Les Levine

Resurrected through UK-led archival restoration NOVA 78' shows never-before-seen footage of the legendary Nova Convention where William Burroughs, Patti Smith, Zappa, Ginsberg and more collided in an explosion of ideas, art and rebellion.

Four color studio cameras pointed at different angles on Levine's face switch back and forth in rapid succession, creating a kaleidoscopic effect on the screen while he directs the viewer to think about various activities.

A portrait of the American artist Ray Johnson (1927-1995), based on a personal interpretation of Johnson’s avant-garde strategies, using the telephone and the internet as primary sources for sound and image.

This film documents the major directions in modern American art during the first seven years of the 1960s. The keynote is that the artist has expanded his realm from the two-dimentional picture frame, climaxed by the artists of the 40s and early 50s, merged color with sculpture, and sought out modern media to express himself. This has produced the characteristic wide spectrum of interest, ideas, and products in contemporary art.

This video performance represents Les Levine singing and dancing to the popular tunes of his adolescence. At the start of each song, the artist places a certain quantity of colored pigments onto the surface of a sheet of paper that serves as a dance floor. The camera, focused on the movement of his feet, observes the modifications of the paint “as it happens”, coinciding these with each musical segment derived from his personal hit parade, in autobiographical fragments.

Among other artists contributing to the February's Cineprobes is Les Levine, the Dublin born sculptor, who migrated to Canada, whose works have been exhibited and circulated by The Museum of Modern Art. His film is called "White Noise;"

A chronicle of the lives and testimonies of men living on New York’s Bowery. One of the earliest documentary style "street tapes" created with Sony's Portapak.

A foundational piece where Levine discusses the conceptual framework behind "stopping doing" traditional art production and examines the mental mechanics of working as an artist.

Four color studio cameras pointed at different angles on Levine's face switch back and forth in rapid succession, creating a kaleidoscopic effect on the screen while he directs the viewer to think about various activities.

Video about the political situation in Northern Ireland that coss-pollinates cinéma vérité with the nightly news, mixing on-the-scene images with a collaged soundtrack of field recordings, statistical data, and pertinent history.

This video performance represents Les Levine singing and dancing to the popular tunes of his adolescence. At the start of each song, the artist places a certain quantity of colored pigments onto the surface of a sheet of paper that serves as a dance floor. The camera, focused on the movement of his feet, observes the modifications of the paint “as it happens”, coinciding these with each musical segment derived from his personal hit parade, in autobiographical fragments.

A trembling stroll in the city, covered by the rumbling of the street and the repetitive monologue of Les Levine hidden behind his dark glasses “I am an artist, I am not concerned by what you're doing” he repeats to those that call to him, or pass him, suspiciously or indifferently – all the passersby of a working-class neighborhood in New York.