<img src="https://storage.googleapis.com/eventive-static/f61fdb27c808cce6dbcb9713bff5ec16.png" width="71" style="display: inline; float: right; margin: 0px 0px 1em 1em;">Making work since the 1980s Lynne Sachs’ films have incorporated a cross-pollination of forms that extend to the essay film, documentary, collage, performance, and poetry. Deeply reflexive, Sachs’ films to date have outlined a rich interplay between the personal and the socio-political. aemi is delighted to present this overview of selected short works by Lynne Sachs at Cork International Film Festival, many of which are screening in Ireland for the first time.&nbsp; In addition to this shorts programme Lynne will also be in attendance at the festival for the Irish premiere of her celebrated feature Film About a Father Who. CAROLEE, BARBARA &amp; GUNVOR Lynne SachsFrom 2015 to 2017, Lynne visited with Carolee Schneemann, Barbara Hammer and Gunvor Nelson, three artists who embraced the moving image throughout their lives. STILL LIFE WITH WOMEN AND FOUR OBJECTS Lynne SachsA portrait that falls somewhere between a painting and a poem, a look at a woman’s daily routines and thoughts via an exploration of her as a 'character'. DRAWN AND QUARTERED Lynne SachsOptically printed images of a man and a woman fragmented by a film frame that is divided into four distinct sections. THE HOUSE OF SCIENCE: A MUSEUM OF FALSE FACTS Lynne SachsA girl’s difficult coming-of-age rituals are recast into a potent web for affirmation and growth. GIRL IS PRESENCE Lynne Sachs and Anne Lesley SelcerAgainst the uncertain and anxious pandemic atmosphere, inside domestic space, a ‘girl’ arranges and rearranges a collection of small and mysterious things. LONGINGS Lynne Sachs and Moira SweeneyA collaboration exploring the resonances and ruptures between image and language. DRIFT AND BOUGH Lynne SachsLynne Sachs spends a winter morning in Central Park shooting film in the snow. Holding her Super 8mm camera, she takes note of graphic explosions of dark and light and an occasional skyscraper. STARFISH AORTA COLOSSUS Lynne SachsPoetry watches film. Film reads poetry. Paolo Javier’s text is a catalyst for digital sculpting of an 8mm Kodachrome canvas. MAYA AT 24 Lynne SachsLynne Sachs films her daughter Maya at 6, 16 and 24. A MONTH OF SINGLE FRAMES Lynne Sachs with and for Barbara HammerIn 1998, filmmaker Barbara Hammer had an artist residency in a shack without running water or electricity. She shot film and kept a journal. In 2018 Hammer, facing her own imminent death, gave her material to Lynne and invited her to make a film.

aemi: Artist in Focus: Lynne Sachs

aemi is delighted to present this overview of selected short works by Lynne Sachs, many of which are screening in Ireland for the first time.

From 2015 to 2017, Lynne visited with Carolee Schneemann, Barbara Hammer and Gunvor Nelson, three artists who embraced the moving image throughout their lives. From Carolee’s home to Barbara’s studio to Gunvor’s village, Lynne shoots film where each woman finds grounding and spark.

Carolee, Barbara & Gunvor

From 2015 to 2017, Lynne visited with Carolee Schneemann, Barbara Hammer and Gunvor Nelson, three artists who embraced the moving image throughout their lives

A portrait that falls somewhere between a painting and a poem, a look at a woman’s daily routines and thoughts via an exploration of her as a “character”. By interweaving history and fiction, the film is also a tribute to a real woman - Emma Goldman.

Still Life with Woman and Four Objects

A portrait that falls somewhere between a painting and a poem, a look at a woman’s daily routines and thoughts via an exploration of her as a 'character'

Optically printed images of a man and a woman fragmented by a film frame that is divided into four distinct sections. An experiment in form/content relationships that are peculiar to the medium.

Drawn and Quartered

Optically printed images of a man and a woman fragmented by a film frame divided into four distinct sections

Offering a new feminized film form, this piece explores art and science’s representation of women, combining home movies, remembrances, staged scenes and found footage into a visual and aural collage. A girl’s difficult coming-of-age rituals are recast into a potent web for affirmation and growth.

The House of Science: a museum of false facts

A girl’s difficult coming-of-age rituals are recast into a potent web for affirmation and growth

Against the uncertain and anxious pandemic atmosphere, inside domestic space, a ‘girl’ arranges and rearranges a collection of small and mysterious things. As the words build in tension, the scene becomes occult, ritualistic, and alchemical.

Girl is Presence

Against the uncertain and anxious pandemic atmosphere, inside domestic space, a ‘girl’ arranges and rearranges a collection of small and mysterious things

A collaboration exploring the resonances and ruptures between image and language. By entering Moira Sweeney’s poem about female ancestors with her own body, images of women and oceans, Lynne searches for a visual connection with the intimacy alluded to in Moira’s text.&nbsp;

Longings

A collaboration exploring the resonances and ruptures between image and language

Lynne Sachs spends a winter morning in Central Park shooting film in the snow. Holding her Super 8mm camera, she takes note of graphic explosions of dark and light and an occasional skyscraper.

Drift and Bough

Lynne Sachs spends a winter morning in Central Park shooting film in the snow

Poetry watches film. Film reads poetry. Paolo Javier’s text is a catalyst for digital sculpting of an 8mm Kodachrome canvas. Syntactical ruptures and the celebration of nouns illuminate twenty-five years of Lynne's rediscovered film journeys.

Starfish Aorta Colossus

Poetry watches film. Film reads poetry. Paolo Javier’s text is a catalyst for digital sculpting of an 8mm Kodachrome canvas.

Lynne Sachs films her daughter Maya at 6, 16 and 24. At each iteration, Maya runs around her mother, in a circle – clockwise – as if propelling herself in the same direction as time, forward.

Maya at 24

Lynne Sachs films her daughter Maya at 6, 16 and 24.

In 1998, filmmaker Barbara Hammer had an artist residency in a shack without running water or electricity. She shot film and kept a journal. In 2018 Hammer, facing her own imminent death, gave her material to Lynne and invited her to make a film.

A Month of Single Frames

In 1998, filmmaker Barbara Hammer had an artist residency in a shack without running water or electricity. She shot film and kept a journal. In 2018 Hammer, facing her own imminent death, gave her material to Lynne and invited her to make a film.

Republic of Ireland

aemi: Artist in Focus: Lynne Sachs 

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