[Frameworks] This week [March 22 - 30, 2014] in avant garde cinema
Weekly Listing
weeklylisting at hi-beam.net
Sat Mar 22 18:12:25 UTC 2014
This week [March 22 - 30, 2014] in avant garde cinema
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NEW CALLS FOR ENTRIES:
=====================
The Journal of Short Film Volume 33 (Columbus,
Ohio, USA; Deadline: March 28, 2014)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1680.ann
The Journal of Short Film Volume 34 (Columbus,
Ohio, USA; Deadline: May 02, 2014)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1681.ann
WNDX Festival of Moving Image (Winnipeg,
Manitoba, Canada; Deadline: May 31, 2014)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1682.ann
ARTErra residency (Tondela (portugal); Deadline: April 15, 2014)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1683.ann
Antimatter [Media Art] (Victoria, BC, Canada; Deadline: July 25, 2014)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1684.ann
Ottawa Internaitonal Animation Festival (Ottawa,
ON, Canada; Deadline: May 18, 2014)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1685.ann
DEADLINES APPROACHING:
=====================
Winnipeg Underground Film Festival (Winnipeg, MB,
Canada; Deadline: March 31, 2014)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1651.ann
Home Grown Shorts (Boston, MA, USA; Deadline: March 22, 2014)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1667.ann
the PICTURE show (Brooklyn, NY, USA; Deadline: March 24, 2014)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1671.ann
CrabbyClips Film Fest (Owings Mills, MD; Deadline: April 01, 2014)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1672.ann
VIDEO ART FESTIVAL MIDEN (Kalamata, Greece; Deadline: March 31, 2014)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1676.ann
Cinecity 2014 (Worldwise; Deadline: April 04, 2014)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1677.ann
ANIMATOR International Animated Film Festival
(Poznan, Poland; Deadline: March 24, 2014)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1678.ann
Forbidden Film Festival (Austin, TX; Deadline: April 15, 2014)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1679.ann
The Journal of Short Film Volume 33 (Columbus,
Ohio, USA; Deadline: March 28, 2014)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1680.ann
ARTErra residency (Tondela (portugal); Deadline: April 15, 2014)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1683.ann
THIS WEEK'S PROGRAMS (SUMMARY):
==============================
* Broken Beauty: A Show About Glitch [March 22, Atlanta, Georgia]
* Stephanie Barber's Jhana and the Rats of
James Olds [March 22, Austin, Texas]
* Fmc Presents Films By Anja Czioska At
Spectacle [March 22, Brooklyn, New York]
* New Works Salon [March 22, Los Angeles, California]
* James Broughton Program 1 [March 22, New York, New York]
* Big Joy [March 22, New York, New York]
* Zizek: the Pervert's Guide To Ideology
[March 22, San Francisco, California]
* David Rimmer I: Surfacing [March 22, Toronto, Ontario, Canada]
* Collaboration With Nature: Films Made With
Natural Processes [March 22, Tucson, AZ]
* Ontological Mystery Cinema! [March 23, Austin, TX]
* A Spell To Ward off the Darkness [March 23, Cambridge, Massachusetts]
* James Broughton Program 2 [March 23, New York, New York]
* Big Joy [March 23, New York, New York]
* David Rimmer ii: Variations [March 23, Toronto, Ontario, Canada]
* F.P. Boué - Building Blocks: Maillart From
the Ground [March 24, Brooklyn, New York]
* White Cube/Black Box: John Baldessari,
Brakhage & Fisher [March 24, New York, New York]
* Farewell Ve(Ra: Daisies/Automat SvT/The
Fruits of Paradise [March 24, Oakland, California]
* Winter ? Alone [March 25, New York, New York]
* Winter | Alone At the Film-Makers'
Cooperative [March 25, New York, New York]
* Ulrike Ottinger's "Dorian Gray In the Mirror
of the Yellow Press" [March 26, New York, New York]
* Sound/Film Performance By Jefre Cantu-Ledesma & Paul Clipson (Opening For
How To Dress Well and Forest Swords) [March 26, New York, New York]
* Vanishing Presence: A Program of Films Selected By Mark Wilson (Canyon
Salon March 2014) [March 26, San Francisco, CA]
* {Extreme Southern Culture Part 3} the
Dancing Outlaw [March 26, Tucson, AZ]
* Christiane Paul: Genealogies of the New
Aesthetic [March 27, Chicago, Illinois]
* La Air: Miko Revereza [March 27, Los Angeles, California]
* Gaze #7: Generation Loss [March 27, San Francisco, California 94110]
* Tortured Dust [March 28, New York, New York]
* Latin American Film Festival [March 28, Ottawa, Ontario]
* Distant Star: Sound/Film Performances By Jefre Cantu-Ledesma, Byron
Westbrook and Paul Clipson + Reel Book [March 29, Brooklyn, New York]
* Robert Schaller's Celluloid visions [March 29, Los Angeles, California]
* Celluloid visions [March 29, Los Angeles, California]
* Christian Divine's "80's Imperialist Cinema"
[March 29, San Francisco, California]
* Disappearing Cultures Wounaan: A People of
the Rainforest [March 29, Tucson, AZ]
* Joke On A Joke Hosted By Ben Coonley [March 30, Brooklyn, New York]
Events are sorted by CITY within each DATE.
------------------------
SATURDAY, MARCH 22, 2014
------------------------
3/22
Atlanta, Georgia: Contraband Cinema
http://contrabandcinema.com
8:00, 696 Charles Allen Drive
BROKEN BEAUTY: A SHOW ABOUT GLITCH
Come join us on March 22nd 8pm at Beep Beep Gallery for our first
Contraband Cinema screening of the spring season, Broken Beauty: A Show
On Glitch! Punks of the video world, glitch artists, use a wide array of
new and old technologies to rebel against the hyper-slick and glossy
world of contemporary media. Using their VCR's binary code, circuit
boards, gaming consoles and video mixers, they strive to find the soul
of the machine while showing viewers that broken is beautiful!
Contraband Cinema will be presenting works by Tachyons +, Great Nordic
Sword Fights, Big Pauper and local artists Michael Betancourt, Adam
Bruneau, Anna Spence and Chris Chambers will be in attendance!
3/22
Austin, Texas: Experimental Response Cinema
http://ercatx.org
7:00pm, Tiny Park, 1101 Navasota Street, Suite 2
STEPHANIE BARBER'S JHANA AND THE RATS OF JAMES OLDS
This is the second event with Stephanie Barber in person. Between June
25th and August 7th 2011 Stephanie Barber moved her studio into the
Baltimore Museum of Art where she created a new video each day in a
central gallery open to museum visitors. The goal of this project,
entitled Jhana and the rats of James Olds or 31 days/31 videos, was to
create a series of short, poetic videos in the playful and serious
footprints of Oulipo g...ames and daily meditations; creating one new
video each day. The exhibit was both a constantly changing installation
as well as a collaborative performance in which museum visitors were
present as spectator and often creative partner. Join us as Stephanie
Barber presents a number of videos from this project!
3/22
Brooklyn, New York: Filmmakers Coop
7:00pm in EDT, 124 S. 3rd Street
FMC PRESENTS FILMS BY ANJA CZIOSKA AT SPECTACLE
FMC PRESENTS FILMS BY ANJA CZIOSKA Dir. Anja Czioska, 1991-1997
USA/Germany, approx. 46 min, 16mm ONE NIGHT ONLY!... SATURDAY, MARCH 22
- 7:00 PM 16mm projection! Presented by the Film-Makers' Cooperative,
with an introduction by FMC Director MM Serra. Anja Czioska, born 1965,
is a German-born filmmaker, performance artist and curator. She was a
student at Städelschule Frankfurt under Kasper
König and Peter Kubelka, and is co-founder and co-director
of the Kunstverein Familie Montez, an important institution of the
contemporary art scene in Frankfurt. This program of shorts will be
comprised of thirteen films Czioska made between 1991 and 1997. Moments
of everyday life captured not unawares, but performed provocatively for
the camera. The films, all under eight minutes, most shot on Super-8 and
some hand-developed, have a common theme of nakedness; not only
literally. They are unpretentious and unabashedly running
over⦠SHIWA (1991) S-8 blown up to 16mm, b/w, sound,
3 min. Music is Ataypura by Yma Sumac. "You can see light
film⦠and maybe a wonderful naked body."
-AC FILM SCRIBBLES: BIRGIT SHOWER, LONDON (1993) S-8 blown up to 16mm,
b/w, silent, 3 min. "Birgit takes a shower with an old thing
that is normally used to boil water." -AC FILM SCRIBBLES:
FÃáºE IM MEER (FEET IN THE SEA) (1992)
S-8 blown up to 16mm, b/w, silent, 3 min. "You can see feet and
hands in the North Sea water. It comes and goes in a poetical
way." -AC FILM SCRIBBLES: IM GRAS (IN THE GRASS) (1994) S-8
blown up to 16mm, b/w, silent, 3 min. "Anja wears only a
rubbermask in the grass." -AC FILM SCRIBBLES: SHOWER, ROTTERDAM
(1991) S-8 blown up to 16mm, b/w, silent, 3 min. "Debut shower.
The camera on a tripod on the 'timer' and I move very slowly so that the
viewer has the impression that something is wrong." -AC FILM
SCRIBBLES: DACH (ROOF) (1994) 16mm, hand-developed, b/w, silent, 3 min.
"Roofs of San Francisco. This is the filming of a friend, Inga
and myself sunbathing and playing with the camera." -AC FILM
SCRIBBLES: DUSCH (SHOWER) (1994) 16mm, hand-developed, b/w, silent, 3
min. "This is the same type of movie that achieved in Rotterdam
in 1991. I tried to film me while I took a shower, but the mist and fog
are overriding factors." -AC FILM SCRIBBLES: UNTERWASSER
(UNDERWATER) (1994) 16mm, hand-developed, b/w, silent, 3 min.
"I shot from the water holding my camera in hand. The film is
projected upside down, so that you feel that I drink all the water
around me. Some movies make me look like a dead person in the water,
others show me trying to catch my breath." -AC JONAS MEKAS,
FRIDAY 13. OKT. 1995 NYC (1995) 16mm, b/w, silent. 6 min.
"Jonas, Birgit and Anja take a trip to the Brooklyn Bridge.
Taxi driving, beer buying, drinking, doing funny things and dancing. It
was a nice afternoon." -AC BOLERO (1995) 16mm, color, sound. 7
min. Music is Bolero by Ravel. "Timo is Sybille. They get
married. Romantic film performance-dance in a gravel pit." -AC
PRINCESS MARINA (1996) 16mm, color, sound. 3 min. Music is Marina by
Rocco Granata. "Marina eats a carrot. Marina is a Princess.
Marina is naked." -AC ION DANCE (1997) S-8 blown up to 16mm,
b/w, silent. 3 min. "Ion Garnica is a dancer of the Frankfurt
Forsythe Ballet. It's a naked dance improvisational performance only for
the camera." -AC ION SHOWER (1997) S-8 blown up to 16mm, b/w,
silent, 3 min. "Ion Garnica, sweaty after dancing, takes a
shower." -ACSee More
3/22
Los Angeles, California: Echo Park Film Center
http://www.echoparkfilmcenter.org/
8 pm, 1200 N. Alvarado St.
NEW WORKS SALON
$5 / The New Works Salons series is a casual forum for the presentation
and discussion of new works in film and video, with local and visiting
artists in-person to introduce their work. Penelope Uribe-Abee will show
a new Super 8 film: "for about 30 years, my Uncle has swept floors,
cleaned bathrooms, and taken out trash on different parts of the UCLA
campus. As of now, he cleans the Art buildingwhere I coincidentally
study. I find it very comforting that my Uncle cleans the building I
work in, and from 5pm-2am he sweeps up the dust that falls from my
shoes, or takes care of the trash I left behind that day. He is like a
sandman who comes at night, I am aware and grateful for his presence. To
other students, custodians are invisible and my Uncle's hard work is
unknown to them. It is important to me to document his experience at
UCLA before he leaves. Rick Bahto will show excerpts from his new work
Concert, an hour-long Super 8 film made up of small performances in his
bedroom using materials at hand. Kate Brown will show a series of short
Super 8 and 16mm films used as part of A One Woman Nutcracker, a
collaborative performance host by Machine Project on Valentine's Day
this year. Also showing, Micah Lexier's This One, That One, which
premiered as part of a survey exhibition of his work at the Power Plant
in Toronto. The work explores the concepts of collecting and ordering
seen that ran throughout the exhibition.
3/22
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
5:30 pm, 32 2nd Ave.
JAMES BROUGHTON PROGRAM 1
Presented in conjunction with Anthology's screenings of BIG JOY: THE
ADVENTURES OF JAMES BROUGHTON, on Friday, Saturday, and Sunday, March
21-23. MOTHER'S DAY (1948, 22 min, 16mm) THE BED (1968, 19 min, 16mm)
NUPTIAE (1969, 14 min, 16mm) THE GOLDEN POSITIONS (1970, 32 min, 16mm)
THIS IS IT (1971, 10 min, 16mm) Total running time: ca. 100 min.
3/22
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
8:00 pm, 32 2nd Ave.
BIG JOY
See notes for March 21, 8 pm.
3/22
San Francisco, California: Other Cinema
http://www.othercinema.com/
8:30pm, 992 Valencia Street
ZIZEK: THE PERVERT'S GUIDE TO IDEOLOGY
Opening our Intelligence Agents initiative, cultural
theorist-cum-rockstar Slavoj Zizek re-teams with director Sophie Fiennes
for a wildly entertaining romp through the crossroads of cinema and
philosophy. With infectious zeal and a voracious appetite for popular
culture, Zizek literally goes inside some iconic movie sets to explore
how these stagings reinforce prevailing ideologies. Epic narratives,
action pictures, youth movies, as well as propaganda pieces from Nazi
Germany and Soviet Russia all inform Zizek's provocative and often
hilarious psychoanalytic rants. The screening is framed by the
neighborhood's own radiant raconteur, Prof. David Cox.
3/22
Toronto, Ontario, Canada: Toronto International Film Festival
http://tiff.net/filmsandschedules/tiffbelllightbox/2014/2550013009
7:00 PM, TIFF Bell Lightbox, 350 King Street West
DAVID RIMMER I: SURFACING
The first part of our two-night retrospective devoted to the Canadian
avant-garde great spotlights Rimmer's gorgeous landscape films. Free.
3/22
Tucson, AZ: Exploded View
http://explodedviewgallery.org
7:30, 197 E Toole Ave
COLLABORATION WITH NATURE: FILMS MADE WITH NATURAL PROCESSES
Julie Perini, Eric Stewart & Amy Harwood in person! Direct filmmaking
meets environmental action in a program of films using organic and
inorganic material to alter the film surface. Co-presented by Signal
Fire, an organization engaging artists in our remaining wild and open
spaces, this collection shows a range of effects used to intervene on
the actual film exposure and processing: decay, spore hosting, compost,
exposure to bioluminescent plants, processing in polluted lakes,
magnetic alteration, and more. The program includes work by Dorothea
Braemer & Brian Milbrand, Dagie Brundert, Caryn Cline, Devon Damonte,
Lori Felker, Melissa Friedling, Eva Kolcze, Robbie Land, Christine Lucy
Latimer, Julie Perini, Jeremy Rendina and Ken Paul Rosenthal.
----------------------
SUNDAY, MARCH 23, 2014
----------------------
3/23
Austin, TX: The Mad Stork Cinema
http://themadstorkcinema.tumblr.com
8:00pm, Texas Union Theater, 2247 Guadalupe St
ONTOLOGICAL MYSTERY CINEMA!
The Mad Stork Cinema presents its first screening of the year!
Ontological Mystery Cinema surveys works of video artists pondering
strange, post-apocalyptic, techno-centric and toxic future realities.
With work by Bobby Abate, Steven Matheson and featuring Leslie
Thornton's legendary Peggy and Fred in Hell!
3/23
Cambridge, Massachusetts: Harvard Film Archive
http://hcl.harvard.edu/hfa
7pm, 24 Quincy Street
A SPELL TO WARD OFF THE DARKNESS
$12 Special Event Tickets Ben Russell in person Over the past decade,
Ben Rivers and Ben Russell have become known each for their distinct
blends of experimental film, documentary and ethnography. The work of
Rivers (b. 1972) has often focused on dreams of remote hinterlands and
on non-conformists who seek to forge private kingdoms of their own.
Meanwhile, Russell (b. 1976) has channeled the spirit of Jean Rouch,
seeking the extreme and the sublime at raucous rock shows as well as in
the desert and the jungle. A Spell to Ward off the Darkness is at once
the joint project of two friends and the first collaboration between two
rising stars of contemporary cinema. The film itself is a triptych of
three complementary yet purposely distinct parts, tracing a trajectory
through three distinctive spaces, whether rural or urban, primitive or
modern. It is left to the viewer to make connections among the three
sections, aside from the distinctive presence of artist-musician Robert
A.A. Lowe (aka Lichens) in all three parts, acting as a guide inside the
film for the viewer. Part trance film, part meditation, A Spell to Ward
Off the Darkness can be seen as a synthesis of the work of its two
directors, combining the haunting beauty of Rivers' film with the
hallucinatory charge of Russell's. It shows both artists breaking new
ground as they jointly grapple with the various kinds of utopia
previously explored in their respective work. Directed by Ben Rivers and
Ben Russell France/Estonia/Norway/Finland 2013, digital video, color, 98
min This screening is presented in conjunction with a series of events
presented by the Film Study Center of Harvard, Balagan Films, the
DocYard and Non-Event. Monday March 24 at 7pm: The Shorts of Ben Russell
and Ben Rivers at the Brattle Theatre:
http://thedocyard.com/2013/12/the-shorts-of-ben-russell-and-ben-rivers-2
/ Tuesday March 25 at 9pm: sound + 16mm performance by Robert A.A. Lowe
(of Lichens) and Ben Russell at Middlesex Lounge in Cambridge:
http://middlesexlounge.us
3/23
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
6:15 pm, 32 2nd Ave.
JAMES BROUGHTON PROGRAM 2
Presented in conjunction with Anthology's screenings of BIG JOY: THE
ADVENTURES OF JAMES BROUGHTON, on Friday, Saturday, and Sunday, March
21-23. COLLABORATIONS WITH JOEL SINGER: TOGETHER (1976, 3 min, 16mm,
b&w) SONG OF THE GODBODY (1977, 11 min, 16mm) THE GARDENER OF EDEN
(1981, 8.5 min, 16mm) DEVOTIONS (1983, 22 min, 16mm) SCATTERED REMAINS
(1988, 14 min, 16mm) Total running time: ca. 65 min.
3/23
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
8:00 pm, 32 2nd Ave.
BIG JOY
See notes for March 21, 8 pm.
3/23
Toronto, Ontario, Canada: Toronto International Film Festival
http://tiff.net/filmsandschedules/tiffbelllightbox/2014/2550013010
7:00 PM, TIFF Bell Lightbox, 350 King Street West
DAVID RIMMER II: VARIATIONS
Rimmer's classic Variations on a Cellophane Wrapper anchors this
programme of stunning found-footage works. Free.
----------------------
MONDAY, MARCH 24, 2014
----------------------
3/24
Brooklyn, New York: Microscope Gallery
http://www.microscopegallery.com
7pm , 4 Charles Place (at Myrtle btwn Bushwick & Evergreen)
F.P. BOUé - BUILDING BLOCKS: MAILLART FROM THE GROUND
artist in person, admission $6. Microscope welcomes New York-based
artist F.P. Boué to the gallery for the first US film/video
screening/loop installation of his "Maillart From The Ground" series,
featuring original footage of constructions by the Swiss civil
engineer/architect known primarily for his revolutionary work with
reinforced concrete. Boué illuminates both in color HD and b&w Super 8
Maillart's Töss bridge in Winterthur Switzerland in the looping video
/film double projection installation "Töss". In "Maillart vom Boden aus
(Maillart From The Ground)", Boué has recorded seven of Maillart bridges
and a concrete ceiling in various locations throughout Switzerland.
Despite the significance in architectural history of Maillart's
structures, some have now neglected, endangered, or have recently been
demolished."Boué's work is motivated by a concern with the reciprocal
translation between the two-dimensional representation of architecture
and its three-dimensional reality
." Dan Sherer. F.P. Boué was born in
Marburg, Germany and studied linguistics, the history of art,
architecture and film in London and Paris. He lives and works in New
York and has been showing three-dimensional works involving
architecture, landscape and urban situations since 1981. His work has
been exhibited at Galleria Luigi Deambrogi, Milan; Galerie Chantal
Crousel, Paris, Galerie Corinne Hummel, Basel; Centro Galileo, Madrid;
Markus Winter, Berlin; Participant Inc., New York. He began showing
films in 1999. His films have been exhibited at the Museum of Modern
Art, New York; Kunstmuseum, Bern; Shedhalle, Zürich; Künstlerhaus,
Stuttgart; Anthology Film Archives, New York; Museum für Moderne Kunst,
Frankfurt; New Museum, New York; and Tate Modern, London. more info:
www.microscopegallery.com. Nearest Subway: J/M/Z Myrtle/Broadway, other
options L Morgan Ave, B54. tel: 347.925.1433.
3/24
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:30 pm , 32 2nd Ave.
WHITE CUBE/BLACK BOX: JOHN BALDESSARI, BRAKHAGE & FISHER
Bridging the gap between the white walls of the gallery and the
immersive darkness of a movie theater, Anthology's new, ongoing series
WHITE CUBE / BLACK BOX seeks to create a dialogue between films made by
visual artists and works by experimental filmmakers. These differences
are multivalent and not easily defined; this series aims to be a
starting point for an exchange between these two arguably
arbitrarily-separated categories by presenting them side-by-side to
investigate their similarities, differences, and histories. Tonight's
program pairs films that are boldly self-reflexive investigations of
cinematic illusionism. Baldessari's SCRIPT and Morgan Fisher's THE
DIRECTOR AND HIS ACTOR
hover between structural film and conceptual
art, while Brakhage's BLUE MOSES is an over-the-top theatrical
deconstruction. The first section of Baldessari's four-part SCRIPT
presents the text of scenes from four commercial movie scripts
(including SUNSET BOULEVARD); in the second and third sections we see
seven pairs of Baldessari's CalArts students act out these scenes with
neither direction from Baldessari nor any knowledge of how the others
are performing the scenes; while in the final section we see the
"director's cut", a compilation of the best performances of each
segment. The whole is a repetitious but playful exercise in the dramatic
possibilities that the text of a script can hold, and one that lays bare
the elements of narrative movie-making. Fisher's film, in which a
director and his actor comment on the rushes of a film we've earlier
seen being shot, is imbued with the same self-reflexivity. BLUE MOSES,
the only film in Brakhage's massive oeuvre to utilize synchronized
speech, hinges on parody as its actor entices us into a loose narrative
only to disassemble its parts, expose its illusion, and tout the
presence of a filmmaker behind every shot. The actor states, "Look, this
is ridiculous. I'm an actor.
You're my captive audience. I'm your
entertainment, your player. This whole film is about us." Stan Brakhage
BLUE MOSES (1962, 11 min, 16mm, b&w) Morgan Fisher THE DIRECTOR AND HIS
ACTOR LOOK AT FOOTAGE SHOWING PREPARATIONS FOR AN UNMADE FILM (1968, 15
min, 16mm, b&w) & John Baldessari SCRIPT 1974, 51 min, 16mm-to-video,
b&w Total running time: ca. 80 min.
3/24
Oakland, California: black hole cinematheque
7:30pm in PDT, 1038 24th st
FAREWELL Ve(RA: DAISIES/AUTOMAT SVT/THE FRUITS OF PARADISE
RIP Ve(ra Chytilová (2 February 1929 12 March 2014) a memorial
marathon screening of some of her most loved early works (more info tba)
-----------------------
TUESDAY, MARCH 25, 2014
-----------------------
3/25
New York, New York: Film-Makers' Cooperative
www.film-makerscoop.com
7:30PM, 475 Park Avenue South, 6th Floor
WINTER ? ALONE
FMC Charles S. Cohen Screening Room // 475 Park Ave. South, 6th Floor
(at 32nd St.) $10 suggested donation Programmed by Katie Bradshaw This
program attempts to be 'a monument, an illumination' of aloneness.
Program: WINDOWMOBILE (James Broughton & Joel Singer) 1977, 16mm, 7.5
min. DRIPPING WATER (Joyce Wieland & Michael Snow) 1969, 16mm, 11 min.
ROSLYN ROMANCE (IS IT REALLY TRUE?): INTRO 1 & 2 (Bruce Baillie) 1978,
16mm, 17 min. STARLINGS (Karl Kels) 1991, 16mm, 9 min. GLANCES (Pamela
Bennett) 1989, 16mm, 9 min. WINTER (David Brooks) 1966, 16mm, 16.5 min.
3/25
New York, New York: Filmmakers Co-op
7:30pm in EDT, 475 Park Avenue South, 6th Floor
WINTER | ALONE AT THE FILM-MAKERS' COOPERATIVE
Programmed by Katie Bradshaw... Winter | Alone "A window by the
desk on which your work is laid. A bowl with water. The many ways time
passes and stands still while we are alone, in this room or on these
travels. This program attempts to be 'a monument, an illumination' of
aloneÂness. Projected are films where I see filmmakers
looking out - ÂÂfrom windows, from still and
moving vantage points ÂÂ- in combination with
films where I see filmmakers looking inwards - on themselves, into
black, at their one, single brushstroke." -Katie Bradshaw Program:
WINDOWMOBILE (James Broughton & Joel Singer) 1977, 16mm, 7.5 min.
DRIPPING WATER (Joyce Wieland & Michael Snow) 1969, 16mm, 11 min.
ROSLYN ROMANCE (IS IT REALLY TRUE?): INTRO 1 & 2 (Bruce Baillie)
1978, 16mm, 17 min. STARLINGS (Karl Kels) 1991, 16mm, 9 min. GLANCES
(Pamela Bennett) 1989, 16mm, 9 min. WINTER (David Brooks) 1966, 16mm,
16.5 min. Film-Makers' Cooperative/New American Cinema Group 475 Park
Avenue South, 6th Floor, New York, NY 10016 www.film-makerscoop.com
(212) 267-5665 // filmmakerscoop at gmail.com Twitter: @filmmakerscoopSee
More
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WEDNESDAY, MARCH 26, 2014
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3/26
New York, New York: Dirty Looks NYC
http://dirtylooksnyc.org
7:30PM, 87 Lafayette Street
ULRIKE OTTINGER'S "DORIAN GRAY IN THE MIRROR OF THE YELLOW PRESS"
Our organization will create a human being whom we can shape and
manipulate according to our needs. Dorian Gray: young, rich and
handsome. We will make him, seduce him and break him. DIRTY LOOKS NYC
partners with DCTV for a rare screening of Ulrike Ottinger's epic media
studies fever dream, 'Dorian Gray in the Mirror of the Yellow Press.'
Plotting to boost circulation of her multinational media empire, Frau
Dr. Mabuse (art film icon Delphine Seyrig) molds dapper aristocrat,
Dorian Gray (60s supermodel Veruschka von Lehndorff), into a tabloid
celebrity of her own designs. Introducing Dorian to a world of power and
intrigue, Mabuse pairs him off with opera star Andamana (Tabea
Blumenschein). But as readers tire of the new couple's amorous exploits,
Mabuse dispatches her maniacal henchmen (Fassbinder regular, Irm
Hermann, Magdalena Montezuma, Barbara Valentin and writer, Gary Indiana)
to kill off Dorian's paramour. And so begins his plummet into the seedy,
criminal underbelly of 1980s Berlin. "Frau Dr. Mabuse, whose illustrious
precursor is Fritz Lang's psychopathic, counterfeiting boss of the
underworld, derives her power from the fabrication of reality based on
the seduction of images and words. Her perfect object and victim is the
Bauhaus-dandy Dorian, whose relation to Oscar Wilde's prototype is as
marginal as his relation to power. The fairy-tale framework of
Ottinger's feature compositions asserts itself strongly in this film as
Dorian replaces the evil tycoon and becomes king of the media
conglomerate." Ulrike Ottinger is a prolific German filmmaker who
started her visual art career in Munich and Paris in painting,
photography, and performance. Ottinger's commitment to film took off
with her move to Berlin. Her "Berlin trilogy" began with 'Ticket of No
Return' (1979), followed by 'Freak Orlando' (1981) and 'Dorian Gray.'
Collaborating on the films were Delphine Seyrig, Magdalena Montezuma,
Veruschka von Lehndorff, Eddie Constantine, and Kurt Raab, as well as
the composer Peer Raben. 'China. The Arts The People' (1985) was the
first in a series of long documentary films made in the course of Ulrike
Ottinger's travels through Asia. She made the narrative film 'Johanna
D'Arc of Mongolia' in Mongolia in 1989, followed three years later by
the eight-hour documentary film 'Taiga.' Alongside her journeys to the
Far East, she applied a virtually "ethnographic" attention to the
changes taking place in her own city between the fall of the Berlin Wall
and German reunification in the documentary film 'Countdown.' After the
documentary film 'Exile Shanghai' (1997), her travels took her to
southeast Europe, where she once again created a documentary film and a
narrative film: 'Southeast Passage' (2002) and 'Twelve Chairs' (2004).
Recent films include 'Under Snow' (2011), 'The Korean Wedding Chest'
(2008), and 'Prater' (2007). $8 Suggested Donation Doors 7:00 |
Screening 7:30 | Seating is limited
3/26
New York, New York: (Le) Poissin Rouge
http://www.lepoissonrouge.com/lpr_events/how-to-dress-well-forest-swords-march-26th-2014/
10pm, 158 Bleecker Street, New York, NY 10012
SOUND/FILM PERFORMANCE BY JEFRE CANTU-LEDESMA & PAUL CLIPSON (OPENING FOR
HOW TO DRESS WELL AND FOREST SWORDS)
Jefre Cantu-Ledesma and Paul Clipson open at (Le) Poissin Rouge with a
sound and film performance featuring recent color and black & white
micro and macro Super 8mm imagery from Edinburgh, London and the
limitless universe of the Golden Gate Park Botanical Gardens.
3/26
San Francisco, CA: Canyon Cinema
http://www.canyoncinema.com
7pm, 1777 Yosemite
VANISHING PRESENCE: A PROGRAM OF FILMS SELECTED BY MARK WILSON (CANYON
SALON MARCH 2014)
Filmmaker, animator and artist Mark Wilson has been active in the San
Francisco Bay area artist-made independent film community for more than
twenty years. For our second Salon, Canyon asked Wilson to curate a
selection of works influential to him, as well as those which highlight
central concepts in his filmmaking practice. - VANISHING PRESENCE - The
films in this program share an emphasis on the human figure and
movement, recorded using approaches ranging from single frame time
exposures to super slow motion, or even resequenced fragments. In these
pieces, movement in time is compressed, prolonged, or seemingly in
stasis. Together these works can be viewed as meditations on human
presence and absenceâhow it is captured, rendered, and
perceived through the medium of 16mm film. - Thanatopsis, Ed Emshwiller
(1962) 5min b/w sound, Passage a l'acte, Martin Arnold (1993) 12min b/w
sound, See You Later/ Au revoir, Michael Snow (1990) 18min color sound,
Wait, Ernie Gehr (1968) 7min color silent, Time Being, Gunvor Nelson
(1991) 8min b/w silent, Motion Studies, Mark Wilson (1995-1998) 4min b/w
silent, Loretta, Jeanne Liotta (2003) 4min color sound - 7:00pm-
Reception - 7:30pm
3/26
Tucson, AZ: Exploded View
http://explodedviewgallery.org
7:30, 197 E Toole Ave
{EXTREME SOUTHERN CULTURE PART 3} THE DANCING OUTLAW
Originally screened in 1991 on West Virginia Public TV, director Jacob
Young profiles the troubled but always entertaining mountain dancer
Jesco White. White's father was a famous mountain dancer; his son is
equally obsessed with Elvis Presley and combining clog and backwoods tap
dancing, always with an eye towards the camera. A great look at end of
the century Appalachia; Dancing Outlaw turns the camera on an American
original and lets him do his thing.
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THURSDAY, MARCH 27, 2014
------------------------
3/27
Chicago, Illinois: Conversations at the Edge
http://www.saic.edu/cate
18:00, Gene Siskel Film Center, 164 North State Street, Chicago, IL 60601
CHRISTIANE PAUL: GENEALOGIES OF THE NEW AESTHETIC
Curator and scholar Christiane Paul presents a multimedia talk on the
"Genealogies of the New Aesthetic." Identified as such by the British
artist and programmer James Bridle, the New Aesthetic began as a Tumblr
devoted to new modes of technologically enabled imaging and exploded
into a meme dissected by critics from Wired, The Atlantic, and Vanity
Fair. Taking Bridle's Tumblr as her starting pointa collage of
corruption artifacts, 8-bit imagery, information visualization, and
morePaul (using research conducted in collaboration with Malcolm Levy)
traces the histories of each to create a lineage for practices,
artifacts, and their aesthetics. 1968-2014, multiple countries, multiple
formats, ca 60 min + discussion. Christiane Paul (b. 1961, Attendorn,
Germany) is Associate Professor at the School of Media Studies, The New
School, and Adjunct Curator of New Media Arts at the Whitney Museum of
American Art. She has written extensively on new media arts and lectured
internationally on art and technology. As Adjunct Curator of New Media
Arts at the Whitney Museum of American Art, she curated several
exhibitionsincluding Cory Arcangel: Pro Tools (2011), Profiling (2007),
Data Dynamics (2001) and artport, the Whitney Museum's website devoted
to Internet art.
3/27
Los Angeles, California: Echo Park Film Center
http://www.echoparkfilmcenter.org/
8 pm, 1200 N. Alvarado St.
LA AIR: MIKO REVEREZA
LA AIR is an artist-in-residence program that invites Los Angeles
filmmakers to utilize EPFC resources in creating a new work over a
four-week period. Miko Revereza was born in Manila and grew up in the
San Francisco Bay Area. Since relocating to LA in 2010 he's worked
primarily on music videos and live video art installations for LA's
experimental music scene. His personal films explore identity and
Americanization of the Filipino immigrant. DROGA! is a Super 8 tourist
film about the LA landscape through the lens of Filipino immigrants. The
film closely examines cultural identity by documenting the intersections
of American pop culture and Filipino traditions. AYUS! is a video art
piece shot on VHS. The images are screen tests of family members, canned
foods and soda from the Philippines. "Ayus!" is a slang phrase in
Tagalog which means "Sounds like a good plan!" Free event!
3/27
San Francisco, California 94110: Artists Television Access
http://www.atasite.org/
8:00pm in PDT, 992 valencia street
GAZE #7: GENERATION LOSS
We're a generation of thieves, pastiche artists, and Dr Frankensteins,
cutting and borrowing from the digital wasteland as well as the
stickiest parts of nature. What is conjured in the alchemy of
reproduction? And what falls by the wayside? This season's GAZE is a
journey into the aesthetics and pleasures of copying, remapping, and new
weird genres. Join us for a transmutation of the digital soul, a journey
into something rich and strange (those are pearls that were his eyes!)
Hold on to your mimeographs.... Featuring Work By: Penny Lane Jesse
McLean Kate Rhoads Amy Ruhl Gemma Syme Meredith Sward Meraz Tzur Talia
Feder C & A Projects Cost: $7-10
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FRIDAY, MARCH 28, 2014
----------------------
3/28
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:30 pm, 32 2nd Ave.
TORTURED DUST
by Stan Brakhage 1984, 89 min, 16mm Share + Film Notes SPECIAL SCREENING
RARE BRAKHAGE! "TORTURED DUST, the last film Stan Brakhage made about
his family, with whom he lived in the mountains of Colorado for 18
years, premiered at New York's Collective for Living Cinema in March
1984. Its title was taken from a sentence in Marguerite Young's MISS
MACINTOSH, MY DARLING, a mammoth novel of which Brakhage was very fond.
Unlike preceding chapters of THE BOOK OF FILM e.g., the SINCERITY and
DUPLICITY series whose parts could be screened individually, the four
parts of TORTURED DUST were designed to be shown, at Brakhage's
insistence, as one ninety-minute movie. In this sense, it is his longest
domestic film, labored over 'slowly' and 'persistently' for more than
three years, as he remarked to friends in numerous letters, aware of the
toll it was taking on him. During that period 1981-83 all five
children had already left the nest. The loneliness that ensued for
Brakhage and his wife Jane, as well as the unraveling of their marriage,
ending in divorce in 1986, contributes to the especially poignant,
heartbreaking tone of this film. Rife with what Brakhage called
'unbearable tensions' and 'desperations,' TORTURED DUST, as the
protracted, even obsessive nature of its camerawork attests, constitutes
a long and painful goodbye by one of cinema's greatest artists to a
family and an era." Tony Pipolo
3/28
Ottawa, Ontario: Canadian Film Institute
www.cfi-icf.ca
March 28-April 12, 2014, 395 Wellington Street
LATIN AMERICAN FILM FESTIVAL
The Latin American Film Festival (LAFF) returns in 2014 for its 18th
edition, showcasing features, documentaries, and short films from south
of the Rio Grande. Presented by the Canadian Film Institute (CFI), the
event features only contemporary Ottawa premieres, gleaned from the
screens of such festivals as Cannes, Berlin, Toronto, and Chicago to
celebrate the rich and diverse cultures of Latin America. Each year,
experience the work of Latin America's greatest filmmakers, as well as
Embassy-hosted receptions, over the span of the ten-day prestigious film
event held at 395 Wellington. Five-film Passports and special prices for
members, seniors, and students are made available. This exciting event
is presented in collaboration with the Group of Latin American
Ambassadors (GRULA). Experience the work of Latin America's greatest
filmakers. New this year - join us on March 29th for a fair featuring
Latin American food, wine and culture.
------------------------
SATURDAY, MARCH 29, 2014
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3/29
Brooklyn, New York: Union Docs
http://www.uniondocs.org/03-29-2014-distant-star/
7:30pm, 322 Union Avenue, Williamsburg, Brooklyn, New York 11211
DISTANT STAR: SOUND/FILM PERFORMANCES BY JEFRE CANTU-LEDESMA, BYRON
WESTBROOK AND PAUL CLIPSON + REEL BOOK
This evening will feature two performances by sound artists Jefre
Cantu-Ledesma and Byron Westbrook with new Super 8 and 16mm films by
Paul Clipson. As part of the event, Clipson will introduce and speak
about REEL, a new book of unique film projectionist drawings being
released by Oakland-based LAND AND SEA. REEL unofficially surveys over a
decade of 35mm screenings at the San Francisco Museum of Modern Art,
where Clipson works as a projectionist, and is a cinefile's eccentric
collection of technical notes for the ever-more rare art of celluloid
filmmaking, projection and exhibition. Also screening will be a montage
of changeover moments, or "cigarette burns," created by Clipson for the
book's artist's edition.
3/29
Los Angeles, California: Echo Park Film Center
http://www.echoparkfilmcenter.org/
8 pm, 1200 N. Alvarado St.
ROBERT SCHALLER'S CELLULOID VISIONS
$5 / Filmmaker Robert Schaller shows recent short 16mm pinhole films
along with other works, including his new film Mailfor film and live
cello. Schaller's films present a re-envisioning of the world in which
sight is filtered through the kind of rhythmic structures that more
often characterize music, and the human tendency to reduce the seen to a
name is frustrated by the fleetingness and ephemerality of images which
instead defy easy grasp. He strives to create deeply personal and
embodied visions of the physical worldof landscape and dance in
particulargrounding the physicality of subject in an embrace of the
materiality of celluloid itself. Celluloid film presents a wonderful
mixture of the wholly immaterial image entirely produced by a wholly
physical process. In this admixture Schaller finds a potent analogy to
the human condition which his film work embraces: on the one hand, he
pre-plans films down to the frame on paper and visualizes rhythms using
a computer, but then builds cameras out of boxes and tape and strips of
metal, makes his own emulsions and film stocks, processes everything by
hand in buckets, edits on a light table, shoots with only a metronome
and the slow-motion movement of his body as means to control to
exposure, framing, and timing. Through this rootedness in the messy
reality of process and presence he finds a path towards the sublime,
towards a way to create and share at least a fragmentary view of the
irreducible splendor of existence.
3/29
Los Angeles, California: Echo Park Film Center
http://www.echoparkfilmcenter.org/
8 pm, 1200 N Alvarado St. (@ Sunset Blvd.)
CELLULOID VISIONS
Filmmaker Robert Schaller shows recent short 16mm pinhole films along
with other works, including his new film Mail for film and live cello.
Schaller's films present a re-envisioning of the world in which sight is
filtered through the kind of rhythmic structures that more often
characterize music, and the human tendency to reduce the seen to a name
is frustrated by the fleetingness and ephemerality of images which
instead defy easy grasp. He strives to create deeply personal and
embodied visions of the physical worldof landscape and dance in
particulargrounding the physicality of subject in an embrace of the
materiality of celluloid itself. Celluloid film presents a wonderful
mixture of the wholly immaterial image entirely produced by a wholly
physical process. In this admixture Schaller finds a potent analogy to
the human condition which his film work embraces. Through its rootedness
in the messy reality of process and presence he finds a path towards the
sublime, towards a way to create and share at least a fragmentary view
of the irreducible splendor of existence.
3/29
San Francisco, California: Other Cinema
http://www.othercinema.com/
8:30pm, 992 Valencia Street
CHRISTIAN DIVINE'S "80'S IMPERIALIST CINEMA"
With the 1980 election of Ronald Reagan, Hollywood exited the New
Seventies Cinema for a "State of the Art" genre that sub-texted jingoism
and imperialism--powdered with the cocaine of Capitalism and edited to
the video beat of MTV. Our fave psychotronic cinema wizard Christian
Divine takes a Cult Studies approach to the industry products that
became emblems of the era. From masked slashers to weird science, this
clip-show will weave a thematic narrative of the pop-neon decade,
exposing the colonialism of Raiders of the Lost Ark, the Cold War
propaganda of Top Gun, the entitled teen world of Ferris Bueller's Day
Off, the proto-revolutionary realms of Star Wars, and so much more! Come
early for cheap 80s cocktails, our toy helicopter, and the original USAF
Star Wars promos; Andre Perkowski's mash-up of Orson Welles movie lore
will kick off our Hollywood review.
3/29
Tucson, AZ: Exploded View
http://explodedviewgallery.org
7:30, 197 E Toole Ave
DISAPPEARING CULTURES WOUNAAN: A PEOPLE OF THE RAINFOREST
Filmmaker Liz Kennedy in person! Wounaan: A People of the Rainforest
documents the rhythms and activities of daily life of the Wounaan, an
indigenous tribe inhabiting the rainforest of the west coast of Colombia
during the mid-sixties. The activities of a constructed day, through
close-ups and candid moments, afford the viewer a unique glimpse into
the cooperative and egalitarian nature of a subsistence culture based on
agriculture and hunting and fishing. Since Wounaan, social life has
recently been severely disrupted by capitalist violence and so the film
captures a critical historical moment.
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SUNDAY, MARCH 30, 2014
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3/30
Brooklyn, New York: UnionDocs
http://www.uniondocs.org
7:30pm, 322 Union Avenue
JOKE ON A JOKE HOSTED BY BEN COONLEY
An evening of video artists, performance artists, musicians, and writers
reenacting, translating, paying homage to, improving upon, and/or
pissing all over classic stand-up routines from some of comedy's most
revered live performers. The artists in this program have been given
free reign to choose their sources, and may employ video, music, and
other crutches to enhance their 4-6 minute long sets.
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