[Frameworks] This week [June 25 - July 3, 2016] in avant garde cinema

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Sat Jun 25 16:40:31 UTC 2016 

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** This week [June 25 - July 3, 2016] in avant garde cinema
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Early Monthly Segments #85 = Corinne & Arthur Cantrill + Amanda Dawn Christie (#anchor6) [June 28, Toronto, Ontario, Canada]
JOB AVAILABLE:
Associate Director of Programming (Ann Arbor Film Festival)
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NEW CALLS FOR ENTRIES:
P.O.V. International Shortfilm Festival (Berlin, Germany; Deadline: August 31, 2016)
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P.O.V. International Shortfilm Festival (Berlin, Germany; Deadline: August 31, 2016)
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the8fest (Toronto, Canada; Deadline: September 30, 2016)
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The 23rd National Juried Exhibition (Salisbury, MD 21801; Deadline: July 01, 2016)
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Consumer Grade Film Fest (Carbondale, IL, USA; Deadline: August 01, 2016)
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MONO NO AWARE X (Brooklyn, NY, USA; Deadline: September 16, 2016)
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DEADLINES APPROACHING:
Shriekfest Film Festival (Los Angeles, CA USA; Deadline: July 10, 2016)
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Edinburgh Short Film Festival (Edinburgh; Deadline: June 27, 2016)
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Antimatter [Media Art] (Victoria, BC, Canada; Deadline: July 22, 2016)
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L'Alternativa, 23rd Barcelona Independent Film Festival (Barcelona, Spain; Deadline: July 01, 2016)
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Festival of (In)appropriation #9 (Los Angeles, CA, USA; Deadline: July 01, 2016)
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The 23rd National Juried Exhibition (Salisbury, MD 21801; Deadline: July 01, 2016)
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Events are sorted alphabetically BY CITY within each DATE.

This week's programs (summary):
* I See Festival Program 1 (#anchor1) [June 25, New York, New York]
* I See Festival Program 2 (#anchor2) [June 25, New York, New York]
* I Am Eye Independent Film Forum (1982-19910: A Moment From the Temporary Autonomous Zone (#anchor3) [June 26, Brooklyn, New York]
* I See Festival Program 3 (#anchor4) [June 26, New York, New York]
* Movements Phill Niblock (#anchor5) [June 28, Barcelona, Spain]
* Early Monthly Segments #85 = Corinne & Arthur Cantrill + Amanda Dawn Christie (#anchor6) [June 28, Toronto, Ontario, Canada]
* Edge of Frame Programme One: With Special Guest Jordan Baseman (#anchor7) [June 30, London, England]
* Star-Spangled To Death, Parts 1 & 2 (#anchor8) [July 2, New York, New York]
* Risco Cinema - Trans(A)Bordagens/Films By Joel Pizzini (#anchor9) [July 2, Rio de Janeiro - Brazil]
* Star-Spangled To Death, Parts 3 & 4 (#anchor10) [July 3, New York, New York]

SATURDAY, JUNE 25, 2016

6/25
New York, New York: Anthology Film Archives
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6:00 pm, 32 2nd Ave.
I SEE FESTIVAL PROGRAM 1
The more that I see the less that I know for sure.” –John Lennon The I SEE International Video Art Festival was founded in 2013 by the artists Constantin Hartenstein and Clemens Wilhelm. In 2015, the second edition of the I SEE International Video Art Festival once again revealed the latest developments in contemporary video art. The festival began in Berlin (Germany), traveled to Beijing, Guangzhou, Chongqing, and Shenzhen (China) to connect these five vibrant video art scenes, and will now arrive in New York City. The festival sets out to present groundbreaking video art works by emerging and well-known international artists who examine the impact of technological and aesthetic inventions. Three screening programs – THE END OF THE IMAGE AS WE KNOW IT, POST EVERYTHING, and THE ANIMAL WITHIN – present unique artistic approaches to animalistic instincts, the omnipresent influence of technology on society, and concepts of post-futures. PROGRAM 1: THE END OF THE IMAGE AS WE KNOW
IT This program examines constructed digital entities and reevaluates social norms. It bends the boundaries of original content and newly created context in a consumer-driven reality. In treating the frame as a space to break apart filmic forms and narratives, the works in the program look at ways to juxtapose diverse narratives and stylistic elements. How are the images of the past reassembled in the present? Would you like to become an alpha-male overnight? Is the image of an old white male ruling class still adequate? How does the experience of war change the image of home? What if there was a superhero with the special powers of a uterus? How can your family appear more happy in photos? Li Ran FROM TRUCK DRIVER TO THE POLITICAL COMMISSAR OF THE MOUNTED TROOPS (2012, 9 min, digital, b&w) Constantin Hartenstein ALPHA (2014, 11 min, digital) Julia Charlotte Richter THE SMELL OF RAIN (2015, 15 min, digital) Bjørn Melhus I’M NOT THE ENEMY (2011, 14 min, digital) Lu Yang UTERUS
MAN (2013, 11 min, digital) OQ Rizki Resa Utama THE HAPPY FAMILY (2013, 7 min, digital) Total running time: ca. 70 min.

6/25
New York, New York: Anthology Film Archives
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8:00 pm, 32 2nd Ave.
I SEE FESTIVAL PROGRAM 2
PROGRAM 2: THE ANIMAL WITHIN THE ANIMAL WITHIN combines videos that deal with a new kind of wild behavior and creative expression – either within ourselves or as a reaction to a vanishing fauna. Inspired by 17th century painting, hunting videos on YouTube, or Hitchcockian scenarios, this program presents works that elaborate upon spiritualism, the emotional tension between mankind and the wilderness, and the capacity for death to act as a reminder of the animalistic nature of our being. What do we feel after we shoot an animal? Why do birds look at us with disinterest? What happens to the soul in the forest? What is the difference between humans and dogs? Neozoon BUCK FEVER (2012, 6 min, digital) Ulu Braun BIRDS (2014, 15 min, digital) Trond Ansten 17 TONES OF WHITE (2015, 27 min, digital) Wojtek Doroszuk FESTIN (2013, 20 min, digital) Total running time: ca. 70 min.

SUNDAY, JUNE 26, 2016

6/26
Brooklyn, New York: Microscope Gallery
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7:30pm, 1329 Willoughby Ave, 2B
I AM EYE INDEPENDENT FILM FORUM (1982-19910: A MOMENT FROM THE TEMPORARY AUTONOMOUS ZONE
Super 8 and 16mm films from the co-founders and main participants of former Washington DC underground screening series founded in 1982 by Pam Kray, Paul Bishow and Pierre Devaux. “I AM EYE” held its first screening in March of that same year at dc space, a bar and performance venue in downtown DC, where Kray worked at the time and which she had approached about presenting “screenings that would be noncommercial nor hierarchical in nature”. With a founding principle that no one bringing a movie to screen would be turned away, I AM EYE’s low-key and inclusive atmosphere allowed for a maverick programming that quickly expanded from locals to under-the-radar filmmakers from New York such as Nick Zedd and Richard Kern’s “Cinema of Transgression” movement, as well as from Baltimore, Boston, San Francisco, and even France and Germany. It was also there that Jeff Krulick and Joyn Heyn's "Heavy Metal Parking Lot" made its debut in 1986. Over the course of 9 years, two Mondays per
month, I AM EYE provided a quintessential outlet for DC based and visiting filmmakers to show their freshly completed films to friends and a wider audience at a time when the city was an extremely prolific laboratory of music, film, and theater. I AM EYE came to an halt in 1991 upon the closing of dc space, despite an attempt at keeping the series alive at other DC venues. Full Program: www.microscopegallery.com. Admission $8, Students $6 w/ valid ID. tel:347.925.144, info at microscopegallery.com. Jefferson St L (exit Starr St)

6/26
New York, New York: Anthology Film Archives
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7:30 pm, 32 2nd Ave.
I SEE FESTIVAL PROGRAM 3
PROGRAM 3: POST EVERYTHING The POST EVERYTHING program points out the relationship between innovative aesthetics that transform cultural output and the past as a resource for the construction of the present and the future. It reveals a world that fetishizes the new as a surplus value. A small step forward can shake up all definitions. Can you turn a desert into a utopian city? How do we relate to world-changing media events? Are we happy with simulacra instead of the real things? And how can one be an artist in a hyperreal world? Niklas Goldbach LAND OF THE SUN (2015, 12 min, digital) Franz Reimer JUSTICE HAS BEEN DONE (2014, 8 min, digital) Clemens Wilhelm SIMULACRA (2015, 33 min, digital) Erkka Nissinen MATERIAL CONDITIONS OF INNER SPACES (2014, 15 min, digital) Total running time: ca. 70 min.

TUESDAY, JUNE 28, 2016

6/28
Barcelona, Spain: Crater Lab
7 PM, Carrer de Sant Guillem, 17
MOVEMENTS PHILL NIBLOCK
Crater Lab presenta un programa especial dedicado al trabajo de PHILL NIBLOCK, veterano compositor minimalista norteamericano. Sus potentes e intensos drones musicales y sus películas de la serie "The movement of people working" han dado la vuelta al mundo. Para esta ocasión imperdible, contaremos con su presencia compartiendo la noche con una habitual colaboradora suya, la videoartista polaca Katherine Liberovskaya, que centra su trabajo en la búsqueda de una "música" improvisada para los ojos. Contaremos también con tres destacados músicos y compositores, experimentados interpretes de este tipo de repertorio: la flautista norteamericana Barbara Held, el guitarrista francés Didier Aschour y el percusionista francés Stéphane Garin. Una velada en dos partes que promete ser intensa y única. Están avisados! --------------------- PROGRAMA 1ª parte Video: Katherine Liberovskaya Música en directo: Barbara Held, Didier Aschour, Stéphane Garin 2a parte Música en directo y video :
Phill Niblock Held Tones (1982, 22:40) Barbara Held: flautaOctavio Perc (2014, 20:45) Julien Ottavi, recorded samples;Stephane Garin: percusiónFirst Out (2015, 22:14) David First, recorded samples;Didier Aschour: live Video de la serie "The Movement of People Working": China 88, Japón89, Brasil84

6/28
Toronto, Ontario, Canada: Early Monthly Segments
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8:00 PM, Gladstone Hotel, 1214 Queen Street West
EARLY MONTHLY SEGMENTS #85 = CORINNE & ARTHUR CANTRILL + AMANDA DAWN CHRISTIE
Tonight we offer a rare screening of imported prints of two 16mm films from the prolific Australian duo Arthur and Corinne Cantrill. For over 50 years, the couple have contributed to a local and national Australian experimental film scene by making films, organizing events and publishing the long-running Cantrills Filmnotes (1971-2000), which connected their local and regional activities to global experimental film culture. One of the re-occurring tropes of the more than one hundred films by the Cantrills is colour separation, using a three-pass process of shooting black and white film through red, green and blue filters to make a final colour print, that shows both the colour process and allows the movement of colour in and out of alignment to speak to the passing of time. Experiments in Three-Colour Separation is one such film, made in 1980. Corinne Cantrill’s film At Eltham from 1974 explores her fascination with Australian landscapes and introduces her interest in playing
the 16mm camera functions as a musical instrument. In an essay, Corinne notes she subtitled the film ‘A Metaphor on Death’ referring to their despair, at the time, about their future as filmmakers in Australia and their decision to leave the country temporarily. We open with Moncton’s Amanda Dawn Christie with her 2006 experimental dance film Three Part Harmony: Composition in RGB #1 whose images were recombined into full colour through optical printing one frame at a time. The gestures in this dance work explore the psychological fracturing and reunification in representations of the female body. Programme: Experiments in Three-Colour Separation, Arthur + Corinne Cantrill, Australia, 1980, 16mm, 20 minutes At Eltham – A Metaphor on Death, Corinne Cantrill, Australia, 1974, 16mm, 24 minutes Three Part Harmony: Composition in RGB #1, Amanda Christie, Canada, 2006, 16mm, 6 minutes

THURSDAY, JUNE 30, 2016

6/30
London, England: Edge of Frame
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20:00, DIY Space for London, 96-108 Ormside Street SE15 1TF
EDGE OF FRAME PROGRAMME ONE: WITH SPECIAL GUEST JORDAN BASEMAN
Edge of Frame presents an evening of films exploring ideas of experimental documentary, moving image portraiture and abstraction, including works by special guest Jordan Baseman. Jordan will show a selection of his work followed by a Q&A. Preceding this will be a programme of films connecting to the themes and processes of Jordan's practice, which combines creative non-fiction and interview-based works with hand-processed film and stop motion techniques. Jordan Baseman is a visual artist, filmmaker and Head of Sculpture at the Royal College of Art. Edge of Frame seeks to provide a space for artists working at the intersection of experimental animation, artists’ moving image and experimental film. Visit www.edgeofframe.co.uk/events for more details. Entry £3.00 on the door DIY Space for London, 96-108 Ormside Street SE15 1TF Please note: DIY Space for London is a member's club, open to members and their guests only. Membership only costs £2 and takes 48 hours to take effect.
Join and pay at diyspaceforlondon.org

SATURDAY, JULY 2, 2016

7/2
New York, New York: Anthology Film Archives
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32 2nd Ave., New York, NY.
STAR-SPANGLED TO DEATH, PARTS 1 & 2
by Ken Jacobs 1956-60/2003-04, 209 min + 30 min intermission, digital, b&w/color

7/2
Rio de Janeiro - Brazil: Risco Cinema
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17h, Cinematheque of MAM
RISCO CINEMA - TRANS(A)BORDAGENS/FILMS BY JOEL PIZZINI
Program with four short films made by one of the most important contemporary filmmakers in Brazil, Joel Pizzini. The session will be followed by a discussion with Joel Pizzini and the film researcher Fernanda Rocha Miranda. Trans(a)bordagens/Films by Joel Pizzini: Glauces - Estudo de um rosto (2001); Elogio da Graça (2006); Mar de Fogo (2014); Último Trem (2014). Organization: Risco Cinema, Poló Filmes and Cinemateca do Museu de Arte de Moderna do Rio de Janeiro.

SUNDAY, JULY 3, 2016

7/3
New York, New York: Anthology Film Archives
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6:00 pm, New York, NY.
STAR-SPANGLED TO DEATH, PARTS 3 & 4
by Ken Jacobs 1956-60/2003-04, 222 min + 30 min intermission, digital, b&w/color This screening is part of: HIS FAVORITE FILMS IMPROVED: THE FOUND FOOTAGE FILMS OF KEN JACOBS “An epic film shot for hundreds of dollars! Combining found-films with my own more-or-less staged filming, it pictures a stolen and dangerously sold-out America, allowing examples of popular culture to self-indict. Racial and religious insanity, monopolization of wealth and the purposeful dumbing down of citizens and addiction to war oppose a Beat playfulness. A handful of artists costumed and performing unconvincingly appeal to audience imagination and understanding to complete the picture. Jack Smith’s pre-FLAMING CREATURES performance as The Spirit Not Of Life But Of Living (the movie has raggedly cosmic pretensions), celebrating Suffering (rattled impoverished artist Jerry Sims) at the crux of sentient existence, is a visitation of the divine.” –K.J. “Ken Jacobs’s monumental, monstrous STAR SPANGLED
TO DEATH…is a [seven-plus-hour] assemblage of found audio-visual material ranging from political campaign films to animated cartoons to children’s phonograph records, interwoven with gloriously eccentric original footage shot mainly on the streets (and in the dumps) of late-50s New York. […] The movie is a vast, ironic pageant of 20th-century American history and consciousness. Fantastic street theater alternates with classroom hygiene films or dated studies of behavioral modification; Jacobs’s performers, notably the young Jack Smith, hobnob with Mickey Mouse, Al Jolson, and American presidents from Franklin Roosevelt to George W. Bush. Obsession overflows as Jacobs’s private mythology and outspoken cultural criticism merge with relentless documentation of America’s ongoing military mobilization and institutionalized racism. […] As a work of art, STAR SPANGLED TO DEATH has as much in common with the Watts Towers or the Barnes Foundation as with cinema as we know it….” –J.
Hoberman
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