Complete retrospective Jack Chambers

Organized by LABoral and the International Film Festival of Gijón as part of the activities of FICXLAB, this cycle brings to Gijon, the work of the Canadian filmmaker with 16mm copies. recently restored

16 June 2015

After his stay in Barcelona, ​​Madrid and Santiago de Compostela, this retrospective exhibition of the Canadian artist and filmmaker stops in Gijon. The films of Jack Chambers, recently restored 16mm, Mosaic (1966), Hybrid (1967), R-34 (1967) and Circle (1969) as well as the masterful film The Hart of London (1970) form the complete program, curated by Lauren Howes, director of the Canadian Filmmakers Distribution Centre.

‘The fact is that the four films of Jack Chambers have changed the whole history of cinema, despite his carelessness, in a way that would not even be possible in the field of painting. There is no ‘master’ of the film in any meaningful sense, whatever it would be. There are only ‘creators’ in the original sense, or at least medieval, of the word. Jack Chambers is a real ‘creator’ of films. He needs no posture or position to assist the emergence of something distinctly NEW’ (Stan Brakhage)


  • Hybrid

Canada, 1966
15’ 16mm. Colour. Mud
“The Vietnam War was very sad for me, I did not agree to the US presence in Vietnam. I thought a film that showed some of the tragic aspects of war would serve as a useful tool to raise funds “(Jack Chambers).

  • Mosaic

Canada, 1965
9 ’. 16mm. B&W. Sound
“It was in the summer of 1964 when I made my first film, Mosaic. I filmed literally miles of film as I was also learning to use the camera. Finally, the film ended up taking nine minutes. “(Jack Chambers).

  • Circle

Canada, | 1969
28 ’. 16mm. Colour. Sound
“Something can be so familiar that I see it as if it was for the first time. Or maybe especially if one fails to see what is most familiar, then I reach and shape over and over again in the hope of revealing that. “ (Jack Chambers)

  • R-34

Canada | 1967
26 ’. 16mm. Colour. Sound
“I do not remember much of the filming of R-34 except that I realized that Jack was filming me and my wife, Sheila, and that he was editing the images to make them their own. The process was not invasive, as usual. R-34 was named of the first airplane to crossing the Atlantic without stopping. I had put in the painting you see in the film (part of the mural commissioned by the Montreal Dorval Airport) “. (Greg Curnoe)


  • The Hart of London

Canada | 1965
80 ’. 16mm. B&W. Sound
“The extraordinary thing about The Hart of London is the ability of Jack Chambers to combining sources putting standard professional quality of the information with sequences, poorly lit and trembling, with his clumsy rhythms and its unique composition home movies. The expert and intricate way in which these images are alternated is typical of the work of Jack Chambers, of his mission to know himself as a human, no more no less; not a god, and so just as a moment in a cycle. His acceptance of this fact forms his perception of the different elements of the film and allows him to move beyond the status of a simple diary filmed the kingdom of reconciliation “. (Yann Beauvais, translated to English by Jo-Anne Elder-Gomes. Excerpt from The Films of Jack Chambers, edited by Kathryn Elder, 2002, p. 193).

Curator of the cycle: Lauren Howes, Executive Director of the Canadian Filmmakers Distribution Centre
Promoted by: Crater Lab and Lumière