[Frameworks] This Week (March 14-22, 2015) in Avant Garde Cinema
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Sat Mar 14 22:49:20 UTC 2015
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** This week [March 14 - 22, 2015] in avant garde cinema
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JOB AVAILABLE:
University of Missouri
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NEW CALLS FOR ENTRIES:
SiciliAmbiente Documentary Film Festival San Vito Lo Capo (San Vito lo Capo, Italy; Deadline: April 30, 2015)
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Art in the Dark @ Isadore gallery (Lancaster, PA USA; Deadline: April 01, 2015)
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Art in the Dark @ Isadore Gallery (Lancaster, PA, USA; Deadline: June 01, 2015)
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Art in the Dark @ Isadore Gallery (Lancaster, PA, USA; Deadline: August 01, 2015)
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Art in the Dark @ Isadore Gallery (Lancaster, PA, USA; Deadline: October 01, 2015)
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Art in the Dark @ Isadore Gallery (Lancaster, PA, USA; Deadline: December 01, 2015)
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Khôra Residency, Syros Intl. Film Festival (Hermoupolis, Syros, Greece; Deadline: March 25, 2015)
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Antimatter [media art] (Victoria, BC, Canada; Deadline: July 24, 2015)
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ART Habens International Call for Artists 5th Edition 2015 (London, United Kingdom; Deadline: May 19, 2015)
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Proceso de Error, International Experimental Video Festival (Valparaíso, Chile; Deadline: March 08, 2015)
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FLEFF (Ithaca, NY, USA; Deadline: May 01, 2015)
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Haverhill Experimental Film Festival (Haverhill, MA, USA; Deadline: April 11, 2015)
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CINECITY Architectural Film Project (Australia; Deadline: March 25, 2015)
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DEADLINES APPROACHING:
Magmart Festival 9th Edition (2014-15) (Naples, Italy; Deadline: March 31, 2015)
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INTERNATIONAL VIDEO ART REVIEW THE 03 (Krakow, Poland; Deadline: April 01, 2015)
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Winnipeg Underground Film Festival (Winnipeg, MB, Canada; Deadline: March 31, 2015)
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The Center for Fine Art Photography (Fort Collins, Colorado US; Deadline: March 18, 2015)
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Art in the Dark @ Isadore gallery (Lancaster, PA USA; Deadline: April 01, 2015)
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Khôra Residency, Syros Intl. Film Festival (Hermoupolis, Syros, Greece; Deadline: March 25, 2015)
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Haverhill Experimental Film Festival (Haverhill, MA, USA; Deadline: April 11, 2015)
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CINECITY Architectural Film Project (Australia; Deadline: March 25, 2015)
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Events are sorted alphabetically BY CITY within each DATE.
This week's programs (summary):
* The Connection (#anchor1) [March 14, Cambridge, Massachusetts]
* Portrait of Jason (#anchor2) [March 14, Cambridge, Massachusetts]
* Animations By Overture (#anchor3) [March 14, Los Angeles, California]
* Essential Cinema: the Pittsburgh Trilogy (#anchor4) [March 14, New York, New York]
* White Cube/Black Box (#anchor5) [March 14, New York, New York]
* Beth B's Exposed + Gabriela Starchild + (#anchor6) [March 14, San Francisco, California]
* Essential Cinema: Stan Brakhage Program 4 (#anchor7) [March 15, New York, New York]
* Essential Cinema: Robert Breer Program 1 (#anchor8) [March 15, New York, New York]
* Essential Cinema: Robert Breer Program 2 (#anchor9) [March 15, New York, New York]
* Intersections ii: Barney Rosset & James Fotopoulos (#anchor10) [March 16, Brooklyn, New York]
* The Cool World (#anchor11) [March 16, Cambridge, Massachusetts]
* Early Monthly Segments #71 = Takashi Ito, Rose Lowder, Paul Sharits (#anchor12) [March 16, Toronto, Ontario, Canada]
* Forcefield (#anchor13) [March 17, Brooklyn, New York 11222]
* Flaherty Nyc: Rebels of the Neon God (#anchor14) [March 17, New York, New York]
* "There" A New Feature By James Fotopoulos (#anchor15) [March 20, Brooklyn, New York]
* Ornette: Made In America (#anchor16) [March 20, Cambridge, Massachusetts]
* Mush! To the Movies: A Polar Film Club - Nanook of the North (#anchor17) [March 20, Los Angeles, California]
* Images.Mov (#anchor18) [March 20, New York, New York 10016]
* "Burchkardt Films" Presented By Norte Maar & Microscope Gallery (#anchor19) [March 21, Brooklyn, New York]
* A Cocktail of Mistakes, Or A Mistake of Cocktails: the (Notorious) Legend of Robert Beck Memorial Cinema In 2 Or 3 Easy Lessons (#anchor20) [March 21, Brooklyn, New York]
* Show & Tell: Sylvia Schedelbauer (#anchor21) [March 21, New York, New York]
* Becker + Darr + Storm Chaser + Octoplayer + (#anchor22) [March 21, San Francisco, California]
* Gregory J. Markopoulos: Film As Film - the Illiac Passion (#anchor23) [March 22, Los Angeles, California]
* Essential Cinema: James Broughton Program 1 (#anchor24) [March 22, New York, New York]
* Essential Cinema: James Broughton Program 2 (#anchor25) [March 22, New York, New York]
* Shapeshifters Cinema Presents Roger Beebe (#anchor26) [March 22, Oakland]
SATURDAY, MARCH 14, 2015
3/14
Cambridge, Massachusetts: Harvard Film Archive
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9:15pm, 24 Quincy Street
THE CONNECTION
Jack Gelber’s off-Broadway play performed by New York’s infamously bohemian company, the Living Theatre, was a beat sensation with its jagged and broken fourth wall. The unconventional play-within-a-play claimed to feature actual drug addicts and jazz musicians playing themselves as they wait for their dealer to arrive while the production’s director and screenwriter comment and bicker off-stage. Using practically the same mixed-race cast, Clarke recreated the seedy unpredictability of the experience within the very new device of cinema verité: a white, bourgeois hipster director attempts to make a document of reality by prodding the antsy junkies into outrageous behavior and pithy insights. The jazz quartet scores the film spasmodically while they, too, wait; thus, the camera and the sound are active, unsettled characters affecting the action. Clarke naturalistically depicts their squalid, absurd reality while unveiling the obvious manipulation of that reality. Mired in
censorship issues upon its release, Clarke’s funny take on Otherness, exploitation, conformity, truth and judgment was somewhat subsumed by the sensationalism—obscuring the more subtle edges she describes of the contradictory integration and tension within many aspects of urban American life in the Fifties. Directed by Shirley Clarke. With Warren Finnerty, Garry Goodrow, Jerome Raphel US 1962, 35mm, b/w, 103 min
3/14
Cambridge, Massachusetts: Harvard Film Archive
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7pm, 24 Quincy Street
PORTRAIT OF JASON
Playing the role of Jason Holliday on film and in life, Aaron Payne presents himself to Shirley Clarke and her crew doing what he wants to be doing: performing. In the spirit of Andy Warhol’s screen tests and his Poor Little Rich Girl (1965), Clarke filmed the theatrical hustler in her apartment with one camera over a twelve-hour period. Even with all obvious cinematic artifice stripped away—as Clarke demonstrated earlier in The Connection—naturalism and confession prove to be alternative protective masks. As a black, gay hustler with deferred dreams, Jason represents multiple strata of marginalization, and Clarke offers this outsider persona feature-length center stage. Jason’s entertaining, anecdotal, emotional roller coaster ride reveals as much about the shadow side of American society as its flamboyant spokesperson. Off-screen, Clarke and her partner Carl Lee approach the roles of the prodding director and his cameraman from The Connection, as they attempt to wrangle
emotional truth from their subject whose tears and laughter remain painfully layered and enigmatic. Pointing to film’s strange powers of psychological mediation, Clarke later revealed that viewing and editing the film changed her position toward her subject from amused and annoyed to fascinated and empathetic. Directed by Shirley Clarke US 1967, 35mm, b/w, 105 min
3/14
Los Angeles, California: Echo Park Film Center
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8pm, 1200 N. Alvarado St. 90026
ANIMATIONS BY OVERTURE
A collection of short animations by Beppu(Japan)/Western Massachusetts independent animators Overture (Jason and Aya Brown). Simple stories of animism and cosmic nature depicted in hand drawn animation with watercolors. Music plays a critical role in each piece, instructing the movements or added later live. Artists in attendance! Admission: $5 (snacks included!)
3/14
New York, New York: Anthology Film Archives
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4:45 pm, 32 2nd Avenue
ESSENTIAL CINEMA: THE PITTSBURGH TRILOGY
by Stan Brakhage Preserved by Anthology Film Archives. EYES 1970, 36 min, 16mm, silent. “After wishing for years to be given-the-opportunity of filming some of the more ‘mystical’ occupations of our Times – some of the more obscure Public Figures which the average imagination turns into ‘bogeymen’... viz.: Policemen, Doctors, Soldiers, Politicians, etc.: – I was at last permitted to ride in a Pittsburgh police car, camera in hand, the final several days of September 1970.” –S.B. & DEUS EX 1971, 34 min, 16mm, silent. “I have been many times very ill in hospitals; and I drew on all that experience while making DEUS EX in West Penn. Hospital of Pittsburgh; but I was especially inspired by the memory of one incident in an emergency room of San Francisco’s Mission District: while waiting for medical help, I had held myself together by reading an April-May 1965 issue of ‘Poetry Magazine’: and the following lines from Charles Olson’s ‘Cole’s Island’ had especially centered the expe
rience, ‘touchstone’ of DEUS EX, for me: Charles begins the poem with the statement ‘I met Death –’ And then: ‘He didn’t bother me, or say anything. Which is / not surprising, a person might not, in the circumstances; / or at most a nod or something. Or they would. But they wouldn’t, / or you wouldn’t think to either, / it was Death. And / He certainly was, the moment I saw him.’” –S.B. & THE ACT OF SEEING WITH ONE’S OWN EYES 1971, 32 min, 16mm, silent. “…Brakhage, entering, with his camera, one of the forbidden, terrific locations of our culture, the autopsy room. It is a place wherein, inversely, life is cherished, for it exists to affirm that no one of us may die without our knowing exactly why. All of us, in the person of the coroner, must see that, for ourselves, with our own eyes. It is a room full of appalling particular intimacies, the last ditch of individuation. Here our vague nightmare of mortality acquires the names and faces of others.” –Hollis Frampton Total ru
nning time: ca. 105 minutes.
3/14
New York, New York: Anthology Film Archives
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7:30 pm, 32 2nd Avenue
WHITE CUBE/BLACK BOX
ABOUT WHITE CUBE / BLACK BOX: Bridging the gap between the white walls of the gallery and the immersive darkness of a movie theater, Anthology’s ongoing series WHITE CUBE / BLACK BOX seeks to create a dialogue between films made by visual artists and works by experimental filmmakers. Curated by Ava Tews. Joan Jonas LEFT SIDE RIGHT SIDE (1972, 9 min, video, b&w) Richard Serra BOOMERANG (1974, 11 min, video. With Nancy Holt.) Footage of the RCA “See Yourself on Color Television” pavilion at the 1964 World’s Fair (1964, ca. 4-min excerpt, video) Andy Warhol OUTER AND INNER SPACE (1965, 33 min, 16mm dual projection, b&w) Total running time: ca. 65 min.
3/14
San Francisco, California: Other Cinema
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8:30, 992 Valencia
BETH B'S EXPOSED + GABRIELA STARCHILD +
Tigger, Bunny Love, Dirty Martini, and Bambi the Mermaid use satire and their own bodies to send up conventional notions of body image, gender, and sexuality in their post-modern burlesque performances. NY underground film legend Beth B enters their subversive world both on the stage and behind-the-scenes, in this provocative portrait of bawdy artists gleefully breaking taboos as they entertain. PLUS, IN THE FLESH: Gabriela Starchild’s artful striptease, amidst cameos by Sally Rand, Lili St. Cyr, and an orgy of beefcakes and cheesecakes. $6.
SUNDAY, MARCH 15, 2015
3/15
New York, New York: Anthology Film Archives
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4:15 pm, 32 2nd Avenue
ESSENTIAL CINEMA: STAN BRAKHAGE PROGRAM 4
THREE FILMS: BLUEWHITE, BLOOD’S TONE, VEIN (1965, 10 min, 16mm) THE MACHINE OF EDEN (1970, 11 min, 16mm) THE ANIMALS OF EDEN AND AFTER (1970, 35 min, 16mm) ANGELS’ (1971, 2 min, 16mm) DOOR (1971, 4 min, 16mm) WESTERN HISTORY (1971, 8 min, 16mm) THE PEACABLE KINGDOM (1971, 8 min, 16mm) Total running time: ca. 85 min.
3/15
New York, New York: Anthology Film Archives
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6:15 pm, 32 2nd Avenue
ESSENTIAL CINEMA: ROBERT BREER PROGRAM 1
With the exception of BREATHING, all of the films in this program were preserved by Anthology with generous support from the Andy Warhol Foundation for the Visual Arts and the National Endowment for the Arts. FORM PHASES I (1952, 2 min, 16mm) FORM PHASES II (1953, 2 min, 16mm) UN MIRACLE (1954, 30 sec, 16mm-to-35mm, Made with Pontus Hulten) RECREATION (1956, 1.5 min, 16mm-to-35mm) A MAN AND HIS DOG OUT FOR AIR (1957, 2 min, 16mm-to-35mm) JAMESTOWN BALOOS (1957, 6 min, 16mm-to-35mm) LE MOUVEMENT (1957, 14 min, 16mm-to-35mm) EYEWASH (1959, 3 min, 16mm-to-35mm) EYEWASH (ALTERNATIVE VERSION) (1959, 3 min, 16mm-to-35mm) BLAZES (1961, 3 min, 16mm-to-35mm) PAT’S BIRTHDAY (1962, 13 minutes, 16mm) BREATHING (1963, 5 minutes, 16mm) 66 (1966, 5.5 min, 16mm-to-35mm) 69 (1969, 4.5 min, 16mm-to-35mm) Total running time: ca. 70 min.
3/15
New York, New York: Anthology Film Archives
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8:00 pm, 32 2nd Avenue
ESSENTIAL CINEMA: ROBERT BREER PROGRAM 2
With the exception of GULLS AND BUOYS, all of the films in this program were preserved by Anthology with generous support from the Andy Warhol Foundation for the Visual Arts and the National Endowment for the Arts. 70 (1970, 5 min, 16mm-to-35mm) 77 (1970, 6.5 min, 16mm-to-35mm) FIST FIGHT (1964, 9 min, 16mm-to-35mm) GULLS AND BUOYS (1972, 8 min, 16mm) FUJI (1974, 9 min, 16mm-to-35mm) SWISS ARMY KNIFE WITH RAT AND PIGEON (1981, 6.5 min, 16mm-to-35mm) BANG (1986, 10 min, 16mm-to-35mm) Total running time: ca. 60 min.
MONDAY, MARCH 16, 2015
3/16
Brooklyn, New York: Microscope Gallery
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7:30 pm, 1329 Willoughby Ave, 2b
INTERSECTIONS II: BARNEY ROSSET & JAMES FOTOPOULOS
New York premiere of "working title (Shattered)" by Barney Rosset & James Fotopoulos. admission $6 – free for Members. (working title: Shattered) is a collaborative feature by Grove Press publisher Barney Rosset and James Fotopoulos completed in 2006. The work arose out of discussions for a trilogy based on literary works, with working title (Shattered) first conceived as an adaption of the Samuel Beckett play Eleutheria. Eventually stops and starts in the process, including those related to rights issues, led to the expansion of the concept to incorporate other ideas as well as biographical aspects of Rosset’s life, including his visual archive, dream journals, parts of plays and books that he published as well as Rosset’s own footage shot in Thailand. working title (Shattered) involved a series of edits from its original over 3-hour long first cut. Today the work exists in “four or five” versions ranging from slightly over 60 minutes to more than 2 hours. The 78-minute
version will be screened, followed by scenes cut from longer edits. Further info; www.microscopegallery.com. tel: 347.925.1433, info at microscopegallery.com. We are now located 1 minute from the Jefferson L (exit Starr St).
3/16
Cambridge, Massachusetts: Harvard Film Archive
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7pm, 24 Quincy Street
THE COOL WORLD
With all of the ingredients of a noir thriller, Clarke’s realist diary of Harlem instead careens through the city streets with an unsensationalized coolness and a heartbreaking, intoxicating rhythm. One of the first movies filmed on location in Harlem and the first feature shot with a handheld 35mm camera, The Cool World reassembles Warren Miller’s novel into an improvised diagram of the internal and external violence riddling Harlem’s complex stratification of race, class and gender. Young Duke concentrates all of his efforts on acquiring a gun—the ultimate symbol of power and control in his chaotic, closed world—and all around him the crime, oppression, prejudice and indoctrination pull him in different directions. Meanwhile, the beauty, camaraderie and hybrid culture of this marginalized melting pot spills over in Clarke’s verité street photography, Mal Waldron and Dizzy Gillespie’s spare, sensitive soundtrack and the remarkable cast of unprofessionals, many of whom led
long careers in film and television after their incendiary debuts. Directed by Shirley Clarke. With Hampton Clanton, Yolanda Rodriguez, Carl Lee US 1964, 16mm, b/w, 105 min
3/16
Toronto, Ontario, Canada: Early Monthly Segments
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8:00 PM, Gladstone Hotel, 1214 Queen Street West
EARLY MONTHLY SEGMENTS #71 = TAKASHI ITO, ROSE LOWDER, PAUL SHARITS
“Film is capable of presenting unrealistic worlds as a vivid reality and creating a strange space peculiar to the media. My major intention is to change the ordinary every day life scenes and draw the audience (myself) into a vortex of supernatural illusion by exercising the magic of films.” – Takashi Ito To celebrate our sixth anniversary we’ve assembled an evening of determined visual magic, radical geometry and single frame exaltation. Takashi Ito’s sublime Spacy uses the Droste effect (or mise-en-abyme), to turn 700 photographs of a gymnasium into a glorious ten-minute kinetic voyage. Paul Sharits’s seminal Ray Gun Virus is a colour field flicker film that offers a visceral palette of sensory pleasures. Rose Lowder’s Scenes de la vie francaise: La Ciotat is from her four-part series “Scenes de la vie francaise” which references the Lumieres and shows two versions of the same scene, shot frame by frame acutely examining the impact of scale, duration and time. La Ciotat
features animated landscapes of the port, dry docks, shipyard workers, launched tankers, fishermen and the beach, showing us contrasting views of the Cote d’Azur port city with graceful perception. PROGRAMME: Spacy, Takashi Ito, 1980-1981, Japan, 16mm, 10 minutes, sound (*still attached*) Scenes de la vie francaise: La Ciotat, Rose Lowder, 1986, France, 16mm, 31 minutes, silent Ray Gun Virus, Paul Sharits, 1966, USA, 16mm, 14 minutes, sound @ Gladstone Hotel 1214 Queen Street West, Toronto Monday March 16, 2015 8:00 PM screening $5 - 10 suggested donation Thanks to CFMDC, Light Cone, Josh Romphf and the Gladstone Hotel. http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=869a3c2637&e=4e65756555 http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=097028ff25&e=4e65756555 twitter @earlymonthly
TUESDAY, MARCH 17, 2015
3/17
Brooklyn, New York 11222: Light Industry
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7:30pm, 155 Freeman St
FORCEFIELD
The fin-de-millennium scene orbiting around Providence's Fort Thunder produced a generation of artists and musicians who continue to influence contemporary culture, and Forcefield was responsible for some of the most remarkable audio-visual experiments of that now-legendary era. Notorious for their dazzle-patterned, faceless knitwear, mutational electronic performances, and color-drenched videos, the group began in the mid-nineties as a pseudonymic duo comprised of Patootie Lobe (Ara Peterson) and Meerk Puffy (Mat Brinkman), eventually ingesting Gorgon Radeo (Jim Drain) and Le Geef (Leif Goldberg) into its fold. ZMTRX 2002-03, video, 28 mins Warmup, 2002 Berry Face, 2002 Meta Radeo, 2003 Diamond, 2003 Tickets - $7, available at door. Please note: seating is limited. First-come, first-served. Box office opens at 7pm.
3/17
New York, New York: Anthology Film Archives
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7:00 pm, 32 2nd Avenue
FLAHERTY NYC: REBELS OF THE NEON GOD
What is the matter with kids today? Jodie Mack ‘reanimates’ her mother’s nearly-defunct psychedelic poster business through her own playful interventions; Scott Cummings creates a delightfully unreliable portrait of Juggalo culture in his hometown; and Jessica Bardsley turns Winona Ryder and archival films about the dangers of shoplifting into a meditation on her own teenage transgressions. A collection of films about youth culture, the relentless search for authentic forms of rebellion, and the detritus left behind. Jodie Mack DUSTY STACKS OF MOM (2013, 41 min, 16mm) Scott Cummings BUFFALO JUGGALOS (2014, 30 min, digital) Jessica Bardsley THE BLAZING WORLD (2013, 18 min, digital) Total running time: ca. 95 min. All the filmmakers will be here in person. This program is a co-presentation with the True/False Film Festival.
FRIDAY, MARCH 20, 2015
3/20
Brooklyn, New York: Microscope Gallery
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7:30 pm, 1329 Willoughby Ave, 2b
"THERE" A NEW FEATURE BY JAMES FOTOPOULOS
admission $6, filmmaker in person. Additional screening! of Fotopoulos' new, 103-minute feature film, written in 2011 and completed in 2014. While built upon the story of the main character Lamb, a veteran experiencing post-traumatic stress, “There” can be seen as ultimately the place where the unknown resides along with our deepest fears, where we become vulnerable before all that we ignore about ourselves or the other, a powerful dark side often relegated to the dreamlike that all the characters in the film confront encounter in different ways, Fotopoulos, as in many of his earlier works, focuses in on a world of rejects and tormented loners – played by, among others, Xander O’Connor, Sarah Brooks, David Zellner, Joe Swanberg and Brenda Bakke. For “There” Fotopoulos resumed his interest in shooting outside of his studio - after the more ethereal Alice in Wonderland (2010), Chimera (2011) and Dignity (2014) – offering a realistic base to the film’s mystery. “There” is
reminiscent of Fotopoulos’ early 16mm features such as “Back Against The Wall” and “Migrating Forms” translated into ultra HD aesthetics. The work features original music by Nate Archer, Dorit Chrysler and Chris Corsano. Additional info; www.microscopegallery.com, tel: 347.925.1433, info at microscopegallery.com. We are now located at Jefferson L (exit Starr St).
3/20
Cambridge, Massachusetts: Harvard Film Archive
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7pm, 24 Quincy Street
ORNETTE: MADE IN AMERICA
Clarke’s free-associating, layered approach to her portrait of the legendary free jazz icon mischievously reflects the multidimensional fabric of Ornette Coleman’s inventive, radical approach to jazz. Initially dropping the project of filming Coleman in the Sixties, Clarke resumed production in the Eighties at the urging of producer Kathelin Hoffman, in part to document the inaugural concert of a new performing arts center opening in Coleman’s hometown of Fort Worth, Texas. Clarke magically and unpredictably blends dramatization, video collage and rhythmic editing techniques with interviews and concert footage, to craft an energetic and otherworldly journey through the cosmos of Ornette Coleman. Featuring appearances by fellow creative eccentrics like William Burroughs and Brion Gysin while conjuring the philosophies of Buckminster Fuller, Clarke’s biography dreamily sketches out the transcendental orbit Coleman has always followed while tenderly tethered to his humble
beginnings in a Fort Worth ghetto. Directed by Shirley Clarke US 1984, 35mm, color & b/w, 77 min
3/20
Los Angeles, California: Filmforum
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7:30 pm, The Velaslavasay Panorama, 1122 W. 24th St
MUSH! TO THE MOVIES: A POLAR FILM CLUB - NANOOK OF THE NORTH
Mush! to the Movies! Is a selection of films spanning over 90 years of glacial activity and handpicked by Filmforum's Director Adam Hyman and members of The Velaslavasay Panorama. The series will feature six events with free popcorn offered to all in the Nova Tuskhut, an installation of the only Arctic Trading Post on the North American Continent, located on the grounds of the Velaslavasay Panorama. Attendees will be given a unique souvenir Polar Passport and those who attend all six screenings will receive a surprise gift and a chance to win a night’s stay in The Nova Tuskhut! Additional conviviality and time in the lovely Panorama garden also included! Tonight: Nanook of the North (US, 1922, 79 min., B&W, Digital Projection Directed by Robert Flaherty) Proceeded by: The Idea of North (US, 1995, 14 min., B&W, 16mm Projection Directed by Rebecca Baron) Ticket Link To Be Announced, check www.panoramaonview.org for details.
3/20
New York, New York 10016: Filmmakers Coop
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7:30pm, 475 Park Ave South 6th Floor
IMAGES.MOV
Old and New Work by Coleen Fitzgibbon. Featuring an exhibition of digital prints and journal drawings of modern living spanning 2014-15, and an opening-night screening including structural, text, and diary films produced between 1972-2012. Opening Reception and Screening Friday, March 20th at 7:30 pm (Exhibition through April 7th) Film-Makers' Cooperative Charles S. Cohen Screening Room and Gallery 475 Park Ave South, 6th Floor Admission: $10 Suggested Donation Program Includes: - Trip to Carolee (1973/2011), Super 8mm film on digital video Still images of things passing; a diary between city and country. Marjorie Keller and Coleen Fitzgibbon drive to Carolee Schneemann's to feed Kitsch. - Dictionary (1975/2011), 16mm film on digital video Micro text film of selections from the English dictionary (contemplation: the yellow notebook and blade-less knife handle were missing when the blue car impacted the red car). - FM/TRCS (1974), 16mm The destruction of cinematic imagery and
sound, which allows for the release of subliminal thought. - Portraits (1972/2015), 8mm film on digital video Excerpts of 1972 diary films, short clips from the early 1970s. - Internal Systems (1974), 16mm The internal workings of a camera. - Document (Public Records) (1976/2011), 16mm on digital video Text film of private documents. - Beach (2012), digital video iPhone beach movie.
SATURDAY, MARCH 21, 2015
3/21
Brooklyn, New York: Microscope Gallery
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7:30, 1329 Willoughby Ave, 2b
"BURCHKARDT FILMS" PRESENTED BY NORTE MAAR & MICROSCOPE GALLERY
admission $6. Jacob Burkhardt in person. Microscope Gallery collaborates with Norte Maar to present an evening of films and videos celebrating artist and writer Edith Schloss, who died in 2011 at the age of 92. Works include the 47-minute “A Guided Tour of Edith’s Apartment” (2010) by filmmaker Jacob Burckhardt, who is also Schloss’ son, in which the then 90-year old artist leads a tour of her apartment in Rome – a city in which she lived since the early 60s – discussing her art and other work, art history, and mythology. Two short and poetic black & white 16mm films “Verona” (1955) and “Roma” (2004) by Rudy Burckhardt and Jacob Burkhardt respectively were shot nearly 60 years apart. And the evening features the world premiere of Jacob Burckhardt’s "Happy Holi" (2014) capturing a vibrant dance party celebrating the Hindu Holi festival of colors in Sri Lanka.-- PROGRAM:HAPPY HOLI
by Jacob Burckhardt, digital video, 2015, 24 minutes (English and Sinhala with subtitles) ROMA
by Jacob Burckhardt, b/w 16mm, 2004, 11 minutes A GUIDED TOUR OF EDITH’S APARTMENT
by Jacob Burckhardt, digital video, 2010, 47 minutes VERONA
by Rudy Burckhardt, b/w 16mm, 1955, 8 minutes Full program notes www.microscopegallery.com. tel: 347.925.1433. Note we are now located at the Jefferson L (exit Starr St.)
3/21
Brooklyn, New York: UnionDocs
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7:30, 322 Union Ave.
A COCKTAIL OF MISTAKES, OR A MISTAKE OF COCKTAILS: THE (NOTORIOUS) LEGEND OF ROBERT BECK MEMORIAL CINEMA IN 2 OR 3 EASY LESSONS
Every Tuesday night for more than a hex of years, the Robert Beck Memorial Cinema illuminated the snowy-white screen of the Collective Unconscious on Manhattan’s Lower East Side. Initiated by Brian Frye & immediately joined by Bradley Eros, both shared the core curating frenzy of this no-budget operation, managing to produce over 300 programs and exhibiting more than a thousand artists. When Frye left, it relocated & regrouped, mutating into Roberta Beck Mercurial Cinema at Participant Inc’s gallery just around the corner, for a year, with a team of at least six, but primarily & irrepressibly Eros & Joel Schlemowitz. It later became a restless, nomadic cinema, mushrooming & mutating in myriad incarnations, most notoriously at Issue Project Room on the Gowanus Canal in Brooklyn, both indoors and out. Lastly, it explored more artworld and musical contexts, transforming the field of experimental film, as both quixotic and quicksilver. For this event, Brian Frye and Bradley Eros
(& special guests) will present: 1.) A little (apocryphal) history, with a few “essential” films and videos, including a slide show of posters, programs, & calendars, and an exhibition of original posters & flyers. + a Q&A with Jon Dieringer (Spectacle / Screen Slate) & Elle Burchill (Microscope Gallery) 2.) A peformance/’recreation’ of the infamous Mistakes (everything you can do wrong) show, enacting a multitude of projection failures & inspired screw-ups, with guest projectionists Lary 7 and Joel Schlemowitz (from the original fiasco) and other ‘professional(?) pitch-hitters’ from Anthology, etc. 3.) An attempt at the unsuccessful Cocktail Cinema event, with related films and drinks, pairing libations & clips in a drunken mixture of free associations, perhaps overlapping, since cocktails can produce even better mistakes... Including these works: - The Legend of Robert Beck / Sanitarium Cinema (Brian Frye & Bradley Eros / Bradley Eros & Maria Losier, 1999, DVD, 3 min / 7
min.) The history told & enacted. - Robert Beck is Alive & Well & Living in NYC (Brian Frye with Stuart Sherman, 2000, 16mm, 4 min.) The myth performed. - burn (or, The 2nd Law of Thermodynamics) (Bradley Eros, 2004, DVD, 5 min.) An accident of modulated destruction; an offshoot of the original “Mistakes” show. - Punch n’ Judy Santa (double projection) (found films – Eros/Frye intervention, 2000, 16mm, 10 min.) An RBMC fave. - X times X (Bradley Eros, 1998, R-8mm/16mm, 4 min.) The X-rated X-ray film, a subterranean science experiment. - Other influences & inspirations Pirated works, stolen gems & archival mold.
3/21
New York, New York: Anthology Film Archives
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7:30 pm, 32 2nd Avenue
SHOW & TELL: SYLVIA SCHEDELBAUER
A moving image artist whose work travels from the personal to the infinite, Sylvia Schedelbauer has made a major impact on the international film festival scene over the last decade. Employing archival materials with an associative ingenuity and uncommon approach that differentiates her from other found footage filmmakers, she has created a suite of lyrical shorts that are genuinely powerful and never less than transfixing. Whether unearthing family secrets in MEMORIES or creating total body audio and visual adventures in more recent pieces like SOUNDING GLASS and SEA OF VAPORS, Schedelbauer creates works that address consciousness, memory, and perspective in entirely fresh ways. These themes emerge explicitly in some films, while in others they’re embedded in particularly evocative, multi-faceted orchestrations that have begun, in her most recent work, to reach towards the mythic. This program represents Schedelbauer’s first solo screening in New York City following multiple
screenings at the New York Film Festival, Toronto International Film Festival, International Short Film Festival Oberhausen, London Film Festival, Robert Flaherty International Film Seminar, and Stan Brakhage Symposium. MEMORIES (2004, 19 min, digital) A woman grows up during the bubble economy in Japan. Why did her parents never speak about the past? Using a box full of photos found in her family archive, Schedelbauer tries to construct one version of a family history. REMOTE INTIMACY (2007-08, 14.5 min, 16mm-to-digital, color/b&w) Stream of consciousness with fictitious and found stories and a personal reference. FALSE FRIENDS (2007, 5 min, 16mm-to-digital, b&w) A montage of mid-century found footage: mysterious strands are obsessively braided to create a poetic reflection about an anxious interplay of memory and projection. WAY FARE (2009, 6.5 min, 16mm-to-digital) A layered tone poem of found images and woven soundscapes renders a shifting psychogram; a nomadic passage
across spaces in and out of time. SOUNDING GLASS (2011, 10 min, Super 8mm & 16mm-to-digital, b&w) A man in a forest is subject to a flood of impressions; rhythmic waves of images and sounds give form to his introspection. SEA OF VAPORS (2014, 15 min, digital, color/b&w) A cascade of images cut frame by frame flow into an allegory of the lunar cycle. Total running time: ca. 75 min.
3/21
San Francisco, California: Other Cinema
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8:30, 992 Valencia
BECKER + DARR + STORM CHASER + OCTOPLAYER +
Opening OC’s semi-annual celebration of Live A/V is the now legendary Octoplayer, Thad Povey and Mark Taylor’s marvelous 8-tiered turntable, that all are invited to try! Isaac Sherman on synths and Linda Scobie on video projections carry on that spirit of possibility in their intermedia Storm Chaser project, in its SF debut! Brian Darr also conjures from his analog rig transporting tracks to Paul Leni’s Rebus and Curtis Harrington’s House of Usher. Multimedia master Tommy Becker parlays his wry observations into incantatory vocals and big-screen visuals. PLUS Anne McGuire/Karla Milosevich, Ian Helliwell’s Cinematechnique and a mid-20s Michael Tilton Thomas plucking a prepared piano! $7.
SUNDAY, MARCH 22, 2015
3/22
Los Angeles, California: Filmforum
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7:30 pm, Spielberg Theatre at the Egyptian, 6712 Hollywood Blvd.,
GREGORY J. MARKOPOULOS: FILM AS FILM - THE ILLIAC PASSION
Gregory J. Markopoulos was one of the most original filmmakers to emerge in post-war American cinema. His films, which often translated literary or mythological sources to a contemporary context, are celebrated for their extraordinary creativity, the sensuous use of color and innovations in cinematic form. A contemporary of Maya Deren, Kenneth Anger and Jonas Mekas, Markopoulos was amongst those at the forefront of a generation that liberated cinema by developing new modes of expression. Having made his first 16mm film (Psyche) in 1947, he went on to produce several key works of the avant-garde such as Twice a Man (1963) and The Illiac Passion (1964-67). This screening of The Iliac Passion is the first known to be presented in Los Angeles in decades. The cast includes Jack Smith, Taylor Mead, Beverly Grant, Gregory Battcock, Gerard Malanga, and Andy Warhol. This rare opportunity to experience the work of a true pioneer of independent filmmaking celebrates the publication of
Film as Film: The Collected Writings of Gregory J. Markopoulos (The Visible Press, 2004), which gathers together almost 100 texts written by the filmmaker between 1950 and 1992. www.thevisiblepress.com Tickets: $10 general, $6 students/seniors; free for Filmforum members. Available by credit card in advance from Brown Paper Tickets at http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=efe31cde56&e=4e65756555 or at the door.
3/22
New York, New York: Anthology Film Archives
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5:30 pm, 32 2nd Avenue
ESSENTIAL CINEMA: JAMES BROUGHTON PROGRAM 1
FOUR IN THE AFTERNOON (1951, 15 min, 16mm, b&w) THE PLEASURE GARDEN (1953, 38 min, 35mm, b&w) THE BED (1968, 19 min, 16mm) Three films by an American avant-garde film pioneer. His films are celebrations of the joy of living. If there is such a thing as American Zen, Broughton is the master of it. Total running time: ca. 80 min.
3/22
New York, New York: Anthology Film Archives
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7:30 pm, 32 2nd Avenue
ESSENTIAL CINEMA: JAMES BROUGHTON PROGRAM 2
THE GOLDEN POSITIONS (1970, 32 min, 16mm) DREAMWOOD (1972, 45 min, 16mm) Total running time: ca. 80 min.
3/22
Oakland: Shapeshifters Cinema
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7:30-9PM, Temescal Art Center, 511 48th St.
SHAPESHIFTERS CINEMA PRESENTS ROGER BEEBE
Filmmaker/curator/professor Roger Beebe will be making a special stop through Oakland to share his currently-touring program of multiple-projector performances featuring the six-projector show-stopping space jam “Last Light of a Dying Star” alongside recent award-winning work in single-channel HD video as well as the premiere of his latest multi-projector mayhem, “SOUND FILM.” These works take on a range of topics from the forbidden pleasures of men crying (“Historia Calamitatum (The Story of My Misfortunes)”) and the secret logic of the book of Genesis (“Beginnings”) to Las Vegas suicides (“Money Changes Everything”) and companies jockeying to be at the start of the phone book (“AAAAA Motion Picture”). New arrangements of Cody Hennesy’s soundtracks for “AAAAA Motion Picture”, “tour/TOWER”, and “Can’t Stop” will be performed live!
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