[Frameworks] This week [August 31 - September 8, 2013] in avant garde cinema
Weekly Listing
weeklylisting at hi-beam.net
Sat Aug 31 17:29:12 UTC 2013
This week [August 31 - September 8, 2013] in avant garde cinema
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MISCELLANEOUS:
Magmart search videoart curators
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FUNDING:
100x100=900 Project (Deadline: December 31, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=funding&readfile=22.ann
NEW FILM/VIDEO: NON-FEATURE:
"SEDUX" by David Wilde
http://www.hi-beam.net/cgi-bin/ann.pl?type=newwork&readfile=518.ann
"As It Is" by David Wilde
http://www.hi-beam.net/cgi-bin/ann.pl?type=newwork&readfile=519.ann
"WHAT" by David Wilde
http://www.hi-beam.net/cgi-bin/ann.pl?type=newwork&readfile=520.ann
"fashion" by David Wilde
http://www.hi-beam.net/cgi-bin/ann.pl?type=newwork&readfile=521.ann
"A-Z" by David Wilde
http://www.hi-beam.net/cgi-bin/ann.pl?type=newwork&readfile=522.ann
"TRANS" by David Wilde
http://www.hi-beam.net/cgi-bin/ann.pl?type=newwork&readfile=523.ann
"essences" by David Wilde
http://www.hi-beam.net/cgi-bin/ann.pl?type=newwork&readfile=524.ann
NEW CALLS FOR ENTRIES:
=====================
RICHMOND RADICALS (Richmond, VA usa; Deadline: October 18, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1622.ann
Plug Projects (Kansas City, MO. 64108; Deadline: October 01, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1623.ann
Black Maria Film and Video Festival (Jersey City, NJ, USA; Deadline: November 19, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1624.ann
Newport Beach Film Festival (Newport Beach, CA, USA; Deadline: January 24, 2014)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1625.ann
DEADLINES APPROACHING:
======================
PCPC Arts Festival (Dallas, Texas, USA; Deadline: September 30, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1576.ann
danubeVIDEOARTfestival (Austria; Deadline: August 31, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1599.ann
Innsbruck Nature Film Festival (Innsbruck, Austria; Deadline: August 31, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1600.ann
The 8 Fest Small-Gauge Film Festival (Toronto, Ontario, Canada; Deadline: September 01, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1601.ann
Chicago 8 Small Gauge Film Festival (Chicago, IL, USA; Deadline: September 15, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1602.ann
ARTErra - Rural Artistic Residencies Portugal (Tondela, Portugal; Deadline: September 15, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1607.ann
Last 2013 Call for Artists (multidisciplinary) (Tondela, Portugal; Deadline: September 15, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1609.ann
Plug Projects (Kansas City, MO. 64108; Deadline: October 01, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1623.ann
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THIS WEEK'S PROGRAMS (SUMMARY):
==============================
* Highlights From the Venice Beach Biennial [August 31, Los Angeles, California]
* Lacey/Keen Program 2 [August 31, New York, New York]
* Lacey/Keen Program 1 [August 31, New York, New York]
* Manipulated Image Sunday Night videos & Performances @ Coagula Curatorial [September 1, Los Angeles, California]
* An Evening With Suzan Pitt [September 2, Cambridge, Massachusetts]
* Open Screen [September 5, Los Angeles, California]
* Show & Tell: Felix Bernstein Program [September 5, New York, New York]
* Http://Oddballfilms.Blogspot.Com/2013/08/Sex-Censorship-And-Betty-Boop-La
dies-Of.Html [September 5, San Francisco, California]
* Lawrence Jordan Program 1 [September 6, New York, New York]
* Lawrence Jordan Program 2 [September 6, New York, New York]
* Aligning the Trance Particles [September 6, San Francisco, California]
* Wavelengths 1: Variations On... [September 6, Toronto, Ontario, Canada]
* Tesla Coils! Camera Rolls! Tokyo! and A Gramophone! – Joel
Schlemowitz In Person [September 7, Austin, TX]
* Aaron Flint Jamison Presents Three videos By George Kuchar [September 7, Brooklyn, NY]
* Lawrence Jordan Program 3 [September 7, New York, New York]
* Lawrence Jordan Program 4 [September 7, New York, New York]
* Wavelengths 2: Now &Then [September 7, Toronto, Ontario, Canada]
* Onion City - the Realist &Amp; Empire [September 8, Chicago, IL]
* Circus Savage [September 8, New York, New York]
* Shapeshifters Cinema Presents Dyemark [September 8, Oakland]
* Wavelengths 3: Farther Than the Eye Can See [September 8, Toronto, Ontario, Canada]
* Three Landscapes and Song and Spring [September 8, Toronto, Ontario, Canada]
Events are sorted by CITY within each DATE.
-------------------------
SATURDAY, AUGUST 31, 2013
-------------------------
8/31
Los Angeles, California: Echo Park Film Center
http://www.echoparkfilmcenter.org/
8 pm, 1200 N. Alvarado St
HIGHLIGHTS FROM THE VENICE BEACH BIENNIAL
$5 / Celebrate the end of summer with a program of highlights from the
Venice Beach Biennial. Including the films of AnitRa Menning, Isabell
Spengler, Haruko Tanaka and others. Full program to be announced,
curated by Kate Brown and Monique van Genderen.
8/31
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
6:15 pm, 32 2nd Avenue
LACEY/KEEN PROGRAM 2
See notes for Aug. 30, 9:15 pm.
8/31
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
8:45 pm, 32 2nd Avenue
LACEY/KEEN PROGRAM 1
See notes for Aug. 30, 7:15 pm.
-------------------------
SUNDAY, SEPTEMBER 1, 2013
-------------------------
9/1
Los Angeles, California: Coagula Curatorial
http://manipulatedimage.com/MI23_Coagula_artscreen.html
7:00pm - 9:00pm, 977 Chung King Road, Los Angeles CA 90012
MANIPULATED IMAGE SUNDAY NIGHT VIDEOS & PERFORMANCES @ COAGULA CURATORIAL
Manipulated Image in partnership with Coagula Curatorial presents "Don't
Eat the Yellow Snow" videoart curated by Alysse Stepanian, and "Trial &
Error" curated by MI's Swedish partners, Eva Olsson and Jonas Nilsson of
art:screen - 1 hour of videos by 20 artists from 7 countries. Los
Angeles-based artists, Gelare Khoshgozaran and Christy Roberts will also
be presenting new performances created for this event. Join us for a
night of video screenings, performances, socialization and free beer - a
LABOR DAY WEEKEND SPECIAL!
-------------------------
MONDAY, SEPTEMBER 2, 2013
-------------------------
9/2
Cambridge, Massachusetts: Harvard Film Archive
http://hcl.harvard.edu/hfa
7pm, Harvard Film Archive, 24 Quincy Street
AN EVENING WITH SUZAN PITT
$12 Special Event Tickets Suzan Pitt in person Since the early 1970s
Suzan Pitt (b. 1943) has defined a unique mode of dream-like and
intensely handcrafted animation that has forged a vital link between
American experimental and underground cinema. Pitt first found fame when
her now classic animated film Asparagus was selected to accompany David
Lynch's Eraserhead on its extended, ultimately almost two-year, run of
midnight screenings. Nocturnal and elliptical, Asparagus introduced
audiences to the strange, surrealist-inflected and psycho-sexually
charged oneiricism that would remain a constant throughout her work,
while showcasing Pitt's consummate artistry and skill with variegated
animation techniques – from multi-layered cell painting to claymation, a
bold technical experimentation that also distinguishes later films such
as Joy Street and El Doctor. The lush and texturally rich imagery at the
heart of Asparagus also points back to Pitt's background as a painter
while anticipating her steadfast dedication to the gestural qualities
and movement unique to the work of the human hand, even as today's
moving image is increasingly computer-born. A long-time and beloved
member of the legendary CalArts faculty, Pitt is renowned as a teacher
and mentor. Before moving to California Pitt also taught within
Harvard's Visual and Environmental Studies Department. It was, in fact,
in the Carpenter Center for the Visual Arts that she realized one of her
most ambitious films, Joy Street, working with then Harvard student
Helen Hill as one of her assistants. The Harvard Film Archive is
thrilled to welcome back Suzan Pitt for this program which spans from
Pitt's very first animation work to her latest and celebrated shorts
Pinball and The Visitation.
---------------------------
THURSDAY, SEPTEMBER 5, 2013
---------------------------
9/5
Los Angeles, California: Echo Park Film Center
http://www.echoparkfilmcenter.org/
8 pm, 1200 N. Alvarado St (at Sunset)
OPEN SCREEN
$5 / Our cinematic free-for-all dares you to share your film with the
feisty EPFC audience. Any genre! Any style! New, old, work-in-progress!
First come, first screened; one film per filmmaker; 10-minute maximum.
DVD, VHS, mini-DV, DV-CAM, Super 8, standard 8mm, 16mm.
9/5
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:30 pm, 32 2nd Avenue
SHOW & TELL: FELIX BERNSTEIN PROGRAM
FELIX BERNSTEIN All of 21 years old, the preternaturally talented
filmmaker and writer Felix Bernstein made his first movie at age 15 with
a satirical "coming out video" that he uploaded to YouTube. Since then
he has gone on to play Lady Gaga, Minnie Mouse, Lamb Chop, Amy
Winehouse, and Partridge Poppins in a series of 8 short works that are
as knee-slappingly funny as they are strangely illuminating. Bernstein's
eye-popping, loosely-hinged videos are based in performance, but equally
concerned with formal framing and editing structures, not to mention
bouncy musical numbers. Overflowing with an energy and braininess that
is way too smart for online viewing, Bernstein's work addresses gay
themes and the media landscape in a way that combines big laughs with
real sentiments and deep resonances. Bernstein is currently writing a
critical overview of contemporary Queer culture and putting finishing
touches on a trio of new videos that we will premiere this evening.
HABBO HOTEL POEMS (2013, 10 min, video) Poems are written on the spot
then delivered by Felix's avatar to other, often disinterested, avatars
in the online virtual chat room Habbo Hotel. BOYS IN THE BAND (2013, 10
min, video) An unredeeming new edit of the groundbreaking classic of gay
cinema. UNCHAINED MELODY (2013, 45 min, video) Starring Felix Bernstein,
Shelley Hirsch, Charles Bernstein, Susan Bee, Tom Regan, Tony Torn, Gabe
Rubin, and Cole Heinowitz. Felix, a closet-case, goes to a vampish
German psychoanalyst for relief from migraines and anxiety. She leads
Felix into a hypnosis that uncovers a musical melodrama starring his
inner transvestite, Etta Pickles, the placeholder of his gay fantasies
and abject fears. A mini-epic to say the least, Bernstein's longest work
to date features performances from renowned actor Tony Torn, avant-garde
chanteuse Shelly Hirsch, and the filmmaker's parents, among many other
indispensable players. Total running time: ca. 70 min.
9/5
San Francisco, California: Oddball Films
http://www.oddballfilm.com
8 PM, 275 Capp St.
HTTP://ODDBALLFILMS.BLOGSPOT.COM/2013/08/SEX-CENSORSHIP-AND-BETTY-BOOP-LA
DIES-OF.HTML
Oddball Films and guest Curator Taylor Morales bring you, Sex,
Censorship and Betty Boop: The Ladies of Pre-Code Hollywood, a
collection of films exploring Hollywood's fascination with female
sexuality in the years before 1934, when the industry adopted the Motion
Picture Production Code, a set of moral censorship standards that
governed the US motion pictures industry between 1934 and 1968. The
Code, which banned all forms of overt sexuality and "immorality", forced
Betty Boop to lengthen her skirt and cover her garter. This collection
of films and cartoon shorts captures the good, the bad and the offensive
of this remarkable pre-code period. Looking back at the era with a
critical eye we see examples of sex as an avenue to power for females as
well as a means of exploitation. Our evening will begin with a dance
lesson from the queen of sex appeal, Ms. Betty Boop, in the Fleischer
brothers' short The Dancing Fool (1932). In this cartoon Betty Boop
teaches her animal friends how to shake their stuff, and shakes her
building to pieces in the process. Our next film, the Janus Films
documentary, The Love Goddesses Pt. 1 (1965), explores the rise of
female sex symbols from the silent film era through the 1930s. Greta
Garbo, Mae West, Jean Harlow and other love goddesses grace the screen
in classic scenes that taught the world how to love. We then turn from
glam to ham with Red Noses (1932), a live-action comedy short about two
female office workers sent to the Turkish baths by their boss when they
are too sick to go to work. This thin plot is more of an excuse to enact
a series of comedy bits involving scantily clad women on treadmills and
mechanical horses. It does not disappoint. Next, we'll move from the
hilarious to the egregious with Polly Tix Goes to Washington (1934), a
"baby burlesk" starring 3-year-old Shirley Temple, in one of her first
films, as Polly Tix, a high-class call girl sent to Washington to seduce
a congressman into voting on a Castor Oil bill. This film displays the
darker side of pre-code sexuality, landing on the wrong side of the
precarious line between satirical and sinister. We will come full circle
with our last film, another Betty Boop cartoon, Minnie the Moocher
(1932), featuring the first known filmed footage of jazz band leader Cab
Calloway. When Betty runs away from home she finds herself in the
company of a cast of scary creatures. Will she make it back home? Date:
Thursday, September 5th, 2013 at 8:00pm Venue: Oddball Films, 275 Capp
Street San Francisco Admission: $10.00 Limited Seating RSVP to
programming at oddballfilm.com or (415) 558-8117
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FRIDAY, SEPTEMBER 6, 2013
-------------------------
9/6
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:00 pm, 32 2nd Avenue
LAWRENCE JORDAN PROGRAM 1
JORDAN IN PERSON! ORB (1973, 5 min) MOONLIGHT SONATA (1979, 5 min)
WATERLIGHT (1957, 8 min) THE VISIBLE COMPENDIUM (1991, 17 min)
CHATEAU/POYET (2004, 6 min) SOLAR SIGHT (2011, 15 min) SOLAR SIGHT II
(2012, 10 min) Total running time: ca. 70 min
9/6
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
9:00 pm, 32 2nd Avenue
LAWRENCE JORDAN PROGRAM 2
SOLAR SIGHT III (2013, 16 min) ENID'S IDYLL (2004, 17 min) VISIONS OF A
CITY (1957-78, 10 min) PINK SWINE (1964, 3 min) RIME OF THE ANCIENT
MARINER (1977, 45 min) Total running time: ca. 95 min
9/6
San Francisco, California: Oddball Films
http://www.oddballfilm.com
8 PM, 275 Capp St.
ALIGNING THE TRANCE PARTICLES
Oddball Films and guest curator Scotty Slade brings you: Aligning the
Trance Particles, a program of physical and metaphysical forms of trance
exploration that examines ancient traditions alongside experimental film
practices. In tandem with the ongoing Ritual and Trance film series,
this program begins under the microscope, so that we might start to
imagine the molecular alignment of our own inner beings, in
Crystallization (1975). Once aligned on a molecular scale, it will be
time to climb up the particulate ladder with Norman McLaren's A Phantasy
(1952), a space-borne surrealist film of dance and ritual glow. From
there, we'll bounce into Maya Deren's A Ritual in Transfigured Time
(1946), and once our minds have become fully lubricated, the incredible
film Pomo Shaman (1964) will be there to move us into the next realm. In
that deep space of next level consciousness, let us be further blown
away by Pat O'Neill's color ceremony in 7362 (1952). We'll then jump
back through time, from special effects land to the Kalahari, where
everyone will be encouraged to get up and move around with the !Kung
Bushmen in N/um tchai: The Ceremonial Dance of the !Kung Bushmen (1973).
The evening will end with Takashi Ito's mind bending gymnasium camera
ritual symbolic mental portal exploration Spacy (1980). Everyone is
encouraged to melt. Date: Friday, September 6, 2013 at 8:00pm Venue:
Oddball Films, 275 Capp Street San Francisco Admission: $10.00 Limited
Seating RSVP to programming at oddballfilm.com or (415) 558-8117 Featuring:
Crystallization (Color, 1975) Directed by award-wining filmmaker Carroll
Ballard (The Black Stallion) this film explores the formation of
crystals in liquids through the electron microscope under polarized
light. With innovative electronic soundscore. Shown at the SF
International Film Festival and winner of the Golden Gate Award in 1975.
7362 (Color, 1965-67) A mind-blowing visual and sound experience by
famed experimental filmmaker (and sometime Star Wars special effects
wiz) Pat O'Neill with sound by cult musician/early synthesizer artist
Joseph Byrd (The United States of America). Described as "a bilaterally
symmetrical (west to east) fusion of human, biomorphic and mechanical
shapes in motion. Has to do with the spontaneous generation of
electrical energy. A fairly rare (ten years ago) demonstration of the
Sabattier Effect (re-exposing partially developed film to light during
the processing) in motion. Title refers to the film stock of the same
name. Spacy (Color, 1980-81) Hypnotic avant-garde rarity by Takashi Ito.
This experimental stop-motion film takes place in a gymnasium: we
approach a picture on a frame, which turns out to be a picture of the
gymnasium. We enter the picture and approach another frame, which turns
out to be a picture of… and so on. A mesmerizing electronic soundtrack
completes this trance-inducing meditation on time and space. A Phantasy
(Color, 1952) Cut-out animation by Norman McLaren, and music for
saxophones and synthetic sound by Maurice Blackburn. In a dream-like,
meditative and surreal landscape drawn in pastel, inanimate objects come
to life to disport themselves in grave dances and playful ritual. A
Ritual in Transfigured Time (B+W, 1946) Maya Deren was one of the most
influential female avant-garde filmmakers of the 20th century. She was
dancer, choreographer, poet, writer and photographer. In the cinema she
was a director, writer, cinematographer, editor, performer, entrepreneur
and pioneer in experimental filmmaking in the United States. She
collaborated with Marcel Duchamp and her social circle included the
likes of Andre Breton, John Cage and Anais Nin. This enigmatic film is a
social event choreographed in the manner of a dance, illuminated by
concepts drawn from Greek legend. This is a sensual and metaphorically
elusive study of the female psyche often considered one of filmmaker's
most intriguing works. Pomo Shaman (B+W, 1964) An extremely rare and
fascinating chance to see a Pomo healing ceremony, led by Essie Parrish,
a Pomo sucking doctor and a leader of the Kashaya Pomo community near
Stewarts Point, California. Shot through holes in the walls of a
ceremonial roundhouse (so as not to interfere), the ceremony features
Parrish entering a trance and with the aid of a spiritual instrument,
she attempts to cure her patient with traditional sucking techniques.
The Kashaya agreed to the filming in order to preserve their traditions
for future generations, and continue to watch it before healing
ceremonies, believing the film is impued with Parrish's healing spirit.
N/um tchai: The Ceremonial Dance of the !Kung Bushmen (B+W, 1973) Tchai
is the word used by Ju/'hoansi to describe getting together to dance and
sing; n/um can be translated as medicine, or supernatural potency. In
the 1950's, when this film was shot, Ju/'hoansi gathered for "medicine
dances" often, usually at night, and sometimes such dances lasted until
dawn. In this film, women sit on the ground, clapping and singing and
occasionally dancing a round or two, while men circle around them,
singing and stamping rhythms with their feet. The songs are wordless but
named: "rain," "sun," "honey," "giraffe," and other "strong things." The
strength of the songs is their n/um, or medicine, thought to be a gift
from the great god. N/um is also in the fire, and even more so in the
"owners of medicine," or healers. Most Ju/'hoan men would practice as
healers at some point in their lives, and in this film we see several
men in various stages of trance. A light trance gradually deepens, as
the medicine grows "hot," and eventually some men will shriek and run
about, falling on hot coals, entering the state Ju/'hoansi call
"half-death." The film opens with a brief introduction to the role of
n/um tchai in healing and in warding off evil, followed by scenes from
one all-night dance. The dance begins with a social gathering and
becomes increasingly intense as the night wears on, finally concluding
at dawn.
9/6
Toronto, Ontario, Canada: Toronto International Film Festival
6:30pm, Jackman Hall
WAVELENGTHS 1: VARIATIONS ON...
We are honoured to launch Wavelengths '13 with the world premiere of the
Academy Film Archive's new restoration of Variations on a Cellophane
Wrapper, David Rimmer's 1970 classic of the Canadian avant-garde.
Opening with a fragment of a female factory worker as she unravels a
sheet of cellophane that then morphs into a mesmerizing wave of spectral
apparitions and alchemical and sonic permutations, Variations perfectly
sets the tone for this program of cinematic deviations. With Pop Takes,
Luther Price transforms a terrific thrift-store find into a reflexive
Warholian catwalk upon which twirling women and jaunty men sashay with
decadent, late-seventies zeal, the film's coarse optical sound and
images in negative creating a strange dissonance with the poppy
polka-dotted scene. Kenneth Anger's Airship series consists of three
short films that exhume newsreel footage of mighty dirigibles hovering
ominously in the sky, the filmmaker's characteristic fusion of magick,
symbolism, mystery, and myth — as well as the opulent use of colour and,
in the first film, anaglyph 3D — imbuing the already incredible footage
with an eerie, supernatural quality. In El Adios Largos,
artist-archivist Andrew Lampert undertakes a speculative, restoration of
Robert Altman's The Long Goodbye based on the premise that the film's
negative has been lost and the sole surviving print is incorrect in
every way: 16mm rather than 35mm, black and white instead of
Technicolor, and dubbed into Spanish. (N.B. proper prints and a negative
do exist, just not in Lampert's possession!) With dubious methods used
to achieve authenticity, El Adios Largos is at once an uncanny aesthetic
experience and a playful exploration of the philosophical conundrums
involved for those working to preserve film history for generations to
come. Finally, Scott Stark leads us through a dizzying array of
consumerist goods in his stereoscopic mannequin melodrama The Realist.
Composed of flickering still images, this entrancing romp conjures
retail worlds both familiar and strange, in which chiselled mannequins
may in fact be communing with each other amid the overwhelming array of
apparel. Whether viewed as consumerist critique or spellbinding,
operatic fantasy, The Realist employs a deft binary structure that skews
toward the metaphysical.
---------------------------
SATURDAY, SEPTEMBER 7, 2013
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9/7
Austin, TX: Experimental Response Cinema
http://ercatx.org
8:30pm, Farewell Books, 913 E Cesar Chavez
TESLA COILS! CAMERA ROLLS! TOKYO! AND A GRAMOPHONE! – JOEL
SCHLEMOWITZ IN PERSON
Experimental Response Cinema and Farewell Books are happy to host NY
filmmaker Joel Schlemowitz! Joel Schlemowitz is an experimental
filmmaker based in Brooklyn, NY. - Program - Scenes from a visit to
Japan, 14min / super-8 to digital / sound / 2011, A short travelogue,
shot in super-8, divided in three sections. Eschewing narration, a
poetic documentary, conveying impressions and invoking a short moment of
elegy to the recent suffering in Japan through the aesthetic concept of
yugen (evocation by what is left unsaid). - In Springtime, 3min / 16mm /
silent / 2012, A 16mm camera roll. The change of seasons, in Prospect
Park, Brooklyn. - Teslamania, 6min / 16mm / sound /2007, Two camera
rolls shot at the Collective Unconscious during a performance of
"Teslamania" featuring Gecko Saccomanno and Tesla Coil Engineer Jamie
Mereness. Music by Dorit Chrysler. Best Experimental Short, Dallas Video
Festival, 2008 - Chimera, 6min / 16mm / live sound / 2012, Illusions
made manifest through light and shadow. - Dame Darcy – a film
portrait, 5min / 16mm / live sound / 2007, A short 16mm portrait of
comic book artist and performer Dame Darcy. On the soundtrack, a
turn-of-the-last-century recording from a 78rpm record. - Loudmouth
Collective / Ugly Duckling Presse, 20min / 16mm / sound / 2003, A
film-portrait of the Loudmouth Collective and Ugly Duckling Presse.
These poet-provocateurs are the creators of the infamous "Anti-Reading"
series, a carnival-like alternative to the traditional poetry reading.
Best Documentary Short, Chicago Underground Film Festival, 2004 -
Victrola Cinema, 3min / 16mm / live sound / 2010, A tableaux vivant. The
sound of the victrola employed "live" for screenings, utilizing the
Vitaphone sound system. Created as part of Residency Unlimited: Special
Features.
9/7
Brooklyn, NY: Light Industry
http://www.lightindustry.org/
7:30pm, 155 Freeman Street
AARON FLINT JAMISON PRESENTS THREE VIDEOS BY GEORGE KUCHAR
Rainy Season, George Kuchar, video, 1987, 29 mins, Creeping Crimson,
George Kuchar, video, 1987, 13 mins, Evangelust, George Kuchar, video,
1987, 35 mins - The films that I've chosen here were recorded in the
fall of 1987, a perhaps undercelebrated period of George's work when he
and his brother Mike were spending time with their mother who was sick
and in the hospital. - George Kuchar makes incredible self-portraits.
It's complicated business, certainly, as these three films reveal. The
way George interfaces with the camera is self-deprecating, human,
hilarious, heartbreaking, and intimate. This is the most honest
self-portraiture that I know, and here in the 1987 works Rainy Season
and Creeping Crimson, we see a very frank version of it. Evangelust, one
of the films he made with SFAI students, is a departure from the diary
pieces but displays similar mannerisms. - My friend Mary Pacios, who
edited Cinematic Cesspool, recently told me in her thick Boston accent
that the way George chose his "picture stars" was that he cast
people who were, "down and out emotionally, in the gutter." He
had a sniffer for finding individuals who were not doing well in their
everyday lives. He would put them in front of the camera, and suddenly
they were stars. - My ideas of who George was are so closely tied to the
hundreds of self-portraits littered through the body of work that I
can't separate the performance from the person. I was one of the
thousands of students he taught. I feel incredibly lucky. Sometimes he
would stick his camera in front of my face, and I would run away. This
response is one of the very few things that I regret in my life. - -
Aaron Flint Jamison - Tickets - $7, available at door. - Please note:
seating is limited. First-come, first-served. Box office opens at 7pm.
9/7
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
6:00 pm, 32 2nd Avenue
LAWRENCE JORDAN PROGRAM 3
THE ONE ROMANTIC VENTURE OF EDWARD (1956, 8 min) TRUMPIT (1956, 8 min)
SPECTRE MYSTAGOGIC (1957, 8 min) UNDERTOW (1956, 7 min) THE SOCCER GAME
(1959, 5 min) PORTRAIT OF SHARON (1960, 7 min) THE 40 AND 1 NIGHTS
(1962, 6 min) BIG SUR: THE LADIES (1964, 3 min) THE DREAM MERCHANT
(1964, 3 min) EIN TRAUM DER LIEBENDEN (1964, 6 min) RODIA-ESTUDIANTINA
(1964, 4 min) JEWEL FACE (1964, 6 min) TRIPTYCH IN FOUR PARTS (1958, 12
min) Total running time: ca. 90 min
9/7
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
8:15 pm, 32 2nd Avenue
LAWRENCE JORDAN PROGRAM 4
ONCE UPON A TIME (1974, 12 min) SACRED ART OF TIBET (1972, 28 min)
CORNELL, 1965 (1965-79, 8 min) CARABOSSE (1982, 3 min) POET'S DREAM
(2005, 5 min) THE MIRACLE OF DON CRISTOBAL (2009, 11 min) Total running
time: ca. 75 min
9/7
Toronto, Ontario, Canada: Toronto International Film Festival
8:30pm, Jackman Hall
WAVELENGTHS 2: NOW &THEN
Proposing simplicity as a radical antidote to today's fervent desire for
intricacy, these films and videos draw upon either a collaborative
process or an intimate subjective encounter to explore the
correspondence between images and their perception. Exquisitely shot on
16mm in the French countryside near Avignon, Hannes Schüpbach's Instants
explores the nature of spontaneous time as related to the thinking of
French writer Joël-Claude Meffre, transcending portraiture as it not
only records the poet working, but also develops a memory of its own.
Pepper's Ghost, by Torontonian Stephen Broomer, transforms an office
formerly used for observation studies into a tunnel of performative,
transfixing illusionism, creating surprising images using filters,
fabric and a combination of sunlight and fluorescents. Recalling
Slidelength (1969-71), Michael Snow's slideshow of plastic gels and hand
gestures, Pepper's Ghost is a prolonged expression of demystified
mystification, whose startling results are bolstered by a bold
soundtrack. A contemporary version of Muybridgean motion studies meets
Duchamp's Nude Descending a Staircase in Ruben Glauser, Max Idje and
Christophe M. Saber's Homme en movement, 2012. Constructed from the
delays in real-time video feedback and recorded onto black-and-white
16mm, the film forms a multiple space via the shifting angles of view in
the mysterious passages of a video eye. Naoko Tasaka's sphinx-like
Flower unfolds like a children's story before it plumbs the depths of
both a physical and metaphorical surface, as straightforward narration
gives way to sublimated abstraction. Employing a number of multi-format
techniques, Flower displays a compelling, duelling impulse that hovers
between a grid and a waterfall. Constellations, a recent grouping of
16mm colour silent blow-ups by Super 8 artist Helga Fanderl, returns us
to the natural world, whose beauty has been observed and rendered with a
profound curiosity, a patient gaze and an extraordinary ability to
capture visual patterns and textures. Whether following at close range
the semi-circular motion of a handsome, pacing leopard, its spots
evoking rhythmic patterns through Fanderl's intuitive shooting process,
or closely studying a tray of glassware on a ship as the sea reflects
and refracts through the crystalline shapes, the artist fully gives
herself over to the present moment and allows us to bask in it.
-------------------------
SUNDAY, SEPTEMBER 8, 2013
-------------------------
9/8
Chicago, IL: Onion City Experimental Film and Video Festival
2:00pm, Music Box Theatre, 3733 N. Southport Ave
ONION CITY - THE REALIST & EMPIRE
The 25th Onion City Experimental Film and Video Festival, The Realist
& Empire - Sunday, September 8 - 2pm, Music Box Theatre - The
Realist (2013, US, 36 min, Digital) Scott Stark - "The Realist is an
experimental and highly abstracted melodrama, a "doomed love
story" storyboarded with flickering still photographs, peopled with
department store mannequins, and located in the visually heightened
universe of clothing displays, fashion islands and storefront windows.
[…] The Realist is a soaring visual romp peppered
with turgid melodramatic moments, flickering visual rhythms that border
on abstraction, and seductive images of commercial products with their
dubious promises of physical nourishment and fashionable allure. In the
process, It examines our own relationship to consumerist culture: we see
in these commercial displays idealized, pre-packaged renderings of our
own needs, desires and identities. Perhaps on some level we, too,
communicate and define ourselves in the same way that the mannequins
do\; we are what we buy." (Scott Stark) - Empire (2012, US, 48 min,
Digital) Phil Solomon - "A re-make of Andy Warhol's Empire from high
atop the Manhattan Island of Grand Theft Auto IV ("Liberty City"), far
from the madding crowd of thieves, cops, prostitutes and murderers down
below. I hijacked a copter, leaped onto the rooftop of an adjacent
building, spawned a scooter out of the thin air and then gingerly drove
it to the very edge of the precipice in order to roughly approximate
that familiar view from July 25-26, 1964. And then I put the controller
aside and did exactly nothing for 24 hours (48 minutes in our world). A
day of rest and bordered inaction. And lo and behold, the Overseers
appear to have accounted for someone, somewhere doing exactly this,
resisting the game's narrative intention toward movement and action.
Again and again, for 40 days and 40 nights, I was privy to a very
different apperception of time and light, but one that was already
embedded into the game's code, if for no other existential purpose than
to act as a gradually shifting rear screen projection for the street
level mayhem. A thunderstorm threatens, then clears. High winds blow
errant pieces of limned debris. Golden waters sparkle and dance as the
west-turned sun sets in the rosy-fingered dusk. Night comes in.
Mechanical fireflies and custodial lights dot the void. The moon (twice)
comes out to play. The night canopy is gradually withdrawn, as the
morning light of weekday commuting burnishes in from the east. As we
approach full circle, the blue afternoon gradually reveals the Building
in its final iconic silhouette state, as a single plane appears and
flies across the horizon line, doomed to repeat its fated flight path in
eternal recurrence." (Phil Solomon) (84 min total)
9/8
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
11:00 am , 32 2nd Avenue
CIRCUS SAVAGE
PROGRAM 5: CIRCUS SAVAGE 2009, 720 min, 16mm-to-video INTRODUCED BY
LAWRENCE JORDAN! EAST COAST PREMIERE! This remarkable, 12-hour-long
work, here receiving its NYC premiere, is a truly career-spanning
creation, spinning a lifetime of cinematic production into an epic,
all-encompassing, immersive experience. Whether you spend the whole day
and night in Jordan's world, or choose to sample particular (or
multiple) passages, this is an event that's not to be missed! "I have
woven together a vast river of image and sound from all the unused film
material piled up in my studio since 1952. In essence this is my visual
autobiography. There are clips from strange and unusual films, all the
outtakes from all my films, as well as all the uncompleted projects. The
sound makes no attempt to comment on the picture, but goes its own way:
See a rose, hear a bomb. To me there is a wonderful counterpoint,
continually bristling with surreal innuendo." –L.J.
9/8
Oakland: Shapeshifters Cinema
http://shapeshifterscinema.com/
8-9PM, Temescal Art Center, 511 48th St, Oakland, CA
SHAPESHIFTERS CINEMA PRESENTS DYEMARK
dyemark is Steven Dye, a multi-disciplinary artist working with sound,
projection, and live performance. Much of his work is collaborative,
incorporating musical and theatrical performance, live accompaniment for
film, instrument building, field recordings, found footage, camera-less
film making and expanded cinema techniques, and includes site specific
sound and light installations. His work can be described as a direct
engagement with the materials and apparatus of sound and projection.
Developing dynamic compositions by manipulating sound and light to
explore the relationships between what we hear and what we see. Steve
Dye is a member of the performing arts groups Wet Gate, and
Epic[Abridged], and is a frequent contributor to the Illuminated
Corridor project.
9/8
Toronto, Ontario, Canada: Toronto International Film Festival
7pm, Jackman Hall
WAVELENGTHS 3: FARTHER THAN THE EYE CAN SEE
A sense of geographic, spatial and historical freefall attends this
programme of works that takes its title from Basma Alsharif's video.
Visually gripping and intelligently constructed, Farther Than the Eye
Can See continues Alsharif's essayistic explorations of statelessness
through a tale of a mass exodus of Palestinians from Jerusalem recounted
over a dense, stroboscopic cityscape. A different stroboscopic effect is
achieved in Philipp Fleischmann's Main Hall, which uses nineteen
specially designed cameras to record the space inside the main
exhibition hall of the Vienna Secession. While this bastion of modernity
has been crucial to the development of Minimalism and Conceptual Art,
film has eluded its mandate; Main Hall adds a purely cinematographic
gesture (à la Gordon Matta-Clark) to the space's history by having it
look at its own architecture. Overlapping light and space continue in
Tomonari Nishikawa's 45 7 Broadway, which captures the paralyzing pace
and conflicting rhythms of Times Square. Shot on black-and-white 16mm
through red, green and blue filters, then optically printed onto colour
film through these same filters, 45 7 Broadway is less jazzy than
Mondrian's Broadway Boogie Woogie but equally eyepopping in its colour
and illusionistic effect. With a focus on a decidedly less populated
though uncanny urbanscape, in Bann Nina Könnemann clandestinelyobserves
the increasingly ostracized smokers in London's financial district, her
keen eye and mischievous editing creating a portrait of alienation,
self-consciousness, and perhaps even shame. A raw, personal,
confessional narration undercuts the abstract images in Polish artist,
musician and poet Wojciech Bakowski's interlaced video collage Suchy
Pion. Condensing home videos into blocks of abstraction, Bakowski
creates a startling account of depression, numbness and paradoxical
lucidity. Sarah J. Christman continues her 16mm ecological studies with
Gowanus Canal, in which contamination and compression of refuse intimate
a stultifying state for one of the most polluted bodies of water in the
United States. In Carlos Motta's award-winning Nefandus, a pristine
flowing river in the Colombian Caribbean suppresses a tainted history of
"wild" beauty and colonialist religious and sexual subjugation. An
evocative essay on pre-conquest homoeroticism, Nefandus searches for
traces of untold stories and stigmatized historical accounts.
9/8
Toronto, Ontario, Canada: Toronto International Film Festival
1pm, TIFF Bell Lightbox 4
THREE LANDSCAPES AND SONG AND SPRING
As an antidote to the frenzied Festival pace, Wavelengths offers this
all-silent programme — a diptych by Nathaniel Dorsky paired with the
much-anticipated new film by Peter Hutton — to renew the senses and
recalibrate the pulse. Films in Three Landscapes and Song and Spring.
Three Landscapes: Peter Hutton Shot on 16mm, this wondrous silent film
study from avant-garde master Peter Hutton (At Sea) observes human
movement across three distinct landscapes: Detroit, along the Hudson
River Valley and in the Dallol Depression in Ethiopia. Song: Nathaniel
Dorsky Shot in San Francisco from autumn of last year through the winter
solstice, Nathaniel Dorsky's Song evinces a cool, mysterious tone as it
captures the pulse (supernal at 18fps) of the city. Spring: Nathaniel
Dorsky Nathaniel Dorsky's Spring conjures an abundant return of light
and a retreat into nature so dense and rich that the film itself becomes
a sort of wondrous garden-verdant, incandescent, with startling bursts
of colour.
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