David Larcher

Home movies shot on Super 8mm by W+B Hein over 10 years.

The tape surfs the interface sense / nonsense… Starting in the gap of the unsynchronized signal it insists itself into existence through the mirroring process of selfreflection. The deadline breathes its last gasp, sufficient for the transit of a migrating signifier. / I will make a poem of pure nothing.

A fragmented, personal, sometimes confrontational portrait of the filmmaker’s grandmother

Eetc (1986) was produced with the aid of Channel Four as part of the project Arts for Television. The film comprises materi¡al on film and photos collected by Larcher over a long period and documenting his own past. The E in the title stands for Elisabeth.

In his film ‘Monkey’s Birthday’ (1975) David Larcher used diaristic footage as a basis for a long, highly romantic mediation on light and color that was substantially structured through re-photography (optical-printing). Besides being based around the LFMC, most of these artists shared a common preoccupation with the material qualities of film and with the nature of illusion, duration, and the structuring of experience.

From one flick of the mare’s tail came an unending stream of images out of which was crystallised the milky way.