February 23, 2016
@ GrayDUCK Gallery
Admission 7$ ($5 w/student ID)
NOTE TO SELF: PSYCHOSEXUAL FILMS OF NAZLI DINÇEL
An evening of visceral and provocative handmade films that explore bodies, acts of the
solitary, text, language, visual information and personal exposure. Nazli Dinçel’s work
reflects on experiences of disruption. She records the body in context with arousal,
immigration, dislocation and desire in juxtaposition with the medium’s material: texture,
color and the passing of emulsion. Her use of text as image, language and sound
attempts the failure of memory and her own displacement within a western
society. Accompanied by Ann Severson’s Near the Big Chakra.
Run time: 80min.
16mm, 4min, Color, Silent, 24fps, 2009
8 stereoscopic slides taken to the jk-104 optical printer,
shot frame by frame, by hand. The slides were found at
a thrift store, of Cuba between 1948 and 1950 taken by
an army officer. To reclaim his touristic gaze,
photographs are fragmented into new frames, reviving
the bodies that may have perished by the revolution in
16mm, 8min, Color, Silent, 24fps, 2011
Leafless is an expansion of collections, a hand
processed love poem of textures about becoming
familiar with a significant other’s body in reservation
with its landscape.
Her Silent Seaming
16mm, 10min, Color, Super 16 Image-Sound, 24fps, 2014
A transcription of what I have been told during intimate
experiences while separating from my husband.
Sections consist of destroyed originals from Leafless
(2011) and motifs of the “feminine”. These decorative
objects are re-valued through a controlled act of cutting,
with an allusion to synchronization. Direct sound of cuts
and hand processing are composed of 26 frame shots.
Un-synced, it reveals a hearing of past images, as an
act of translation.
Sharing Orgasm: Communicating Your Sexual
Responses (Found Film)
16mm, 12 min, Color, optical sound, 24fps, 1977
Near the Big Chakra
16mm, 17min, Color, Optical Sound, 24fps, 1972
“Few films create as intense a screening experience
as Near the Big Chakra; indeed few films so clearly
confront the general avoidance of the body still typical
of the classroom. And few films demonstrate the
widespread investment in the conventional imaging of
Solitary Acts #4
16mm, 8min, Color, Optical Sound, 24fps, 2015
Exacto Knife, Typewriter
The filmmaker films herself masturbate the object of
debate. She hears others claim her body, her habits:
those in her conservative surroundings as a child.
She learns how to read.
Solitary Acts #5
16mm, 5min, Color, Sound, 24fps, 2015
Exacto Knife, Fishing Line, Sewing Machine
The filmmaker films herself practice kissing with a
mirror. She recalls teenage memories of
overconsumption, confusing oral fixations that are
both sexual (kissing) and bodily (eating). She ends up
eating the carrot she is masturbating with, and she
feels a sense of cannibalism.
Solitary Acts #6
16mm, 11min, Color, Optical Sound, 24fps, 2015
Exacto Knife, 1.5mm Letter Punches, Hammer,
The filmmaker films her subject in a private act,
complicating what could be considered a solitary act.
This is a feminist critique of the Oedipal complex. The
filmmaker recounts an abortion she had in 2009. If
she had the child, he would have turned six in 2015.
The aborted child survives and becomes her lover.
16mm, 4min, Color, Silent, 18fps, 2016
Inability is the first film in the series about human
failure. The filmmaker destroys and re-creates a film
she was unable to finish in 2013. Filmed at the Sutro
Bath ruins in San Francisco and in final domestic
spaces occupied with her husband. Film was
destroyed in ocean water.