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Dirt

Short Films
1965
14 min
Directed by Piero Heliczer

One of the more mysterious figures in the New York underground that circled around figures like Smith and Warhol, Piero Heliczer was born in Italy to a Polish father and German mother, appeared in films as a budding child star, before emigrating to the US in the ‘40s. Heliczer established the Dead Language Press in 1957, from Paris, where he would publish writings by Smith, along with beat authors such as Gregory Corso. He returned to the US in the ‘60s, via London – along the way, he would work with British film maker Jeff Keen, and create a number of excellent, mysterious films, all while working on his poetry (in 2001, Granary published a collection of Heliczer’s writings, A Purchase In The White Botanica). Heliczer was among the first to film the Velvet Underground, for his 1965 short, Venus In Furs; around this time, he also made Dirt, a deceptively simple film about which Jonas Mekas noted, “Its beauty is very personal and lyrical. And every frame of it is cinema.” It is, indeed, a lovely, understated work, which steals something of the everyday poetry of life from the air of the times.

Heliczer, along with The Velvet Underground, also appeared on CBS News, for a brief segment on underground films – you can view that segment here

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Dirt

Short Films
1965
14 min
Directed by Piero Heliczer

One of the more mysterious figures in the New York underground that circled around figures like Smith and Warhol, Piero Heliczer was born in Italy to a Polish father and German mother, appeared in films as a budding child star, before emigrating to the US in the ‘40s. Heliczer established the Dead Language Press in 1957, from Paris, where he would publish writings by Smith, along with beat authors such as Gregory Corso. He returned to the US in the ‘60s, via London – along the way, he would work with British film maker Jeff Keen, and create a number of excellent, mysterious films, all while working on his poetry (in 2001, Granary published a collection of Heliczer’s writings, A Purchase In The White Botanica). Heliczer was among the first to film the Velvet Underground, for his 1965 short, Venus In Furs; around this time, he also made Dirt, a deceptively simple film about which Jonas Mekas noted, “Its beauty is very personal and lyrical. And every frame of it is cinema.” It is, indeed, a lovely, understated work, which steals something of the everyday poetry of life from the air of the times.

Heliczer, along with The Velvet Underground, also appeared on CBS News, for a brief segment on underground films – you can view that segment here

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Flickering Creatures

Flyer for event A Symphony Of Sound.

A Symphony Of Sound

The Velvet Underground may appear sui generis – and there really had been nothing within rock that had managed to connect such disparate aspects of music (pop, drone, noise, minimalism, avant-garde classical, Beat poetry, modernism) – but their involvement with the broader milieu of Andy Warhol’s Factory, along with John Cale’s involvement with Lamonte Young and Marian Zazeela’s Theatre Of Eternal Music, helps to place what they achieved in broader context. By the time of their first, self-titled album, released in 1966 and roughly contemporaneous with Warhol’s one-hour Velvet Underground & Nico film, Warhol had spent three years behind the camera, exploring the possibilities of single-shot cinema, improvised dialogue and interaction. He created a kind of quietly ecstatic “cinema of looking” where the main figures – artist Robert Indiana eating a mushroom; actor DeVeren Bookwalter getting a blow job; poet John Giorno sleeping – through the single-minded focus of Warhol’s vision, almost turn into art objects themselves. Velvet Underground & Nico has Warhol documenting one of the group’s lengthy improvisations around one chord, and it’s both a welcome, extended glimpse into the group’s world, and another beautiful example of Warhol’s cinéma vérité of sorts. Nico might be the focal point at the start of the film, but by the end, Warhol has somehow managed to capture the essence of each member of the group, and their interactions, through the lens. Jon Dale
Flyer for event Chelsea Girls.

Chelsea Girls

A window into the Factory scene, with the key characters in Warhol’s retinue: Gerard Malanga, International Velvet, Ondine, Mary Woronov, Nico.
Flyer for event Little Stabs At Happiness.

Little Stabs At Happiness

A gorgeous, brief reverie, playing out a number of humble tableaux with a soundtrack sourced from old 78 rpm records.
Flyer for event Blonde Cobra.

Blonde Cobra

This film captures queer muse Jack Smith wearing dresses, playing with dolls, and smoking marijuana.
Flyer for event Invasion Of Thunderbolt Pagoda.

Invasion Of Thunderbolt Pagoda

A dreamscape populated by all sorts of strange creatures.
Flyer for event Dirt.

Dirt

A deceptively simple film in which two nuns take a bath, then meet a sailor on the Staten Island Ferry.
Flyer for event The Flicker.

The Flicker

The film consists of only 5 different frames: a warning frame, two title frames, a black frame, and a white frame.
Flyer for event Police Car.

Police Car

Nam June Paik, Yoko Ono, Joe Jones, Dick Higgins, and more contribute to this work of minimalism.

Flickering Creatures

Flyer for event A Symphony Of Sound.

A Symphony Of Sound

The Velvet Underground may appear sui generis – and there really had been nothing within rock that had managed to connect such disparate aspects of music (pop, drone, noise, minimalism, avant-garde classical, Beat poetry, modernism) – but their involvement with the broader milieu of Andy Warhol’s Factory, along with John Cale’s involvement with Lamonte Young and Marian Zazeela’s Theatre Of Eternal Music, helps to place what they achieved in broader context. By the time of their first, self-titled album, released in 1966 and roughly contemporaneous with Warhol’s one-hour Velvet Underground & Nico film, Warhol had spent three years behind the camera, exploring the possibilities of single-shot cinema, improvised dialogue and interaction. He created a kind of quietly ecstatic “cinema of looking” where the main figures – artist Robert Indiana eating a mushroom; actor DeVeren Bookwalter getting a blow job; poet John Giorno sleeping – through the single-minded focus of Warhol’s vision, almost turn into art objects themselves. Velvet Underground & Nico has Warhol documenting one of the group’s lengthy improvisations around one chord, and it’s both a welcome, extended glimpse into the group’s world, and another beautiful example of Warhol’s cinéma vérité of sorts. Nico might be the focal point at the start of the film, but by the end, Warhol has somehow managed to capture the essence of each member of the group, and their interactions, through the lens. Jon Dale
Flyer for event Chelsea Girls.

Chelsea Girls

A window into the Factory scene, with the key characters in Warhol’s retinue: Gerard Malanga, International Velvet, Ondine, Mary Woronov, Nico.
Flyer for event Little Stabs At Happiness.

Little Stabs At Happiness

A gorgeous, brief reverie, playing out a number of humble tableaux with a soundtrack sourced from old 78 rpm records.
Flyer for event Blonde Cobra.

Blonde Cobra

This film captures queer muse Jack Smith wearing dresses, playing with dolls, and smoking marijuana.
Flyer for event Invasion Of Thunderbolt Pagoda.

Invasion Of Thunderbolt Pagoda

A dreamscape populated by all sorts of strange creatures.
Flyer for event Dirt.

Dirt

A deceptively simple film in which two nuns take a bath, then meet a sailor on the Staten Island Ferry.
Flyer for event The Flicker.

The Flicker

The film consists of only 5 different frames: a warning frame, two title frames, a black frame, and a white frame.
Flyer for event Police Car.

Police Car

Nam June Paik, Yoko Ono, Joe Jones, Dick Higgins, and more contribute to this work of minimalism.
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Projects

  • Broadcast Lab
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Information

  • Brand Partnerships
  • Accessibility
  • Support
  • Careers
  • Privacy Notice
  • Cookie Notice
  • Website Terms Of Use
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