Vicky Langan / Maximilian Le Cain
Since 2010, sound/performance artist Vicky Langan and experimental filmmaker Maximilian Le Cain have been working together in a unique creative audio-visual partnership. This is 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. They have been awarded a residency at the Centre Culturel Irlandais, Paris, in August 2017.
So far, they have completed thirteen moving image works together.
For a full list of past screenings, click here.
Light / Sound (9 mins, 2010), their first video, acclaimed by critic Fergus Daly as one of the top ten films of 2010 in the Senses of Cinema magazine end of year poll, was chosen for distribution by Paris-based experimental film cooperative Collectif Jeune Cinéma.
Wölflinge 17/11/’10 (8 mins, 2011) is a haunting visual interpretation of a performance byLangan that breaks down the boundaries between spectator and performer.
Hereunder (12 mins, 2011) is an intense, fragmented (auto)biographical portraitof Vicky, which sets her adrift amidst lockers of garden shedbric-a-brac from which she summons an ocean of sound.
Desk 13 (9 mins, 2011) brings a darker, more erotic aspect of their vision to the fore.
Contact (3 mins, 2011) uses Super-8 elements in constructing a dialectical relationship between film image and material.
Lullaby (20 mins, 2011) This study of nocturnal solitude develops into a visuallyoverwhelming, stroboscopic nightmare that nevertheless retains a quiettenderness all of its own.
Dirt (12 mins, 2012) is a phantasmagoric mélange of live performances andelements of gothic horror, resulting in a haunting, intense andsometimes humorous portrait of Wölflinge.
Tangled and Far (12 mins, 2013) is the most recent collaboration between Vicky Langan and Maximilian Le Cain. Drawing on footage of Langan’s performances over the past two years, as well as scenes specifically shot for this video, it foregrounds the overlap between intimate domestic detail and its reflection in Langan’s performance work. The private and public projections of her presence and actions collapse into each other in this phantasmagoric continuum of alternate selves and self-images to form a fractured dream portrait.
Brine Twice Daily (20 mins, 2015) is a film that came from the sea, from the depths, and it never truly escapes its salt-encrusted origins. A bizarre romance that is at once an absurd comedy, a horror/adventure B-movie, a cryptic home video and a fading seaside postcard stuffed into a bottle and cast adrift on the ocean, Brine Twice Daily marks a new departure in the Langan/Le Cain filmmaking partnership.
In the Place of Origin (18 mins, 2016) navigates a delicate flow between apparently opposite states: self and other, human and non-human, interior and exterior, construction and dispersion. The uncertain limits of the human body gauge the tensions between elements of the material world that pass as strangers but not without reflecting each other in surprising and unsettling ways, stitched and unstitched by the breath of the wind.
About the artists:
Outside of their filmmaking, Langan and Le Cain work together on the regular Cork-based experimental music/film event Black Sun. Langan has curated its live acts from its inception, bringing manyrenowned makers of strange sounds from around the world to play for the first time in Ireland. In late 2009, she expanded the event by inviting Le Cain to add film to the bill through programming experimental cinemascreenings that would match the richness and strangeness of the liveacts.
Maximilian Le Cain (born 1978) has made more than ninety short, medium and feature length experimental films and videos over the past decade. He is a member of Experimental Film Society.
He is currently working in creative partnership with sound/performance artist Vicky Langan. He collaborates with artist Esperanza Collado in the multi-disciplinary art project Operation Rewrite and with composer Karen Power on the sound/film/performance project Gorging Limpet. He is a contributor to the Cinema Cyanide noise project.
For an in-depth account of his work in the context of contemporary Irish experimental film, see New Voices in Irish Experimental Cinema, an article by Donal Foreman.
He is also a film critic. He founded and edited Cork Film Centre’s online experimental film magazine Experimental Conversations. He regularly programmed experimental film for the Cork-based experimental music/film event Black Sun and has presented avant-garde film events in collaboration with, amongst others, Cork Film Centre and Cork Film Festival, involving filmmakers such as Peter Tscherkassky, Vivienne Dick, Pip Chodorov, James Fotopoulos, Abigail Child and Christoph Girardet.
As a film critic, his writings have appeared in a broad range of international film journals, including La Furia Umana and Senses of Cinema, and in several books, including The Cinema of Roman Polanski: Dark Spaces of the World (Wallflower Press, 2006).
He is based in Cork City, Ireland.