurement and the mysteries of childhood mix with the penetration of the senses on different levels. The combination of poetic collage, critical analysis, and radical abstraction intends to challenge the emotional as well as physical capacities of the audience.
‘White Noise’ also features works by internationally acclaimed artists and filmmakers:
Thorsten Fleisch, Christoph Girardet & Matthias Müller, Sharon Lockhart, Gunvor
Nelson, Richard Serra & Carlota Fay Schoolman, and Wolf Vostell.

Where possible, films in this programme will be projected from 16mm film prints.


My Name is Oona, Gunvor Nelson, USA 1969, 10’
Rohfilm, Wilhelm & Birgit Hein, West Germany 1968, 22’
Sun in Your Head, Wolf Vostell, West Germany 1963, 7’
Khalil, Shaun, A Woman under the Influence, Sharon Lockhart, USA 1994, 16’
Charles Manson, Wilhelm & Birgit Hein, West Germany 1970, 5’

—- interval —-

Television Delivers People, Richard Serra & Carlota Fay Schoolman, USA 1973, 6’
625, Wilhelm & Birgit Hein, West Germany 1969, 34’
Energie!, Thorsten Fleisch, Germany 2007, 5’
Contre-Jour, Christoph Girardet & Matthias Müller, Germany 2009, 11’
Weissfilm, Wilhelm & Birgit Hein, West Germany 1977, 5’