ST22 | ALVIN CURRAN: TransDada Express


MAR.14 | Thursday | CONCERT + A MOVIE
MB Cinematheque, 1130 Washington Ave  Miami Beach

ALVIN CURRAN: TransDada Express
in collaboration with MB Cinema

$12, or $10 students/seniors, or $9 MBC Members
for advance tickets click here


“My solo performances are the musics that I was born with – my beginings in the early ’70s (documented on the 3-CD set Alvin Curran, Solo Works: The ’70s, which includes Songs and Views from the Magnetic Garden (excerpt), Fiori Chiari Fiori Oscuri (excerpt), Canti Illuminati (excerpt), and The Works (excerpt)). Today this form is one of my favorite ways of making music because it demands the the whole truth and nothing but! TransDadaExpress (excerpt 1 excerpt 2), Endangered Species (excerpt), and The Alvin Curran Fake Book are the latest titles I give to such concert performances, where I feature a spontaneous mix of piano (Diskklavier where available), keyboard sampler, processors, voice, horns and other small instruments. These are always 45-90 minute unpredictable “exercises” in rigor and anarchy, where the extreme minimal and maximalisms meet; where the music is always on a wacky rollercoaster ride inside a temple.”-Alvin Curran

Following the concert …


“Side by Side Funny Games” digital exhibition with SOUNDING SCORE installation by Alba Triana precedes the concert & film


MBC Great Director Series

The seminal films of Michael Haneke
that led to AMOUR:

Directed by MICHAEL HANEKE/Austria/1989/104mins.
With Birgit Doll, Dieter Berner, Georg Friedrich

“Beautifully controlled and liberatingly intelligent,” (Michael Wilmington, The Chicago Tribune), The Seventh Continent is the first theatrical film written and directed by German-born auteur Michael Haneke (THE WHITE RIBBON, AMOUR). “A shocking and potent statement about our times” (Jonathan Rosenbaum, The Chicago Reader), this acute chronicle of a family degenerating into self-destruction is the first of a feature-film trilogy (concluding with Benny’s Video and 71 Fragments of a Chronology of Chance) that centers on the intersections between media, alienation and violence. Described by Haneke as a reflection on “the progressive emotional glaciation of Austria,” The Seventh Continent focuses on George (Dieter Berner), a middling engineer, and his sardonic wife Anna (Birgit Doll). Unable to empathize with their daughter’s compulsion for lying and uninterested in each other’s emotional well-being, the couple turns their pedestrian way of life into a vortex of subjective malaise. And while a recurring ad for an Australian vacation stands as a signal of potential blissfulness, the couple’s perfunctory melancholy eventually materializes into barbarism. Based on a true story, and filmed as a succession of beautifully composed and yet mundane tableaux, this unsentimental depiction of individual and family collapse “ranks among the most truly terrifying in modern cinema” (Michael Wilmington, The Chicago Tribune). More than a metaphor of hope and escape, The Seventh Continent is a meticulous dive into the postmodern disregard of affect -and a stark look at lives severed from feelings. (In German with English subtitles).