[Frameworks] Part 1 of 2: This week [March 19 - 27, 2011] in avant garde cinema
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Sun Mar 20 09:41:30 CDT 2011
Part 1 of 2: This week [March 19 - 27, 2011] in avant garde cinema
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Book - Recipes for Reconstruction
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NEW FILM/VIDEO: NON-FEATURE:
============================
"Duck and Cover, Charlie Brown" by Mike Celona
http://www.hi-beam.net/cgi-bin/ann.pl?type=newwork&readfile=462.ann
"Attempt" by Brook Hinton
http://www.hi-beam.net/cgi-bin/ann.pl?type=newwork&readfile=463.ann
"My Latest Abstract Video" by Neil Ira Needleman
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NEW CALLS FOR ENTRIES:
=====================
Wimbledon SHORTS (UK; Deadline: April 19, 2011)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1285.ann
Basement Media Fest (cambridge, ma, usa; Deadline: July 16, 2011)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1286.ann
13th ANNUAL ARTSFEST FILM FESTIVAL (harrisburg, PA, USA; Deadline: April 30, 2011)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1287.ann
VIDEOHOLICA (Varna, Bulgaria; Deadline: June 30, 2011)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1288.ann
DEADLINES APPROACHING:
======================
Centrespace Gallery (Bristol, UK; Deadline: March 31, 2011)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1258.ann
Cut and Run (California, USA; Deadline: April 07, 2011)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1262.ann
Margaret Mead Film & Video Festival (New York, NY; Deadline: April 01, 2011)
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LIFT (Toronto, Ontario, Canada; Deadline: April 11, 2011)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1267.ann
Onion City Experimental Film and Video Festival (Chicago, IL, USA; Deadline: April 15, 2011)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1268.ann
Milwaukee Underground Film Festival (Milwaukee, WI USA; Deadline: April 01, 2011)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1270.ann
Best Shorts Competition (La Jolla, Ca USA; Deadline: March 25, 2011)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1279.ann
Hot Springs Documentary Film Festival (Hot Springs National Park, Ark; Deadline: April 01, 2011)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1280.ann
The Journal of Short Film (Columbus, Ohio USA; Deadline: April 01, 2011)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1281.ann
Wimbledon SHORTS (UK; Deadline: April 19, 2011)
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THIS WEEK'S PROGRAMS (SUMMARY):
==============================
* Time Is Love.4 [Show 3] International video Art Exhibition [March 19, Amsterdam]
* Takahiko iimura: Between the Frames, Opening Reception W/ Live 16mm
Performance [March 19, Brooklyn, New York]
* The Suburban Trilogy With Abigail Child At Union Docs [March 19, New York, New York]
* Takahiko iimura: Between the Frames [March 19, New York, New York]
* Essential Cinema: Classics of the Twenties [March 19, New York]
* Essential Cinema: Peter Kubelka Program [March 19, New York]
* Thomas FüRhapter Program [March 19, New York]
* Sat. 3/19: Arbona's Drone Report + andrew Wilson's Raptor + [March 19, San Francisco, California]
* Kittens, Biscuits, and Blots: Films By Luther Price [March 20, Chicago, Illinois]
* Composite Histories: the Films of Cathy Lee Crane [March 20, Los Angeles, California]
* Essential Cinema: Christopher Maclaine Program [March 20, New York]
* Essential Cinema: Robert Nelson Program [March 20, New York]
* Essential Cinema: I Was Born, But... [March 20, New York]
* Robbie Land 16mm Films [March 21, Brooklyn, New York]
* 49th Ann Arbor Film Festival [March 22, Ann Arbor, Michigan]
* Caleb Smith In Person [March 22, Reading, Pennsylvania]
* 49th Ann Arbor Film Festival [March 23, Ann Arbor, Michigan]
* 49th Ann Arbor Film Festival [March 23, Ann Arbor, Michigan]
* 49th Ann Arbor Film Festival [March 23, Ann Arbor, Michigan]
* 49th Ann Arbor Film Festival [March 23, Ann Arbor, Michigan]
* 49th Ann Arbor Film Festival [March 23, Ann Arbor, Michigan]
* Italian Experimental Cinema [March 23, Copenhagen]
* The Free Screen: Avant - Garde Canada: Curating the Cfmdc Collection:
Images of Nature, Or the Nature of Teh Image: Canadian Artists At Work [March 23, Toronto, Ontario, Canada]
* 49th Ann Arbor Film Festival [March 24, Ann Arbor, Michigan]
* 49th Ann Arbor Film Festival [March 24, Ann Arbor, Michigan]
* 49th Ann Arbor Film Festival [March 24, Ann Arbor, Michigan]
* Essential Cinema: I Was Born, But... [March 24, New York]
* Single Frame Presents: Michael Snow [March 24, New York]
* Essential Cinema: Wavelength [March 24, New York]
* Luke Fowler: <I>A Grammar For Listening</I> [March 24, San Francisco, California]
* Luke Fowler's A Grammar For Listening (Parts I-Iii) [March 24, San Francisco, California]
* 49th Ann Arbor Film Festival [March 25, Ann Arbor, Michigan]
* Cinatura Film Festival (16mm Prints By Brakhage, Kuchar, iimura,
Gottheim) [March 25, Millersburg, PA]
* Open Screening [March 25, New York, New York]
* Joyce Wieland Screening & Dvd Launch [March 25, Toronto, Ontario, Canada]
* Jordan Belson: Films Sacred and Profane [March 26, Los Angeles, California]
* Dave Lee [March 26, New York, New York]
* Sat. 3/26: Rachel + Greene's Olympia-Rafah Murals+ [March 26, San Francisco, California]
* Avant-Garde Showcase Images of Nature, Or the Nature of the Image:
Canadian Artists At Work [March 27, Boston, Massachusetts]
* Artisan Films of Paolo Gioli [March 27, Bristol]
* Long Live Our Love: New Works By Laida Lertxundi, Michael Robinson, and
Ben Russell [March 27, Los Angeles, California]
* Essential Cinema: Tom, Tom, the Piper's Son [March 27, New York]
* Return To the Scene of the Crime [March 27, New York]
* Anaglyph Tom [March 27, New York]
* J.X. Williams' Cabinet of Curiosities [March 27, Paris, France]
Events are sorted by CITY within each DATE.
------------------------
SATURDAY, MARCH 19, 2011
------------------------
3/19
Amsterdam: Kulter.
http://timeisloveshow.blogspot.com
18:00 - 21:00, Sanderinjnstraat 21
TIME IS LOVE.4 [SHOW 3] INTERNATIONAL VIDEO ART EXHIBITION
Time is Love.4 [show 3] International Video Art Exhibition curated by
Kisito Assangni 19 March 2011 Kulter. Gallery Sanderijnstraat 21 1055
Amsterdam Netherlands Featuring: Fabienne Audeoud (France) | Julien
David (France) | Martin Dege (Germany) | Samira Eskandarfar (Iran) |
Eric Fong (China/UK) | Christy Gast (USA) | Lane Last (USA) | Kai
Lossgott (South Africa) | Michele Magema (D. Congo) | Joas Nebe
(Germany) | Alex Pearl (UK) | Antonio Pinto (Portugal) | Ludovic Sauvage
(France) | Philippe Van Wolputte (Belgium) | Guy Wouete (Cameroon) 6pm:
Screening 7pm: Talk with Martin Dege & Kisito Assangni 8pm: Musical
performance by Rotem Perach / food served Visually inventive,
emotionally incisive work from international artists on the theme of
love in hard times. This screening emphasizes forms of artistic
expression rising from society and the new media's use of technology.
Time is Love.4 brings to the world a refreshing perspective on video
art. www.kulter.nl http://timeisloveshow.blogspot.com
3/19
Brooklyn, New York: Microscope Gallery
http://www.microscopegallery.com
6-9PM, 4 Charles Place
TAKAHIKO IIMURA: BETWEEN THE FRAMES, OPENING RECEPTION W/ LIVE 16MM
PERFORMANCE
Exhibition runs March 19 – April 11, 2011. Opening Reception Saturday
March 19 6-9PM, w/ live 16mm projection performance of the ever-changing
"Circle and a Square". Microscope Gallery is honored to present the
first Brooklyn solo exhibition of the film and video pioneer Takahiko
Iimura. BETWEEN THE FRAMES is a comprehensive exhibition featuring works
made from the 70s to the present, many of which are constantly evolving.
The new "400 frames" uses transparent ink drawings from 1970. A new
print series "MA: The Stones Have Moved" are made from digital drawings
related to his 2004 animated video of a Zen garden in Kyoto of the same
title. Also on display: Iimura's famous 1993 "funny faces" silkscreens
and video game installation based on Derridda's "Difference" dealing
with physicality of language "AIUEONN Six Features", sculptures made
from 16mm film loop and more. Iimura has been working with the moving
image on film since the 60s and video since the early 70s. After moving
to New York in the late 60s became involved with the avant garde scene
along side Yoko Ono and Nam Jun Paik. His work is shown widely with
numerous solo shows including MoMA, the Whitney Museum, the National
Gallery Jeu de Paume, Paris, Reina Sofia National Museum, Madrid, and
the Tokyo Metropolitan Museum of Photography, Tokyo. Iimura currently
lives and works in Tokyo and NYC. "his [Iimura's] Japanese origins
contributed decisively to his uncompromising explorations of cinema's
minimalist and conceptual possibilities. He has explored this direction
of cinema in greater depth than anyone else. To review all of Iimura's
work…is an important occasion for all who are concerned with the
development and pleasure of cinema as an art. --Jonas Mekas More info
at: www.microscopegallery.com
3/19
New York, New York: UnionDocs
http://www.uniondocs.org
7:30, UnionDocs 322 Union Ave Brooklyn, NY 11211 United States
THE SUBURBAN TRILOGY WITH ABIGAIL CHILD AT UNION DOCS
CAKE AND STEAK (2004), THE FUTURE IS BEHIND YOU (2004-05), and SURF AND
TURF (• Premiere. 2009-11). Saturday, March 19 at 7:30pm $9 suggested
donation. Filmmaker Abigail Child in attendance for discussion along
with Writer/Professor Melissa Ragona (Carnegie Mellon School of Art.) A
feature-length project about girlhood and the immigrant dream, focusing
on post World War II North American suburbs and between the war Europe,
critically seen through the lens of gender, property and myths of
nation. "A rambunctious embrace, body to body, woman to woman, entrance
to exit—in-laws foregrounding the construction of cinematic meaning, the
elusive nature of memory and desire, the hysteric familial arena of the
social."
3/19
New York, New York: Microscope Gallery
http://www.microscopegallery.com
6-9pm, 4 Charles Place - Bushwick - Brooklyn NY 11221
TAKAHIKO IIMURA: BETWEEN THE FRAMES
MARCH 19 – APRIL 11, 2011 Opening Reception Saturday March 19, 6-9PM w/
live 16mm projection performance of the ever-changing "Circle and a
Square".................................................................
....... Microscope Gallery is honored to present the first Brooklyn solo
exhibition of the film and video pioneer Takahiko Iimura. Between The
Frames is a comprehensive exhibition featuring works made from 1975 to
the present, many of which are constantly evolving. The new suspended
installation "400 frames" uses ink drawings from 1975. A new print
series "MA: The Stones Have Moved" are made from digital drawings
related to his 2004 animated video of a Zen garden in Kyoto of the same
title. Also on display: Iimura's famous 1993 "funny faces" silkscreens
and video game installation based on Derridda's "Differance" dealing
with physicality of language "AIUEONN Six Features", never-before-seen
sculptures made from 16mm film loop and
more....................................................................
........ "Iimura has been working with the moving image on film since
the 60s and video since the early 70s. After moving to New York in the
late 60s became involved with the avant garde scene along side Yoko Ono
and Nam Jun Paik and is recognized as one of the most important Japanese
artists today. His work is shown widely with numerous solo shows
including MoMA, the Whitney Museum, the National Gallery Jeu de Paume,
Paris, Reina Sofia National Museum, Madrid, and the Tokyo Metropolitan
Museum of Photography, Tokyo. Iimura currently lives and works in Tokyo
and NYC. "His [Iimura's] Japanese origins contributed decisively to his
uncompromising explorations of cinema's minimalist and conceptual
possibilities. He has explored this direction of cinema in greater depth
than anyone else. To review all of Iimura's work…is an important
occasion for all who are concerned with the development and pleasure of
cinema as an art." — Jonas Mekas.................for more info call
347.925.1433 or visit www.microscopegallery.com
3/19
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
4:00 pm, 32 2nd Avenue
ESSENTIAL CINEMA: CLASSICS OF THE TWENTIES
Fernand Léger & Dudley Murphy BALLET MÉCANIQUE (1924, 19 minutes, 35mm,
b&w, silent. Preserved by Anthology Film Archives.) René Clair & Francis
Picabia ENTR'ACTE (1924, 22 minutes, 35mm, b&w) Man Ray LE RETOUR À LA
RAISON (1923, 2 minutes, 16mm, b&w, silent) ÉTOILE DE MER (1927, 13
minutes, 16mm, b&w, silent) EMAK BAKIA (1927, 18 minutes, 35mm, b&w,
silent) Marcel Duchamp & Man Ray ANEMIC CINEMA (1926, 7 minutes, 35mm,
b&w, silent) Total running time: ca. 85 minutes.
3/19
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
6:00 pm, 32 2nd Avenue
ESSENTIAL CINEMA: PETER KUBELKA PROGRAM
MOSAIK IM VERTRAUEN / MOSAIC IN CONFIDENCE (1955, 16 minutes, 35mm,
b&w/color) ADEBAR (1957, 1 minute, 35mm, b&w) SCHWECHATER (1958, 1
minute, 35mm, color) ARNULF RAINER (1960, 7 minutes, 35mm, b&w) UNSERE
AFRIKAREISE / OUR TRIP TO AFRICA (1966, 12 minutes, 16mm, color) PAUSE
(1977, 12 minutes, 16mm, color) "Peter Kubelka is the perfectionist of
the film medium; and, as I honor that quality above all others at this
time finding such a lack of it now elsewhere, I would simply like to
say: Peter Kubelka is the world's greatest filmmaker – which is to say,
simply: see his films!...by all means/above all else...etcetera." –Stan
Brakhage Total running time: ca. 55 minutes.
3/19
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:30 pm, 32 2nd Avenue
THOMAS FüRHAPTER PROGRAM
MICHAEL BERGER – A HYSTERIA / MICHAEL BERGER. EINE HYSTERIE 2010, 50
minutes, video. Thomas Fürhapter's MICHAEL BERGER is a haunting,
formally rigorous experimental portrait of the Austrian-born investment
banker who made millions as a hedge-fund manager, fled New York in 2002
after pleading guilty to a $400 million securities fraud, and was
eventually found and captured in Austria. Implying that his story is
reflective of the nebulous, tangled, and profoundly corrupt 21st-century
world economy, Fürhapter foregrounds Berger's elusiveness and
impenetrability, constructing a portrait – composed entirely of
carefully composed, fixed shots of the spaces and landscapes through
which Berger moved – in which the subject himself is conspicuously
absent. Reminiscent of the work of James Benning and Gerhard Benedikt
Friedl, but with a very particular set of thematic preoccupations,
MICHAEL BERGER is an extraordinary film. "In six attempts, the film
tries to draw together a case from the traces of Berger's undertakings.
It traverses his path, starting from [his] non-appearance before an
American court: from this emerges the outline of a rise-and-fall story
that extends from the narrow borders of Austrian working worlds through
to Wall Street. … While the factual, off-screen narrator randomly mixes
fact and anecdote, and with that alone, undermines a realization
process, the pictures, in their function as scenes, remain as
speculative as Berger's financial capers." –Dominik Kamalzadeh Plus: THE
YELLOW WITHOUT ZEBRA / DAS GELB OHNE ZEBRA (2004, 24 minutes, digital
video) The town appears in all its facets: streets, buildings, metro
platforms, etc. Movements or immobility, chaos and geometric lines:
forms oppose one another and repeat themselves, and appear to think all
by themselves. PLANES (2006, 4 minutes, digital video) "A spatial
composition made of horizontals and verticals, a receptacle in which the
crush of the images' lines and masses can find balance, and their
movements a firm footing. This goes well until irritations creep in, and
at first it isn't certain where they are: in the picture, in the
viewer's head, or both?" –Thomas Fürhapter Total running time: ca. 80
minutes.
3/19
San Francisco, California: Other Cinema
http://www.othercinema.com/
8:30PM, 992 Valencia Street
SAT. 3/19: ARBONA’S DRONE REPORT + ANDREW WILSON'S RAPTOR +
On this eighth anniversary of the US invasion of Iraq, here's a
multi-media critique of the American military-industrial complex, The
Cali premiere of Andrew Wilson's half-hr. More than Meets the Eye frames
the research and development of the F-22 Raptor, the world's most
expensive fighter jet, within the context of "global outsourcing."
Andrew engaged with a 25-year-old Bangalore resident Akhil in a
conceptual collaboration, animating military fantasy and fact. Javier
Arbona, Nick Sowers, and Kate Chandler present a live slide- and
video-show, Decoding the Military Landscapes, on the emergence of drones
as America's killing machine of choice. PLUS Steev Hise's American
Business Adventures, and Code Pink's confrontation with the Blackwater
mercenaries. Free bread and roses!
----------------------
SUNDAY, MARCH 20, 2011
----------------------
3/20
Chicago, Illinois: White Light Cinema
http://www.whitelightcinema.com
7:00pm, The Nightingale (1084 N. Milwaukee Ave.)
KITTENS, BISCUITS, AND BLOTS: FILMS BY LUTHER PRICE
One of the key experimental film artists of the last 25 years, Luther
Price gained notoriety for his late 80s and early 90s Super-8mm films,
works that pushed the boundaries of good taste with their deliberately
crude construction (mostly from found footage) and their often troubling
imagery (extreme gay porn, surgical footage, etc.). +++++ Over the past
decade or so he has switched to 16mm and if his source material is
tamer, the intensity of his films is not. Price continues to create a
raw, visceral cinema full of uneasy tensions and heartbreak. +++++
Tonight's program features one of his most ambitious films of recent
years, KITTENS GROW UP, in which Price intercuts two found films, one
about kittens and one about an alcoholic husband and father, finding
strange connections and shared themes. It is an unexpectedly moving and
resonant film about innocents. +++++ Also showing are two films from the
extended "Biscuit" series. Price utilizes multiple prints about elder
care, disassembling and reassembling them in fragmented, staccato form
to find a strange musicality and beauty in the unexceptional documentary
footage. Price does not resort to irony or ill attempts at humor.
Instead the elders in the films are presented with remarkable grace and
humaneness, accentuated by Price's editing. +++++ The final films on the
program are examples of Price's recent practice of either handpainting
directly on found film (the Inkblot films), finding visual rhythms and
textures very different from Stan Brakhage's handpainted works, or
burying films in the ground to destabilize the emulsion, which sloughs
off in random patches to beautiful effect. +++++ PROGRAM: KITTENS GROW
UP (2007, 30 mins., 16mm), THE BISCUIT DAY (2007, 12 mins., 16mm),
SUFFERING BISCUITS (2007, 20 mins., 16mm), THE BISCUIT SONG (INKBLOT
#11) (2008, approx. 8 mins., 16mm), SAL MINEO AT SEA (INKBLOT #19)
(2008, approx. 8 mins., 16mm), AFTER THE GARDEN OF EADEN (2007, approx.
8 mins., 16mm), and DUSTY RICKETS (2007, approx. 8 mins., 16mm). +++++
This program is drawn from two screenings in the Walking Picture Palace
series, programmed by Mark McElhatten and presented at Anthology Film
Archives in 2010. Special thanks to Mark McElhatten, Steve Polta (San
Francisco Cinematheque), and Luther Price. +++++ Admission: $7.00-10.00
sliding scale
3/20
Los Angeles, California: Filmforum
http://www.lafilmforum.org/
7:30pm, The Echo Park Film Center, 1200 N Alvarado St. (@ Sunset Blvd.) Los Angeles, CA 90026
COMPOSITE HISTORIES: THE FILMS OF CATHY LEE CRANE
Filmmaker Cathy Lee Crane visits from Ithaca NY with the first North
American survey of her work. Films to be screened: Sketches after Halle
(1997), The Girl From Marseilles (2000), Unoccupied Zone: The Impossible
Life of Simone Weil (2006), Adrift (2009). "Cathy Lee Crane is one the
most interesting younger filmmakers in the tradition of the avant-garde
working in the United States today. Her films …succeed in developing
within a feminist perspective a very personal poetics." – Noel Burch,
Paris
3/20
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
4:00 pm, 32 2nd Avenue
ESSENTIAL CINEMA: CHRISTOPHER MACLAINE PROGRAM
The few facts that are known about Maclaine are, at best, sketchy. He
was a published poet, a sort of down and out San Francisco bohemian who
later became one of the psychic casualties of that scene. His last years
were spent at Sunnyacres, a state mental hospital in Fairfield,
California. These films, along with Ron Rice's, are clearly the most
significant work to come out of the beat period." –J.J. Murphy All films
preserved by Anthology Film Archives. THE MAN WHO INVENTED GOLD (1957,
14 minutes, 16mm) BEAT (1958, 6 minutes, 16mm) SCOTCH HOP (1959, 5.5
minutes, 16mm) THE END (1953, 35 minutes, 16mm) "Six stories of people
on the last day of their lives. Most are about to commit suicide, or
some metaphorical equivalent, but the mushroom cloud with which the film
begins and ends reminds us that, as Maclaine's voice intones on the
sound track, we await 'the grand suicide of the human race' – his
conceit is that his characters have reached the end of their personal
ropes the day before a nuclear holocaust. Throughout the film he
compares the dehumanizing effects of mass culture to the dehumanizing
effects of personal despair, weaving these two threads together until
the mannequins he films in store windows, the anonymous people he films
on the street, and his characters all seem variations on the same
half-living, half-dead persona." –Fred Camper Total running time: ca. 65
minutes.
3/20
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
5:30 pm, 32 2nd Avenue
ESSENTIAL CINEMA: ROBERT NELSON PROGRAM
THE GREAT BLONDINO 1967, 42 minutes, 16mm. Newly preserved print! "The
original Blondino was a 19th-century tightrope artist who among other
feats crossed Niagara Falls trundling a wheelbarrow. In this film,
Nelson sees Blondino as a metaphor for those who still try. Too subtle
to be allegorical, the picture is in the shape of a quixotic search in
which the goal is the journey and the means is the end." –Museum of
Modern Art "It is…difficult to get at the rich visual texture that is
the film's most striking attribute. Long stretches are concerned with
Blondino's visions, dreams, and dreams within dreams. The film unfolds
in brief recurring patterns of imagery. Even the more straightforward
sections are dense with interpolated newsreel and TV commercial footage,
visual gags, and homemade special effects. The net effect is funny,
seamless, and elusive." –J. Hoberman, "A Filmmakers Filming Monograph"
BLEU SHUT 1970, 33 minutes, 16mm. Newly preserved print! "Boat-name
quizzes, dogs, cuts from Dreyer's JOAN OF ARC in montage with a sultry
whore, a car running up a ramp and crashing, pornography, a passionate
embrace by a thirties hero and heroine; all somehow implicating Dreyer
and Joan in the perverse synthesis of sex and technology. What's
happening here? Basically Nelson is leaving things unsaid." –Leo Regan
Total running time: ca. 80 minutes.
3/20
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
6:45 pm, 32 2nd Avenue
ESSENTIAL CINEMA: I WAS BORN, BUT...
YASUJIRO OZU: I WAS BORN, BUT… / GOOD MORNING Ozu was no stranger to the
auto-remake: his STORY OF FLOATING WEEDS became FLOATING WEEDS, LATE
SPRING became LATE AUTUMN, and so many of his films share similar
themes, subject matters, and styles that he often seems to be remaking
himself. I WAS BORN, BUT… and GOOD MORNING offer a particularly
fascinating case study: both feature the same core story – a pair of
rowdy schoolboys give their parents the silent treatment – but as Japan
changed over the course of WWII, so too did Ozu's art. The first version
is a gently comic, heartbreaking late silent, a look at familial
disappointment with some of the most expressive mobile camerawork of
Ozu's career. GOOD MORNING, meanwhile, employs a locked-down camera
(typical of later Ozu) and eye-popping Technicolor, along with a tonal
change to flat-out satire – among the most cutting of the director's
career.
----------------------
MONDAY, MARCH 21, 2011
----------------------
3/21
Brooklyn, New York: Microscope Gallery
http://www.microscopegallery.com
7PM, 4 Charles Place
ROBBIE LAND 16MM FILMS
Robbie Land 16mm films, Mon 3.21, 7PM, approx 60 min program. MICROSCOPE
Gallery welcoms filmmaker/artist Robbie Land to NYC to present a program
of his 16mm films, including a preview of his work-in-progress
"Bioluminescence" made with fireflies and film stock in a jar. ... "The
16mm work is a collection of various experiments with image, sound and
assorted environments. The stories are formed by reconstructing film
processes utilizing print film, hand processing and re-photography in
order to achieve a particular texture, rhythm, and emotion of specific
places, moments and people." -- R L. PROGRAM: Betty Creek 16mm, 2006, 7
minutes. Elaine Drive 16mm, 2004, 6 minutes. Precipice 16mm, 2011, 8
minutes. The Biddie Camps 16mm, 2004, 6 minutes. Airport Inn 16mm, 2006,
6 minutes. Oil Derric 16mm, 2003, 5 minutes. Fall Creek Road Study #6
16mm, 2003, 7 minutes. Bioluminescence 16mm, 5minutes,
(work-in-progress). Greencameraless 16mm, 2007, 6 minutes. Bio Born in
Jacksonville, Florida, Robbie Land began working in film specifically
super-8mm producing animations and live action experiments. He has
worked numerous jobs and continues to produce motion picture films,
photography and performance. This includes a variety of projects from
cinematographer at the Florida Lightning Research Facility to teaching
college level photography and film production. Currently he resides in
Atlanta, Georgia and continues to experiment with various film and sound
methods. Land's work has been exhibited at Kunst Film Biennale in
Colongne, Germany, Museu Do Chiado in Lisbon, Portugal, The
International Experimental Cinema Exposition in Denver, Colorado, Museum
of Contemporary Art Georgia, Onion Film Festival, Tehran International
Animation Festival, Rencontres Internationales Paris/Berlin/Madrid,
Chicago Underground Film Festival and many others. Tickets Available at
the door. j/m/z Myrtle/Broadway L- Morgan Ave tel: 347.925.1433
-----------------------
TUESDAY, MARCH 22, 2011
-----------------------
3/22
Ann Arbor, Michigan: Ann Arbor Film Festival
http://aafilmfest.org/
8:15 pm - Main Auditorium, Michigan Theater
49TH ANN ARBOR FILM FESTIVAL
49th ANN ARBOR FILM FESTIVAL - OPENING NIGHT SCREENING Program featuring
the world premiere of The Florestine Collection by Helen Hill. Deborah
Stratman, Chihiro Amemiya and Paul Gailiunas in attendance. RAY'S BIRDS
(USA, 2010, 7 min, 16mm) by Deborah Stratman | IL CAPO (Italy, 2010, 14
min, 35mm) by Yuri Ancarani | SCHLAF (SLEEP) (Switzerland, 2010, 4 min,
35mm) by Claudius Gentinetta and Frank Braun | HOUSE BUNNY (USA, 2010, 2
min, video) by Gina Kamentsky | GRANDPA'S WET DREAM (Japan/USA, 2010, 16
min, video) by Chihiro Amemiya | SHARP EDGE BLUNT (USA, 2010, 2 min,
video) by Leighton Pierce | THE FLORESTINE COLLECTION (USA, 2011, 31
min, 16mm) by Helen Hill, completed by Paul Gailiunas.
3/22
Reading, Pennsylvania: Berks Filmmakers, Inc
http://www. berksfilmmakers.org
7:30, Albright College Center for the Arts
CALEB SMITH IN PERSON
Filmmaker, programmer, and archivist CALEB SMITH (Harrisburg, PA), who
in 1997 founded Moviate, an exciting and active Capitol city venue for
independent and experimental film & video as well as a center for live
music, will be here screening some of his super-8 "observations" (e.g.,
Minn Heima, made in 2008 during one of several visits to Iceland). Also
on the program is Smith's presentation of the Scopitone, its history,
influence, and a wide sampling of projections of the 16mm mag sound,
pop-music short films played in the '60s on this doomedto- fail "visual
jukebox." "The Scopitone offers a film and musical history anomaly
since, due to complications of musical rights, they were never
officially released commercially. As the companies crashed in
scandal-related business practices, and video emerged as a more fiscally
reasonable mass medium, Scopitone films fell into obscurity."—C.S. Along
with selections from his vast collection of hundreds of Scopitone films,
Smith will share gleanings from interviews with author/archivist, Jack
Stevenson; Procol Harum singer, Gary Brooker; and French director,
Pascal Forneri; who suggest these jukeboxes were the beginning of the
modern music video made popular in the '80s by MTV and currently by
YouTube. "It might surprise your audience that Robert Altman, H.G. Lewis
and Claude Lelouch directed Scopitones."—C.S. In addition to his own
filmmaking and programming for Moviate, Smith is a dedicated teacher of
film/video in the Capitol Area School for the Arts.
-------------------------
WEDNESDAY, MARCH 23, 2011
-------------------------
3/23
Ann Arbor, Michigan: Ann Arbor Film Festival
http://aafilmfest.org/
12:30 pm, Michigan Theater - Screening Room
49TH ANN ARBOR FILM FESTIVAL
VANESSA RENWICK - JUROR PROGRAM A program of films and videos by Vanessa
Renwick (Portland, OR) featuring TOXIC SHOCK (1983, 3 min) | BRITTON,
SOUTH DAKOTA (2003, 9 min) | CROW DOG (1984/1998, 7 min) | THE YODELING
LESSON (1998, 3 min) | RICHART (2001, 23 min) | PORTRAIT #1: CASCADIA
TERMINAL (2005, 6 min) | PORTRAIT #2: TROJAN (2006, 5 min) | WOODSWOMAN
(2010, 10 min) | MIGHTY TACOMA (2011, 9 min).
3/23
Ann Arbor, Michigan: Ann Arbor Film Festival
http://aafilmfest.org/
7:00 pm, Michigan Theater - Screening Room
49TH ANN ARBOR FILM FESTIVAL
SONIC ACTS: MODULATING THE HUMAN SENSORY APPARATUS program guest curated
by the Amsterdam based Sonic Acts festival, and presented by Sonic Acts'
co-founders and curators Lucas van der Velden and Gideon Kiers.
SPACE-MODULATION (Netherlands, 1994, 1 min, 16mm) by Bart Vegter | OPUS
3 (Canada, 1966, 7 min, 16mm) by Pierre Hébert | BLACK & LIGHT (France,
1974, 8 min, 16mm) by Pierre Rovere | RAZOR BLADES (USA, 1965-68, 25
min, 2 x 16mm) by Paul Sharits | DRESDEN DYNAMO (England, 1971, 10 min,
16mm) by Lis Rhodes | FELD (Germany/Austria, 2005, 6 min, video) by
Granular-Synthesis (Kurt Hentschlager & Ulf Langheinrich) | PARTIES
VISIBLE ET INVISIBLE D'UN ENSEMBLE SOUS TENSION (France, 2009, 7 min,
35mm) by Emmanuel LeFrant | CARELESS REEF PART 3 (Netherlands, 2006, 9
min, 35mm) by Gerard Holthuis |
3/23
Ann Arbor, Michigan: Ann Arbor Film Festival
http://aafilmfest.org/
7:15 pm , Michigan Theater - Main Auditorium
49TH ANN ARBOR FILM FESTIVAL
LOVE'S SECRET DOMAIN - program featuring the world premiere of a new
video by Jennifer Reeder and the North American premieres of works by
Ryusuke Ito and Basma Al-Sharif. Filmmakers Braden King and Michael
Robinson in attendance. FOUR SEASONS (Germany 2010, 12 min, video) by
Keren Cytter | V NAŠICH KINECH UVIDÍTE (COMING TO THIS THEATER) (Japan,
2010, 5 min, 16mm) by Ryusuke Ito | TEARS CANNOT RESTORE HER, THEREFORE
I WEEP (USA, 2011, 10 min, video) by Jennifer Reeder | HAND SOAP (Japan,
2009, 16 min, video) by Kei Oyama | TURKISH DELIGHT (Palestine, 2010, 3
min, video) by Basma Al-Sharif | HOME MOVIE (USA, 2009, 14 min, video)
by Braden King | THESE HAMMERS DON'T HURT US (USA, 2010, 13 min, video)
by Michael Robinson | (IF I CAN SING A SONG ABOUT) LIGATURES (USA, 2009,
5 min, video) by Abigail Child.
3/23
Ann Arbor, Michigan: Ann Arbor Film Festival
http://aafilmfest.org/
9:15 pm , Michigan Theater - Screening Room
49TH ANN ARBOR FILM FESTIVAL
HEAPS, LAYERS, CURLS program with filmmakers Alexis Bravos, Shambhavi
Kaul, Laida Lertxundi, and Jonathan Schwartz in attendance. HEPWORTH
(USA, 2011, 11 min, 16mm) by Alexis Bravos | PLACE FOR LANDING (USA,
2010, 6 min, video) by Shambhavi Kaul | GHOST ALGEBRA (USA, 2009, 7 min,
16mm on video) by Janie Geiser | LITTLE BROTHER (England, 2010, 7 min,
video) by Callum Cooper | CRY WHEN IT HAPPENS (LLORA CUANDO TE PASE)
(USA, 2010, 14 min, 16mm) by Laida Lerxtundi | DRIFTER (USA, 2010, 26
min, 16mm) by Timoleon Wilkins | NEW YEAR SUN (USA, 2010, 3 min, 16mm)
by Jonathan Schwartz
3/23
Ann Arbor, Michigan: Ann Arbor Film Festival
http://aafilmfest.org/
9:30 pm, Michigan Theater - Main Auditorium
49TH ANN ARBOR FILM FESTIVAL
THE BALLAD OF GENESIS AND LADY JAYE (USA, 2010, 75 min, video) by Marie
Losier. Genesis P-Orridge and director Marie Losier in person.
3/23
Copenhagen: Complus Events
http://www.complusevents.com
1, Danish Film Institute, Gothersgade 55
 1123 - Copenhagen S - Denmark
ITALIAN EXPERIMENTAL CINEMA
Curated by Piero Pala h. 13:15 -15:00 "The futurist film avant-garde:
origins and branches" - University of Copenhagen, Department of English,
Germanic and Romance Studies, Italian Studies Section The Faculty of the
Humanities - Lecture hall N° 24.4.01 Njalsgade 128 DK-2300 Copenhagen S
- Denmark h. 19:00 "A historic compilation of experimental cinema
realized by italian artists" - Danish Film Institute
http://www.cinemateket.dk Gothersgade 55
1123 Copenhagen K-
Denmark ANONIMO/ANONYMOUS, LE FARFALLE/THE BUTTERFLIES, 1907, 35mm,
color, silent, 3'16'' This film, produced by the Italian company Cines,
presents, to the public, one of several imitations of the first
serpentine dancer, Loïe Fuller. All the fathers of cinema have been
confronted with these kinds of films. Edison and Dickson, Louis Lumière
and Paul Nadar all made the first serpentine dancers: Annabella (1897),
Crissie Sheridan (1897) and Ameta (1903) famous. In these Papillons
bright aesthetics spin around, thanks to the wonderful restoration of
color. TINA CORDERO-GUIDO MARTINA-PIPPO ORIANI, VELOCITA'
(VITESSE)/SPEED 1931-1933, 35mm, b/w, silent, 13' Velocità belongs to
the more radical trends of the cinematographic avant-garde of the late
Twenties, from which it adopts language constructed on the pure
non-narrative and non-syntactic editing of the images. (G. Lista) SILVIO
E VITTORIO LOFFREDOLE COURT BOULILLON (2eme & 4eme part) 1964, 8mm on
DVD, b/w, silent, 28' The Loffredo brothers created the series of
film-collage called Le Court Bouillon, using different sources
(television advertising, erotic movie, cartoons) bought at a flea market
testament to the power of the moving image to awaken the viewer and to
objectify the camera's object. GRUPPO '70 (ANTONIO BUENO, LUCIA
MARCUCCI, EUGENIO MICCINI, LAMBERTO PIGNOTTI) VOLERA' NEL '70, 1965,
16mm on DVD, b/w & color, sound, 7' "Film poetry" and the non-linear
techniques of editing" Work in cinema presents a new language whose
grammar is still scarcely known. Certain experiments of "new cinema"
operate with, and provide information about this recently developed
grammar. They include a succession of ideas and the application of a new
structural method that we will call "non linear". With an operation that
draws upon experience from the major and minor arts (such as painting,
poetry, theater, music, graphics, advertising, journalism) one such
experiment has been implemented by Gruppo 70. A number of its members
collaborated on a work called "Film Poetry". "Film Poetry" holds an
ideological meaning of "opposition", and an ironic point of view on the
alienating shapes of today's mass society. Starting from the assumption
that the "line" has been considered crucial in our civilization, and
that all our expressions appear to be random, we posed ourselves with a
series of questions: Is the line indeed present in our reality? and if
it is present, how can it be overcome? Is it possible to try to describe
something without the continuity of time and space? How could this be
experimented in a cinematographic language? In response to these, "Film
Poetry" was conceived by authors A. Bueno, L. Marcucci, E. Piccini, L.
Pignotti. In "Film poetry" a particular non-linear editing structure was
used. This structure was comprised of black and white or color film
footage of different origins (newsreels, comedies, documentaries,
romance, screen tests etc.) and destination (political, informative,
sociological, comic, pure entertainment, etc.) Permutations of the
footage were also used. The result is a film that, when analyzed, was a
recreation of language and a show that has been correctly defined as
"unusual". We have tried to represent a coincidence existing in reality
through the use of cinema, without resorting to a linear fashion. Life
offers examples of non linear associations (so called association of
emotions) and the narrator associates those in a linearly. Cinema has
borrowed narration of the XIX century, in which facts are linked and
arranged by the author according to a scheme or a linear chain, from the
novel. In "Film Poetry", scenes of love and war, the sacred and the
profane, the tragic and the comic, the amusing and morose, program
titles and interviews, are jumbled together in a structure alien to
linear narration. Its aim is to oppose tradition operate as a vehicle
for the research of new grammar in cinematographic language. (Lucia
Marcucci) NATO FRASCA', SOGLIE, 1967-78, 8mm & 16mm on DVD, b/w, sound,
20 Eidted with material either shot myself, stolen, found, or donated. I
have reused waste secrets material fo the cinematic spectacle; I take
possession (with the opjectivity and the necessary irony due to the
temporal distances) of my same existensial finds, and I appropriate with
the consciouness of who never neglets them. The future is unavoidable –
exact – says Borges – but it can not take place. God surveys the
intervals. Therefore the hiatus, the suspensions as "empty" time to
inquire; which the images serve as parameters, support and comparison,
borders, thersholds. The crucial moment is not only within things, but
above all, in my opinio, between things (the thersholds between one
space and another). To occupy the neglected space, to use an entropized
material; to anticipate oneself to the negentropy as possible use of
conscience through the wasted repertory of the unconscious with the
increasing virulence of the life. (Nato Frascà) MASSIMO DRAGO,
ACTRESSTRESS, 1987-2004, Super 8 on DVD, color, sound 4' Editing:
Elisabetta Saiu (2004) Music: T.A.C. (2004) First work full of mixed
techniques that radically echo through the darkness of Italian
independent cinema. Actresstress begins using two parts of the same
camera and adopting an out-of-phase technique, immediately notable for
its specularity. These first two minutes highlight themselves for the
calm that passes through them. With some rapid progressive editing the
work unfolds a double graphic treatment of the film (colouring the layer
which was the emulsion was partially removed and drawing geometric
shapes on the other) at an intermittent period. The photographic figure,
which Drago emphasizes, is notable for its skilful framings and planning
of the luminous surrounding space. NINO PEZZELLA, MIA ZIA, 1989, 16mm,
color, sound, 1'30''x1'30'' This film focuses on the hands of a woman
cleaning fish. Scenes of an Easter procession, the sea, and both
wholesome and unwholesome domestic landscapes are edited to a prosodic
rhythm, opening possible metaphysical associations and dimensions while
exploring new means of filmic expression. This editing style creates a
fervent relationship between image and sound, adding great tension to
the film. ADRIANO ABBADO, KAYUPUTIH, 2008 revised 2011, 720p HD ready,
color, silent, 2'24'' KAYUPUTIH is a kinetic artwork, a silent abstract
animation that continues the research begun with WONOKROMO. All images
depict different kinds of visual noise. CODENRAMA, ZOCRAD MIRROR
(STARTING THE REACTOR), 2010, Blue Ray, color, sound, 5' Year 2098:
Zocrad Mirror, a moon of Toruk the Third. The reactor, that is to
provide energy to the human settlement at Connor's Plate, must be primed
from space through deathly plasma beams. On board the two vessels
Gigacore and Pendulum, the legendary Leuba Lidski, the shady Otis Konta,
and Sub-Lieutenant Köning are doing their very best to initiate life 92
light years from our planet, 34 years after the unfortunate experiment
on Zocrad, now reduced to a purplish gaseous blob...
3/23
Toronto, Ontario, Canada: TIFF Bell Lightbox
http://tiff.net
7:00pm , 350 King Street West
THE FREE SCREEN: AVANT - GARDE CANADA: CURATING THE CFMDC COLLECTION:
IMAGES OF NATURE, OR THE NATURE OF TEH IMAGE: CANADIAN ARTISTS AT WORK
FREE EVENT March 23, 7:00pm at TIFF Bell Lightbox Spanning four decades
of Canadian experimental cinema, this programme is comprised of work
visually and viscerally engaged with the natural world. Made by artists
from or living in Canada, these films employ an array of aesthetic
strategies and image technologies to depict and comment on "nature"
while simultaneously exploring the nature of the cinematic image. Some
investigate the natural world with increasing intensity and proximity,
others explore the animal and the animated with ironic distance. With
passion, intensity and even some humour, these Canadian film artists
offer us provocative visions of our planet while exhilarating us with
their cinematic ingenuity. Curated by Irina Leimbacher. Irina Leimbacher
is a curator and scholar. Formerly Artistic Director of the San
Francisco Cinematheque, she currently teaches in the Film Department at
Keene State College, New Hampshire. Light Magic dir. Izabella
Pruska-Oldenhof | Canada 2001 | 3 min. | 16mm View of the Falls from the
Canadian Side dir. John Price | Canada 2006 | 7 min. | 35mm Migration
dir. David Rimmer | Canada 1969 | 11 min. | 16mm Notes in Origin dir.
Ellie Epp | Canada 1987 | 17 min. | 16mm Plein Air dir. Richard Kerr |
Canada 1991 | 20 min. |16mm Trees of Syntax, Leaves of Axis dir. Daïchi
Saïto | Canada 2009 | 10 min. | 35mm Beauty Plus Pity dir. Emily Vey
Duke and Cooper Battersby | Canada 2009 | 14 min. | Video
------------------------
THURSDAY, MARCH 24, 2011
------------------------
3/24
Ann Arbor, Michigan: Ann Arbor Film Festival
http://aafilmfest.org/
12:30 pm, Michigan Theater - Screening Room
49TH ANN ARBOR FILM FESTIVAL
STEPHEN CONNOLLY - JUROR PROGRAM program of films by Stephen Connolly
(London, England) featuring the North American premiere of Two
Coronations. FILM FOR TOM (2005, 12 min) | the reading room (2002, 3
min) | THE WHALE (2003, 9 min) | THE GREAT AMERICAN DESERT (2006, 16
min) | MÁS SE PERDIÓ (2008, 14 min) | TWO CORONATIONS (2011, 17 min)
3/24
Ann Arbor, Michigan: Ann Arbor Film Festival
http://aafilmfest.org/
7pm, Michigan Theater - Screening Room
49TH ANN ARBOR FILM FESTIVAL
BEN RIVERS - SLOW ACTION program of three 16mm 'scope films by Ben
Rivers (London, England) featuring the North American premiere of SLOW
ACTION (2010, 45 min). Preceded by AH, LIBERTY! (2008, 20 min) and I
KNOW WHERE I'M GOING (2009, 30 min).
3/24
Ann Arbor, Michigan: Ann Arbor Film Festival
http://aafilmfest.org/
9:15 pm, Michigan Theater - Screening Room
49TH ANN ARBOR FILM FESTIVAL
ALWAYS ELSEWHERE program of new films with Brigid McCaffrey and James
Sansing in attendance. YOU CAN SEE THE SUN IN LATE DECEMBER (USA, 2010,
7 min, video) by Sasha Waters Freyer | IMMOKALEE, MY HOME (USA, 2009, 16
min, Super 8 on video) by Kevin T. Allen & Jen Hueson | CASTAIC LAKE
(USA, 2010, 30 min, 16mm) by Brigid McCaffrey | FORSAKEN (USA, 2010, 7
min, 16mm) by James Sansing | WHILE YOU WERE SLEEPING (USA, 2010, 10
min, video) by Mary Helena Clark
3/24
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:00 pm, 32 2nd Avenue
ESSENTIAL CINEMA: I WAS BORN, BUT...
See notes for Feb. 20, 6:45 pm.
3/24
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:15 pm, 32 2nd Avenue
SINGLE FRAME PRESENTS: MICHAEL SNOW
SINGLE FRAME is a new series focusing on the increasingly outmoded world
of slide-based projection. Whether presented in portfolios, lectures,
libraries, or living rooms, the transparent photographic positive known
as a slide was for decades a common way to view amateur, artistic,
industrial, and educational imagery. From vacation photos and pre-show
movie theater ads to gallery installations and multi-projector
happenings, the slide is a significant time-based medium worthy of
further investigation and illumination. SINGLE FRAME programs will
feature old and new works by artists, as well as performances, found
images of mysterious origin, and other exploratory excursions. We are
elated to inaugurate our premiere program with a visit from a master of
the medium, Michael Snow. An artist and filmmaker with a decades-long
photography practice, Snow created the three pieces presented here
during a particularly prolific period in which he was engaged with the
theatrical presentation of still images. This is a very rare opportunity
to experience some of Snow's least-seen works. SLIDELENGTH 1969-71, 80
slides, 20 minutes. A photographic slide installation consisting of
eighty 35mm slides, arranged like a filmic sequence and projected at
fifteen-second intervals, SLIDELENGTH addresses Snow's central themes of
time, memory, and perception. Usually shown as a looped projection in a
gallery but here seen in a theater, it is closely related to WAVELENGTH,
which will screen separately on this calendar as part of our Essential
Cinema repertory series. SIDE SEAT PAINTINGS SLIDES SOUND FILM 1970, 20
minutes, 16mm, color, sound. "A 20-minute sound film made in 1970 of the
projecting and verbal (my voice) identification of slides (made at
various times, by various people) of paintings in various media made by
myself from 1955 to 1965. It is not autobiographical. The film is a
recycling, a conversion which, by employing the illusion of temporal
alteration which film and sound recording have made possible, becomes a
completely new experience." –Michael Snow A CASING SHELVED 1970, 1
slide, 45 minutes, sound. A groundbreaking work in which a single color
slide of a bookshelf in Snow's studio is accompanied by audio of the
artist describing the image in detail. "A projected slide with a
separate tape sound. Being a movie would be entirely another matter
because it would introduce motion…no matter what you'd do you'd have the
flicker and you'd have the things that happened in the projector. Slides
have a particularly frozen quality if you look at them for a while. …
Bob Breer told me that for a long time he thought A CASING SHELVED was a
movie. I think that's very nice, because it means that the thing is
moving in time in a way that I really wanted the sound to do – and it is
the sound that does it because if you really look at it you don't see
the effects that happen with films…that little bit of instability."
–Michael Snow Total running time: ca. 90 minutes.
3/24
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
9:30 pm, 32 2nd Avenue
ESSENTIAL CINEMA: WAVELENGTH
by Michael Snow 1967, 45 minutes, 16mm "WAVELENGTH is without precedent
in the purity of its confrontation with the essence of cinema: the
relationships between illusion and fact, space and time, subject and
object. It is the first post-Warhol, post-Minimal movie; one of the few
films to engage those higher conceptual orders which occupy modern
painting and sculpture. It has rightly been described as a 'triumph of
contemplative cinema.'" – Gene Youngblood, L.A. FREE PRESS, 1968
3/24
San Francisco, California: San Francisco Museum of Modern Art
http://www.sfmoma.org
7 p.m., Phyllis Wattis Theatre
LUKE FOWLER: A GRAMMAR FOR LISTENING
Luke Fowler, A Grammar For Listening, 2009, 60 min. Courtesy LUX. Part 1
– 16mm, 22 min. color, sound (separate digital file. Part 2 – 16mm, 21
min., color, sound (optical). Part 3 – 16mm, 13 min., color, sound
(separate digital file). Introduced by Tanya Zimbardo, assistant curator
of media arts, SFMOMA. In conjunction with Bill Fontana: Sonic Shadows,
this program expands on a history of sound artists and musicians
exploring ambient noise, environmental sound, and field recording. Luke
Fowler's film cycle A Grammar for Listening establishes a meaningful
dialogue between looking and listening. The Scottish artist's filmic
collaborations with contemporary artists—Lee Patterson, Eric La Casa,
Toshiya Tsunoda—on their distinct conceptual approaches to making
recordings, addresses the contradictions between image and sound. Using
various recording devices, they each investigate the acoustic
possibilities of specific areas or found objects—from the amplification
of underwater life or burning walnuts, to two people listening to
stethoscopes on their temples while contemplating the landscape
together. $5 general; free for SFMOMA members or with museum admission
(requires a free ticket, which can be picked up in the Haas Atrium).
3/24
San Francisco, California: San Francisco Museum of Modern Art
http://www.sfmoma.org
7:00 pm, 151 Third Street
LUKE FOWLER'S A GRAMMAR FOR LISTENING (PARTS I-III)
Luke Fowler, A Grammar for Listening (Parts I-III), 2009, 60 min., three
16mm films SFMOMA Phyllis Wattis Theater In conjunction with Bill
Fontana: Sonic Shadows, this program expands on a history of sound
artists and musicians exploring ambient noise, environmental sound, and
field recording. Fowler's filmic collaborations with artists Eric La
Casa, Lee Patterson, and Toshiya Tsunoda establish a meaningful dialogue
between looking and listening. Introduced by Tanya Zimbardo, assistant
curator of media arts, SFMOMA. $5 general; free for SFMOMA members or
with museum admission (requires a free ticket, which can be picked up in
the Haas Atrium).
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