[Frameworks] This week [April 22 - 30, 2017] in avant garde cinema
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Sat Apr 22 15:57:51 UTC 2017
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** This week [April 22 - 30, 2017] in avant garde cinema
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from The Sound of His Face (Scott Stark) Ultra-Seeing Film Series: Synesthie (#anchor26) [April 30, Dallas, TX]
NEW CALLS FOR ENTRIES:
Rencontres Internationales Sciences & Cinémas (RISC) (Marseille; Deadline: June 01, 2017)
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DEADLINES APPROACHING:
Peripheral ARTeries, Biennial Edition 2017 (London, United Kingdom; Deadline: May 25, 2017)
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Events are sorted alphabetically BY CITY within each DATE.
This week's programs (summary):
* Down Hear: the Films of Mike Henderson - Filmmaker In Person (#anchor1) [April 22, Cambridge]
* Ec: Bruce Baillie Program (#anchor2) [April 22, New York, NY]
* Godothers (#anchor3) [April 22, New York, NY]
* Escape From Rented Island: the Lost Paradise of Jack Smith (#anchor4) [April 22, New York, NY]
* April22: Inaate/Se&Mdash;It Shines A Certain Way + Gomez-Pena (#anchor5) [April 22, San Francisco, California]
* Peripheries: Groundbreaking Border video Works (#anchor6) [April 22, Tucson, AZ]
* Benjamin Smoke (#anchor7) [April 23, Cambridge]
* Suite California Stops & Passes (#anchor8) [April 23, Cambridge]
* Ec: Quick Billy (#anchor9) [April 23, New York, NY]
* Ec: Baillie / Belson / Crockwell Pgm (#anchor10) [April 23, New York, NY]
* Escape From Rented Island: the Lost Paradise of Jack Smith (#anchor11) [April 23, New York, NY]
* Fragments, Group Screening (#anchor12) [April 24, Brooklyn, New York]
* Phantoms of Light and Darkness: New Digital Films By Ernie Gehr (#anchor13) [April 24, Los Angeles, California]
* Newfilmmakers (#anchor14) [April 24, New York, NY]
* Su Friedrich's Sink Or Swim + Michelle Citron's Daughter Rite (#anchor15) [April 25, Brooklyn, New York 11222]
* Romance, Apocalypse and Moon Landings: Kate Mccabe + Gabriela Molina (#anchor16) [April 26, Tucson, AZ]
* Directors Lounge Screening - Thanos Chrysakis - Amber Gaze (#anchor17) [April 27, Berlin, Germany]
* Ec: Stan Brakhage Program 1 (#anchor18) [April 27, New York, NY]
* Spectral Ascension: Super 8 and 16mm Films By Paul Clipson (#anchor19) [April 28, Los Angeles, California]
* Ordinary Scenes and Recurring Dreams: Recent Japanese 8mm Films (#anchor20) [April 29, Los Angeles, California]
* Ec: Songs 1-14 (#anchor21) [April 29, New York, NY]
* April29: Wilkerson&Rsquo;S Machine Gun Or Typewriter? + Flunk Trump! (#anchor22) [April 29, San Francisco, California]
* I’Ll Be Your Mirror: andy Warhol's 8 Hour Empire Projected In 16mm!!! Exploded view Fundraiser, Happening & Feast!!! (#anchor23) [April 29, Tucson, AZ]
* A Roll For Peter (#anchor24) [April 29, Vancouver, British Columbia]
* Instrument (#anchor25) [April 30, Cambridge]
* Ultra-Seeing Film Series: Synesthie (#anchor26) [April 30, Dallas, TX]
* Ec: Songs 15-22 (#anchor27) [April 30, New York, NY]
* Ec: Stan Brakhage Program 2 (#anchor28) [April 30, New York, NY]
SATURDAY, APRIL 22, 2017
4/22
Cambridge: Harvard Film Archive
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7pm, 24 Quincy Street
DOWN HEAR: THE FILMS OF MIKE HENDERSON - FILMMAKER IN PERSON
Due to a slate of recent preservations by Mark Toscano of the Academy Film Archive, the films of Mike Henderson (b. 1944) have finally come to light. Formally trained as a painter and blues guitarist, Henderson expanded his creative expression in the 1960s to filmmaking. Radical, innovative, political and often comical, Henderson’s 16mm short works are an eccentric outgrowth of his music and painting backgrounds. Initially manifesting from a desire to animate the figures in his paintings—which he thought would give his artwork greater depth—Henderson’s powerful, candid work ranges from audiovisual compositional experiments, to musings on creativity, to John Lee Hooker-style spoken blues performances about the Black experience and Black identity. As the late filmmaker Robert Nelson has noted, "Henderson’s movies are the first movies in the world to bring the authentic 'talkin blues' tradition into film.” Henderson’s films typically address a variety of political and social
issues, many times with wry humor, along with performative and introspective elements. The Harvard Film Archive is honored to welcome Mike Henderson in person to present his films. He will also introduce a program of his close friend Robert Nelson’s work the following evening. Highlights include Henderson’s first film, The Last Supper, in which a blasphemous romp and orgy break out, while Dufus is a comedic and radical look at black stereotypes acted out by Mike Henderson in a variety of amazing performances. Concluding the program is the masterful Down Hear, a powerful meditation on slavery and oppression set in a kitchen and featuring a slave- trading reenactment by Mike Henderson in white face, along with his brother Raymond, all paced by a slow and haunting blues track played by Mike.
4/22
New York, NY: Anthology Film Archives
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3:45 PM, 32 Second Avenue
EC: BRUCE BAILLIE PROGRAM
MASS FOR THE DAKOTA SIOUX (1963-64, 20 minutes, 16mm, b&w) QUIXOTE (1964-65, 45 minutes, 16mm) "In MASS and QUIXOTE [Baillie] subtly blends glimpses of the heroic personae with despairing reflections on violence and ecological disaster. […] Despite his sophistication, Baillie remains an innocent; the whole of his cinema exhibits an alternation between two irreconcilable themes: the sheer beauty of the phenomenal world (few films are as graceful to the eye as his, few are as sure of their colors) and the utter despair of forgotten men. It is in QUIXOTE alone that these two themes emerge into a dialectical form, an antithesis of grace and disgrace." -P. Adams Sitney, VISIONARY FILM Total running time: ca. 70 min.
4/22
New York, NY: Anthology Film Archives
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7:30 PM, 32 Second Avenue
GODOTHERS
GUEST CURATED BY SARAH MENDELSOHN "Godothers" presents five works reflecting on fluidity in gender, language, and political life: where being trans or fluid is not necessarily the primary content, but where genderqueer or trans experiences contribute to a politics of rewriting and relating deeply. With SILENCE, Sarah Mendelsohn projects into the American writer Susan Sontag's 1993 "gender-blind" production of WAITING FOR GODOT in Sarajevo. Rami George writes into a stranger's romantic history: scenes of American protests, friendships, and hazy interiors circa 1960s-90s - UNTITLED (STANLEY, MY SECOND LOVER) holds memories of tenderness and radical ambition alternately close and very distant. Geo Wyeth and Mariah Garnett cast themselves as family members, rewriting their genders, adapting their speech. Geo becomes HW CLOBBA: "the artist's dead godmother, a native New Yorker, reluctant real estate appraiser, and communist." In OTHER & FATHER, Mariah queers her father, reenacting
scenes from an earlier life, in 1970s Belfast. Rindon Johnson projects variously, rewriting their family, name, and body. Their poetry traces the ways our families reside within our names and bodies, our environments, our politics. We're often looking for new ones. Sarah Mendelsohn SILENCE (2017, 15 min, reading) Rami George UNTITLED (STANLEY, MY SECOND LOVER) (2012, 8 min, digital) HW Clobba (Geo Wyeth with Alan Danielson) AUTOMATIC TELLER MACHINE (2014, 11.5 min, digital) Mariah Garnett OTHER & FATHER (CHANNEL 2) (2016, 11 min, digital) Rindon Johnson UNTITLED (2017, 15 min, reading with video) Total running time: ca. 65 min.
4/22
New York, NY: Anthology Film Archives
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8:00 PM, 32 Second Avenue
ESCAPE FROM RENTED ISLAND: THE LOST PARADISE OF JACK SMITH
by Jerry Tartaglia. WORLD PREMIERE! FILMMAKER IN PERSON! "I call it a 'Film Essay,' but it's really a non-documentary film document that gives Jack Smith the chance to be heard without the intervention of talking heads, critics, and had-been friends." -Jerry Tartaglia For more than 20 years, Jerry Tartaglia worked on restoring, preserving, and exhibiting the moving-image legacy of underground film and performance legend Jack Smith. Tartaglia's work as restorer, achieved with the support of Jack's friends at The Plaster Foundation, and The Gladstone Gallery, has been critical in ensuring that Smith's films are available for future generations. Now, having completed that work, Tartaglia has created a Film Essay that consists of 21 short illustrations of Smith's Aesthetic and Political principles including Capitalism, Glitter, Performance, Chance, Boredom, Thievery, Injustice, and Maria Montez. A remarkable fusion of image and sound that is both an invaluable work of archival
archaeology and a splendid filmic experience in its own right, ESCAPE FROM RENTED ISLAND is a must-see for Jack Smith devotees and neophytes alike. "Jack Smith left behind a cache of audio recordings that he made in the 1970s, 80s, and earlier, in which he reveals much about his ideas of artmaking, cinema, politics, and life. Some of the recordings are solo readings of his published writings while others are documentations of his 'Live Film' performances. Some are recordings that document rehearsals for his films and others are impromptu recitations on a theme. These recordings have been made available to me by the owner of the Jack Smith Archive, The Gladstone Gallery, New York and Brussels, for use in my film. I've culled the most daring and engaging of these recordings with images from his films and photography that exemplify or illustrate his ideas. The unique feature of the film is that there are no 'talking head' interviews with anyone. The only spokesperson for Jack
Smith is Jack himself!" -Jerry Tartaglia
4/22
San Francisco, California: Other Cinema
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8:30 PM, 992 Valencia St.
APRIL22: INAATE/SE—IT SHINES A CERTAIN WAY + GOMEZ-PENA
In their break-out first feature, Ojibway filmmakers Adam (in person) and Zack Khalil fearlessly reclaim the Native narrative from the museums that would confine it to the past, instead weaving a formally and intellectually complex essay on contemporary Indian identity. The kaleidoscopic experience mixes doc, narrative, and experimental modes, transcending linear colonized history to explore how tribal prophecy resonates through the generations in their Great Lakes region. Using personal interviews, animated drawings, performance, and provocative inter-cutting, the Khalil brothers’ debut makes a bold case for indigenous people to be their own storytellers. Opening is a half-hour of Anti-Ethnographies, including righteous satires by Guillermo Gomez-Pena & Gustavo Vazquez; come early for Jota Leaños’ animated Frontera: Revolt on the Rio Grande!
4/22
Tucson, AZ: Exploded View Microcinema
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7:30, 197 E Toole Ave
PERIPHERIES: GROUNDBREAKING BORDER VIDEO WORKS
(Artists Jennifer Hijazi, Wesley Creigh and Conor Eliot Fitzgerald in person) Tonight’s program highlights local artists employing varying viewing formats to represent international boundaries near and far. Featuring 360° videos of international borders from around the world by University of Arizona Journalism master’s student Jennifer Hijazi. Her virtual reality stations will give your eyeballs a front row seat to the people and landscapes of borderlands worldwide. Wesley Creigh will debut her animation project “Of Rocks and Bullets: An Animated Discourse” in an interactive viewing-booth installation that contemplates the occurrence of Border Patrol violence on and across the US-Mexico border. Conor Elliott Fitzgerald brings us his video piece of two economically disparate but geographically near communities of Green Valley, Arizona and Nogales, Sonora. His work is the product of years of interacting with both locales as a photographer. An exciting night of boundary pushing
video and new media works, that examines traditional themes using non-traditional methods, compelling the viewers towards new frontiers of thought and reaction.
SUNDAY, APRIL 23, 2017
4/23
Cambridge: Harvard Film Archive
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4:30pm, 24 Quincy Street
BENJAMIN SMOKE
Jem Cohen and co-director Peter Sillen, both visually involved in Athens’ independent music scene, were introduced to Benjamin—née Robert Dickerson—through Michael Stipe, a longtime fan. Over a decade, Cohen and Stillen craft a compassionate portrait of Benjamin, whose marginality—unclassifiable musician, openly gay, HIV-positive, addict, drag queen —is as spectacular as his unedited authenticity, passionate vitality and sensitive vulnerability. In Atlanta’s eccentric—and gradually gentrifying—area known as Cabbagetown, the filmmakers document Benjamin’s public and private performances, wild musings, Southern left-field surroundings, and his band’s opening for Patti Smith, another fan. A unique soul whose bright flame is sometimes difficult to watch directly, Benjamin seems equally powered by both a passion for life and a self-destructive fatalism. Amid the rough grains of film and notes of Benjamin’s bewitching music , Cohen and Sillen capture the essence of this secret,
decadent Southern star. Directed by Jem Cohen and Peter Sillen. US 2000, 16mm, color and b/w, 73 min Preceded by Peter Hutton US 2016, digital video (orig. 16mm), b/w, 2 min Anne Truitt, Working US 2009, digital video (orig. 16mm), b/w & color, 13 min Lucky Three: An Elliot Smith Portrait US 1997, digital video (orig. 16mm), color, 11 min
4/23
Cambridge: Harvard Film Archive
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7pm, 24 Quincy Street
SUITE CALIFORNIA STOPS & PASSES
Suite California is a work of deep feeling, insight, humor and intelligence that finds Nelson working at the height of his formal innovation and, at the same time, at his most personally revealing and emotionally generous. The Suite California films were originally intended as a much longer, multipart travelogue traversing the wide cultural and geographical diversity of all of California. Nelson completed two parts—covering Southern California and the Bay Area—and the results trace the vast and unpredictable area between a rich personal reading of a place and the place itself. Although both works feature Nelson's characteristic brilliant humor throughout, they are also deeply reflective and filled with unexpected, revelatory insight about the subjective experience of his home state, and his own place in it. – Mark Toscano All films in this program—except for Bleu Shut—preserved by the Academy Film Archive. King David Directed by Mike Henderson and Robert Nelson US 1970/2003,
16mm, color, sound, 7.5 min Suite California Stops & Passes Part 1: Tijuana to Hollywood via Death Valley US 1978, 16mm, color & b/w, 47 min Suite California Stops & Passes Part 2: San Francisco to the Sierra Nevadas & Back Again US 1978, 16mm, color & b/w, 47 min
4/23
New York, NY: Anthology Film Archives
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4:00 PM, 32 Second Avenue
EC: QUICK BILLY
by Bruce Baillie. Bruce Baillie's journey through "the dark wood encountered in the middle of life's journey" (Dante), with references to Bardo Thodol. A major work from one of the great poets of cinema. Plus: QUICK BILLY: SIX ROLLS; 14/41/43/46/47/52 (1968-69, 16 min, 16mm) Six uncut camera rolls to be shown with QUICK BILLY. The 'rolls' took the form of a correspondence, or theater, between their author and Stan Brakhage, in the winter of 1968-69.
4/23
New York, NY: Anthology Film Archives
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6:00 PM, 32 Second Avenue
EC: BAILLIE / BELSON / CROCKWELL PGM
Bruce Baillie CASTRO STREET (1966, 10 min, 16mm) ALL MY LIFE (1966, 3 min, 16mm) VALENTIN DE LAS SIERRAS (1968, 10 min, 16mm. Preserved by Anthology Film Archives.) "In [Baillie's late 1960s films], the eye of the film-maker quiets his mind with images of reconciliation; the dialectics of cinematic thought become calm in the filming of the privileged moment of reconciliation." -P. Adams Sitney, VISIONARY FILM Jordan Belson ALLURES (1961, 9 min, 16mm) RE-ENTRY (1964, 6 min, 16mm) SAMADHI (1967, 6 min, 16mm) WORLD (1970, 6 min, 16mm) LIGHT (1973, 6 min, 16mm) [This film is not technically part of the Essential Cinema, but is included here as a special bonus.] "Our greatest abstract film poet: he has found how to combine the vision of the outer and the inner eye." -Gene Youngblood Douglass Crockwell THE LONG BODIES (1949, 6 min, 16mm) GLENS FALLS SEQUENCE (1964, 8 min, 16mm) Both films preserved by Anthology Film Archives. "The basic idea was to paint continuing pictures on
various layers with plastic paint, adding at times and removing at times, and to a certain extent these early attempts were successful." -Douglass Crockwell Total running time: ca. 75 min.
4/23
New York, NY: Anthology Film Archives
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8:00 PM, 32 Second Avenue
ESCAPE FROM RENTED ISLAND: THE LOST PARADISE OF JACK SMITH
by Jerry Tartaglia. WORLD PREMIERE! FILMMAKER IN PERSON! "I call it a 'Film Essay,' but it's really a non-documentary film document that gives Jack Smith the chance to be heard without the intervention of talking heads, critics, and had-been friends." -Jerry Tartaglia For more than 20 years, Jerry Tartaglia worked on restoring, preserving, and exhibiting the moving-image legacy of underground film and performance legend Jack Smith. Tartaglia's work as restorer, achieved with the support of Jack's friends at The Plaster Foundation, and The Gladstone Gallery, has been critical in ensuring that Smith's films are available for future generations. Now, having completed that work, Tartaglia has created a Film Essay that consists of 21 short illustrations of Smith's Aesthetic and Political principles including Capitalism, Glitter, Performance, Chance, Boredom, Thievery, Injustice, and Maria Montez. A remarkable fusion of image and sound that is both an invaluable work of archival
archaeology and a splendid filmic experience in its own right, ESCAPE FROM RENTED ISLAND is a must-see for Jack Smith devotees and neophytes alike. "Jack Smith left behind a cache of audio recordings that he made in the 1970s, 80s, and earlier, in which he reveals much about his ideas of artmaking, cinema, politics, and life. Some of the recordings are solo readings of his published writings while others are documentations of his 'Live Film' performances. Some are recordings that document rehearsals for his films and others are impromptu recitations on a theme. These recordings have been made available to me by the owner of the Jack Smith Archive, The Gladstone Gallery, New York and Brussels, for use in my film. I've culled the most daring and engaging of these recordings with images from his films and photography that exemplify or illustrate his ideas. The unique feature of the film is that there are no 'talking head' interviews with anyone. The only spokesperson for Jack
Smith is Jack himself!" -Jerry Tartaglia
MONDAY, APRIL 24, 2017
4/24
Brooklyn, New York: Microscope Gallery
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7:30pm, 1329 Willoughby Ave 2B
FRAGMENTS, GROUP SCREENING
works by Leah Beeferman, Gregg Biermann, Danielle Ezzo & Anton Marini, Lisa Gwilliam & Ray Sweeten, Jeremiah Jones, Michelle Leftheris, Rollin Leonard, Zach Nader, Andrew Neumann, Danielle Roney, Anita Thacher, Yuge Zhou Sreening of new and recent short moving image works involving the fragmentation of the digital frame/image. In these videos and online works ranging from 15 seconds to 15 minutes the rectangular screen is broken or segmented, often in time and space, offering the viewer alternative ways to perceive the reality of the underlying imagery including television programming and Hollywood films as well as real life and virtual subject matters such as migration and displacement, the union of lovers, the concept of “manifest destiny”, AI in use on the web, and the anthropomorphic qualities of machines at work on the streets of New York City. Full program and additional info: www.microscopegallery.com. info at microscopegallery.com tel: 347.925.1433. Jefferson L train
(exit Starr St)
4/24
Los Angeles, California: Redcat
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8:30pm, 631 W. 2ND Street
PHANTOMS OF LIGHT AND DARKNESS: NEW DIGITAL FILMS BY ERNIE GEHR
Ernie Gehr continues to delight and confound as a stream of new work moves ever more masterfully into a world of digital imagery. Gehr, the avant-garde innovator behind 16mm milestones such as Serene Velocity (1970) and Side/Walk/Shuttle (1991), is a great observer of urban life, an artist who transforms human activities into rich fields of cinematic discovery. Gehr’s recent digital films return to favorite themes— city life, travel phenomena, early cinema, visual revelation—with expanded depth and sensory acuity. The program consists of Sensations of Light, 7, 10 and 11 (2016), Creatures of the Night (2016), Transport (2015) and A Commuter’s Life (What a Life!) (2014). In person: Ernie Gehr
4/24
New York, NY: Anthology Film Archives
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6:00 PM, 32 Second Avenue
NEWFILMMAKERS
For full program listings, visit www.newfilmmakers.com.
TUESDAY, APRIL 25, 2017
4/25
Brooklyn, New York 11222: Light Industry
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7:30 PM EDT, 155 Freeman St
SU FRIEDRICH'S SINK OR SWIM + MICHELLE CITRON'S DAUGHTER RITE
Sink or Swim, Su Friedrich, 1990, 16mm, 48 mins Daughter Rite, Michelle Citron, 1978, 16mm, 55 mins A pivotal work of feminist cinema, Michelle Citron's Daughter Rite speculates on the political and personal complexities of mother-daughter relationships through an investigation of her family's 8mm home movies. Followed by a conversation with Friedrich.
WEDNESDAY, APRIL 26, 2017
4/26
Tucson, AZ: Exploded View Microcinema
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7:30, 197 E Toole Ave
ROMANCE, APOCALYPSE AND MOON LANDINGS: KATE MCCABE + GABRIELA MOLINA
(filmmakers in person) Kate McCabe will be showcasing a decade's worth of her moving image work combining humor in experimental film and premiering her latest 16mm work, You and I Remain. A film inspired by the Anthropocene, You and I Remain is an apocalyptic lullaby, a landscape film mediating on the end of the world. Shot in Big Sur, the Salton Sea and in McCabe’s own neighborhood of Joshua Tree, the film shows us a portrait of the world askew with subtle and moving sound design by Jason Payne of Nitzer Ebb. Local fave, Gabriela Molina begins the evening with a selection of her recent fantastical cut-out animations and light experiments!
THURSDAY, APRIL 27, 2017
4/27
Berlin, Germany: Directors Lounge
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21:00, Z-Bar, Bergstraße 2, 10115 Berlin-Mitte, Germany
DIRECTORS LOUNGE SCREENING - THANOS CHRYSAKIS - AMBER GAZE
The artist, musician and composer Thanos Chrysakis was born in Athens. He lived for sixteen years in London until he moved to Belarus in 2015. He is a trained musician who performs his music internationally in festivals, in concert halls and alternative places. He always had a strong connection with images and thus has created his own videos, or has found people for sound/image collaborations. Since 2007 he operates the record-label 'Aural Terrains' focusing in electroacoustics, composed and improvised music. -°*°- The program thus presents the composer/musician - Thanos Chrysakis - working with his own visuals and with the audio-visual collaborations of film director Félix Brassier. In our perception of video, or film, of audio-visual material, sound guides the reception of images, sound creates the continuity of space and time or its disruption more than any visual effect, even though the sound editing rarely comes to the surface of our perception. Chrysakis with his sounds
on the other hand loves to work with the thresholds of our perception, with the fragility and ambiguity of sounds, and the edges of discernibility. The images of his films, and of those of Brassier, thus play on a similar congenial level of ambiguity on the picture layer, as Chrysakis' sounds. The visuals may even take up some of the functions, “music for film” traditionally has: a marker for the continuity of space and time. However, the stream of ambiguous consciousness between industrial urban spaces and dreamy imaginations the films provoke, are a product of a fine tuned balance of sound and image creation. -°*°- -°*°- Artist Link: http://hi-beam.us9.list-manage2.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=0ca5e30096&e=4e65756555 -°*°- http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=4a9e708238&e=4e65756555 -°*°- -°*°- Links: Directors Lounge http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=19a87303d9&e=4e65756555 -°*°- Richfilm http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=08d9b621dd&e=4e65756555 -°*°- Z-Bar http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=8ec0d905b5&e=4e65756555
4/27
New York, NY: Anthology Film Archives
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7:30 PM, 32 Second Avenue
EC: STAN BRAKHAGE PROGRAM 1
Unless otherwise noted, all films are silent. DESISTFILM (1954, 7 min, 16mm, b&w, sound) REFLECTIONS ON BLACK (1955, 12 min, 16mm, b&w, sound. Preserved by Anthology Film Archives.) THE WONDER RING (1955, 4 min, 16mm) FLESH OF MORNING (1956, 25 min, 16mm, b&w) DAYBREAK AND WHITEYE (1957, 8 min, 16mm) WINDOW WATER BABY MOVING (1959, 12 min, 16mm. Preserved by Anthology Film Archives.) Films made during the early, "psychodramatic" period of one of modern cinema's greatest innovators, including two of his early experiments with sound. Total running time: ca. 75 minutes.
FRIDAY, APRIL 28, 2017
4/28
Los Angeles, California: Echo Park Film Center
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8 pm, 1200 N Alvarado St
SPECTRAL ASCENSION: SUPER 8 AND 16MM FILMS BY PAUL CLIPSON
$5 suggested donation. This retrospective surveys Paul Clipson’s works on reversal Super 8mm and 16mm negative, covering films made between 2007 and 2017. Each of these films, with their approach to studying light, texture, color, focus, in-camera editing and superimposition, also chart a distinct journey in collaboration and interactions with a universe of sound artists and musicians, including Jefre Cantu-Ledesma, Grouper, Gregg Kowalsky, Sarah Davachi, Lawrence English and many others. The evening’s program will include OTHER STATES (2013), BRIGHT MIRROR (2013), LIGHTHOUSE (2015),and MADE OF AIR (2014), and will feature a premiere on 16mm of SPECTRAL ASCENSION (2017) with a soundtrack by Byron Westbrook. The filmmaker will be present to project the films and participate in a Q&A after the screening. Films will be screened in their original formats. Paul Clipson is a San Francisco-based filmmaker who often collaborates with sound artists and musicians on films, live
performances, and installations. His Super 8 and 16mm films aim to bring to light visual preoccupations that reveal themselves while working in a stream of consciousness manner, combining densely layered, in-camera edited studies of figurative and abstract environments, in a process that encourages unplanned-for results, responding to and conversing with the temporal qualities of musical composition and live performance. His work has screened around the world in festivals and at sound and film events such as the International Film Festival Rotterdam, The New York Film Festival, and the Cinémathèque Française. In March and April he will be touring Europe with Jeremy Young and Shinya Sugimoto for sound/film performances in London, Manchester, Paris, Brussels, Amsterdam, Copenhagen and other cities. http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=1975e5b313&e=4e65756555 FILMMAKER IN ATTENDANCE! This screening is made possible thanks to a grant from the Andy Warhol Foundation for the Visual Arts.
SATURDAY, APRIL 29, 2017
4/29
Los Angeles, California: Echo Park Film Center
http://hi-beam.us9.list-manage1.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=96161da46f&e=4e65756555
8 pm, 1200 N Alvarado St
ORDINARY SCENES AND RECURRING DREAMS: RECENT JAPANESE 8MM FILMS
The program features a diverse range of contemporary 8mm films by Japanese artists. Although it has been several years since Fuji Film ended the production of Single 8, which was a preferred format among filmmakers in Japan but not for the rest of the world, some filmmakers in Japan are still working with this format – they purchased many cartridges when available and stored them for the future. The program begins with Wriggle, an abstract animation with layers of paints on a 2-dimensional surface by Haruka Mitani, followed by Naoaki Miyamoto’s Tide, which expresses nostalgia through a journey or the flow of a river. Ryo Ishikawa’s On the Shore is made of dream-like sequences with visual effects that address the materiality of the medium, and A Dream of Smoke displays Madoka Kobata’s delicate camerawork with the images of a quiet village and others indoor. Kayako Oki’s Spinning Light conveys further the materiality of the format with a feeling of girlish childhood memories,
and Water-soluble Doze by Masaharu Oki depicts the beauty and formality in autumn leaves and others found on the ground. Akio Hikage’s Tanning the film focuses on a repetitive process that seems eternal, and Ryo Ishikawa’s found footage film, Drift, also uses an idea of repetition to build the film structure. Vanitas by Yuriko Sato expresses a sense of being confined to a space or one’s mind, and Sayaka Hayami’s In These Days illustrates everyday scenes at night in her neighborhood. Fire Balls by Shintaro Kiyonari exhibits views from a train, looking toward the sun, along with shots of a baby crawling, while Junhou Arai’s For Life: Plum, Bamboo, and Pine shows physical characteristics of the elderly in a very formal way. New York-based curator and artist Tomonari Nishikawa will be present to introduce the program, and participating filmmakers Ryo Ishikawa and Sayaka Hayami will be here from Japan to talk about his films as well. Don’t miss this incredibly rare screening to
see recent work in small gauge film from Japan projected from its original 8mm format. This program is made possible thanks to a grant from the Andy Warhol Foundation for the Visual Arts.
4/29
New York, NY: Anthology Film Archives
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7:30 PM, 32 Second Avenue
EC: SONGS 1-14
by Stan Brakhage. "SONG 1: Portrait of a lady. SONGS 2 & 3: Fire and a mind's movement in remembering. SONG 4: Three girls playing with a ball. Hand painted. SONG 5: A childbirth song. SONG 6: The painted veil via moth-death. SONG 7: San Francisco. SONG 8: Sea creatures. SONG 9: Wedding source and substance. SONG 10: Sitting around. SONG 11: Fires, windows, an insect, a lyre of rain scratches. SONG 12: Verticals and shadows caught in glass traps. SONG 13: A travel song of scenes and horizontals. SONG 14: Molds, paints and crystals." -S.B.
4/29
San Francisco, California: Other Cinema
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8:30 PM, 992 Valencia St.
APRIL29: WILKERSON’S MACHINE GUN OR TYPEWRITER? + FLUNK TRUMP!
Celebrating our MayDay legacy, here’s the NorCal premiere of this genre romp by the film firebrand renown for his righteous retrieval of political histories, especially Western. An inspired hybrid of landscape essay, private-dick thriller, and agit-prop, Travis’ 70-min. neo-noir parlays a map of LA detective sites into a mode of historiography, twisting real class struggles into a sam spade lost-lover case. Kicking off this evening of outrage and protest: After 99 days of this bad dream of a Insane Klown Presidency, a raucous screen-riot/roast of The Donald, climaxing in our gleeful smashing of his pea-brained pinata head in front of a 13-min. rave-up of Trump Fails. PLUS Georg Koszulinski’s Tribulation 2017, Andre Perkowski’s The President Effect, and a raft of artist-made smart-bombs (Colburn, Boyce, Nerburn, Sachs, Pussy Riot, et al).
4/29
Tucson, AZ: Exploded View Microcinema
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7:00, 197 E Toole Ave
I’LL BE YOUR MIRROR: ANDY WARHOL’S 8 HOUR EMPIRE PROJECTED IN 16MM!!! EXPLODED VIEW FUNDRAISER, HAPPENING & FEAST!!!
Co-presented by Olivier Mosset ($20, $15 students) 7pm- 3am "The best, most temporal way of making a building that I ever heard of is by making it with light. The Fascists did a lot of this "light architecture." If you build buildings with lights outside, you can make them indefinite, and then when you're through using them you shut the lights off and they disappear." -Andy Warhol (1975) A feast for all senses, EV invites you to our polyphonic living installation of film, music and multiple multi-channeled mayhem. The Exploded View gallery will be transformed into giant mirrored chamber within which will be projected Andy Warhol’s 1964 silent 8 hour/10 reel film masterpiece EMPIRE. The back of the Tooleshed warehouse will be transformed into a Warholian scenemaker lounge FACTORY with couches, carpets, silk-screening, lots of food, libations and trippy visuals accompanied by DJ sets and live music from Caleb Gutierrez (DesertDeer), Nika Kaiser, Clif Taylor, Oliver Ray, Carl
Hanni & more. This come-and-go event is a first time fundraiser for Exploded View, as we enter our 5th year, to stay strong in our mission of cultivating film, music and provocation!
4/29
Vancouver, British Columbia: Iris Film Collective
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8pm, Pandora Park, 2325 Franklin Street
A ROLL FOR PETER
Iris Film Collective, in collaboration with Dance Troupe Practice is pleased to present “A Roll For Peter”, the touring program of films made in tribute to the late great filmmaker Peter Hutton. Hutton, an American artist and educator, developed a unique perspective on both urban and remote landscapes through his images from the early 1970’s until his death in 2016. Mark Street and Jennifer Reeves, former students of Hutton, put out a call for films to honour Hutton, each to be drawn from a single silent 100 foot roll of 16mm film. The call resulted in 35 16mm films that will screen out doors beneath the stars with Hutton's own Boston Fire.
SUNDAY, APRIL 30, 2017
4/30
Cambridge: Harvard Film Archive
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4:30pm, 24 Quincy Street
INSTRUMENT
This collaborative project with Fugazi documents the seminal “post-hardcore” band from 1987 to 1996 as they explode in popularity without breaking with their strict codes of ethics and independence. Featuring punk icon Ian MacKaye—who is credited with coining the term “straight-edge,” a movement that rejected drugs and alcohol, among other excesses of Western Civilization—Fugazi live their songs’ lyrics, playing and producing music cheaply. No merchandise, no corporate label, not even set lists, prevent them from being an instrument of any greater force than that of their own creation. Cohen’s patchwork of Super 8, 16mm and video footage fits the rebellious function in this mesmerizing diary that drifts on and off stage, in and out of sync, from electric performances to the mundane reality of being a band—all of whose members seem sweeter, funnier and less dramatic than their onstage presences would suggest. Directed by Jem Cohen and Fugazi. France 1999, digital video (orig.
16mm, Super 8, video), color & b/w, 115 min
4/30
Dallas, TX: Nasher Sculpture Center
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2pm, 2001 Flora Street
ULTRA-SEEING FILM SERIES: SYNESTHIE
Ultra-seeing is an exploration of experimental cinema from the perspective of synesthesia, visual music, and visualization of music. FILM EXERCISE No. 2-3 by James & John Whitney, 1944/4 min.; ARNULF RAINER by Peter Kubelka, 1958-60/6'30".; CHROMOPHONIE by Alexandra Vitkine, 1967/7 min.; MATRIX III by John Whitney, 1972/11 mins.; ALL OVER by Emmanuel Lefrant, 2001/7 mins. THE SOUND OF HIS FACE by Scott Stark, 1988/5 mins.
4/30
New York, NY: Anthology Film Archives
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=0347f79fe0&e=4e65756555
5:30 PM, 32 Second Avenue
EC: SONGS 15-22
by Stan Brakhage. "SONG 15: FIFTEEN SONG TRAITS: A series of individual portraits of friends and family - Robert Creeley, Michael McClure, Ed Dorn, Jonas Mekas, others. SONG 16: A flowering of sex as in the mind's eye, a joy. SONGS 17 & 18: The movie house cathedral and a singular room. SONGS 19 & 20: Women dancing and a light. SONGS 21 & 22: Two views of closed-eye vision." -Stan Brakhage
4/30
New York, NY: Anthology Film Archives
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=d443bbbcb4&e=4e65756555
7:30 PM, 32 Second Avenue
EC: STAN BRAKHAGE PROGRAM 2
SONGS 24-26 (1967/85, 15 min, 16mm) MY MOUNTAIN: SONG 27 (1968, 25 min, 16mm) MY MOUNTAIN: SONG 27: PART 2: RIVERS (1969, 33 min, 16mm) SONGS 28-29 (1966/86, 21 min, 16mm) "SONGS 24 &25: A naked boy and flute song; a being about nature. SONG 26: a 'conversation piece' - a vis-Ã -visual, inspired by the (e)motional properties of talk: drone, bird-like twitterings, statement terror & bombast. SONG 28: Scenes as texture. SONG 29: A portrait of the artist's mother." -Stan Brakhage Total running time: ca. 100 min.
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