[Frameworks] Part 2 of 2: This week [February 18 - 26, 2012] in avant garde cinema

Sat Feb 18 12:02:41 CST 2012

Part 2 of 2: This week [February 18 - 26, 2012] in avant garde cinema

-------------------------
FRIDAY, FEBRUARY 24, 2012
-------------------------

2/24
Austin, TX: Experimental Response Cinema
http://www.hi-beam.net/erc
7pm, Arthouse at the Jones Center, 700 Congress Ave.

 FILMS AND VIDEOS BY JEANNE LIOTTA
  Description New York artist Jeanne Liotta will be in-person to presentsa
  selection of various works in 16mm film and digital video in which
  appear transmissions of energetic and material subjects such as
  landscape, abstraction, the historical archive, science, natural
  philosophy, and the virtual sublim...e. Playful, chaotic, and intuitive
  miniature essays into the transitory perceptions of time and space
  sometimes called reality. Works include: Sweet Dreams, Sutro, What Makes
  Day and Night, Science's Ten Most Beautiful Experiments: #2 Galileo's,
  Eclipse, Observando el Cielo, Hymn to the Void, and others tba...

2/24
Kansas City, Missouri: Nelson-Atkins Museum of Art
http://www.nelson-atkins.org
7:00 p.m., Atkins Auditorium, NAMA, 4525 Oak Street

 ELECTROMEDIASCOPE
  "Alien Contact and Cultural Imagination." Gilles Deleuze elucidates an
  understanding of modern cinema as a conceptual practice contiguous with
  contemporary art in his book Cinema 2: The Time-Image. In the process he
  discusses modern political cinema and imagined communities and suggests
  that when considering the new basis on which they are founded in the
  third world and for minorities, art, and especially cinematographic art,
  must take part in a task that is "not that of addressing a people, which
  is presupposed already there, but of contributing to the invention of a
  people." Alien Contact and Cultural Imagination exemplifies this process
  through diverse examples of aesthetic, sociocultural and political works
  that address aspects of imaginable worlds. They tell strange and
  beautiful stories through visual and audible means that are
  reverberating with geopolitical realities while bringing to life a
  missing past. Cinema plays an important role in contemporary art where
  its unique development of images of thought cause us to rethink notions
  of the experimental within the context of the emerging global cinema's
  emphasis on visual and media literacy, a tactile - sensory form of
  editing and imagistic use of sound. This work shares more with the
  connotative syntax of oral histories, poetry, performances and ritual
  traditions than with many established forms of western cinema that are
  more often grounded in textual literacy and a denotative narrative flow.
  The works in Alien Contact and Cultural Imagination take us out of our
  world of habitual experience as John Cage suggested and establish
  alternative ways of experiencing the past and imagining the future.
  These works extend media literacy to emphasize a greater intensity of
  visual and audible world sensations that are already known in the
  performance, song and storytelling of other cultures. They not only
  share and re-imagine older culturally specific myths of origin, sense of
  place and transformative identity, but invent new stories and parables
  that address current geophysical realities for a global world that is
  reconnecting through virtual contact. Myth and storytelling of third
  world cultures meet the science fiction, technology and cinematic
  subcultures of the developed world. This emerging cultural imaginary is
  not a utopia. The storytelling, myths and fables re-imagine an expanding
  present with past and future folds. We can see, feel and empathize with
  these inhabitants of other worlds and perhaps understand them in the
  context of our present culture with its disasters, suspicions of the
  alien other and the guarded stasis of citizens who have lost alien
  sensibilities and sensitivities. Artists are reawakening historical
  moments of alien contact by rethinking the past, subverting the present
  and subjectifying the future. Their new visual mythmaking and
  storytelling are contributing to the invention of a future where memes
  leak out and pollinate broader shared aspects of culture, and in the
  process enable global cultural exchange. –Patrick Clancy. Cauleen Smith
  In Person. Artist Cauleen Smith presents and discusses her new work
  including Remote Viewing and Other Ways of Seeing, a series of films
  reenacting Land Art and recent but buried collective memories. "Remote
  Viewing: Process Sculpture Film #1," Cauleen Smith (US), 2010, 15:40
  min., digital video shown on DVD. "The Grid: Process Sculpture Film #2,"
  Cauleen Smith (US), 2010, 15:40 min., digital video shown on DVD. "The
  Vanishing," Cauleen Smith (US), 2010, 8 min., digital video shown on
  DVD. "The Solar Flare Arkestral Marching Band Project," Cauleen Smith
  (US), work in progress, multimedia. This program began on Feb. 10,
  continued on Feb. 17 and concludes tonight. 

2/24
Los Angeles, California: Echo Park Film Center
http://www.echoparkfilmcenter.org/
8 pm, 1200 N Alvarado St (at Sunset)

 LA AIR: INSTEREO
  LA AIR is a new artist-in-residence program that invites Los Angeles
  filmmakers to utilize EPFC resources in creating a new work over a
  four-week period. INSTEREO, the empathic image exchange between Ursula
  Brookbank and Christine Alicino, presents their latest collaboration
  realized with the support of the LA Air Artist-in-Residence program at
  EPFC. Over the past lunar year moving images were exchanged every seven
  days and at year's end arranged into a film/video projection occupying
  the realm of their correspondences. The evening includes a screening of
  short films selected by INSTEREO from the collection of EPFC. FREE!

2/24
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:00 pm, 32 2nd Avenue

 KEN KOBLAND PROGRAM 1
  PROGRAM 1: VESTIBULE (in 3 episodes) (1978, 24 minutes, 16mm) 16mm
  original in various (3) modes of optical re-photography. I think of this
  as my first 'real' film. 'Real' for me in the sense that it combines
  ruminations (philosophical and otherwise), fantasies, memories and the
  landscape of the city; a field of play I've never left. FRAME (1975, 10
  minutes, 16mm) A first experiment using optical re-photography. I was
  trying to re-produce the experience of the drive, the movement forwards
  and back, simultaneously…and at the same time to portray the haunted,
  desolate beauty of those empty summer cabins at the edge of the sea.
  ARISE! WALK DOG EAT DONUT (1999, 20 minutes, video) A reflection on the
  daily grind, accompanied by an old Russian melody loosely translated and
  interpreted 4 or 5 different ways…and a return visit to the landscape of
  FRAME, 25 years later. BUILDINGS AND GROUNDS (2003, 45 minutes, video) 5
  texts/5 landscapes/5 monologues: Whitman/Ozu, the Dharma/Fellini,
  Bergman/Tarkovsky, DeLillo/Mann and Chekhov…the city as theater, a
  desert ruin, meat and pulp…a mish-mash and mis-read…the unreliable
  translator…and the landscapes we dream in… FLUSHED-AT-ONCE (2002, 45
  seconds, video) A short remembrance…a project created for an exhibition
  in commemoration of the events of Sept. 11. Total running time: ca. 105
  minutes.

---------------------------
SATURDAY, FEBRUARY 25, 2012
---------------------------

2/25
Los Angeles, California: Echo Park Film Center
http://www.echoparkfilmcenter.org/
8pm - 10pm, 1200 N Alvarado St. (@ Sunset Blvd.) Los Angeles, CA. 90026 (phone (213) 484 - 8846) $5 at the door

 MI_LOSANGELES2012: “GUTTURAL!”
  An inspiring and fun night of video art screenings at the Echo Park Film
  Center curated by Alysse Stepanian of Manipulated image will include
  selections from MI's video archives (Wilfried Agricola de Cologne of
  Germany, Martin Back of Texas, Paulo R. C. Barros of Brazil, Niclas
  Hallberg and Stina Pehrsdotter of Sweden, Hey-Yeun Jang of New York),
  and a body of work by  RKDB, an Oakland-based artist who will be present
  for a discussion. It is not necessarily the "strange" quality of the
  sound that makes some of these works guttural, but the restless audacity
  of the artists in breaching the boundaries of the agreeable, the proper,
  and the familiar.

2/25
Los Angeles, California: Echo Park Film Center
http://www.echoparkfilmcenter.org/
8 pm, 1200 N Alvarado St (at Sunset)

 MANIPULATED IMAGE PRESENTS GUTTURAL!
  (merriam-webster.com: Guttural... marked by utterance that is strange,
  unpleasant, or disagreeable) There is an unbridled energy and natural
  rawness to Martin Back's video, in which he uses his mouth, a contact
  mic and a webcam to create a raucous performance. Paulo Barros's
  percolating geometric abstractions are inhibited only by their forced
  rectangular enclosures. Hey-Yeun Jang's work penetrates the
  "in-between," the deep cracks that are left unexplored in familiar
  realities. Niclas Hallberg and his collaborator Stina Pehrsdotter give
  voice to those who have come to feel shame in a civilization that has
  alphabetized and codified proper conduct. Wilfried Agricola de Cologne's
  videos are both visually and viscerally penetrating, and his clear
  observations are potent and commanding. It is not necessarily the
  "strange" quality of the sound that makes some of these works guttural,
  but the restless audacity of the artists in breeching the boundaries of
  the agreeable, the proper, and the familiar. Curated by Alysse
  Stepanian, with guest curator (TBA). The screening will include the
  following selections from MI's video archives and a short compilation of
  videos selected by a guest curator. In addition, a Los Angeles artist
  will be at the screening for a presentation and discussion (names TBA).
  $5 Project site: http://manipulatedimage.com/LosAngeles2012.html

2/25
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
4:00 pm, 32 2nd Avenue

 SERRA & BELL/JONAS PROGRAM
  Richard Serra & Robert Bell PRISONER'S DILEMMA 1974, 40 minutes, video.
  This rare Richard Serra video uses the concept of 'The Prisoner's
  Dilemma' from game theory as a video experiment to, in Serra's words,
  "expose the format of commercial TV." The video features Spalding Gray,
  Richard Schechner, Kathryn Bigelow, Leo Castelli, and Bruce Boice, among
  others. & Joan Jonas DOUBLE LUNAR DOGS (1984, 24 minutes, video) With
  Spalding Gray and Joan Jonas. Inspired by the science fiction story
  "Universe" by Robert Heinlein, this is an Orwellian vision of
  post-apocalyptic survival aboard a drifting spaceship whose timeless
  travelers have forgotten the purpose of their mission. To recapture
  memory and create a continuum between their unknown origin and uncertain
  destination, the characters in this disjointed, philosophical narrative
  play metaphorical games with words and archetypal objects.

2/25
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
8:00 pm, 32 2nd Avenue

 KEN KOBLAND PROGRAM 2
  PROGRAM 2: THE SHANGHAIED TEXT (1996, 30 minutes, video) Archival
  footage and the Montana landscape entangled…Excerpts from films by
  Dovzhenko and Vertov with a musical score from Turandot. A mixed-brew of
  ecstatic tropes and heroic vistas…16mm film footage processed in an
  early D-1 Video post-production studio in Montbeliard, France. THE TOY
  SUN (2011, 32 minutes, video) More ruins, time, and memory…buildings
  come and go, like everything else. A text based on Eliot's "Four
  Quartets"…an old man's ramble…a moving picture book, illustrated with
  landscapes (from earlier films). IDEAS OF ORDER IN CINQUE TERRE (2005,
  32 minutes, video) Cinque Terre is a string of towns along Italy's North
  coast. An overwhelmingly beautiful place, extraordinary color, light and
  geometry. Of particular note is the train line which links the towns. It
  moves like a needle and thread through the mountains…its patterns and
  lines connect back to earlier Wooster Group rehearsals, which now form
  an outline of landscape. Total running time: ca. 100 minutes.

2/25
Paris, France: Collectif Jeune Cinema
http://www.cjcinema.org/
8:30pm, La Péniche Cinéma, Parc de La Villette, 69 bld Mac Donald 75019, Paris, France

 DUO DES MOTS
  DUO DES MOTS : carte blanche au Collectif Jeune Cinéma à
  la Péniche Cinéma - Entrée libre - Séance
  présentée par Julia Gouin, administratrice, et Laurence
  Rebouillon, présidente du CJC, en présence des
  cinéastes. - Musique, parole, voix, commentaire critique ou
  sportif, la bande son des films de ce soir, réalisés en
  tandem ou par un collectif, dialogue toujours avec autrui, l'être
  aimé, son partenaire ou un auditoire. Ã‰cho à
  cette similitude de rencontre, l'image est parfois
  dédoublée pour créer une comparaison de gestes et
  attitudes lors d'un match de football mémorable ou orchestrer le
  partage du verbe pour dire d'où l'on parle et prendre
  place. - PROGRAMME - - TRESORS de Orlan Roy, vidéo, France, 2012,
  20' - EN AVANT-PREMIERE. Qu'est ce qu'on peut voir de notre
  désert intérieur ? Des musiciens, danseurs et
  comédiens, solitaires et pourtant peuplés d'une histoire
  commune. Les corps sont traversés de personnages, de voyages
  imaginaires et des archives de notre collectif. Tourné à
  Plélo, Bretagne, chez Maitre Jacques. Avec MORIARTY, CIE LES
  CANARDS SOUS LA PLUIE & la CIE NAGARYTHE. - - DANS LE VILLAGE de
  Laurence Rebouillon & Patricia Godal, vidéo, France, 2008,
  5'30, Voyage amoureux dans les hauteurs d'une île et
  quelques vaches. - - 19, ESPIRITU SANTO (ANDALUCIA) de Philippe Cote,
  vidéo, France, 2010, 24' - Voix : Violeta Salvatierra. - A
  l'origine, il y avait les mots que tu m'as écrits pour initier
  les images à faire, loin d'ici, seul, là-bas à
  Séville et en Andalousie. - Puis, après un premier montage
  silencieux... : « J'ai eu envie (c'est la première fois que
  cela m'arrive devant un de tes films) d'entendre des voix. Je songeais
  malgré moi à un montage sonore, fait de longues plages de
  silence alternées de quelques moments de voix, de mots, et
  peut-être un peu de son, des bruissements. Il m'a paru que cette
  fa&ccedilon de sonoriser le film donnerait une présence (des
  présences) dont la fonction serait surtout d'inviter à
  écouter les images. Cela donnerait aussi plus
  d'altérité à l'objet... » - Le film trouvait
  alors sa forme définitive, essai intime et partagé entre
  ta voix, des choix de poèmes lus, à écouter, et mes
  images. (Philippe Cote) - - REFAIT du Collectif Pied la Biche,
  vidéo, France, 2009, 16' - Les 15 dernières minutes du
  match de coupe du monde France-Allemagne en 1982 à
  Séville. Tournées par Pied la Biche dans Villeurbanne (69,
  Fr). Chaque scène est reconstituée avec précision :
  joueurs, positions, gestes. - La bande son est un mélange des
  commentaires originaux et de paroles de spectateurs présents
  durant le tournage. - - LE GROUPE MANOUCHIAN VIT ETERNELLEMENT. AMEN.
  GUEDIGUIAN N'EST PAS MORT POUR LA FRANCE. LUTTE OUVERTE AUX LACHES ET
  AUX TRAITRES EN TOUT GENRE de Pierre Merejkowsky & David
  BensaÃ¯d, vidéo, France, 2010, 29' - Le groupe
  Manouchian vit éternellement. Amen. Guédiguian n'est pas
  mort pour la France. Lutte ouverte aux lâches et aux
  traitres en tout genre.

2/25
San Francisco, California: Artists Television Access
http://www.atasite.org/
8pm, 992 Valencia Street

 MAD DANCE
  Mad Dance is a new showcase for films & videos that explore radical
  visions for madness in a culture that pathologizes difference. Tonight's
  inaugural screening features three works that navigate the
  psycho-geography of the personal and the political: The Accursed Mazurka
  by Nina Fonoroff; Crooked Beauty by Ken Paul Rosenthal; and Lethe by
  Lewis Klahr. More details at: http://www.atasite.org/2012/02/mad-dance/

2/25
Washington, DC: National Gallery of Art
http://www.nga.gov
2:30, East Building Concourse, Auditorium

 HOW MUCH MOVEMENT DOES THE IMAGE NEED?
  Gusztáv Hámos, Katja Pratschke, Thomas Tode in person. The appearance of
  a still photograph in a cinematographic context often arouses an element
  of surprise for the viewer. This program presents films that question
  the nature of the image as well as its relationship to other forms with
  works by Chris Marker (La Jetée, 1962), Sergei Eisenstein (Beshin
  Meadow, 1935 / 1967), Leonore Mau and Hubert Fichte (The Fishmarket and
  the Fish, 1968), and Katja Pratschke and Gusztáv Hámos (Transposed
  Bodies, 2002). (95 minutes) 

-------------------------
SUNDAY, FEBRUARY 26, 2012
-------------------------

2/26
Atlanta, Georgia: Contraband Cinema
http://contrabandcinema.com
7:30pm, Plaza Theatre, 1049 Ponce De Leon Avenue

 SKIP THE OSCARS
  Scheduled to conflict with the broadcast of the 2012 Academy Awards,
  Contraband Cinema is proud to bring you an evening of anti-hollywood,
  anti-copyright illegal art. Made entirely of cut-up studio productions,
  Hollywood Burn is an epic manifesto against the corporate control of
  cultural history brought to us by Soda_Jerk! PLUS! short films by local
  culture jammers Adam Bruneau, Anna Spence and Bland Hack (Jamie
  Hawkins-Gaar and Julian Modugno). $6. All proceeds go to the Plaza
  Theatre Foundation.

2/26
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
4:30 pm, 32 2nd Avenue

 MINUS ZERO
  by Michael Oblowitz 1979, 50 minutes, 16mm With Rosemary Hochschild, Ron
  Vawter, Will Patton, and Eric Mitchell. A psycho noir shot in
  high-contrast black-and-white where stalkers, terrorists and government
  agents collide. "It promised pleasure and delivered death… nothing ever
  happened to her class… there was no reason to feel nervous even in the
  heart of New York… you push the fourth button and arrive at the fourth
  floor… she was one more person in personville was one more person too
  many…"

2/26
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
6:00 pm, 32 2nd Avenue

 KING BLANK
  by Michael Oblowitz 1983, 71 minutes, 16mm-to-video This screening is
  part of: THE WOOSTER GROUP AT LARGE With Ron Vawter, Rosemary
  Hochschild, Will Patton, and Gary Indiana. A sour-spirited foul-mouthed
  epic of ennui, BLANK is a prescient classic by No-Wave filmmaker
  Oblowitz. Set in a motel room at NYC's Kennedy Airport, the film treats
  two days in the life of a deadbeat couple, an obsessive husband lost in
  a web of psychotic delusion and his immigrant wife. Great character bits
  include Ron Vawter forcing Gary Indiana to give him a blowjob in the
  bathroom. "A cinephiliac achievement in which the pathology of male
  sexuality insists to the point of nausea." –Claire Johnston

2/26
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
8:00 pm, 32 2nd Avenue

 KEN KOBLAND PROGRAM 3
  PROGRAM 3: FOTO-ROMAN (1992, 26 minutes, video) The text is composed of
  excerpts of a novel, QUEER AND ALONE, by Jim Strahs (who also plays the
  John Doe here.) The voice-over is by Vito Acconci. It's a travelogue of
  sorts…or a daydream, by a very odd, somewhat unreliable narrator.
  LANDSCAPE AND DESIRE (1980, 40 minutes, 16mm) A (mostly) bus 'tour' of
  the American landscape. But this is the old un-franchised one.
  Small-town hotels, bus depot waiting rooms, and the endless plains and
  sky. A scrapbook of the banal and un-dramatic. Now it feels like a
  souvenir from a more modest world. Photographed in Super-8 and
  re-printed onto 16mm. END CREDITS (1994, 7 minutes, video) Made as the
  end-credit sequence for a film of Ron Vawter's performance piece, ROY
  COHN/JACK SMITH, directed by Jill Godmilow. Ron was an extraordinary
  performer and actor. The two men he portrays were gay men, at infinitely
  opposite ends of the spectrum, social, artistic, and human. PIECE FOR
  SPALD (2004, 7 minutes, video) An audio-mix, no image…scraps of Spalding
  Gray's comments, from here and there… Assembled as part of a memorial
  for the storyteller and old friend, who lost himself in New York harbor
  in January of 2004. Total running time: ca. 85 minutes.

2/26
Washington, DC: National Gallery of Art
http://www.nga.gov
4:30, East Building Concourse, Auditorium

 RECALL AND MEMORY
  Gusztáv Hámos, Katja Pratschke, Thomas Tode in person. "That-has-been,"
  wrote Roland Barthes; photography stands for something that has
  happened. Film, in contrast, always unfolds in the here and now and can
  be seen as a container for memory. Featuring films by Thierry Knauff (Le
  Sphinx, 1985), Agnès Varda (Ulysse, 1982), Jerzy Ziarnik (Gestapoman
  Schmidt, 1964), Franz Winzentsen (The Fitting 1938, 1985), Helke
  Misselwitz (Pictures from a Family Album, 1985), and Janet Riedel, Katja
  Pratschke, and Gusztáv Hámos (Fiasko, 2010), this program investigates
  these functions in the context of personal and historical memory. (93
  minutes) 

Enter your event announcements by going to the Flicker Weekly Listing Form
at http://www.hi-beam.net/cgi-bin/thisweek.pl

The weekly listing is also available online at Flicker:
http://www.hi-beam.net