[Frameworks] Labor Movement films?
julia
juliagouin at gmail.com
Sun Apr 15 20:40:22 UTC 2018
the full unemployement cinema gathered a good list of films related to work
issues and they nicely archived their screening programes online :
https://fullunemploymentcinema.wordpress.com/
Also worth checking on that "topic" :
Nightcleaners, by the berwick film collective
On 15 April 2018 at 14:00, <frameworks-request at jonasmekasfilms.com> wrote:
> Send FrameWorks mailing list submissions to
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> Today's Topics:
>
> 1. Re: Labor Movement films? (Cecilia Dougherty)
> 2. Re: Forwarded from Massart Faculty (Francisco Torres)
> 3. Re: Forwarded from Massart Faculty (Fred Camper)
> 4. This week [April 15 - 22, 2018] in avant garde cinema
> (Scott Stark)
>
>
> ---------- Forwarded message ----------
> From: Cecilia Dougherty <cecilia.dougherty at gmail.com>
> To: Experimental Film Discussion List <frameworks at jonasmekasfilms.com>
> Cc:
> Bcc:
> Date: Sat, 14 Apr 2018 08:22:04 -0400
> Subject: Re: [Frameworks] Labor Movement films?
> Salt of the Earth, 1954
> Harlan County, 1976
> I AM Somebody, 1969
>
>
> On Sun, Apr 8, 2018 at 3:23 PM, Brandon Walley <brand500 at gmail.com> wrote:
>
>> Looking for experimental, nonfiction, feature or shorts that deal with
>> the works right, labor unions or related for a May Day screening.
>> Suggestions?
>>
>> _______________________________________________
>> FrameWorks mailing list
>> FrameWorks at jonasmekasfilms.com
>> https://mailman-mail5.webfaction.com/listinfo/frameworks
>>
>>
>
>
> --
> *Say one thing and meme another*
>
> Cecilia Dougherty
> http://www.ceciliadougherty.com
> http://inbetweentheories.com
>
>
>
> ---------- Forwarded message ----------
> From: Francisco Torres <fjtorrespr at gmail.com>
> To: Experimental Film Discussion List <frameworks at jonasmekasfilms.com>
> Cc:
> Bcc:
> Date: Sat, 14 Apr 2018 13:40:36 -0400
> Subject: Re: [Frameworks] Forwarded from Massart Faculty
> I suggest one course of action to avoid such problems- Total boycott of
> academia. Find other sources of employment if possible. If academia is the
> only alternative in terms of earning an income then withhold your true work
> from the academic audience. Create safe, vanilla works for the
> administration and the student body and another body of work for yourself
> and your true audience (outside academia). Also withhold your true wisdom
> from your academic work, keep it secret. Moreover, feed an official
> artistic line to your students and co-workers. Play it safe. After all, it
> worked for the alchemists for hundred of years.
>
> 2018-04-14 1:34 GMT-04:00 lady snowblood <snowbloods.parasol at gmail.com>:
>
>> I’ve been observing this situation and reflecting on the need for
>> competing skills inside one person:
>> - adherence to personal vision in the studio
>> - the flexibility of ego to collaborate well with colleagues and students
>> in the educational environment.
>>
>> I’ve seen behavior like this in art teachers the past, although not to
>> this degree. And I assigned it as lots of skill in one area (authorship)
>> fewer skills in another ...
>>
>> It’s hard. I’m reminded that “you can’t say authoritarian without
>> author”. I also re-invest in the notion that I have to keep a good buffer
>> between my formal creative practice (viciously adhering to the vision) and
>> the social skills for creating resilient learning environment (relax,
>> communicate, provoke, nourish, discover together etc).
>>
>> Jessica
>>
>> * * * * *
>>
>> Jessica Fenlon
>>
>> artist : poet : experimental : http://sixth-station.com
>>
>> flickr <https://www.flickr.com/photos/drawclose> : vimeo
>> <http://vimeo.com/jessicafenlon> : instagram
>> <https://www.instagram.com/port.manteaux>
>>
>> On Apr 13, 2018, at 8:13 AM, John Muse <jmuse at sonic.net> wrote:
>>
>> Another turn of the screw:
>>
>> https://www.artforum.com/news/massart-embroiled-in-controver
>> sy-over-resignation-of-filmmaker-saul-levine-74966
>>
>> j
>>
>> On Apr 12, 2018, at 9:19 AM, Jon Behrens <bolexman at msn.com> wrote:
>>
>>
>> Thank you Ed
>>
>> For sharing this
>>
>>
>> Sent from my iPhone
>>
>>
>> On Apr 11, 2018, at 8:22 PM, Deana LeBlanc <leblanc.deana at gmail.com>
>> wrote:
>>
>>
>> Emotion vs. reason? His live video got us PUMPED and struck a cord- we
>> who were watching were cheering, (crying a bit admittedly). Even had
>> musicians riding along to its It speaks to something bigger and is
>> effectively cathartic- the performance, the storytelling, while also being
>> a testimony of information. Two things going on at once, important to
>> distinguish. But this also makes sense- the statement from Mass Art
>> Faculty- glad to hear from them.
>>
>>
>>
>>
>> On Wednesday, April 11, 2018, Ed Halter <hey at edhalter.com> wrote:
>>
>> Hey Frameworks
>>
>>
>> Felt I should share this announcement that was forwarded to me from the
>> Massart faculty.
>>
>>
>> ------------
>>
>>
>>
>> TO THE MASSART COMMUNITY:
>>
>>
>> The faculty and staff of the Film/Video department demand that Professor
>> Saul Levine stop his
>>
>> lies about recent events at Mass Art and his cyber-bullying against his
>> colleagues.
>>
>>
>> It is because of Professor Levine’s very public attacks and
>> misrepresentations that we feel
>>
>> obliged to correct his version of the complaints against him.
>>
>>
>> He has bullied his colleagues and created an abusive working environment
>> over many years.
>>
>>
>> He has derailed and destroyed important discussions about urgent
>> departmental and curricular
>>
>> issues.
>>
>>
>> This is NOT an issue of academic freedom. No one at Mass Art made any
>> effort to censor or
>>
>> punish Professor Levine for screening his film or any other film he has
>> shown over the years.
>>
>> No one forced him to retire.The decision to retire is entirely Professor
>> Levine’s.
>>
>>
>> We recognize Professor Levine as a brilliant artist and programmer and
>> are thankful for his
>>
>> contributions to the department and to Massart.It is extremely painful to
>> see his toxic rant
>>
>> against the department, besmearing the College and insulting us by name
>> while claiming
>>
>> himself as the victim.
>>
>>
>> As artists, teachers and mentors, it is our responsibility to stand up
>> when we are bullied and to
>>
>> treat each other with respect. It is also our duty to foster an open,
>> respectful, and collegial
>>
>> environment for our students.
>>
>>
>> Soon-Mi Yoo, Chair
>>
>> Ericka Beckman, Professor
>>
>> Gretchen Skogerson, Professor
>>
>> Joe Briganti, Studio Manager, Video Area
>>
>> Kim Keown, Studio Manager, Film Area
>>
>> _______________________________________________
>>
>> FrameWorks mailing list
>>
>> FrameWorks at jonasmekasfilms.com
>>
>> https://mailman-mail5.webfaction.com/listinfo/frameworks
>>
>> _______________________________________________
>>
>> FrameWorks mailing list
>>
>> FrameWorks at jonasmekasfilms.com
>>
>> https://mailman-mail5.webfaction.com/listinfo/frameworks
>>
>>
>> j/PrM
>>
>> *************************************************
>>
>> john muse
>> visual media scholar
>> haverford college
>> he/him/his
>> http://www.finleymuse.com
>> http://www.haverford.edu/faculty/jmuse
>> http://haverford.academia.edu/JohnMuse
>>
>> *************************************************
>>
>>
>>
>> _______________________________________________
>> FrameWorks mailing list
>> FrameWorks at jonasmekasfilms.com
>> https://mailman-mail5.webfaction.com/listinfo/frameworks
>>
>>
>> _______________________________________________
>> FrameWorks mailing list
>> FrameWorks at jonasmekasfilms.com
>> https://mailman-mail5.webfaction.com/listinfo/frameworks
>>
>>
>
>
> ---------- Forwarded message ----------
> From: Fred Camper <f at fredcamper.com>
> To: Experimental Film Discussion List <frameworks at jonasmekasfilms.com>
> Cc:
> Bcc:
> Date: Sat, 14 Apr 2018 15:43:51 -0500
> Subject: Re: [Frameworks] Forwarded from Massart Faculty
>
> So it sounds like you are unquestionably accepting that Levine was forced
> out due to the nature of his filmmaking?
>
> Are the five signatories of that statement lying?
>
> Of course it is true that it is in the nature of some kinds of art making
> that the artist will believe that she or he has found *the *truth, *the *path,
> the only correct way of making films or other art. Jessica comments on a
> facet of this, though I think in some other kinds of artists
> authoritarianism is not to be found, or will be successfully hidden. But
> for some of the most original artists, this belief is central to their
> practice. One only has to read the writings of Dziga Vertov and Robert
> Bresson, both filmmakers who felt so strongly that their mode of filmmaking
> was the only true way that they used use words or phrases to refer *only *to
> their own films to the exclusion of all others to emphasize the correctness
> of their choices, for examples. One can only speculate as to the nature, if
> language differences could be bridged, of a "faculty meeting" to discuss
> the correct forms of cinema education with a faculty consisting of
> Eisenstein, Vertov, Epstein, Bresson, Kubelka, Brakhage, Rainer, and, oh,
> say, Roberto Rossellini, Nicholas Ray and John Ford.
>
> But at the same time, Stan Brakhage, Peter Kubelka, Robert Breer, Hollis
> Frampton, George Landow/Owen Land, Ernie Gehr, Larry Jordan, Ken Jacobs,
> Larry Gottheim, and of course others, all taught filmmaking for many
> decades. I name these in particular as filmmaker whose work I like, in most
> cases hugely. All showed their own films as part of their teaching
> practice. Does anyone know of cases in which these filmmakers got into
> trouble with their schools over the nature of their completed films, or for
> their expression of their ideas about their art? Some have troubles, but
> more due to the nature of their personalities, is that not right?
>
> With so many nations sliding into dictatorship, we who are privileged to
> live in relatively free nations should appreciate, and try to preserve,
> what we have, taking care to make accusation about the abridgement of
> academic freedom only when it has really occurred.
>
> What you are advocating implies an inner split that is probably impossible
> for most of us to put in practice in the long term, but is also
> fundamentally dishonest. Hired to teach one's beliefs, and not directed to
> conceal them, the filmmaker is then to spend a career lying about them? Is
> that even fair to the students, or to the school? Would such a course not
> make the world a fundamentally worse, rather than better, place? Haven't we
> seen enough lying, especially when it is not absolutely necessary?
>
> Avoiding academia entirely might be a good idea, if one can manage it. I
> think Markopoulos's films only got greater, after he left teaching and the
> U.S. I certainly felt freer in many ways when I could survive as a
> freelance writer, working mostly for a for-profit newspaper, than when I
> turned to teaching at allegedly high-minded not for profit institutions. At
> the same time, I have been relatively free to work my own beliefs about
> cinema and about art even in predesigned courses in which I have to teach
> certain elements I did not decide on (though also do not oppose). And I
> feel sure that for many, alternative-to-teaching jobs might be far worse
> than teaching.
> Fred Camper
> Chicago
>
> On 4/14/2018 12:40 PM, Francisco Torres wrote:
>
> I suggest one course of action to avoid such problems- Total boycott of
> academia. Find other sources of employment if possible. If academia is the
> only alternative in terms of earning an income then withhold your true work
> from the academic audience. Create safe, vanilla works for the
> administration and the student body and another body of work for yourself
> and your true audience (outside academia). Also withhold your true wisdom
> from your academic work, keep it secret. Moreover, feed an official
> artistic line to your students and co-workers. Play it safe. After all, it
> worked for the alchemists for hundred of years.
>
> 2018-04-14 1:34 GMT-04:00 lady snowblood <snowbloods.parasol at gmail.com>:
>
>> I’ve been observing this situation and reflecting on the need for
>> competing skills inside one person:
>> - adherence to personal vision in the studio
>> - the flexibility of ego to collaborate well with colleagues and students
>> in the educational environment.
>>
>> I’ve seen behavior like this in art teachers the past, although not to
>> this degree. And I assigned it as lots of skill in one area (authorship)
>> fewer skills in another ...
>>
>> It’s hard. I’m reminded that “you can’t say authoritarian without
>> author”. I also re-invest in the notion that I have to keep a good buffer
>> between my formal creative practice (viciously adhering to the vision) and
>> the social skills for creating resilient learning environment (relax,
>> communicate, provoke, nourish, discover together etc).
>>
>> Jessica
>>
>> * * * * *
>>
>> Jessica Fenlon
>>
>> artist : poet : experimental : http://sixth-station.com
>>
>> flickr <https://www.flickr.com/photos/drawclose> : vimeo
>> <http://vimeo.com/jessicafenlon> : instagram
>> <https://www.instagram.com/port.manteaux>
>>
>> On Apr 13, 2018, at 8:13 AM, John Muse <jmuse at sonic.net> wrote:
>>
>> Another turn of the screw:
>>
>> https://www.artforum.com/news/massart-embroiled-in-controver
>> sy-over-resignation-of-filmmaker-saul-levine-74966
>>
>> j
>>
>> On Apr 12, 2018, at 9:19 AM, Jon Behrens <bolexman at msn.com> wrote:
>>
>>
>> Thank you Ed
>>
>> For sharing this
>>
>>
>> Sent from my iPhone
>>
>>
>> On Apr 11, 2018, at 8:22 PM, Deana LeBlanc <leblanc.deana at gmail.com>
>> wrote:
>>
>>
>> Emotion vs. reason? His live video got us PUMPED and struck a cord- we
>> who were watching were cheering, (crying a bit admittedly). Even had
>> musicians riding along to its It speaks to something bigger and is
>> effectively cathartic- the performance, the storytelling, while also being
>> a testimony of information. Two things going on at once, important to
>> distinguish. But this also makes sense- the statement from Mass Art
>> Faculty- glad to hear from them.
>>
>>
>>
>>
>> On Wednesday, April 11, 2018, Ed Halter <hey at edhalter.com> wrote:
>>
>> Hey Frameworks
>>
>>
>> Felt I should share this announcement that was forwarded to me from the
>> Massart faculty.
>>
>>
>> ------------
>>
>>
>>
>> TO THE MASSART COMMUNITY:
>>
>>
>> The faculty and staff of the Film/Video department demand that Professor
>> Saul Levine stop his
>>
>> lies about recent events at Mass Art and his cyber-bullying against his
>> colleagues.
>>
>>
>> It is because of Professor Levine’s very public attacks and
>> misrepresentations that we feel
>>
>> obliged to correct his version of the complaints against him.
>>
>>
>> He has bullied his colleagues and created an abusive working environment
>> over many years.
>>
>>
>> He has derailed and destroyed important discussions about urgent
>> departmental and curricular
>>
>> issues.
>>
>>
>> This is NOT an issue of academic freedom. No one at Mass Art made any
>> effort to censor or
>>
>> punish Professor Levine for screening his film or any other film he has
>> shown over the years.
>>
>> No one forced him to retire.The decision to retire is entirely Professor
>> Levine’s.
>>
>>
>> We recognize Professor Levine as a brilliant artist and programmer and
>> are thankful for his
>>
>> contributions to the department and to Massart.It is extremely painful to
>> see his toxic rant
>>
>> against the department, besmearing the College and insulting us by name
>> while claiming
>>
>> himself as the victim.
>>
>>
>> As artists, teachers and mentors, it is our responsibility to stand up
>> when we are bullied and to
>>
>> treat each other with respect. It is also our duty to foster an open,
>> respectful, and collegial
>>
>> environment for our students.
>>
>>
>> Soon-Mi Yoo, Chair
>>
>> Ericka Beckman, Professor
>>
>> Gretchen Skogerson, Professor
>>
>> Joe Briganti, Studio Manager, Video Area
>>
>> Kim Keown, Studio Manager, Film Area
>>
>> _______________________________________________
>>
>> FrameWorks mailing list
>>
>> FrameWorks at jonasmekasfilms.com
>>
>> https://mailman-mail5.webfaction.com/listinfo/frameworks
>>
>> _______________________________________________
>>
>> FrameWorks mailing list
>>
>> FrameWorks at jonasmekasfilms.com
>>
>> https://mailman-mail5.webfaction.com/listinfo/frameworks
>>
>>
>> j/PrM
>>
>> *************************************************
>>
>> john muse
>> visual media scholar
>> haverford college
>> he/him/his
>> http://www.finleymuse.com
>> http://www.haverford.edu/faculty/jmuse
>> http://haverford.academia.edu/JohnMuse
>>
>> *************************************************
>>
>>
>>
>> _______________________________________________
>> FrameWorks mailing list
>> FrameWorks at jonasmekasfilms.com
>> https://mailman-mail5.webfaction.com/listinfo/frameworks
>>
>>
>> _______________________________________________
>> FrameWorks mailing list
>> FrameWorks at jonasmekasfilms.com
>> https://mailman-mail5.webfaction.com/listinfo/frameworks
>>
>>
>
>
> _______________________________________________
> FrameWorks mailing listFrameWorks at jonasmekasfilms.comhttps://mailman-mail5.webfaction.com/listinfo/frameworks
>
>
>
>
> ---------- Forwarded message ----------
> From: Scott Stark <sstark at hi-beam.net>
> To: Experimental Film Discussion List <frameworks at jonasmekasfilms.com>
> Cc:
> Bcc:
> Date: Sun, 15 Apr 2018 06:53:51 -0500
> Subject: [Frameworks] This week [April 15 - 22, 2018] in avant garde cinema
>
>
>
> [image: links]
> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=fa6446b05a&e=f36020cad0>
>
> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=d8ee9417fc&e=f36020cad0>
> This week [April 15 - 22, 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=689f170102&e=f36020cad0>
> .
>
> To receive the weekly listing via email: Subscribe
> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=f0d2fd104f&e=f36020cad0>
> .
>
>
> * Yes: Lili Chin / Gautam Kansara <#m_5579385322060776809_anchor6> [April
> 16, Brooklyn, New York]*
>
> *NEW CALLS FOR ENTRIES:*
> Compassion Film Festival (Carbondale, CO, USA; Deadline: May 17, 2018)
> http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1976.ann
> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=b8658ec6d2&e=f36020cad0>
>
> *DEADLINES APPROACHING:*
> Festival of (In)appropriation (Los Angeles, CA, USA; Deadline: May 01,
> 2018)
> http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1969.ann
> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=d02df78de6&e=f36020cad0>
> 5th Annual Flamingo Film Festival (Fort Lauderdale, FL USA; Deadline:
> April 15, 2018)
> http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1974.ann
> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=61419d4b2b&e=f36020cad0>
> Compassion Film Festival (Carbondale, CO, USA; Deadline: May 17, 2018)
> http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1976.ann
> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=82a8beae44&e=f36020cad0>
>
> Events are sorted alphabetically *BY CITY* within each *DATE*.
>
> This week's programs (summary):
>
> - Lightning and Thunder: 16mm Films By Fern Silva
> <#m_5579385322060776809_anchor1> [April 15, Austin, TX]
> - Stan Brakhage: Life, Death, and the Elements
> <#m_5579385322060776809_anchor2> [April 15, Los Angeles, California]
> - Harun Farocki: Program 2 <#m_5579385322060776809_anchor3> [April 15,
> New York, NY]
> - The Films of Larry Gottheim: Program 5
> <#m_5579385322060776809_anchor4> [April 15, New York, NY]
> - The Films of Larry Gottheim: Program 6
> <#m_5579385322060776809_anchor5> [April 15, New York, NY]
> - Yes: Lili Chin / Gautam Kansara <#m_5579385322060776809_anchor6>
> [April 16, Brooklyn, New York]
> - The Films of Larry Gottheim: Program 7
> <#m_5579385322060776809_anchor7> [April 16, New York, NY]
> - History, Memory, Texture: Material Inscriptions
> <#m_5579385322060776809_anchor8> [April 16, Oberlin, OH]
> - Note To Self: Films of Nazli DinÇel <#m_5579385322060776809_anchor9>
> [April 17, Baltimore, Maryland]
> - The Films of Larry Gottheim: Program 8
> <#m_5579385322060776809_anchor10> [April 17, New York, NY]
> - Trans Film: To Speak, To Find: Program 1
> <#m_5579385322060776809_anchor11> [April 18, New York, NY]
> - Trans Film: Near Futures <#m_5579385322060776809_anchor12> [April
> 18, New York, NY]
> - Traveling the Space Ways <#m_5579385322060776809_anchor13> [April
> 18, New York, New York]
> - Trans Film: Teknolust <#m_5579385322060776809_anchor14> [April 19,
> New York, NY]
> - Trans Film: FluidØ <#m_5579385322060776809_anchor15> [April 19, New
> York, NY]
> - School of Chairs: Your Eye Would Glide Over the Grey
> <#m_5579385322060776809_anchor16> [April 19, San Francisco,
> California]
> - Videons: visions Through Time, 1968–2018
> <#m_5579385322060776809_anchor17> [April 19, San Francisco,
> California]
> - Bradley Eros Eros.Ion <#m_5579385322060776809_anchor18> [April 20,
> Brooklyn, New York]
> - Inexistent Time: A Retrospective of Malena Szlam
> <#m_5579385322060776809_anchor19> [April 20, Los Angeles, California]
> - Trans Film: Rukus <#m_5579385322060776809_anchor20> [April 20, New
> York, NY]
> - Trans Film: When This World Ends: Dandy Dust
> <#m_5579385322060776809_anchor21> [April 20, New York, NY]
> - Peripheral visions Program 1: Rhythm
> <#m_5579385322060776809_anchor22> [April 20, New York, New York]
> - Peripheral visions Program 2: Sequence
> <#m_5579385322060776809_anchor23> [April 20, New York, New York]
> - Through the Margin of Mirrors: A Lecture/Performance By Malena Szlam
> <#m_5579385322060776809_anchor24> [April 21, Los Angeles, California]
> - Ec: Stan Brakhage Pgm 2 <#m_5579385322060776809_anchor25> [April 21,
> New York, NY]
> - Trans Film: To Speak, To Find: Program 2
> <#m_5579385322060776809_anchor26> [April 21, New York, NY]
> - Trans Film: Kate Bornstein Is A Queer and Pleasant Danger
> <#m_5579385322060776809_anchor27> [April 21, New York, NY]
> - Peripheral visions Program 3: Texture
> <#m_5579385322060776809_anchor28> [April 21, New York, New York]
> - Peripheral visions Program 4: Texture | Space
> <#m_5579385322060776809_anchor29> [April 21, New York, New York]
> - Peripheral visions Program 5: Space <#m_5579385322060776809_anchor30>
> [April 21, New York, New York]
> - X~Peri~Mental Animation: Colburn + Gallagher + Geiser + Quillian +
> <#m_5579385322060776809_anchor31> [April 21, San Francisco,
> California]
> - Harun Farocki: Program 3 <#m_5579385322060776809_anchor32> [April
> 22, New York, NY]
> - Trans Film: Pay It No Mind: &Quot;Archival Footage&Quot; As the Main
> Attraction <#m_5579385322060776809_anchor33> [April 22, New York, NY]
> - Trans Film: T4t: Films By Jules Rosskam
> <#m_5579385322060776809_anchor34> [April 22, New York, NY]
>
> *SUNDAY, APRIL 15, 2018*
>
> 4/15
> Austin, TX: *Experimental Response Cinema*
> http://ercatx.org
> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=077896f082&e=f36020cad0>
> 8pm, grayDUCK Gallery, 2213 E Cesar Chavez St
> *LIGHTNING AND THUNDER: 16MM FILMS BY FERN SILVA*
> FILMMAKER IN PERSON! Experimental Response Cinema is proud to welcome Fern
> Silva for an in-person screening of a selection of his 16mm works. With his
> distinct sonic and cinematographic language, Silva's films describe the
> hybrid mythologies of globalism. His films consider methods of narrative,
> ethnographic, and documentary filmmaking as the starting point for
> structural experimentation. Ride Like Lightning, Crash Like
> Thunder-2017-8.5mins: Framed within the vision of the Hudson River School
> and the legend of Rip Van Winkle, Ride Like Lightning, Crash Like Thunder
> unfolds as a storm approaches on the horizon. An uncertain future is in
> store as the creeping hand of history disrupts nature and civility in the
> Hudson River regions of Upstate New York. The Watchmen-2017-10mins.: In The
> Watchmen, pulsating orbs, panopticons, roadside rest stops, and
> subterranean labyrinths confront the scope of human consequences and the
> entanglement of our seeking bodies. Wayward Fronds -2015-13.5mins: Mermaids
> flip a tale of twin detriments, domiciles cradle morph invaders, crocodile
> trails swallow two-legged twigs in a fecund mash of nature's outlaws…
> down in the Everglades. Tender Feet-2013-10.5: Tender Feet was shot on the
> road in the southwest leading up to the not quite so cataclysmic and
> transformative events anticipated to take place around Dec. 21st 2012. As
> digits flipped on the odometer, so did the days in the Mayan calendar
> shedding light and darkness on charred forests, arid landscapes, falling
> stars, destructive vortexes, fortune telling traffic signs, and ticking
> time bombs… Concrete Parlay-2012-18mins.: Carried by the frenetic energy
> of a magic carpet, Concrete Parlay is a metaphysical flight that weaves
> among visual kernels of the anthropic and biological worlds. From
> prehistoric horseshoe crabs strewn among modern refuse, stoic pyramids
> foregrounded by golf course maintenance, mystic rituals evoking avian
> gestures, to contemporary political upheaval equalized by natural
> phenomena-the poetic equivalence among images transcends particular
> umwelten, as the disorienting whirl of the compass connotes the kinetic
> nature of existence. -Aily Nash Passage Upon the Plume-2011-6.5mins.:
> "Those who go thither, they return not again." Plumes dust the arid land,
> east to west, shapeshifting as they lift in ascension. Something lowers. An
> ark ran aground where revolution took root: ropes raise stones in baskets.
> Hearts heavier and lighter than the feather, permitted passage. Tethered or
> freed, resting from life or dawning anew. -Charity Coleman
>
> 4/15
> Los Angeles, California: *Filmforum*
> http://www.lafilmforum.org/
> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=461609c50e&e=f36020cad0>
> 7:30 pm, Echo Park Film Center, 1200 N. Alvarado St.
> *STAN BRAKHAGE: LIFE, DEATH, AND THE ELEMENTS*
> Los Angeles Filmforum and Acropolis Cinema present Stan Brakhage: Life,
> Death, And The Elements New Restorations From The Academy Film Archive
> Sunday, April 15, 2018, 7:30 pm At the Echo Park Film Center, 1200 N.
> Alvarado St., Los Angeles CA 90026 All 16mm prints of restored films! With
> Mark Toscano and others in person. Touching on some of Stan Brakhage’s
> (1933-2003) most recurring and fundamental themes, this selection of five
> films pairs an early, celebrated masterpiece (Scenes From Under Childhood)
> and a truly monumental but neglected work made the year before his death
> (Panels for the Walls of Heaven). Three other short films - all distinctly
> visually striking and reflecting a palpable viscerality - balance out this
> program of new restorations from the Academy Film Archive, the majority
> appearing here in their first public screenings in the Academy’s new 16mm
> prints. INFO: www.lafilmforum.org , 323-377-7238 Tickets: $10 general; $6
> students/seniors; free for Filmforum members. Available in advance at
> https://brakhagelife.bpt.me or at the door.
>
> 4/15
> New York, NY: *Anthology Film Archives*
> http://www.anthologyfilmarchives.org/
> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=b4d41d2264&e=f36020cad0>
> 2:00 PM, 32 Second Avenue
> *HARUN FAROCKI: PROGRAM 2*
> BEDTIME STORIES: SHIPS / EINSCHLAFGESCHICHTEN (1977, 3 min,
> 16mm-to-digital. In German with English subtitles.) AS YOU SEE / WIE MAN
> SIEHT (1986, 72 min, 16mm-to-digital. In German with English subtitles.)
> "[This] is an action-filled feature film. It reflects upon girls in porn
> magazines to whom names are ascribed and about the nameless dead in mass
> graves, upon machines that are so ugly that coverings have to be used to
> protect the workers' eyes, upon engines that are too beautiful to be hidden
> under the hoods of cars, upon labor techniques that either cling to the
> notion of the hand and the brain working together or want to do away with
> it. My film AS YOU SEE is an essay film. The contemporary opinion industry
> is like a huge mouth, or maybe a paper shredder. I compose a new text out
> of these scraps and thus stage a paper-chase. My film is made up of many
> details and creates a lot of image-image and word-image and word-word
> relationships among them. So there's a lot to chew on. I searched for and
> found a form in which one can make a little money go a long way." -Harun
> Farocki
>
> 4/15
> New York, NY: *Anthology Film Archives*
> http://www.anthologyfilmarchives.org/
> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=fdbbdbdfe3&e=f36020cad0>
> 5:00 PM, 32 Second Avenue
> *THE FILMS OF LARRY GOTTHEIM: PROGRAM 5*
> FOG LINE (1970, 10.5 min, 16mm, b&w) The fog lifts on a scene. The trees
> stand there, manifesting their being. They have a soft shape without
> outline. The power lines relate to drawing rather than painting, the
> controlling mind rather than the imagination. The viewer is invited to
> explore the screen, looking here and there, each person following a
> different path. DOORWAY (1970, 7.5 min, 16mm, b&w) Finally I moved the
> camera, in a slow pan from one side of the wide door of my wife's pottery
> studio to the other. The doorway separates inside from outside. There is a
> pulse of vision that emanates out from the camera, making a moving cow
> stand frozen behind another. NATURAL SELECTION (1983, 35 min, 16mm) Alfons
> Schilling uses his sculptural viewing devices to experience landscapes. My
> students film him. Translation issues lead us to think about glossolalia,
> speaking in tongues. We are invited to the laboratory of André Roch
> Lecours, who studies the relationship between glossolalia and the brain. I
> edited the film adding my own material. Alfons and Roch become avatars of
> my self. SORRY/HEAR US (1984, 8 min, 16mm) We deconstruct a poem's language
> by playing it backwards until some words emerge from the backward text. The
> students create images that illustrate this new text. Total running time:
> ca. 65 min.
>
> 4/15
> New York, NY: *Anthology Film Archives*
> http://www.anthologyfilmarchives.org/
> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=84dfa755ea&e=f36020cad0>
> 7:30 PM, 32 Second Avenue
> *THE FILMS OF LARRY GOTTHEIM: PROGRAM 6*
> THE RED THREAD (1987, 17 min, 16mm) My actual image appears as an ironic
> avatar of my real filmmaker self. It is challenged by a weaver with whom I
> fell into a relationship. The real me, the filmmaker me, is there, for
> example in the piano passages and above all with the children in the
> schoolyard, a ceremonial dance. TREE OF KNOWLEDGE (ELECTIVE AFFINITIES,
> PART 4) (1980, 60 min, 16mm) A documentary film about paranoid conditions
> is matched to a flow of images of an apple tree in my back yard filmed
> wildly and without forethought. The radical breaking of the previous
> passivity of the camera had deep psychological dimensions. Stockyard sounds
> are inserted, as are images of children from a film about the seasons. They
> are the ones who are learning and also part of the didactic mechanics of
> the film. So are the paranoid patients.
>
> *MONDAY, APRIL 16, 2018*
>
> 4/16
> Brooklyn, New York: *Microscope Gallery*
> http://www.microscopegallery.com
> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=26b7c7e0c4&e=f36020cad0>
> 7:30pm, 1329 Willoughby Avenue, #2B
> *YES: LILI CHIN / GAUTAM KANSARA*
> Screening night of videos by New York based artists Lili Chin and Gautam
> Kansara as part of the gallery’s series *YES*.The two artists, who have
> previously appeared in group screening programs presented by the gallery,
> not only work with single-channel works but have expanded their practices
> over the years to include split-screen and multiple channels as well as
> multi-media installation, often questioning and challenging the traditional
> concept of screen, incorporating various surfaces and textures including
> paper, glass, mulch, and others. Storytelling, memory, nature, and current
> affairs and post 9/11 politics in the context of personal history and
> culture are also areas of interest for both artists, who despite their
> similarities take different approaches in their works. Kansara frequently
> employs layering of imagery, revealed through erasure and other techniques
> involving the use of green screen, and incorporating actual conversations
> of himself with family members about various personal and political subject
> matters. Chin, on the other hand, remains behind the camera as an observer,
> recruiting friends as actors in some of the works, while in others
> animating or engaging with ceramics and artworks in other mediums by the
> artist. Many of her works are shot on film – Super 8mm and 16mm – and the
> materiality of the medium plays a critical role. Additional info & program
> www.microscopegallery.com. Nearest subway: Jefferson St. L (exit Starr
> St).
>
> 4/16
> New York, NY: *Anthology Film Archives*
> http://www.anthologyfilmarchives.org/
> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=b441bffdee&e=f36020cad0>
> 7:30 PM, 32 Second Avenue
> *THE FILMS OF LARRY GOTTHEIM: PROGRAM 7*
> BARN RUSHES (1971, 34 min, 16mm) I filmed a simple barn I passed every day
> using the fastest camera speed. The film is made of eight passes across the
> barn, each the length of a 100-foot roll of film. The repetition became a
> fruitful element. A miracle occurs at the end, as the foreground grasses
> seem to pass behind the barn. The film is a vision. MACHETE GILLETE… MAMA
> (1989, 45 min, 16mm) Filmed during three trips to the Dominican Republic.
> My interest in the superimposition of identities led to a focus on
> ceremonies that involved possession. While filming at a batey (a sugar
> workers' settlement), a friend made off with the rental car. He had an
> accident on a rural road. A Haitian worker on a motorcycle was killed. As
> part of a convoluted arrangement to spare him I said I had been the driver
> and so spent two days in jail. This was a major superimposition of my
> identity with his. A Dominican friend narrates a version of my experiences.
> The film is in no way a travel documentary. Many scenes reveal the
> cinematic ceremony outside the performed ceremonies.
>
> 4/16
> Oberlin, OH: *Oberlin College*
> 7:00 PM, 91 N. Main St., Art Building, Classroom 1
> *HISTORY, MEMORY, TEXTURE: MATERIAL INSCRIPTIONS*
> Screening of seven 16mm short films: David Gatten's What the Water Said
> Nos 1-3 (1998), Jodie Mack's Blanket Statement #2 (2013), Nina Fonoroff's
> Department of the Interior (1986), Kerry Laitala's Secure the Shadow...
> 'Ere the Substance Fade (1997), Jennifer Reeves's The Girl's Nervy (1995),
> Phil Solomon's Remains to be Seen (1989/1994), and David Gatten's Film for
> Invisible Ink, case no. 323: ONCE UPON A TIME IN THE WEST (2010). All films
> screened on 16mm. This evening will feature seven short films, all on 16mm,
> moving us from the tactile, physical world toward ephemeral, psychological,
> and interpersonal memory traces. From inscriptions of the sea engraved into
> film stock to 19th century stereoscopic images of pathology to family home
> movies swirling on the precipice of disappearance, these rarely screened
> films reflect on what is seen, how it takes shape, and what is remembered
> as it fades.
>
> *TUESDAY, APRIL 17, 2018*
>
> 4/17
> Baltimore, Maryland: *Sight Unseen*
> http://sightunseenbaltimore.com
> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=ff014150af&e=f36020cad0>
> 7:30pm, Parkway Theatre 3
> *NOTE TO SELF: FILMS OF NAZLI DIN&CCEDILEL*
> An evening of visceral and provocative handmade films that explore bodies,
> acts of the solitary, text, language, visual information and personal
> exposure. Nazlı Dinçel’s work reflects on experiences of disruption. She
> records the body in context with arousal, immigration, dislocation and
> desire in juxtaposition with the medium’s material: texture, color and the
> passing of emulsion. Her use of text as image, language and sound attempts
> the failure of memory and her own displacement within a western society.
> TRT: 62 minutes
>
> 4/17
> New York, NY: *Anthology Film Archives*
> http://www.anthologyfilmarchives.org/
> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=77c4a0124d&e=f36020cad0>
> 7:30 PM, 32 Second Avenue
> *THE FILMS OF LARRY GOTTHEIM: PROGRAM 8*
> BLUES (1969, 8.5 min, 16mm) A close-up, unedited view of a bowl of
> blueberries and milk. A spoon enters and scoops up some berries, presumably
> to be eaten, until they are all gone. The milk, which is there from the
> beginning, manifests itself more and more as the berries are removed, and
> finally seems to rise up and become awash in the light generated when the
> camera roll is removed from the camera. This is my first real film; all the
> others rise out of it. YOUR TELEVISION TRAVELER (1991, 15 min, 16mm) The
> core material is space footage paired with audio of an intimate discussion
> with a Cuban woman. Then images taken in Cuba are superimposed with sounds
> from a documentary about space flight. Astronauts internalize an identity
> with the racist comic character of a Hispanic astronaut, Jose Jimenez, and
> Castro comes to power. Finally we see material from a TV series in which
> the "TV Traveler" speaks about the Florida turpentine industry, a
> counterpart to the sugar industry run by slaves and former slaves across
> the Caribbean. CHANTS AND DANCES FOR HAND (1991-2017, 40 min, digital) This
> work comprises material shot in Haiti. There are scenes of Vodou
> ceremonies, a violent uprising, of movie theaters, and images from my
> personal life that include my Haitian son Hand. The soundtrack is simply
> what accompanied the images. This is far from a "documentary" about Vodou.
> The ceremony of possession extends into politics, war, cooking, the movies,
> and the electronic nature of video. This is also a meditation on death. The
> most important dance takes place in the viewer's mind. Total running time:
> ca. 70 min.
>
> *WEDNESDAY, APRIL 18, 2018*
>
> 4/18
> New York, NY: *Anthology Film Archives*
> http://www.anthologyfilmarchives.org/
> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=02d89c3ebb&e=f36020cad0>
> 6:45 PM, 32 Second Avenue
> *TRANS FILM: TO SPEAK, TO FIND: PROGRAM 1*
> SELECTED FILMMAKERS IN PERSON! "To Speak, To Find" comprises two programs
> of short films that probe identity construction, embodiment, and the making
> and unmaking of the human form using language and words as both a surface
> and an undertone. Sky Hopinka's incomplete portrait of life at Standing
> Rock, DISLOCATION BLUES explores a two-spirit person's complex experience
> of occupying and leaving the camp. Filmmaker Chase Joynt and his Orthodox
> Jewish mother navigate silent secrets of a shared past in AKIN, while Dani
> and Sheilah Restack meditate on the viscerality of desire, fantasy, and
> national fear in STRANGELY ORDINARY THIS DEVOTION. Malic Amalya and Nathan
> Hill's VASELINE is a transfag treatise on the state of surveillance and the
> eroticization of resistance, and ANTHOLOGY FOR AN AMERICAN FOLK SONG
> approaches the paranoid mystical landscape of human desire as an
> investigation into genital construction and abject relationality. Sky
> Hopinka DISLOCATION BLUES (2017, 17 min, digital) Chase Joynt AKIN (2012, 8
> min, digital) Dani and Sheilah Restack STRANGELY ORDINARY THIS DEVOTION
> (2017, 26 min, digital) Malic Amalya & Nathan Hill VASELINE (2016, 6 min,
> 16mm) Steve Reinke ANTHOLOGY OF AN AMERICAN FOLK SONG (2004, 29 min,
> digital) Total running time: ca. 90 min.
>
> 4/18
> New York, NY: *Anthology Film Archives*
> http://www.anthologyfilmarchives.org/
> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=caafd1579f&e=f36020cad0>
> 9:15 PM, 32 Second Avenue
> *TRANS FILM: NEAR FUTURES*
> FILMMAKER MADSEN MINAX IN PERSON! "Near Futures" is a duet of mid-length
> films featuring THE YEAR I BROKE MY VOICE by Madsen Minax and CIRCLE IN THE
> SAND by Michael Robinson. Both films position groups of mystical beings
> amid crumbling landscapes, where they must forge for the leftovers of their
> previous cultures. Feel the breeze in your hair, and the world crumbling
> through your fingers. In the broken near future of Robinson's CIRCLE IN THE
> SAND, a band of listless vagabonds ambles across a war-torn coastal
> territory, supervised and sorted by a group of idle soldiers. These ragged
> souls conjure an unstable magic, fueled by their own apathy. Minax's THE
> YEAR I BROKE MY VOICE is based upon interpretations and reenactments from
> the 1980s coming-of-age films THE OUTSIDERS, STAND BY ME, and THE YEAR MY
> VOICE BROKE. Trans and gender-nonconforming adults occupy the roles
> traditionally reserved for the coming-of-age boy, to re-approach the master
> narrative of childhood's transition into adulthood from a subversive, yet
> altogether fragile and uncertain vantage point. Madsen Minax THE YEAR I
> BROKE MY VOICE (2012, 47 min, digital) Michael Robinson CIRCLE IN THE SAND
> (2012, 46 min, Super-16mm-to-digital)
>
> 4/18
> New York, New York: *Another Experiment by Women Film Festival*
> http://anotherexperimentbywomenfilmfestival.com/
> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=6fddf55624&e=f36020cad0>
> 6 PM, Anthology Film Archives, 32 2nd Ave, New York, NY 10003
> *TRAVELING THE SPACE WAYS *
> LIGHT PLAYS: Anne-Marie Bouchard; MUSIC: Lyne Goulet; 16mm to digi;
> Canada; 7.00; TSCHAIKA; M. Kardinal; Germany; 10.49; NATURE SPEAKS TO SELF.
> ONLY.; Ann Oren; Israel; 8.00; THE MAN IN THE BUSHES; Emma Piper-Burket and
> Vasilios Papaioannu; USA; 5:46; UUFO; Yun Chen; CHINA/USA; 21.00 THE
> CHTHULU AND THE FINAL GIRL; Animation by Meredith Drum; USA; 1:40
>
> *THURSDAY, APRIL 19, 2018*
>
> 4/19
> New York, NY: *Anthology Film Archives*
> http://www.anthologyfilmarchives.org/
> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=d0e320f704&e=f36020cad0>
> 7:00 PM, 32 Second Avenue
> *TRANS FILM: TEKNOLUST*
> GUEST CURATED AND PRESENTED BY S. H. VARINO DOUBLE LUST: PART 1: Lynn
> Hershman Leeson TEKNOLUST (2001, 82 min, 35mm-to-digital. With Tilda
> Swinton, Jeremy Davies, John O'Keefe, Josh Kornbluth, and Karen Black.)
> "Loneliness breeds strange bedfellows. Rosetta Stone (played to a timorous
> 't' by Tilda Swinton), a bashful biogeneticist, downloads her own DNA into
> an experimental A.I. program, creating a trio of Self-Replicating
> Automatons (SRAs). Olive, Marine, and Ruby (Swinton3) live in seclusion in
> a color-coordinated condo where they spend their time Web-surfing,
> mainlining protein, and being inundated by motivational tapes that shape
> their sense of the 'human.' Ensconced like priestesses in shimmering robes,
> the SRA sisters oscillate between machine superiority - 'We're
> self-replicating' - and devolution - 'When you are defensive and regressive
> you seem completely human.' Beyond their jacked-in consciousness, they
> yearn for attachments, but not the e-mail kind. Hershman Leeson has
> modified the gene for humor, creating a franken-farce wired for witticisms.
> Designed with sleek graphical interfaces, TEKNOLUST bodes of a future when
> we will rise through 'flesh, spirit' to 'soul, icon.' Yet the film is also
> about something more fundamentally human - the impulse to fill the world
> with progeny as a gesture of existence." -Steve Seid, PACIFIC FILM ARCHIVE
>
> 4/19
> New York, NY: *Anthology Film Archives*
> http://www.anthologyfilmarchives.org/
> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=e203b9a716&e=f36020cad0>
> 9:15 PM, 32 Second Avenue
> *TRANS FILM: FLUIDØ*
> GUEST CURATED AND PRESENTED BY S. H. VARINO DOUBLE LUST: PART 2:Shu Lea
> Cheang FLUIDØ (2017, 99 min, digital) Set in the post-AIDS future of 2060,
> where the Government is the first to declare the era AIDS FREE, mutated
> AIDS viruses give birth to ZERO GEN - humans that have genetically evolved
> in a very unique way. These gender fluid ZERO GENs are the bio-drug
> carriers whose white fluid is the hypernarcotic for the 21st century,
> taking over the markets of the 20th century white powder high. The
> ejaculate of these beings is intoxicating and the new form of sexual
> commodity in the future. The new drug, code named DELTA, diffuses through
> skin contact and creates an addictive high. A new war on drugs begins and
> the ZERO GEN are declared illegal. The Government dispatches drug-resistant
> replicants for round-up arrest missions. When one of these government
> android's immunity breaks down and its pleasure centers are activated, the
> story becomes a tangled multi-thread plot and the ZERO GENs are caught
> among underground drug lords, glitched super agents, a scheming
> corporation, and a corrupt government.
>
> 4/19
> San Francisco, California: *San Francisco Cinematheque*
> http://www.sfcinematheque.org
> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=bbff1c5630&e=f36020cad0>
> 7:00, 500 Capp Street/The David Ireland House // 500 Capp Street, San
> Francisco, CA 94110
> *SCHOOL OF CHAIRS: YOUR EYE WOULD GLIDE OVER THE GREY*
> Presented in association with The David Ireland House // Admission: $25
> General Admission // Your eye, first of all, would glide over the grey… —
> George Perec // This screening is presented in the context of School of
> Chairs, the first group exhibition presented at The David Ireland House, on
> view February 17–June 9 . Curated by Bob Linder and Diego Villalobos,
> School of Chairs presents works in diverse media from a wide-ranging
> coterie of artists (including Forrest Bess, Jo Hanson, Los Jaichackers,
> K.r.m. Mooney, Anicka Yi and others) who “through expanding and redefining
> their respective mediums, have by consequence reshaped how we think about
> social and gender politics, the environment, and the role institutions play
> in shaping art history” while (in the spirit of David Ireland) creating
> relationships between artworks, domestic and non-domestic spaces, and
> devalued artifacts. In sympathetic resonance with this ambitious
> exhibition, Your Eye Would Glide Over the Grey presents film/video works
> which explore the secret lives of objects; the interplay of intimacy,
> identity and consciousness as modulated by constructed (and deconstructed)
> space; and conceptual contrasts between art and non-art objects. Program
> opener Ken Kobland’s The Toy Sun (2011) is a despairing ode to T.S. Eliot,
> Gordon Matta-Clark, old friends and the ravages of time. As counterweight,
> cryptic fragmentary works by Julia Dogra-Brasell (Mirror Without LIkeness,
> 2016) and Karissa Hahn (In Nothing Flat and Reveries, both 2013) talk back
> and question notions of completion and the fixity of identity. Jean-Paul
> Kelly’s Movement in Squares (2013) contrasts the eloquent expressivity of
> Bridget Riley with the devastation of 2011 home foreclosures, ruined lives
> and disgorged homes. Bettina Hoffmann’s choreographic Myopia foregrounds
> sounds in a strangely lush and attenuated interior while Coral Short’s
> similarly dance-like between us presents a polymorphous genderfuck fusion
> of flesh and furniture. Finally, Dana Berman Duff’s post-Warholian
> Catalogue Volume 10 (2017)—part of the artist’s ongoing post-Warholian
> examination of advertising and home decor—layers the cryptic text of
> Georges Perec’s Things: A Story of the Sixties (1965) over a tragically
> submerged flock of Arne Jacobsen knock-offs, a drowning flock of schooling
> chairs. (Steve Polta)
>
> 4/19
> San Francisco, California: *Exploratorium*
> https://www.exploratorium.edu/visit/calendar/after-dark/april-19-2018
> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=0e6ae7e3e6&e=f36020cad0>
> 7:30 p.m., Pier 15
> *VIDEONS: VISIONS THROUGH TIME, 1968–2018*
> Featuring a retrospective and current work of pioneering video artist
> Steve Beck, we highlight the hypnotic and transcendent visuals created
> through analogue video synthesizers, live moment, and film/video hybrids.
> Beck will join us for a conversation about his work, vision, and the
> convergence of art and technology. Among the works to be shown are CYCLES
> and UNION, two video-film fusions recently acquired by The Smithsonian
> Museum of American Art for their permanent collection of The Moving Image.
> Featuring: Illuminated Music 1 (1972, 7 min.); SHIVA (1973, 4 min.); CYCLES
> (1974, 11 min.), co-directed by Jordan Belson; Video Weavings (1973–1976, 9
> min.); UNION (1975, 10 min.); Video Ecotopia (1976 ,7 min.); Voodoo Child
> (1982, 8 min.); The Lone Breaker (1985, 5 min.); Bieru Nippon Part 2 (2012,
> 3 min.); NOOR (2011, 7 min.), part 1 of a trilogy. Excerpts from some of
> these works can be viewed at http://stevebeck.tv/clips.html.
>
> *FRIDAY, APRIL 20, 2018*
>
> 4/20
> Brooklyn, New York: *Microscope Gallery*
> http://www.microscopegallery.com
> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=e76a0936e4&e=f36020cad0>
> 7:30pm, 1329 Willoughby Avenue, #2B
> *BRADLEY EROS EROS.ION*
> A night of rare ephemeral cinema performance and films by Bradley Eros in
> connection with his current solo exhibition at the gallery “All that is
> solid melts into eros”. The works in the program, spanning nearly two
> decades – from “eros.ion” (1999), a shutter-less Super8mm projection
> performance, to Eros’ most recent and never-before-seen “Flick or Film”
> (2017) – revolve primarily around the artist’s investigation of film as an
> ephemeral, physical medium and the ways of transforming it to in effect
> extend its life, including through collaging, spray paint, burning, burial,
> and various manually activated means of projection. Among the other works
> in the program are Eros’ new iteration of his 2002 “Aurora Borealis” a
> cinematic homage to Joseph Cornell and Jean Painlevé shown this time in its
> original 16mm format with live foley and electronics soundtrack by Rachael
> Guma and Gabriel Guma (aka Gestalt Tone Color); “Liquid Crystal” (2000), a
> film-less projection performance with light beams passing through cut
> crystal drinking glasses, lenses, whiskey and water; and one of Eros’ best
> known works “burn (or, The 2nd Law of Thermodynamics)”, a video in which a
> found Super8mm filmstrip of 1970s bondage porn burns frame-by-frame as it
> is pulled through a damaged projector to a soundtrack from Martin
> Scorsese’s *Taxi Driver*. Eros will be available for Q&A following the
> screening and performance. Additional Info on artist and program notes:
> www.microscopegallery.com Jefferson St, L (exit Starr St)
>
> 4/20
> Los Angeles, California: *Filmforum*
> http://www.lafilmforum.org/
> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=b1d6b73504&e=f36020cad0>
> 8:00 pm, Echo Park Film Center, 1200 N. Alvarado St.
> *INEXISTENT TIME: A RETROSPECTIVE OF MALENA SZLAM*
> Los Angeles Filmforum is pleased to present a retrospective of
> Chilean-born Montréal-based filmmaker Malena Szlam’s film works with the
> artist in attendance. Working in 35mm, 16mm, Super 8mm, and digital formats
> Szlam’s silent, poetic, and ethereal compositions explore notions of time,
> self, the natural world and materiality. Each of her films are meticulously
> assembled using a menagerie of techniques to physically alter the film
> elements resulting in dreamlike, collaged, flickering images leaving
> viewers with a sense of wonderment, displacement and an expanded sense of
> time. Szlam’s careful construction of her works serves to ground and guide
> viewers on a serene journey through these brief and powerful cinematic
> experiences. This is Szlam’s first retrospective in Los Angeles. Malena
> Szlam’s visit made possible by a generous grant from the Mike Kelley
> Foundation for the Arts. Tickets: $10 general; $6 students/seniors; free
> for Filmforum members. Available in advance at https://bpt.me/3375731 or
> at the door.
>
> 4/20
> New York, NY: *Anthology Film Archives*
> http://www.anthologyfilmarchives.org/
> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=6007d6235c&e=f36020cad0>
> 7:00 PM, 32 Second Avenue
> *TRANS FILM: RUKUS*
> NYC PREMIERE! FILMMAKER IN PERSON! Brett Hanover RUKUS (2018, 87 min,
> digital) Brett Hanover's raw documentary/fiction hybrid film locates the
> queer coming-of-age story amid dated hotel furry conventions, steamy
> southern punk houses, and unending virtual worlds. Rukus is a 20-year-old
> furry artist living with his boyfriend Sable in the suburbs of Orlando,
> Florida. Through his sprawling graphic novels, Rukus constructs an
> imaginary universe where painful childhood memories are restaged as epic
> fantasies. Brett is a 16-year-old filmmaker with OCD trying to figure out
> his position in kinky subcultures. The two develop an unexpected online
> friendship which propels an exploration and reimagining of who they are and
> who they want to be.
>
> 4/20
> New York, NY: *Anthology Film Archives*
> http://www.anthologyfilmarchives.org/
> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=8f141281d7&e=f36020cad0>
> 9:30 PM, 32 Second Avenue
> *TRANS FILM: WHEN THIS WORLD ENDS: DANDY DUST*
> Kelley Meister's short hand-drawn animation NOW I AM BECOME DEATH explores
> the queer realities of living in the nuclear age, while Ashley Hans
> Scheirl's DANDY DUST creates another dimension of crude sets and clay
> planets in the year 3075. In a cyberpunk, crustcore, stop-motion, and
> live-action coming-of-age extravaganza, the character Dandy Dust must go to
> different planets to boost his/her sex drive and defeat a depraved villain.
> Disparate characters and explicit scenarios pepper the narrative as a
> spider vagina humanoid named "SpiderCuntBoy" arrives, strange twins appear
> and disappear, and a scene featuring a giant strap-on drill pushes erotics
> and violence to the max. Ashley Hans Scheirl DANDY DUST (1998, 92 min,
> digital) Preceded by: Kelley Meister NOW I AM BECOME DEATH (2017, 8 min,
> digital)
>
> 4/20
> New York, New York: *Qubit*
> https://qubitmusic.com/visions
> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=95e4d430a6&e=f36020cad0>
> 7:00 PM, Project Q, 1850 Amsterdam Ave
> *PERIPHERAL VISIONS PROGRAM 1: RHYTHM*
> Emotive fragments, wayward gestures, and ephemeral music collide in the
> works of Abigail Child, Laure Prouvost, and Henry Hills. Expressive
> combinations of image, sound, and language fuse together and jolt in
> opposition, creating novel sensations and fractured narratives that expand
> the vocabulary of cinema. Screening will include SSS (1988, 5m) and Money
> (1985, 15m) by Henry Hills, Prefaces (1981, 10m), Mutiny (1983, 10m), and
> Mercy (1989, 10m) by Abigail Child, and Burrow Me (2009, 13m), It Heat Hit
> (2010, 7m) and How to Make Money Religiously (2014, 9m) by Laure Prouvost.
> Tickets: $7, available online at http://bit.ly/rhythmvisions.
>
> 4/20
> New York, New York: *Qubit*
> https://qubitmusic.com/visions
> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=5ca2a04cdc&e=f36020cad0>
> 9:00 PM, Project Q, 1850 Amsterdam Ave
> *PERIPHERAL VISIONS PROGRAM 2: SEQUENCE*
> Visceral cadences, stochastic data, oedipal loops, and vivid sequences
> abound in these works that interrogate the process of image making and the
> patterns that surround us. Featuring films by Peter Burr, Ryoichi Kurokawa,
> Thorsten Fleisch, Scott Stark, Martin Arnold, Peter Tscherkassky, Michael
> Fleming, iloobia, Julie Murray, Tomonari Nishikawa, and Jodie Mack. For a
> full listing of films and ticket information visit:
> http://bit.ly/sequencevisions (Tickets $7) The second screening of the
> Peripheral Visions Film Festival presented by Qubit.
>
> *SATURDAY, APRIL 21, 2018*
>
> 4/21
> Los Angeles, California: *Filmforum*
> http://www.lafilmforum.org/
> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=4e06c08e4c&e=f36020cad0>
> 8:00 pm, Echo Park Film Center, 1200 N. Alvarado St.
> *THROUGH THE MARGIN OF MIRRORS: A LECTURE/PERFORMANCE BY MALENA SZLAM*
> Los Angeles Filmforum presents Through the Margin of Mirrors: a
> Lecture/Performance by Malena Szlam (with additional films to be announced)
> Saturday, April 21, 2018, 8pm At Echo Park Film Center, 1200 N. Alvarado
> St., Los Angeles CA 90026 With filmmaker Malena Szlam in person from
> Montréal! In this lecture/performance, Szlam will draw from her writing
> and personal visual film archive to compose an ephemeral re-enactment of
> her 2010 installation piece Through The Margin Of Mirrors. Fueled by
> experiences of displacement and migration between the Northern and Southern
> Hemispheres, Szlam will disclose aleatory links forged through dreams,
> language(s) and desire. An evening of reading and projection will form a
> vivid collage in dialogue with texts and recordings from friends, artists,
> and filmmakers. The performance will be followed by a special screening of
> short experimental works by international filmmakers, curated by Szlam.
> Details to be announced at the show. INFO: www.lafilmforum.org ,
> 323-377-7238 Tickets: $5 general/students/seniors; free for Filmforum
> members. Available in advance at https://szlamperformance.bpt.me or at
> the door.
>
> 4/21
> New York, NY: *Anthology Film Archives*
> http://www.anthologyfilmarchives.org/
> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=9c81a5d1d2&e=f36020cad0>
> 3:00 PM, 32 Second Avenue
> *EC: STAN BRAKHAGE PGM 2*
> Unless otherwise noted, all films are silent. THE DEAD (1960, 11 min,
> 16mm) PASHT (1965, 5 min, 16mm) THREE FILMS: BLUEWHITE, BLOOD'S TONE, VEIN
> (1965, 10 min, 16mm) FIRE OF WATERS (1965, 10 min, 16mm, b&w, sound) THE
> HORSEMAN, THE WOMAN AND THE MOTH (1968, 19 min, 16mm) Total running time:
> ca. 60 min.
>
> 4/21
> New York, NY: *Anthology Film Archives*
> http://www.anthologyfilmarchives.org/
> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=0204d8d5d4&e=f36020cad0>
> 5:00 PM, 32 Second Avenue
> *TRANS FILM: TO SPEAK, TO FIND: PROGRAM 2*
> SELECTED FILMMAKERS IN PERSON! "STRANGER BABY is Lana Lin's exploration of
> the meaning of the term "alien" through fiction, non-fiction, and science
> fiction. In OPERATION INVERT, Tara Mateik exposes the absurdities of
> medical regulations that seem to fear gender outlaws as the new biological
> terrorists seeking weapons of mass bodily destruction. Vika Kirchenbauer's
> essay film LIKE RATS LEAVING A SINKING SHIP uses text from the DSM combined
> with intimate personal writings that reflect upon the nature of memory and
> the present interpretation of the past to question the possibility of any
> coherent narrative. Joey Carducci uses the language of film, feminism, and
> outtakes to come out to his longtime mentor in A VIDEO LETTER TO BARBARA
> HAMMER. Tiona Nekkia McClodden's THE LABYRINTH 1.0 revisits Brad Johnson's
> 1995 poem of the same title to create a poetic essay film exploring the
> HIV/AIDS crisis and surveillance culture. Zackary Drucker's AT LEAST YOU
> KNOW YOU EXIST uses the home of legendary performer Flawless Sabrina to
> tell a story of intergenerational companionship and trans legacy. Lana Lin
> STRANGER BABY (1995, 12 min, 16mm) Tara Mateik OPERATION INVERT (2003, 12
> min, digital) Vika Kirchenbauer LIKE RATS LEAVING A SINKING SHIP (2012, 25
> min, Super-8mm-to-digital) Joey Carducci A VIDEO LETTER TO BARBARA HAMMER
> (work in progress) (2017, 16 min, 16mm-to-digital) Tiona Nekkia McClodden
> THE LABYRINTH 1.0 (2017, 6 min, digital) Zackary Drucker AT LEAST YOU KNOW
> YOU EXIST (2011, 16 min, 16mm-to-digital) Total running time: ca. 90 min.
>
> 4/21
> New York, NY: *Anthology Film Archives*
> http://www.anthologyfilmarchives.org/
> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=bf26c78c13&e=f36020cad0>
> 7:30 PM, 32 Second Avenue
> *TRANS FILM: KATE BORNSTEIN IS A QUEER AND PLEASANT DANGER*
> FILMMAKER IN PERSON! Sam Feder KATE BORNSTEIN IS A QUEER AND PLEASANT
> DANGER (2014, 73 min, digital) Performance artist and writer Kate Bornstein
> explodes binaries while deconstructing gender - and her own identity.
> Trans-dyke. Reluctant polyamorist. Sadomasochist. Recovering Scientologist.
> Pioneering gender outlaw. Sam Feder's playful and meditative portrait of
> Bornstein captures rollicking public performances and painful personal
> revelations as it bears witness to Kate as a trailblazing
> artist-theorist-activist who inhabits a space between male and female with
> wit, style, and astonishing candor.
>
> 4/21
> New York, New York: *Qubit*
> https://qubitmusic.com/visions
> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=189e66db48&e=f36020cad0>
> 1:00 PM, Project Q, 1850 Amsterdam Ave
> *PERIPHERAL VISIONS PROGRAM 3: TEXTURE*
> The screen is transformed into a surface, channeling a myriad of textures
> from vibrant fabrics, verdant fields, and prismatic crystallography to the
> materiality of the image itself: the film strip and the pixel. Featuring
> films by Jodie Mack, Maria Constanza Ferreira, Johan Rijpma, Jake Fried,
> Ryoichi Kurokawa, Peter Burr, Thomas de Rijk, Yoshihide Sodeoka, Sabrina
> Ratte, Nic Hamilton, Evan Boehm, Parag K. Mital, Mateo Amaral, Simon Liu,
> Thorsten Fleisch, and Sam Speckley. For a full listing of films and ticket
> information visit: http://bit.ly/texturevisions (Tickets $7) The third
> screening of the Peripheral Visions Film Festival presented by Qubit and
> programmed by Bernhard Fasenfest.
>
> 4/21
> New York, New York: *Qubit*
> https://qubitmusic.com/visions
> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=8fddb900aa&e=f36020cad0>
> 3:30 PM, Project Q, 1850 Amsterdam Ave
> *PERIPHERAL VISIONS PROGRAM 4: TEXTURE | SPACE*
> Explore the scenic hills of the Scottish Borders through stunning digital
> disintegration in Jacques Perconte’s mind-bending film “Ettrick”. “Slipping
> through poetry, between the brutality of matter and the sublime landscape,
> we experience a penetrating vision that embodies the stability of our deep
> desire to live in peace.” -- Jacques Perconte. For tickets visit:
> http://bit.ly/ettrickvisions (Tickets $7) The fourth screening of the
> Peripheral Visions Film Festival presented by Qubit and programmed by
> Bernhard Fasenfest.
>
> 4/21
> New York, New York: *Qubit*
> https://qubitmusic.com/visions
> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=1080af5eab&e=f36020cad0>
> 5:00PM, Project Q, 1850 Amsterdam Ave
> *PERIPHERAL VISIONS PROGRAM 5: SPACE*
> Portraits of interior and exterior spaces, exploring our visions of the
> city, our work, our dreams, and our selves. Featuring Films by Alan
> Warburton, Michael Robinson, Emily Drummer, Ryan Ferko, Parastoo / Faraz
> Anoushahpour, Kevin Jerome Everson, Zach Hart, Alexandra Wilson, Philippe
> Leonard, Jodie Mack, and Simon Liu. "R-15" by Kevin Jerome Everson and
> "Histories of Simulated Intimacy No. 1" by Emily Drummer will receive their
> New York Premieres. "Heart of a Mountain" by Ryan Ferko and Parastoo /
> Faraz Anoushahpour will receive its US Premiere and "Conenct Haven -
> Interior" by Zach Hart and Alexandra Wilson will receive its World
> Premiere. For tickets and more information: http://bit.ly/spacevisions
> (Tickets $7). The fifth and final screening of the Peripheral Visions Film
> Festival presented by Qubit and programmed by Bernhard Fasenfest.
>
> 4/21
> San Francisco, California: *Other Cinema*
> http://www.othercinema.com/
> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=2766b8767b&e=f36020cad0>
> 8 PM, 992 Valencia Street
> *X~PERI~MENTAL ANIMATION: COLBURN + GALLAGHER + GEISER + QUILLIAN +*
> For the second of our SisPics diptych, we’ve assembled a veritable
> mothership of animators--almost all women—making this showcase a regular on
> OC calendars! Featured is the Cali debut of Martha Colburn’s
> Rotterdam-selected Western Wilds, her account of Karl May--the German
> writer who made the Western novel a fixture on European bookshelves--that
> turns into an auto-bio revelation of Martha’s own upbringing as a hick kid
> surrounded by guns. ALSO premiering are Kathleen Quillian’s (in person)
> Confidence Game, Kelly Gallagher’s Your Gossip, Ellie Vanderlip’s (in
> person) Egg Tree, Salise Hughes’ Eldorado, Leslie Supnet’s The Peak
> Experience, and the recent Silent Sister by none other than Janie Geiser!
> PLUS chestnuts from Helen Hill, Sally Cruikshank, and Mary Ellen Bute...and
> a couple from the boys--Ben Popp’s Sexy Noir and Winston Hacking/Andy
> Shauf’s The Worst in You.
>
> *SUNDAY, APRIL 22, 2018*
>
> 4/22
> New York, NY: *Anthology Film Archives*
> http://www.anthologyfilmarchives.org/
> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=88fb0c6ca9&e=f36020cad0>
> 2:00 PM, 32 Second Avenue
> *HARUN FAROCKI: PROGRAM 3*
> BEDTIME STORIES: BRIDGES / EINSCHLAFGESCHICHTEN (1977, 3 min,
> 16mm-to-digital. In German with English subtitles.) HOW TO LIVE IN THE FRG
> / LEBEN - BRD (1990, 79 min, 16mm-to-digital. In German with English
> subtitles.) Before the fall of the Berlin Wall, Farocki sharply dissects
> life in West Germany. Composed entirely of short scenes taken from
> instructional and training classes, the film reveals West Germany as a
> country where nothing happens without rehearsal, training, or preparation.
> "I filmed games, because games have rules and establish rules. There are
> all too few rules determining the speech and actions of people in
> documentary films today. […] The plasticity of life and work processes
> decreases everywhere. At the same time, more and more games are played
> which are intended to expose what lies hidden within human beings. The
> rules by which we are supposed to live are increasingly uncertain, and
> there are more and more games where life is trained, like a sport.
> Instruction manuals for life: in the commodity society, the instruction
> manual is the only record of theory." -Harun Farocki
>
> 4/22
> New York, NY: *Anthology Film Archives*
> http://www.anthologyfilmarchives.org/
> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=471a70b5f2&e=f36020cad0>
> 5:00 PM, 32 Second Avenue
> *TRANS FILM: PAY IT NO MIND: "ARCHIVAL FOOTAGE" AS THE MAIN ATTRACTION*
> FILMMAKERS IN PERSON! For this program, films that have been cut into
> other features as "archival footage" are featured in their own right.
> Michael Kasino & Richard Morrison PAY IT NO MIND: THE LIFE AND TIMES OF
> MARSHA P. JOHNSON (2012, 54 min, digital) This documentary focuses on
> legendary transgender activist, Marsha "Pay It No Mind" Johnson, who was a
> Stonewall instigator, Andy Warhol model, drag queen, sex worker, and Saint.
> In Johnson's final interview before her death in 1992, Kasino and Morrison
> capture the queen of the revolution recounting her life at the forefront of
> the Stonewall Riots in the 1960s, the creation of S.T.A.R. (Street
> Transvestite Action Revolutionaries) with Sylvia Rivera in the 1970s, and
> her life as an activist in the New York City of the 80s and early 90s.
> Zavé Martohardjono CHANGING HOUSE (2009, 18 min, digital) Rusty and
> Chelsea are a transgender lesbian couple who, for fifteen years, opened
> their home to transgender women in need. Among these women was Stonewall
> veteran Sylvia Rivera, who spent the last years of her life there. The film
> celebrates the long and vibrant activist history of the house, the
> difficulties and triumphs of communal living, and the ongoing
> discrimination faced by the transgender community.
>
> 4/22
> New York, NY: *Anthology Film Archives*
> http://www.anthologyfilmarchives.org/
> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=4fce5183fd&e=f36020cad0>
> 7:30 PM, 32 Second Avenue
> *TRANS FILM: T4T: FILMS BY JULES ROSSKAM*
> FILMMAKER IN PERSON! SOMETHING TO CRY ABOUT (2018, 12 min, digital. World
> Premiere!) In this film three transmasculine-identified people watch a
> movie or television show that makes them cry. The result is a touching and
> humorous short documentary that explores the difficulty of expressing
> intimacy between men, the complexities of desire, and the gift of a good
> cry. AGAINST A TRANS NARRATIVE (2009, 60 min, digital) In a genre-busting
> combination of intimate diary footage, stylized dramatic scenes, spoken
> word performance, faux audition tapes, and roundtable interview footage,
> Rosskam explores and initiates a dialogue between feminists, queers, and
> transfolk about the way we construct personal and historical narratives.
> Careful attention is given to the ways generation, race, class, and culture
> impact our understandings of gender.
> ------------------------------
>
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