The Frieda and Roy Furman Gallery is located in the Walter Reade Theater at 165 West 65th Street, plaza level, between Broadway and Amsterdam. The gallery hosts receptions, exhibits and other events related to the Film Society of Lincoln Center and the New York Film Festival.
Walerian Borowczyk— Posters and Lithography
April 2 - 23
Prior to establishing himself as a filmmaker, Walerian Borowczyk (1923 – 2006) was best known in Poland for his graphic work, which included satirical drawings, lithographic cycles and film posters. This exhibition presents a selection of Borowczyk’s work from this period and runs concurrently with our retrospective Obscure Pleasures: The Films of Walerian Borowczyk.
Born in Kwilcz, a village near Poznań in 1923, Borowczyk studied painting and sculpture at the Krakow Academy of Fine Art between 1946 and 1951. His emergence as a poster artist coincided with renaissance in Polish poster design. Freed from the constraints of socialist realism (socrealizm), Borowczyk and his peers developed a bold, sparse and witty approach towards image and text. Unlike Jan Lenica (with whom he would collaborate on a series of ground breaking short films at the end of the decade) Borowczyk did not develop a singular graphic style.
A keen amateur filmmaker since his youth, Borowczyk conceived of film posters as a medium related to film (particularly early cinema) in that both employ image and text as a means of expressing thoughts and feelings. Borowczyk articulated these thoughts in a commentary (co-written by the art historian Szymon Bojko) for a short documentary on posters directed by Konstanty Gordon, Street Art (Sztuka ulicy, 1957), which is featured as part of the exhibition. Not only do these prints offer a crucial insight into Borowczyk’s development both as a graphic artist and filmmaker, they also chart the changing landscape of Polish cultural life during the 1950s, from the darkest days of Stalinism through to the cultural renaissance during the early Gomułka years.
Selections from Bertrand Bonello, Résonances
April 29 - May 4
These selections from Bertrand Bonello's recent exhibition at the Centre Pompidou in Paris will offer audiences a glimpse at the full breadth of Bonello’s transfixing work in other media and are presented in conjunction with our retrospective I Put a Spell on You: The Films of Bertrand Bonello.
Among the works will be a single-screen version of the installation “Remix,” which reworks Bonello’s films House of Pleasures, Something Organic, On War, Ingrid Caven: Music and Voice, Cindy: The Doll Is Mine, Tiresia, and The Pornographer by crafting a new soundtrack to accompany a seven-part simultaneous split-screen comprised of footage from the aforementioned films. “Remix” will be presented in the Elinor Bunin Munroe Film Center’s Amphitheater.
On display in the Frieda and Roy Furman Gallery in the lobby of the Walter Reade Theater will be "Films Fantômes" and "Autumn Mists." "Films Fantômes" combines two sequences of silent images from unrealized projects—rushes from Madeleine d’entre les morts (a reworking of Hitchcock’s Vertigo, starring Alex Descas and Isild le Besco) and images from The Death of Laurie Markovitch as well as screen tests of actress Kate Moran—with Bonello reading a text explaining his theory of "ghost films" in between the two sets. "Autumn Mists" consists of four versions of Dimitri Kirsanoff’s Brumes d’automne, its images left intact but with four new scores by the musicians Paul Devred, Richie Hawtin, Diana Soh, and Bonello, yielding four radically distinct audiovisual experiences.
Special thanks to the Centre Pompidou, Mixage – Mathieu Farnarier, and Commande Ircam-Centre Pompidou.