[Frameworks] This week [March 31 - April 8, 2018] in avant garde cinema
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This week [March 31 - April 8, 2018] in avant garde cinema
Enter your event announcements by going to the Flicker Weekly Listing Form <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=71e70f52f5&e=f36020cad0> .
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Visions | 05+06.04.18 | Philip Hoffman <> [April 5, Montréal]
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Rat Film <> [April 8, Los Angeles, California]
NEW CALLS FOR ENTRIES:
OFF THE WALL 2018 (Madison, WI, USA; Deadline: June 15, 2018)
http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=dfa5c411d9&e=f36020cad0> &readfile=1975.ann
DEADLINES APPROACHING:
Laterale Film Festival (Cosenza; Deadline: March 31, 2018)
http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=418964cb70&e=f36020cad0> &readfile=1956.ann
Fracto (Berlin, Germany; Deadline: April 01, 2018)
http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=140e084f24&e=f36020cad0> &readfile=1961.ann
FAR OUT FILM FEST (Nashville, TN; Deadline: April 02, 2018)
http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=97b8469d7d&e=f36020cad0> &readfile=1965.ann
Winnipeg Underground Film Festival (Winnipeg, MB, Canada; Deadline: March 31, 2018)
http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=f740e19deb&e=f36020cad0> &readfile=1966.ann
Festival of (In)appropriation (Los Angeles, CA, USA; Deadline: May 01, 2018)
http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=d4ecbc5b76&e=f36020cad0> &readfile=1969.ann
5th Annual Flamingo Film Festival (Fort Lauderdale, FL USA; Deadline: April 15, 2018)
http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=0e635885b3&e=f36020cad0> &readfile=1974.ann
Events are sorted alphabetically BY CITY within each DATE.
This week's programs (summary):
* Ec: Bruce Baillie Pgm <> [March 31, New York, NY]
* Ec: Quick Billy <> [March 31, New York, NY]
* Optronica1:Live A/Vkranking Kabient Hans Grusel/Brutallo + Davis/Iannazzi + <> [March 31, San Francisco, California]
* Ec: Baillie / Belson / Crockwell Pgm <> [April 1, New York, NY]
* History, Memory, Texture: Second Generations In Post-War Germany <> [April 2, Oberlin, OH]
* The videos of Dan Asher <> [April 3, New York, NY]
* Visions | 05+06.04.18 | Philip Hoffman <> [April 5, Montréal]
* Good Luck <> [April 6, New York, NY]
* Noflash video Show <> [April 7, New Brunswick, New Jersey]
* Ec: Stan Brakhage Pgm 1 <> [April 7, New York, NY]
* Sisters Pictures1: Soda_jerk + Bennett + Sachs + <> [April 7, San Francisco, California]
* Rat Film <> [April 8, Los Angeles, California]
* Harun Farocki: Program 1 <> [April 8, New York, NY]
SATURDAY, MARCH 31, 2018
3/31
New York, NY: Anthology Film Archives
http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=8e0c35224c&e=f36020cad0>
5:45 PM, 32 Second Avenue
EC: BRUCE BAILLIE PGM
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.
3/31
New York, NY: Anthology Film Archives
http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=c63c25d86a&e=f36020cad0>
7:30 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.
3/31
San Francisco, California: Other Cinema
http://www.othercinema.com/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=a1930868f4&e=f36020cad0>
8 PM, 992 Valencia Street
OPTRONICA1:LIVE A/VKRANKING KABIENT HANS GRUSEL/BRUTALLO + DAVIS/IANNAZZI +
Our infamous Optronica Live AudioVisual initiative enjoys its spring inauguration with the triumphant return of Hans Grüsel's Krankenkabinet!! The half-hour set from SF’s scariest band includes long-form performances to Brutallo’s surreal mix of the Z-budget fairytale films of K. Gordon Murray, the “King of the Kiddie Matinee”. Grüsel’s second piece is set to Brutallo’s artful re-edit of Julian Roffman’s The Mask, in anaglyphic 3-D (glasses provided)!!! Co-billed is John Davis & Zach Iannazzi with another world premiere, Flowlines, on the aerodynamics of bats’ wings! ALSO: Ulrich Kayser’s ultra-rare 16mm Love to a Harmonica, and a flurry of 3-D eye-poppers. Program dedicated to our dear, departed brother Paul Clipson. $8.
SUNDAY, APRIL 1, 2018
4/1
New York, NY: Anthology Film Archives
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7:30 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) "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. 70 min.
MONDAY, APRIL 2, 2018
4/2
Oberlin, OH: Oberlin College
7:00 PM, 91 N. Main St., Art Building, Classroom 1
HISTORY, MEMORY, TEXTURE: SECOND GENERATIONS IN POST-WAR GERMANY
16mm screening of Daniel Eisenberg's Displaced Person (1981), Eisenberg's Cooperation of Parts (1987), and Ernie Gehr's Signal – Germany on the Air (1985). Daniel Eisenberg, Displaced Person, 1981, 11 minutes. DISPLACED PERSON works with a carefully chosen set of particular elements in order to explore the larger questions within the historical field. Stately and sinuous passages from a Beethoven string quartet create a complex argumentation around images and text. This music, both sympathetic and distanced, establishes rhythm and breadth in relation to a radio interview with Claude Levi-Strauss, and archival footage obtained from rephotographing Marcel Ophul's The Sorrow and the Pity. These elements wheel through many revolutions of repetitions and combinations, forming multiple perspectives. Through recontextualization, meaning blossoms rationally and incongruously like the alleged blossoming of flowers that took place in the dead of winter in wartime Germany, brought on by the intense temperatures of exploding shells. Daniel Eisenberg, Cooperation of Parts, 1987, 42 minutes. Unlike most films that deal with the Holocaust, COOPERATION OF PARTS takes place firmly in the present and does not attempt to recapitulate history. Using lists, descriptions of photographs, a catalog of proverbs, images of streets, trains, ruins and riots, the film explores the territory of the recent past with a second generation perspective, distanced through time and reflection. With the visual field as a touchstone for a complex set of narrative associations, the film spins a tight web of memory, history, and experience. It is within this web that the film finds its wider significance: as a model for how daily life, history, first hand and second hand experience bind, through purpose or chance, to form identity itself. Ernie Gehr, Signal – Germany on the Air, 1985, 35 minutes "[W]hile reintroducing social concerns, SIGNAL does not give us facts about the Nazi period or present-day Germany; Gehr's film is instead about a form of thinking. It addresses the mental processes that might govern looking at a Berlin street, rather than literally explicating present or past. ... Gehr's particular vision in SIGNAL is doubtless inflected by the deep emotions he must have felt in trying to view a city that at one point in its history would have denied his parents life and him birth." -Fred Camper, Chicago Reader
TUESDAY, APRIL 3, 2018
4/3
New York, NY: Anthology Film Archives
http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=d09b4741d8&e=f36020cad0>
7:30 PM, 32 Second Avenue
THE VIDEOS OF DAN ASHER
The artist Dan Asher exhibited internationally for almost four decades before passing away in 2010. Asher was a capricious character who worked like an anthropologist, observing and documenting human behavior, and who admired the fine balance between inspiration and malaise in city life. He consistently tried to push beyond what we know and are comfortable with, and what we're fearful of. As a result, his works reflect his infatuation with the human element and our poetic relationships with one another. Though he was known primarily for his photography, drawing, and sculpture, Asher created numerous video works as well, and these mostly very short pieces shed light on the complexities of his mercurial mind. His subjects range from the New York music scene in the 1970s and 80s to boxing matches to fixations with garbage to the beauty in life's simple moments. Amidst the cluttered accumulation of thoughts and images that often overwhelmed such a sensitive artist, we see intense focus on documenting his various fascinations. His genuine infatuation with all aspects of life reveals itself in the footage through the unique perspective of an artist struggling with, and yet somehow thriving with (either in spite of or perhaps because of), Asperger's. This program, presented on the occasion of an exhibition at Martos Gallery, and organized by Ebony L. Haynes (Director, Martos Gallery), Brandon Johnson (author, "Far From the Madding Crowd: Perspectives on the Life and Work of Dan Asher"), and Tom Jarmusch (artist and filmmaker), showcases more than a dozen of Asher's little-seen videos. For more info about the exhibition at Martos Gallery (41 Elizabeth St.), which runs from March 16-April 22, visit: www.martosgallery.com SIGNS OF THE TIMES (1997, 2 min, VHS-to-digital) A BIRD IN THE HAND (1997, 1 min, VHS-to-digital) FISHING SONG, GREENLAND (1997, 5 min, VHS-to-digital) MAD COW DISEASE (1998, 3 min, VHS-to-digital) FAR FROM THE MADDING CROWD (1996, 10 min, VHS-to-digital) NOTES FROM THE UNDERGROUND - MONUMENT (1996, 7 min, VHS-to-digital) SALARY MAN (1997, 1 min, VHS-to-digital) NERVES AND LAUGHTER (1997, 30 sec, VHS-to-digital) SENSITIVE CHAOS (1996, 1 min, VHS-to-digital) THEOLOGICAL CHRISTIAN (1997, 8 min, VHS-to-digital) NOTES FROM THE UNDERGROUND - TO SLEEP BUT NOT TO DREAM (1996, 4.5 min, VHS-to-digital) HAIRCUT (1993, 26.5 min, VHS-to-digital) FICKLE FINGER (1997, 1 min, VHS-to-digital) Total running time: ca. 75 min.
THURSDAY, APRIL 5, 2018
4/5
Montréal: VISIONS
http://www.visionsmtl.com/philip-hoffman.html <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=9143fd2c2a&e=f36020cad0>
20h00, la lumière collective
VISIONS | 05+06.04.18 | PHILIP HOFFMAN
05.04.18 | FILM FARM : A PACT WITH THE PROCESS [Michele Pearson Clarke + Matt Soar + David Gatten + Helen Hill + Rob Butterworth + Monika Kin Gagnon + Clint Enns + Lyndsay Bloom + Caroline Monnet + Cecilia Araneda + Marcel Beltrán + Jeremy Moss + Jennifer Reeves] ////// 06.04.18 | SLAUGHTERHOUSE + VULTURE [Works by Philip Hoffman]
FRIDAY, APRIL 6, 2018
4/6
New York, NY: Anthology Film Archives
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7:30 PM, 32 Second Avenue
GOOD LUCK
by Ben Russell. U.S. THEATRICAL PREMIERE RUN! The new film by Ben Russell, GOOD LUCK is a portrait of miners in two far-flung parts of the world: Serbia and Suriname. It is a work of great structural and formal integrity, but unlike other ostensibly similar films, its aesthetic rigor frames the experiences of the workers without reducing them to depersonalized figures in a filmic experiment. GOOD LUCK devotes its first half to the elemental, subterranean world of a state-owned copper mine in Serbia, before abruptly transitioning to the entirely different cultural and physical landscape of illegal gold mining in the jungle of Suriname. Russell touches on several different modes during the course of the film, from immersive, Steadicam-shot explorations of the two groups' work sites, to free-ranging group interviews that find the workers discussing their attitudes towards their jobs (and their society), to black-and-white, Screen Test-like portraits of individual miners. GOOD LUCK is a visually splendid, ingeniously conceived film whose two halves are animated both by conspicuous distinctions - in terms of culture, landscape, climate, and visual style - and by physical, economic, and social dimensions that are inevitably shared between working men and women throughout the world. "From the outset, it felt too easy to critique a process that all of us are directly implicated in, to have a public opinion about the horrors and environmental destruction that are part and parcel of the mining process - be it legal or illegal. It ultimately wasn't the process that interested me as much as the side effects of the process: the community that arises out of harsh conditions, the collective that manifests out of necessity. I spent months in these mines simply because I wanted to better understand how men persevere." -Ben Russell "GOOD LUCK sets up a number of dichotomies - north/south, dark/light, movement/stasis, etc. - within its two-part structure, echoing the inherent doubling of the camera's imagistic representation of the people and objects it records. […] On a visceral level, this is a film about men, bodies, and proximity, and it marks an important and exciting contribution to a subject that has been wedded to cinema since the medium's inception: physical labor." -Andreá Picard, TORONTO INTERNATIONAL FILM FESTIVAL
SATURDAY, APRIL 7, 2018
4/7
New Brunswick, New Jersey: NOFLASH Video Show
http://tinyurl.com/NOFLASH2018 <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=b1eb5535ff&e=f36020cad0>
7-10pm, Zimmerli Art Museum at Rutgers University, 71 Hamilton St
NOFLASH VIDEO SHOW
Please join us for the second annual NOFLASH Video Show: an evening of avant-garde short films by emerging artists from across the globe and in your own backyard. Hosted by the Zimmerli Art Museum at Rutgers University, the show is coming up on Saturday, April 7, 2018 from 7-10pm and is free to attend./ The night will be focused on a main screening in two parts – U.S. and international – supplemented by a wide variety of moving-image installations (e.g. video art, animation, performance) and a live musical performance by Lightheaded (https://areyoufeelinglightheaded.bandcamp.com/). Refreshments will be served./ Come prepared to be inspired, challenged, and anything but bored: these emerging time-based artists are making some of the most formally and conceptually innovative work out there today, and we hope that you come with friends to experience it all with us (please note that some works are not suitable for children)./ Getting There: The Zimmerli Art Museum at Rutgers University is located in the heart of New Brunswick, NJ, just a 5-minute walk from the New Brunswick Train Station, which is less than an hour ride from New York Penn Station. Metered street parking is available as well as hourly-rate garages, all within walking distance of the museum. More transportation info can be found here: zimmerlimuseum.rutgers.edu/about/visit-us / A Brief History: The inaugural NOFLASH Video Show (“Bumblin’ Youngins”) occurred on April 8, 2017, at the Torrance Shipman Gallery in Brooklyn, NY. NOFLASH was created to fill the need for a social yet professional platform focused on emerging time-based artists, ranging from undergraduate students to working artists, while also aiming to transcend geographic and socioeconomic constraints. NOFLASH 2018 is organized and curated by Charles de Agustin and Ruby Ryan. NOFLASH was founded by Jordan Rathus, Charles de Agustin and Ruby Ryan. NOFLASH co-organizers and curators Charles de Agustin and Ruby Ryan can be reached at noflash.info at gmail.com.
4/7
New York, NY: Anthology Film Archives
http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=d47cdd7af2&e=f36020cad0>
2:45 PM, 32 Second Avenue
EC: STAN BRAKHAGE PGM 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) LOVING (1956, 4 min, 16mm) 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 min.
4/7
San Francisco, California: Other Cinema
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8 PM, 992 Valencia Street
SISTERS PICTURES1: SODA_JERK + BENNETT + SACHS +
In person, Oz sisters Danielle and Dominique deliver the No. American debut of their most ambitious work to date, Terror Nullius, a rogue re-mapping of their national mythology, interweaving samples of Australian Gothic, eco-horror, and Road Movie genres. It’s arthouse meets grindhouse, mobilizing feminist bike gangs for political satire! Co-featured is Consequences (One Thing Leads to Another) by Vicki (People Like Us) Bennett, a resonant echo of her ReCombinant coup-de-grace just last year. ALSO: Ximena Cuevas’ De Cuerpo Presente, and Lynne Sachs’ Carolee, Barbara, and Gunvor, a loving multi-format tribute to a sorority of visionary women makers (Schneeman, Hammer, and Nelson). Come early for views of the mighty Women’s Marches!
SUNDAY, APRIL 8, 2018
4/8
Los Angeles, California: Filmforum
http://www.lafilmforum.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=49721188cd&e=f36020cad0>
7:30 pm, Spielberg Theatre at the Egyptian, 6712 Hollywood Blvd.
RAT FILM
Creative Producers Riel Roch-Decter and Sebastian Pardo in person! Across walls, fences, and alleys, rats not only expose our boundaries of separation but make homes in them. "Rat Film" is a feature-length documentary that uses the rat—as well as the humans that love them, live with them, and kill them-to explore the history of Baltimore. "There's never been a rat problem in Baltimore, it's always been a people problem.” “It's one of the most extraordinary, visionary inspirations in the recent cinema.” — Richard Brody, The New Yorker “bracing, hallucinatory & daring ... mixes formal experimentation with trenchant social commentary” — Katie Walsh, Los Angeles Times Trailer: http://www.memory.is/rat-film/trailer Tickets: $10 general; $6 students/seniors; free for Filmforum members. Available in advance at https://bpt.me/3374385 or at the door.
4/8
New York, NY: Anthology Film Archives
http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=fbc74e1299&e=f36020cad0>
2:00 PM, 32 Second Avenue
HARUN FAROCKI: PROGRAM 1
Harun Farocki & Andrei Ujica VIDEOGRAMS OF A REVOLUTION / VIDEOGRAMME EINER REVOLUTION (1992, 106 min, digital. In English and Romanian with English subtitles.) "In Europe in the fall of 1989, history took place before our very eyes. Farocki and Ujica's VIDEOGRAMS shows the Romanian revolution of December 1989 in Bucharest in a new media-based form of historiography. Demonstrators occupied the television station [in Bucharest] and broadcast continuously for 120 hours, thereby establishing the television studio as a new historical site. Between December 21, 1989 (the day of Ceaucescu's last speech) and December 26, 1989 (the first televised summary of his trial), the cameras recorded events at the most important locations in Bucharest, almost without exception." -Dietrich Leder
_____
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