THURSTON MOORE / MAYA DEREN

Thurston Moore moved to New York in 1977, as he came of age, to play punk music. Four years later, in 1981, he formed Sonic Youth, the iconic New York-based rock band that completely changed the way alternative music was regarded by the mainstream, displaying both an ethereal and cutting-edge sound, that owes as much to improv and noise as to the experimental subversion of traditional framework. As a solo musician he's still viewed as one of the most relevant and original artists, breaking ground in creating new languages that collide with normative standards, and still has the time to write poetry and give writing classes. As a musician, the singer-writer and guitar player performs on stage with the The Thurston Moore Group, but at Vila do Conde he will perform solo, playing original music for Maya Deren's films, one of America's most iconic filmmakers. Maya Deren once declared "In film I can make the world dance". The meeting between the work of these two artistic worlds that share the same irreverence and desire for originality is shaping up to be exciting.
  • WITCH CRADLE Maya Deren
10 JUL, 21:00, TEATRO MUNICIPAL DE VILA DO CONDE
  • THURSTON MOORE / MAYA DEREN

    WITCH CRADLE
  • THURSTON MOORE / MAYA DEREN

    AT LAND
  • THURSTON MOORE / MAYA DEREN

    RITUAL IN TRANSFIGURED TIME
  • THURSTON MOORE / MAYA DEREN

    MESHES OF THE AFTERNOON
  • Thurston Moore
WITCH CRADLE WITCH CRADLE
Maya Deren, 1943
USA, FIC, , 00:10:00
Later in 1943, Deren directed "Witch's Cradle", co-directed with Marcel Duchamp, that already experienced the silence of grainy black-and-white 16mm film. Who is Mr. Dada here, as he strums the width of the string? And the visible veins, which ascend the concaves of the body? And the open hands, like corals untied by the falling string? A complex web. A sudden drawing on the black background: trapezes inhabited by a woman, an organism that defies geometry. Pajorita Matta, the actress. The woman occupies the iris of the eye. The woman reoccupies the iris of the eye. A woman called by? A spell. The wheel of fortune prophesying the end (evoking the Rotoreliefs of Duchamp’s "Anemic Cinema", 1926). The luciferin star, an exposed heart and the number 13. A dense web, Matta unwinding the string. Matta being called. Matta as the beautiful witch, who calls from within the film. Matta promised by the film’s title. And the film wound taut by the web, dense. The flickering film, the film closed in on itself. And, with it, we become hostages in this pictorial bunker, recently-inaugurated (in 1942) in Manhattan by Peggy Guggenheim (the 20th century’s great patron): the gallery, “Art of This Century”. (SDM)  
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