Nazli Dinçel
出生 : , Ankara, Turkey
略歴
Nazlı Dinçel’s work reflects on experiences of disruption. They record the body in context with arousal, immigration, dislocation and desire in juxtaposition with the medium’s material: texture, color and the passing of emulsion. Their use of text as image, language and sound attempts the failure of memory and their own displacement within a western society. Born in Ankara, Turkey, Nazlı Dinçel came as an immigrant to the United States at the age of 17. Their works have been exhibited in numerous solo and programmed screenings around the world including Tiger Shorts competition at IFFR, Museum of Moving Image, Edinburgh International Film Festival and Dallas Contemporary Art Museum. They won the title for Best Experimental Film at the Chicago Underground Film Festival in 2015 with Her Silent Seaming (2014).
(voice)
A film concerned with the chaotic sphere of disengagement invoked by the threatened subsumption of the sensitive and vibrational biorhythm into the cold and regulated logic of algorithmic capitalist automation. Explored through abyssal bridges of language. Towards the conspiratorial, intersubjective, and irregular oscillations of life as resistance.
Director
Shot at the Film Farm in Mt.Forest, this comedy is a quest about performance, educational voiceover, analogue filmmaking, ASCII, language, ethics of ethnography and narrative storytelling under a metaphor of instructions to farm land. Text by Barbara Kirshenblatt-Gimblett and Wikihow/shoot-film.
Director
Borrowing words from Laura Mark's 'Transnational Object' and DW Winnicott's 'Transitional Object', all carefully etched into the 16mm film surface, Nazli Dinçel's latest work Between Relating and Use is an attempt to work ethically in a foreign land. Transitioning from assuming the position of an ethnographer, we turn and explore inwards – on how we use our lovers.
Director
For Dreaming the Dark: hands that see, eyes that touch, Ana Vaz invited artists and filmmakers whose work trust cinema’s capacity to transform relationships between the body and the camera to propose works that will engage with both perception and embodiment. Could cinema be an art of embodiment? By what rituals and actions could vision become tactile?
Camera Operator
The ground holds accounts of once pagan, then christian and now muslim ruins of the city built for Aphrodite. As she takes revenge on Narcissus, mirrors reveal what is seen and surfaces, limbs dismantle and marble turns flesh.
Editor
The ground holds accounts of once pagan, then christian and now muslim ruins of the city built for Aphrodite. As she takes revenge on Narcissus, mirrors reveal what is seen and surfaces, limbs dismantle and marble turns flesh.
Director
The ground holds accounts of once pagan, then christian and now muslim ruins of the city built for Aphrodite. As she takes revenge on Narcissus, mirrors reveal what is seen and surfaces, limbs dismantle and marble turns flesh.
Director
Dinçel’s meditation on female labour utilizes close-up textures of skin, grape leaves, earth, and fabric, which are accompanied by a song written on occasion of a wedding.
Director
Inability is the first film in the series about human failure. The filmmaker destroys and re-creates a film she was unable to finish in 2013. Filmed at the Sutro Bath ruins in San Francisco and in final domestic spaces occupied with her husband. Film was destroyed in ocean water.
Director
These three films follow a young girl through her teenage years while she explores her sexuality and discovers her perversions. Hand-processed and altered images (16mm film) form a labour-intensive, formal questioning of the medium. Female and male masturbation, flowers being taken apart and being put back together, extreme close-up shots of fabric and the practice-kissing of a mirror create a visceral, humorous and tumultuous experience of these personal memories.
Director
"An eye-opening piece of guerilla counter-surveillance, Untitled documents Dinçel’s time working as a tech assistant at a film festival where they managed to record the headset chatter between themselves and the two male projectionists working the event. Over the course of 12 short minutes, we hear the men continually berate Dinçel, ignoring their specific knowledge of film and dismissing them when they correctly diagnose technical problems." - Michael Sicinski (from Cleo a Journal of Film and Feminism)
Director
Found Film.
Director
A transcription of what I have been told during intimate experiences while separating from my husband. Sections consist of destroyed originals from Leafless (2011) and motifs of the “feminine”. These decorative objects are re-valued through a controlled act of cutting, with an allusion to synchronization. Direct sound of cuts and hand processing are composed of 26 frame shots. Un-synced, it reveals a hearing of past images, as an act of translation.
Director
a reconstruction of Man Ray’s Return to Reason (1929), Interval exploits dimensions of summer and winter while expanding time, questioning the process of the surrealist manifesto.
Director
Leafless is an expansion of collections, a hand processed love poem of textures about becoming familiar with a significant other’s body in reservation with its landscape.
Director
8 stereoscopic slides taken to the jk-104 optical printer, shot frame by frame, by hand. The slides were found at a thrift store, of Cuba between 1948 and 1950 taken by an army officer. To reclaim his touristic gaze, photographs are fragmented into new frames, reviving the bodies that may have perished by the revolution in 1952.
