[Frameworks] This week [July 22 - 30, 2017] in avant garde cinema

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** This week [July 22 - 30, 2017] in avant garde cinema
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Collin Leitch’s “Cinema Dorité, "My First 3d Part 3" Organized By Ben Coonley (#anchor6) [July 24, Brooklyn, New York]

Some Poetic and Political Currents: Works By Jason Halprin, Jennifer Hardacker, Brett Kashmere, Kevin Mccarthy, Jennifer Proctor, Wenhua Shi, and Simon Tarr (#anchor13) [July 30, Los Angeles, California]

DEADLINES APPROACHING:
Coop Microcinema (Nashville, TN; Deadline: August 18, 2017)
http://hi-beam.us9.list-manage1.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=c9ea71a53f&e=4e65756555
Light Field (San Francisco, CA ; Deadline: August 15, 2017)
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Events are sorted alphabetically BY CITY within each DATE.

This week's programs (summary):
* Films By Harry Gruyaert (#anchor1) [July 22, New York, NY]
* Light Movement 23: Open Doors. Curated By Ute Aurand (Berlin) and Peter Todd (London) (#anchor2) [July 23, Berlin, Germany]
* Beth Block: A Few Things To Share Before I Hit the Road (#anchor3) [July 23, Los Angeles, California]
* Jean Gaumy (#anchor4) [July 23, New York, NY]
* 16mm Cyanotype Workshop (#anchor5) [July 23, Washington, District of Columbia 20012]
* My First 3d Part 3" Organized By Ben Coonley (#anchor6) [July 24, Brooklyn, New York]
* Newfilmmakers (#anchor7) [July 26, New York, NY]
* Directors Lounge Screening - Bill Brown and Sabine Gruffat - the Other Side (#anchor8) [July 27, Berlin, Germany]
* Show &Amp; Tell: Natalie Bookchin: Program 1 (#anchor9) [July 28, New York, NY]
* Post-Imperfect-Panoptic Trading On Stilts (#anchor10) [July 29, Los Angeles, California 90026]
* Show &Amp; Tell: Natalie Bookchin: Program 1 (#anchor11) [July 29, New York, NY]
* Black Maria Film Festival 36th Annual Festival Tour (#anchor12) [July 29, Washington, DC]
* Some Poetic and Political Currents: Works By Jason Halprin, Jennifer Hardacker, Brett Kashmere, Kevin Mccarthy, Jennifer Proctor, Wenhua Shi, and Simon Tarr (#anchor13) [July 30, Los Angeles, California]
* Show &Amp; Tell: Natalie Bookchin: Program 1 (#anchor14) [July 30, New York, NY]
* Show &Amp; Tell: Natalie Bookchin: Program 2 (#anchor15) [July 30, New York, NY]

SATURDAY, JULY 22, 2017

7/22
New York, NY: Anthology Film Archives
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7:30 PM, 32 Second Avenue
FILMS BY HARRY GRUYAERT
Harry Gruyaert's moving-image works are not simply films made by an artist better known as a photographer but are themselves a kind of hybrid of photography and cinema. Whether juxtaposing his own photography and footage with imagery from the works of one of his central influences (Michelangelo Antonioni), combining still photography with recorded sound, or, as in his famous TV SHOTS, photographing news footage off a TV screen and then re-presenting the images in the form of a film, Gruyaert's cinematic work exists somewhere at the very border of the two media. MOSCOW (1989-2009 2015, 6.5 min, digital) TRIBUTE TO ANTONIONI / VARIATIONS SOUS INFLUENCE (2007, 17.5 min, digital) EDGES (RIVAGES) (2007, 4 min, digital) TV SHOTS (2015, 9.5 min, digital) SASKIA & MARIEKE (GROWING UP) (2015, 15.5 min, digital) Total running time: ca. 60 min.

SUNDAY, JULY 23, 2017

7/23
Berlin, Germany: Light Movement
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8.00pm, Spektrum, Bürknerstraße 12,
LIGHT MOVEMENT 23: OPEN DOORS. CURATED BY UTE AURAND (BERLIN) AND PETER TODD (LONDON)
Every year or two Ute Aurand and Peter Todd meet up to continue a filmic conversation. OPEN DOORS is their third public program curated together. A film by the Orcadian filmmaker Margaret Tait is often shown as a reference to how Aurand and Todd's joint interest in her work fIrst brought them together. In OPEN DOORS they have selected films in which the filmmakers' observations and feelings become visible beyond obvious narratives. Films - Leaden Echo and the Golden Echo. Margaret Tait, 1955, 6.5min, 16mm. Part 1 - Room Window Sea Sky, Peter Todd, 2014, 3min, 16mm, silent; Among The Eucalyptuses, Robert Beavers, 2017, 4min, 16mm, silent; Venedig Dezember 2011, Renate Sami, 2012, 4,5min, colour, digital; Napkins, Joanna Margaret Paul, 1975, 3,5mins, S8 to digital file, silent; For You, Peter Todd, 2000, 2mins, silent. Part Two - Mädchen/Girls, Helga Fanderl, 1995, 2 min, S8, silent; Philipp's 60th Birthday, Ute Aurand, 2014, 5,5min, 16mm; Envios 26, Jeannette Munoz, 2013,
6min, 16mm, silent; Elegy, Anthea Kennedy, Ian Wiblin, 2001, 3min, digital; Four Diamonds, Ute Aurand, 2016, 4.5min, 16mm. Thanks to CIRCUIT, LUX, The Estate of Joanna Margaret Paul, Alex Pirie and The Estate of Margaret Tait.

7/23
Los Angeles, California: Filmforum
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7:30 pm, Spielberg Theatre at the Egyptian, 6712 Hollywood Blvd
BETH BLOCK: A FEW THINGS TO SHARE BEFORE I HIT THE ROAD
Filmforum welcomes back the filmmaker (and our former board president) Beth Block for one more grand screening before she relocates to the grand state of Hawaii. Starting with her optical printer masterpiece Film Achers, and including her digital masterpiece Successive Approximations to the Goal we’ll also have a chance to see other recent digital work that has not yet graced our screen, and get a sneak preview of a work-in-progress. Hawaii’s gain will be our Los Angeles’s loss, but join us as we celebrate her ongoing inspiration and relentless innovation. Tickets: $10 general admission; $6 students (with ID)/seniors; free for Filmforum members. Tickets available at http://hi-beam.us9.list-manage1.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=70552e8742&e=4e65756555 or at the door For more event information: www.lafilmforum.org, or 323-377-7238

7/23
New York, NY: Anthology Film Archives
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6:45 PM, 32 Second Avenue
JEAN GAUMY
French artist Jean Gaumy has moved back and forth between still photography and filmmaking. These three films suggest the range of subjects he's documented in his moving-image works. THE SMOKING HOUSE depicts a group of women in Normandy, engaged in filleting and gutting herring. JEAN-JACQUES is the result of two years documenting the small farming town of Octeville-sur-Mer, in Normandy, through the eyes of the so-called 'village idiot' Jean-Jacques. ON THE ROWANLEA TRAWLER reveals the activities taking place on the decks of a trawler, the subject of one of Gaumy's photo books as well. THE SMOKING HOUSE / LA BOUCANE (1984, 36 min, video) JEAN-JACQUES (1987, 52 min, 16mm) ON THE ROWANLEA TRAWLER (1992, 4 min, video, b&w, silent) Total running time: ca. 95 min.

7/23
Washington, District of Columbia 20012: Rhizome DC
11am-4pm, 6950 Maple St NW
16MM CYANOTYPE WORKSHOP
Sunday July 23rd, 11- 4pm Instructor: Margaret Rorison In this workshop, participants will work with this 19th Century photographic process in combination with 16mm film to create their own cyanotype film loops. Participants will work with 16mm film that has been previously coated in cyanotype solution, creating photograms by placing objects over the UV sensitive film, exposing the film to sunlight, then rinsing the film in water to develop beautiful blue patterns and forms. Participants are encouraged to bring their own objects to this workshop. Anything with interesting shapes, edges and forms that they would like to use. Examples include leaves, lace, safety pins, rubber bands, nails - anything that will create patterns and forms - and sound! Along one side of the 16mm filmstrip, there is a margin reserved for the optical soundtrack. Through this DIY process, we will be creating patterns of light and dark that will spill over onto the margin reserved for sound, and the
16mm projector will read these patterns of light and dark and translate them into sound. Workshop includes pre-coated cyanotype 16mm film and photogram materials, but feel free to bring your own objects to work with! Margeret Rorison is the co-founder and curator of Baltimore's Sight Unseen Screening series since 2012.

MONDAY, JULY 24, 2017

7/24
Brooklyn, New York: Microscope Gallery
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7:30pm, 1329 Willoughby Ave, 2B
MY FIRST 3D PART 3" ORGANIZED BY BEN COONLEY
The third and final biennial installment of the series “My First 3D” organized by Ben Coonley, this time with a new lineup of over a dozen artists and the widest range of 3D technologies. The artists in the program have been selected by Coonley to screen the first 3D project each of them made.“Learning to make 3D animation and stereoscopic 3D artworks forces artists to forge new relationships to space, technology, and composition. An artist’s first 3D artwork frequently turns out to be idiosyncratic, playful, raw, personal, and messy. “My First 3D Part III” is a summer blockbuster featuring five varieties of 3D glasses, crude physics, rainbows, render fireflies, vertigo, snack foods, blobs, optical fireworks, brain shear, shapes, ghosts, prismatic separation, spiritually advanced technology, neutral density filters, and good old red/cyan. This program consists of rarely screened works from ranging from 5 seconds to 22 minutes in length and several world premieres. A special
16mm presentation of Ken Jacobs’ landmark Pulfrich effect film “Globe” (1971) punctuates the screening.” – Ben Coonley Coonley and several of the artists will be in attendance and available for Q&A after the screening. RSVP recommended to rsvp at microscopegallery.com. More info: http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=227ce3b883&e=4e65756555. General admission $9 Members and students w/ ID $7. Located at Jefferson Street L (exit Starr St).

WEDNESDAY, JULY 26, 2017

7/26
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.

THURSDAY, JULY 27, 2017

7/27
Berlin, Germany: Directors Lounge
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21:00, Z-Bar, Bergstraße 2, 10115 Berlin-Mitte, Germany
DIRECTORS LOUNGE SCREENING - BILL BROWN AND SABINE GRUFFAT - THE OTHER SIDE
Bill Brown and Sabine Gruffat, artist couple visiting from North Carolina, United States, will present their films. ^°o°^ Being a Flaneur, walking to explore the city and the society, exploring modernity and the anachronisms of life on foot does not really make sense in the United States. The equivalence in Northern America would be the road movie: comprising the change of media, change of speed, change of surmounted distances. Bill Brown is one of the filmmakers in the US who hit the road many times to make movies. Born in Lubbock, Texas, he has lived in many cities, Chicago being one of them. His movies, not what you would typically call road movies, have the quality of artistic ethnographic research, or one could also say psycho-geography. ^°o°^ “The Other Side 2005” started as a coast to coast trip from Texas to California similar to a trip Brown undertook some years earlier in the United States, along the Canadian border. In the South, the artist was soon confronted with
border control, border activism (helping people in trouble trying to cross the border in the desert), abandoned migrant camps and personal stories, walls and fences. When finishing the film, the artist thought, this would be a film about a short term issue, not that it would rise to a political quarrel until now. Bill still narrates the film with the dry humor he used in his earlier film, but the film became intrinsically political, even more so when watching it now, more than 10 years later. ^°o°^ Sabine Gruffat on the other hand is an artist working with two kinds of artistic stance, a rather experimental, almost abstract point of view, and a documentary style, mixed with political demeanor. “A Return to the Return to Reason” is an astonishing remake of Man Ray's movie from 1923 with means of “art and tech”. Even though it almost looks like hand-knitted, it is made by laser-carving onto real film. A similar kind of hybrid quality between analog and digital also marks
“Headlines” which uses animation software to layer and animate newspaper headlines and part of printed articles. Unlike David Gatten, well-known for animating letters on analogue film, the project has a less enigmatic, mysterious quality about the meaning of letters or words, but is a reaction to the discrepancies Sabine found reading the New York Times while living in a remote place in North Carolina. ^°o°^ The couple has been working together for several year. The most recent and joint project, “Amarillo Ramp” will be a German/European Premiere. It is connected with Land Art and specifically Robert Smithson. The film is a tribute to Smithsons work at large, while dwelling on an earthwork by Robert Smith situated in Texas, which is less known than Spiral Jetty in Utah and his last work. It could only be finished with the help of Richard Serra, Nancy Holt, and Tony Shafrazi. ^°o°^ Thinking of an American Flaneurism, the Land Art by Smithson is not that far off. For Smithson,
his land art was always connected with some kind of industrial use or man-made landscape. It creates a specific relation not only between landscape and earthwork, but between the work, local people, supporters, land owners, visitors and the art public. For the film project at Amarillo, the artist couple visited the site of Amarillo Ramp many times over 7 years, and at the same time, they undertook a close research to Smithsons ideas and writing. The film explores the surrounding of Amarillo, follows a team of local supporters for restoration on the ramp and finally undertakes a few interventions with the project. It could be seen as a documentary about Smithson, but at the same time also as an art project in tribute to Smithson and his ideas to connect the landscapes and rural areas with the city, ideas which become even more important today, in times of a deeply divided country. ^°o°^ Artists Links: http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=7110949e80&e=4e65756555 ^°o°^ http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=2c792fd995&e=4e65756555 ^°o°^
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=58959d1260&e=4e65756555 ^°o°^ ^°o°^ Links: Directors Lounge  http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=1cfa61d890&e=4e65756555 ^°o°^ Richfilm  http://hi-beam.us9.list-manage1.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=96369204e7&e=4e65756555 ^°o°^ Z-Bar  http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=639c5d1686&e=4e65756555

FRIDAY, JULY 28, 2017

7/28
New York, NY: Anthology Film Archives
http://hi-beam.us9.list-manage1.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=fafbefb270&e=4e65756555
8:00 PM, 32 Second Avenue
SHOW & TELL: NATALIE BOOKCHIN: PROGRAM 1
Born in the Bronx and based in Brooklyn, Natalie Bookchin is an artist whose multi-channel installations and films explore the effects of digital technologies - everything from online videos to interactive webpages - and examine the ways in which people broadcast self-expression on the internet, in a 'sharing' economy. Often constructed from moving images found online - from YouTube or other social media sites, as well as from webcam surveillance (public or private) - her video works demonstrate both the promise and the snares inherent in our era of ubiquitous connectivity. The works explore new social arrangements shaped within and pushing against the constraints of network technologies and forms. We will be presenting two programs of her work, including the astonishing LONG STORY SHORT, in which she returns to a format she's developed extensively in earlier pieces - conjuring a dizzying multiplicity of frames and voices - but here applies it to footage she shot herself:
deeply moving, unadorned testimony from a range of poverty-stricken men and women. PROGRAM 1: NOW HE'S OUT IN PUBLIC AND EVERYONE CAN SEE (2017, 24 min, digital. Courtesy Icarus Films.) A riveting polyphonic documentary, this film presents a fractured narrative about an unnamed man whose racial identity is continually redrawn and contested by clusters of impassioned narrators. Bookchin's intricately-edited and deeply political essay film is composed of fragments of found online video diaries made in the early days of the Obama era, a period many believed would be "post-racial" but instead ushered in a new era of racial discord. Bookchin explores this new landscape, one where mass media is transformed into social media and where cascades of disinformation, rumors, and insinuations spread across global electronic networks. LONG STORY SHORT (2016, 45 min, digital. Courtesy Icarus Films.) In the moving and immersive LONG STORY SHORT, over 100 people at homeless shelters, food
banks, adult literacy programs, and job training centers in L.A. and the Bay Area discuss their experiences of poverty: why they are poor, how it feels, and what they think should be done about American poverty and homelessness today. While individuals whom Bookchin filmed in separate spaces appear onscreen in their own visual spaces, mirroring the isolation of their experiences, words flow between them like a musical ensemble. Together in the film for the first time, Americans who are rarely acknowledged or listened to form a virtual collective. "I was hugely impressed by LONG STORY SHORT, its gripping detail and precision. It's a masterpiece of editing, very virtuosic." -Yvonne RainerThe screening on Friday, July 28 at 8:00 will be followed by a conversation between Natalie Bookchin and film and media curator Sally Berger; and following the screening on Sunday, July 30 at 6:00, Bookchin will be joined by dancer, choreographer, and filmmaker Yvonne Rainer.

SATURDAY, JULY 29, 2017

7/29
Los Angeles, California 90026: Echo Park Film Center
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8pm, 1200 N Alvarado St
POST-IMPERFECT-PANOPTIC TRADING ON STILTS
FILMS BY JASON HALPRIN AND MICHAEL WOODS The two filmmakers met while volunteering for Chicago Filmmakers in the mid '00s, and quickly hit it off. Jason was an old-school, super8, 16mm, hand-processing, optical-printing analog filmmaker, and Michael was jumping head first into the whole aesthetic of experimental film & video, and contemporary art. Fast forward ten years and Michael has chewed up and glitched out the experimental film canon, fashioned into a conspiracy theory of parasitic nothingness. Meanwhile, Jason has ceased shouting at analog windmills and embraced the digital non-event. They share an affinity for collage and the political in their work - freely mixing found and original footage, gliding between allegory and agitprop, straddling the eras of analog and digital, assaulting viewers' senses and serenity, dissecting and constructing the media around them. Now based in the Bay Area (Halprin) and LA (Woods), both filmmakers relocated to CA in 2015, and are happy
to make their debut at EPFC. Doors 7:30 pm. $5 admission. SCREENING: We Walk On Stilts - Halprin (S8, 2 min, silent, 2010) Twin Propellers - Halprin (dual S8, 3 min, silent, 2010) Post-Panoptic Gazing - Woods (video, 10.5 min, sound, 2014) No More Silent Protest (video, 6.5 min, sound, 2017) Commodity Trading Pt 1 of 3: Election Day - Woods (mixed analog on video, 15 min, sound, 2017) Agnes & Me (negative chemical bath version) - Halprin (16mm, 3 min, silent- maybe w/ sound, 2008) NEW hand painted reel - Woods (16mm, 5 min, 2017) Summer Home - Halprin (16mm on video, 6 min, sound, 2001) Dailies from Dumpland part 3 - Woods (16mm on video, 7 min, sound, 2017) Imperfect Video - Halprin (VHS - 20 min, sound, 2001/2013) *lineup will likely change and include brand new works on 16mm TRT: 78 min

7/29
New York, NY: Anthology Film Archives
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8:00 PM, 32 Second Avenue
SHOW & TELL: NATALIE BOOKCHIN: PROGRAM 1
See July 28.

7/29
Washington, DC: Black Maria Film Festival
www.blackmaria.org
1:00PM and 3:30PM, National Gallery of Art, East Building Auditorium, 4th Street and Constitution Ave., NW
BLACK MARIA FILM FESTIVAL 36TH ANNUAL FESTIVAL TOUR
The Black Maria Film Festival returns this year with two programs on Saturday afternoon, July 29th, starting at 1:00pm and again at 3:30pm, in the East Building Auditorium, the National Gallery of Art in Washington, DC, 4th Street and Constitution Ave., NW. Doors open thirty minutes before showtime. Both programs, hosted by Curator of Film, Margaret Parsons, will be presented in-person by festival director Jane Steuerwald, and will showcase a collection of stellar works touring this season. Featured international selections include “Ja Passou,” by Sebastião Salgado and Pedro Patrocinio, Lisbon, Portugal; “Radiance,” by Fernando Priego Ruiz, Buenos Aires, Argentina; “A,” by Joseph Houlberg, Quito, Ecuador; and “Roxy,” by Fabien Colas, Luxembourg City, Luxembourg, and Emile Schlesser, Düsseldorf, Germany; and an array of animation, narrative, experimental, and documentary shorts chosen by the Festival jury this season. Filmmakers Steven Vander Meer and Kay Hannahan will be
present to discuss their work. The Black Maria Film Festival attracts and nationally showcases the works of highly accomplished independent film and video makers. The Festival is a project of the Thomas A. Edison Media Arts Consortium, an independent non-profit organization in residence at New Jersey City University’s Department of Media Arts. The Black Maria was founded in 1981 as a tribute to Thomas Edison’s development of the motion picture at his laboratory, dubbed the “Black Maria” film studio, the first in the world, in West Orange, NJ. The Black Maria Film Festival was awarded the New Jersey State Council on the Arts Citation for Excellence for eight years. For further information, contact festival director Jane Steuerwald, jane at blackmariafilmfestival.org, 201-200-2043; www.blackmaria.org, or visit nga.gov/ lm, email lm-department at nga.gov, or call (202) 842-6799. The National Gallery of Art is wheelchair accessible, and large print programs will be available at both
Black Maria screenings. Accessibility Information: (202) 842-6690. www.nga.gov.

SUNDAY, JULY 30, 2017

7/30
Los Angeles, California: Filmforum
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=77b4b64227&e=4e65756555
7:30 pm, Spielberg Theatre at the Egyptian, 6712 Hollywood Blvd
SOME POETIC AND POLITICAL CURRENTS: WORKS BY JASON HALPRIN, JENNIFER HARDACKER, BRETT KASHMERE, KEVIN MCCARTHY, JENNIFER PROCTOR, WENHUA SHI, AND SIMON TARR
Several fabulous filmmakers are coming to Los Angeles for the University Film & Video Association’s 2017 Conference, from July 30-Aug 2. Filmforum is taking advantage of the opportunity to host a screening of recent experimental works. It’s quite an array of work, with political, poetic, personal, and essayistic expressions from around the country. Jason Halprin’s July 8th, 2016 and Brett Kashmere’s Cleaning the Glass explicitly address current political and social issues. McCarthy’s Official Teaser #2 Reaction!!! returns to Filmforum with its humorous and emotional responses to a Star Wars trailer. Jen Proctor’s Am I Pretty? raises serious issues of self-image concerns of teenage girls. Jennifer Hardacker’s films used varied techniques to express inner questions. Halprin’s In Which There Appears Trains, a Carousel, and Rain and Wenhua Shi’s Walking Cycle both find more poetic approaches to complicated movements. And Simon Tarr’s live cinema performance Blood Lust of the Wolf
dissects the classic “ethnographic” film Nanook of the North, which Filmforum screened a couple of years ago in our Polar series.

7/30
New York, NY: Anthology Film Archives
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=961292d09a&e=4e65756555
6:00 PM, 32 Second Avenue
SHOW & TELL: NATALIE BOOKCHIN: PROGRAM 1
See July 28.

7/30
New York, NY: Anthology Film Archives
http://hi-beam.us9.list-manage1.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=fd14987747&e=4e65756555
8:00 PM, 32 Second Avenue
SHOW & TELL: NATALIE BOOKCHIN: PROGRAM 2
PROGRAM 2: ZORNS LEMMA2 (2007, 12.5 min, digital) An internet-age remake of Hollis Frampton's seminal 1970 structuralist film, ZORNS LEMMA2 consists of sets of signs photographed off online webcams and arranged alphabetically in one-second intervals. In each subsequent set, one letter of the alphabet is replaced by a video clip chosen as representative of the visual language of surveillance cameras. LOCATION INSECURE (2006, 11 min, digital) Composed of animated screengrabs of private security webcams found by means of a simple search engine hack, LOCATION INSECURE depicts the asynchronous time and space of the internet. PARKING LOT (2008, 13 min, digital) Appropriations from virtual and physical commercial spaces create temporary public space - dismal, endlessly reproduced, anonymous spaces where even creative appropriations can sometimes appear mass-produced. TESTAMENT (3 CHAPTERS) (2009/16, 7.5 min, digital) TESTAMENT presents a series of collective expressions of the
shared self. The series reflects on the peculiar blend of intimacy and anonymity, of the simultaneous connectivity and isolation of contemporary social relations. MASS ORNAMENT (2009, 7 min, digital) "With a keen eye for detail, a terrific sense of timing and a killer instinct for editing, [Bookchin] has clipped and combined hundred of vignettes from YouTube and set them to the soundtracks from Busby Berkeley's GOLD DIGGERS OF 1935 and Leni Riefenstahl's TRIUMPH OF THE WILL. […] To watch the split-screen extravaganza is to feel as if you are at once enjoying a god's-eye view of a vast, everyday parade of vulnerable human beings and also an intimate part of a democratic drama that is deeply moving." -LOS ANGELES TIMES Total running time: ca. 60 min.
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