[Frameworks] This week [April 21 - 28, 2019] in avant garde cinema
sstark at hi-beam.net
sstark at hi-beam.net
Sun Apr 21 16:52:35 UTC 2019
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This week [April 21 - 28, 2019] in avant garde cinema
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<https://library.harvard.edu/film/images/films/2019marmay/bauhaus_lens.jpg>
Light Plays, Form Plays: Film Experiments After the Bauhaus <> [April 22, Cambridge, Massachusetts]
DEADLINES APPROACHING:
Paris Festival for Different and Experimental Cinemas (Paris, France; Deadline: May 20, 2019)
http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=43f2370dd0&e=f36020cad0> &readfile=2025.ann
Events are sorted alphabetically BY CITY within each DATE.
This week's programs (summary):
* Ruben Marrufo <> [April 21, Portland, Oregon]
* "Presents For Jonas!" [April 22, Brooklyn, New York]
* Light Plays, Form Plays: Film Experiments After the Bauhaus <> [April 22, Cambridge, Massachusetts]
* A Tribute Screening To Carolee Schneemann and Barbara Hammer <> [April 24, New York, NY United States]
* Everything Old Is New Again - visiting Filmmaker Roger Beebe <> [April 25, Oberlin, OH]
* Peter Burr: Labyrinths <> [April 25, San Francisco, CA United States]
* Barbara Hammer: Cinema of Intimacy <> [April 25, San Francisco, California]
* Workshop <> &Mdash; Archiving With the Ear: Oral History For Documentary [April 26, Brooklyn, NY United States]
* William E. Jones Presents Massillon and Fall Into Ruin <> [April 26, Brooklyn, NY United States]
* An Evening With Ja’Tovia Gary <> [April 26, Cambridge, Massachusetts]
* Infrared: Color theory <> [April 26, New York, NY]
* Instant Failure: Polaroid'S Polavision, 1977-1980 <> [April 27, Brooklyn, NY United States]
* New Works Salon L <> [April 27, Los Angeles, California]
* Celebrating the Screaming Queens Who Started It All <> [April 27, New York, NY]
* Sprinkle/Stephens' <> "Water Makes Us Wet" [April 27, San Francisco]
* Short Films By Richard P. Rogers - Introduction By Susan Meiselas <> [April 28, Cambridge, Massachusetts]
* Unraveling Collective Forms: Films By Arshia Haq, Jeannette Ehlers, Sky Hopinka, and Cecilia vicuñA <> [April 28, Los Angeles, California]
* Garrick Duckler <> [April 28, Portland, Oregon]
SUNDAY, APRIL 21, 2019
4/21
Portland, Oregon: Boathouse Microcinema
boathousemicrocinema.com <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=094fe92d11&e=f36020cad0>
7:30pm, 822 N River St
RUBEN MARRUFO
Lecture and film screening around issues on the US/Mexican border.
MONDAY, APRIL 22, 2019
4/22
Brooklyn, New York: Microscope Gallery
http://www.microscopegallery.com <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=a8697ced1b&e=f36020cad0>
7:00pm, 1329 Willoughby Ave, 2B
"PRESENTS FOR JONAS!"
Microscope presents “Presents for Jonas”, a night of new film, videos, sound, performance, expanded cinema, poetry, and other presents made for the artist Jonas Mekas, who died on January 23 at the age of 96. Jonas believed deeply in the importance of joining together to share work, conversation, dance, song, and drink. The night honors his spirit by gathering together more than 50 of his friends and others, from New York and around the world, inspired to share their new works made for him during the past 2 months of our “call for presents”. The event is taking place on Earth Day, which we feel is especially appropriate for an artist who spent his life capturing moments of paradise on this planet. The event begins promptly at 7pm and will continue until all contributions have been shown. A pizza break will take place at the mid-point! Participants include: Lary 7, Peggy Ahwesh, John Akre, Riley Bartolomeo, Katherine Bauer, Blinn & Lambert, Fanny Châlot, Charity Coleman, Catherine Corman, Peter Cramer & Jack Waters (NYOBS), Milton Cruz, Isabelle Dupuis, Amit Dutta, Alexander Dwinell, Bradley Eros, Judith Espinas, Hunter Finch, Jacqueline Heeley & Philippe Faujas, Tessa Hughes-Freeland, Tim Geraghty, Christoph Gnaedig, Morrison Gong, Alice Guareschi, Chiriro Ito, Ken Jacobs, Marni Kotak, Jeanne Liotta, Jonas Lozoraitis, Michael Lyons, Anuj Malhotra, Owen Plotkin, Joseph Pomp, Raha Raissnia w/ Panagiotis Mavridis & Dalius Naujo, Brian Ratigan, Rocking Russian, Rick Rodine, Jeremy Rossen, Lynne Sachs, Keith Sanborn, Wenhua Shi, Joel Schlemowitz, Ursula Sommer, Chuck Smith, St. Tula, Richard & Sønje Sylvarnes, Matt Town, .txt texto de cinema, Zak Vreeland, Sheri Wills, Lili White, +MLP+, and more! More info: wwww.microscopegallery.com, tel: 347.925.1433, info at microscopegallery.com <mailto:info at microscopegallery.com> . Nearest subway: Jefferson L (exit Starr) Admission is free.
4/22
Cambridge, Massachusetts: Harvard Film Archive
http://hcl.harvard.edu/hfa <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=68fb3dd160&e=f36020cad0>
7pm, 24 Quincy Street
LIGHT PLAYS, FORM PLAYS: FILM EXPERIMENTS AFTER THE BAUHAUS
In conjunction with the Bauhaus Centennial, this film series will reconstruct how members of the Bauhaus—one of the most progressive art, architecture and design schools in the early 20th century—actively engaged with moving images between the years 1919 and 1933. It explores a vibrant field of experimentation with a medium that has long remained marginal in the accounts of the Bauhaus by tracing how artists, architects, designers, weavers, typographers and photographers turned to film both as a new mode of artistic expression and as a tool of design: film sketches, abstract animations, cinematic form sequences, and colored lightplays emerged at the Bauhaus alongside new attempts to create an architectural film—or what Walter Gropius often referred to as “Bauhaus film”—that would capture the new architecture through the medium of moving images. Further fostering the school’s multi-faceted engagement with film, Bauhäusler simultaneously began to experiment with celluloid strips as a light, elastic and flexible material for design studies in the preliminary course; they incorporated sheets of celluloid in photocollages, costume designs and furniture coatings; and made frequent use of filmstrips for posters, flyers, book covers and other objects within their visionary advertising and exhibition designs. Conceived as a five-part film series in collaboration with the exhibition The Bauhaus and Harvard at the Harvard Art Museums, the two programs presented will shed light on some of the most overlooked aspects within the Bauhaus’ wide-ranging engagement with film. The first focuses on pieces by female Bauhäusler and women artists who worked in the immediate Bauhaus circles. It traces a significant shift from their largely uncredited animation work for well-known avant-garde filmmakers in the mid-1920s to their active part in shaping a socio-critical architectural cinema in the early 1930s. The second program moves beyond the Bauhaus years and presents a spectrum of films by former Bauhäusler and students at the School of Design in Chicago (formerly known as the New Bauhaus, founded by László Moholy-Nagy). Ranging from cinematic studies of nature’s forms, abstract animations and visual music experiments to a playful documentary of student work at the School of Design, this program elucidates how film experiments in the post-Bauhaus years remained closely tied to the Bauhaus’ ongoing pursuit of new forms of art, architecture and design.
WEDNESDAY, APRIL 24, 2019
4/24
New York, NY United States: Empirical Nonsense
7:00 PM, 87 Rivington Street
A TRIBUTE SCREENING TO CAROLEE SCHNEEMANN AND BARBARA HAMMER
Please join the Film-Maker's Cooperative at Empirical Nonsense Gallery on April 24th at 7PM for a food, film, and flower celebration as we pay tribute to two beloved pioneers of experimental filmmaking, Carolee Schneemann and Barbara Hammer. The screening is free and open to the public, but we invite you to contribute food, flowers, and/or drinks! In the spirit of Barbara and Carolee, storytelling, poetry, and wine are highly encouraged. Featuring tribute works by: Bill Brand, Bradley Eros, Coleen Fitzgibbon, Jack Waters, Joey Carducci, Lynne Sachs, Peggy Ahwesh, Peter Cramer, MM. Serra, Stephanie Wuertz, Kat Bauer, Kathy Brew and others.
THURSDAY, APRIL 25, 2019
4/25
Oberlin, OH: Oberlin College
https://www.oberlin.edu/events/everything_old_is_new_again_-_an_evening_of_screening_with_filmmaker_roger_beebe <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=e220bf27b8&e=f36020cad0>
7 PM, Clarence Ward '37 Art Building 103
EVERYTHING OLD IS NEW AGAIN - VISITING FILMMAKER ROGER BEEBE
Please join the art department and filmmaker Roger Beebe for a screening of his films followed by a talk & Q&A session. For the past two decades, Roger Beebe has criss-crossed North America doing literally hundreds of shows of his films and videos. At his Oberlin appearance, he will be presenting a sampling of some of the best known films from the last 20 years under the title ‘ Everything is Old is New Again.’’ The title references both the retrospective nature of the show and Beebe’s frequent use of found images and sounds in his work. The films stretch from his super 8 Strip Mall Trilogy (2001) to his recent desktop cinema essay, The Comic Sans Video (2018). The program also includes several of his multi-projector films, among them the laser-printed TB TX DANCE (2006). Beebe is a filmmaker whose work since 2006 consists primarily of multiple projector performances that explore the world of found images and the “found” landscapes of late capitalism. He has screened his films around the globe at such unlikely venues as the CBS Jumbotron in Times Square and McMurdo Station in Antarctica as well as more likely ones including Sundance and the Museum of Modern Art with solo shows at Anthology Film Archives, the Laboratorio Arte Alameda in Mexico City, and Los Angeles Filmforum. He has received many awards including residencies at the MacDowell Colony and the Headlands Center for the Arts, and individual artist grants from Florida and Ohio. He is currently a professor in the Department of Art at the Ohio State University, where he helped launch the new Moving-Image Production major in fall 2017.
4/25
San Francisco, CA United States: Artists Television Access
http://www.atasite.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=454a290d39&e=f36020cad0>
7:30 PM, 992 Valencia St
PETER BURR: LABYRINTHS
**FILMMAKER PETER BURR IN PERSON** ADMISSION: $10 General/$5 Cinematheque or Headlands Center for the Arts Members This program is co-presented with Headlands Center for the Arts "A mix of intricate patterns that vibrate, flicker, and hypnotize. Viewing Burr’s work feels like entering into a dark, digital cave." —Alex Ginsberg, Electric Objects Working extensively with computer animation and the tools of the video game industry, the digital works of Peter Burr present infinitely sprawling landscapes and environments which vacillate between abstraction and figuration and describe dystopian narratives of endless questing. Recent work explores the video game trope of the endlessly mutating, self-constructing labyrinth. Visiting from Brooklyn as an Artist in Residence at Headlands Center for the Arts, Burr appears in person to expound on his process and radical synthetic aesthetic and to present a retrospective of works 2012–2017, including a work-in-progress preview of his latest immersive environmental video DIRTSCRAPER. SCREENING: ALONE WITH THE MOON (2012), SPECIAL EFFECT (2014), GREEN | RED (2014), THE MESS (2016), PATTERN LANGUAGE (2017). Full details here: bit.ly/2XfIZEJ
4/25
San Francisco, California: Little Roxie, Roxie Theater
https://www.roxie.com/ai1ec_event/canyon-cinema-barbara-hammer-cinema-of-intimacy/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=b8772e7dad&e=f36020cad0>
6:30pm, 3117 16th Street
BARBARA HAMMER: CINEMA OF INTIMACY
Co-presented with the Canyon Cinema Foundation. Introduced and co-curated by Susannah Magers and Tanya Zimbardo. In tribute to film legend Barbara Hammer (1939–2019), this program highlights a selection of the artist’s early films rooted in the Bay Area. Shot at the Roxie Theater, the beginning of Audience (1982) features Hammer’s fun, flirtatious, and thoughtful interviews with the audience line before her tribute screening as part of that year’s San Francisco International Lesbian and Gay Film Festival. Recognized as one of the first lesbian experimental filmmakers, Hammer explicitly championed the perspective of women and the visibility of the lesbian and queer communities. As she observed, her work in the 1970s was “proselytizing my newfound place, my lesbian homeland.” In the witty Superdyke (1975), Hammer and an army of women take to the streets of San Francisco. The sensual and playful Dyketactics (1974) and Psychosynthesis (1975) feature Hammer as both director and subject. Hammer invites the audience into her films through exploring the connection of sight and touch, saying “it is a camera that goes to bed with me and another: a cinema of intimacy.” This program celebrates a body of Hammer’s work that epitomizes her joyful, unabashed experimental approach to self-representation.
FRIDAY, APRIL 26, 2019
4/26
Brooklyn, NY United States: UnionDocs
http://www.uniondocs.org <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=71270b5797&e=f36020cad0>
10:00 AM, 322 Union Ave
WORKSHOP &MDASH; ARCHIVING WITH THE EAR: ORAL HISTORY FOR DOCUMENTARY
**This workshop is limited to 15 participants** As a practice, oral history is centered on the preservation of the past from a subjective lens, relying on individual narrators and personal memories to capture lived experience beyond the historical record. Its value lies in its specificity, and the ability to collect a version of past events that has been buried, lost or ignored. This 3-day intensive Led by Nyssa Chow will introduce participants to the techniques and possibilities of oral history practice, and the ways that this work can be brought into the process of art-making. We will look at the oral history as an act of spontaneous literature — one that contains both the individual story, and the larger context. How can we employ oral history practices in a socially engaged practice of art-making? How can we think of oral history as a “listening art”? Participants will learn the process of interviewing with an art practice in mind and will experiment with interviewing techniques that will invite a meaningful telling of experience. We will take on the challenge of conducting a focused oral history interview, and participants will have the opportunity to reflect on their experience of listening. Guest presentations, hands-on practice and technical workshops will allow participants to see oral histories engaged across art practices and mediums. Guest instructors including Ted Kerr, Fernanda Espinosa, Obden Mondesir and more Natalie Bookchin will share their practice engaging oral history techniques across film, audio and community engagement projects. Workshop topics will include: engaged listening; interviewing techniques and ethics; community practice; incorporating the archive and more. This workshop is three days; please only enroll if you can commit to the entire schedule.
4/26
Brooklyn, NY United States: Light Industry
http://www.lightindustry.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=b527a3c13e&e=f36020cad0>
7:00 PM, 155 Freeman St
WILLIAM E. JONES PRESENTS MASSILLON AND FALL INTO RUIN
Massillon, William E. Jones, 1991, 16mm, 70 mins Fall into Ruin, William E. Jones, 2017, digital projection, 30 mins The dynamic of William E. Jones's work lies in the tensions between, on the one hand, deep-running vortices of emotion and, on the other, the angular severities of social control, tensions drawn out from the otherwise obscured historical records of gay men’s subjective experiences and shared fantasies. Among the source materials for his numerous films and publications are 1970s pornography, legal data, pop music, and personal memories; extraordinary and unexpected facets emerge from the obsessive jewel-cutting that Jones performs on this raw ore. Massillon, Jones’s first feature-length film, revisits his hometown of Massillon, Ohio, represented in two dialectical registers: rigidly lensed shots of municipal buildings, tree-lined highways, and other local landscapes, and Jones’s voice-over, coolly measured and calculated, relating both autobiographical anecdotes and a chronicle of anti-sodomy laws. Recalling a time when the distant glimmers of gay liberation made little impact on a boy coming of age in a declining Rust Belt city, Jones’s words evoke a process of sexual awakening that transpires within a thick cloud of unknowing, defined as a persistent search for information and enlightenment through subterranean clues, vague rumors, and covert networks. These range from lingering suspicions about two seemingly straight friends who openly joked about blowing each other to recountings of a furtive truck-stop fuck, for which the blunt odor of shit emerging from the hole-in-the-ground toilets bears a comparable weight to Proust’s madeleine—wafting through Jones’s memory not so much for any perverse pleasure, but instead as a marker of our politically determined degradation. For this evening's presentation at Light Industry, which is occasioned by the recent publication of his queer bildungsroman I'm Open to Anything, Jones will introduce and discuss Massillon alongside his video Fall into Ruin. The latter work, marking a return to the essayistic mode of his earlier films, is a tale of vanished splendor revolving around the legendary gallerist Alexander Iolas. The piece advances as a sequence of still images, counterposing the dealer's Athens estate, now graffiti-laden and gone to seed, with its former opulence, as captured by the camera of a 19-year-old Jones many years prior when the two crossed paths. Iolas, whose art collection disappeared following his death from AIDS-related complications in 1987, proves to be an echt Jones subject, which is to say elusive, enigmatic, and rich with contradiction. How to narrate a life when all that remains is rubble? Here is a story of myriad gaps, yet for Jones these lacunae function not as endpoints, but rather, as elsewhere, beginnings.
4/26
Cambridge, Massachusetts: Harvard Film Archive
http://hcl.harvard.edu/hfa <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=0f878310b2&e=f36020cad0>
7pm, 24 Quincy Street
AN EVENING WITH JA’TOVIA GARY
The Harvard Film Archive is pleased to welcome filmmaker and artist Ja’Tovia Gary, a 2018-19 Film Study Center-Radcliffe Fellow to present an evening of radical Black film and cinema of resistance pairing a selection of her recent films together with Mauritanian filmmaker Med Hondo’s extraordinary musical cri de coeur: West Indies.
4/26
New York, NY: Anthology Film Archives
http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=a1b5a67d4c&e=f36020cad0>
7:30 PM, 32 Second Avenue
INFRARED: COLOR THEORY
GUEST CURATED AND PRESENTED BY MALIC AMALYA Beginning with Karen Johannesen's Super-8mm film CHROMATIC and ending with Jack Smith's YELLOW SEQUENCE, the films in this program describe gender through abstractions, flashes, gestures, and color motifs. Ultra-saturated flowers fade into perverse pastels, while monochromatic color pallets transfigure into crystal prisms. This program derives from "INFRARED: In Celebration of the Compton's Transgender District." In 2017, the City of San Francisco designated a portion of its Tenderloin neighborhood as the "Compton's Transgender, Lesbian, Gay, and Bisexual District" in reference to the 1966 Compton's Cafeteria Riots, the first known incident of collective LGBT resistance to police harassment in U.S. history. In celebration of this designation - the first legally recognized municipal transgender district in the world - in Fall 2018, San Francisco Cinematheque presented INFRARED, a series of experimental films by and about transgender, non-binary, and gender-nonconforming artists, curated by Malic Amalya. Karen Johannesen CHROMATIC (2015, 4 min, Super-8mm) The Wreck Family FULL OF PRIDE (2010, 5 min, digital) Blake Williams SOMETHING HORIZONTAL (2015, 10 min, digital 3D) Mykki Blanco STONES AND WATER WEIGHT (2017, 7 min, digital. Commissioned by Visual AIDS for Day With[out] Art 2017.) Tina Takemoto SEMIOTICS OF SAB (2016, 5.5 min, digital) Mark Aguhar A LITTLE BIT OF EXXXSTACY (2011, 1 min, digital) Fox Whitney BEIGE SLOW CHANGE (2012, 3 min, digital) Fox Whitney QUICK CHANGE #203 ESCAPE #5 (2012, 3 min, digital) Stom Sogo 3 FILMS FOR UNTITLED (1995, 9 min, 16mm, silent) Joey Carducci & Mattilda Bernstein Sycamore ALL THAT SHELTERING EMPTINESS (2010, 7 min, 16mm) Jack Smith YELLOW SEQUENCE (1963-65, 15 min, 16mm) Total running time: ca. 75 min.
SATURDAY, APRIL 27, 2019
4/27
Brooklyn, NY United States: Light Industry
http://www.lightindustry.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=ab0d27bf6a&e=f36020cad0>
7:00 PM, 155 Freeman St
INSTANT FAILURE: POLAROID'S POLAVISION, 1977-1980
A lecture by Erika Balsom In 1977, at the dawn of the home video era, the Polaroid Corporation introduced Polavision, a proprietary film format and apparatus promising instant development and playback. Amateur filmmakers could shoot 150 seconds of silent color film on a cartridge and watch it only 90 seconds later on a small rear-projection screen. The system was a devastating commercial failure and caused major financial losses for the corporation before its discontinuation in 1980, but in its brief life was used by prominent figures such as Stan Brakhage, Charles and Ray Eames, Robert Gardner, Morgan Fisher, and Andy Warhol. Polavision was a social medium avant la lettre in that it was a system grounded in prosumer activity, relationality, and feedback rather than in the quality of the films it yielded. And yet, this emphasis ran up against significant limitations: Polavision produced unique cassettes unable to be copied or shown on other film systems, thus severely circumscribing its social ambit and localizing it within a private realm that Polaroid marketing clearly delineated as a suburban idyll of reproductive heterosexuality. Artists, meanwhile, would turn to the system for very different uses. This illustrated talk will recount the curious episode of Polavision’s instant movies, finding in it a way of questioning the idea of the medium of film as a unified object. - EB Erika Balsom is a senior lecturer in Film Studies and Liberal Arts at King’s College London and the author of After Uniqueness: A History of Film and Video Art in Circulation (2017) and Exhibiting Cinema in Contemporary Art (2013); the co-editor of Documentary Across Disciplines (2016); and a frequent contributor to magazines such as Artforum, frieze, and Sight & Sound. Tickets - Pay-what-you-wish, available at door ($8 suggested donation). Please note: seating is limited. First-come, first-served. Box office opens at 6:30pm.
4/27
Los Angeles, California: Echo Park Film Center
http://www.echoparkfilmcenter.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=00545fe818&e=f36020cad0>
8 pm, 1200 N. Alvarado St
NEW WORKS SALON L
New Works Salons series is a casual forum for the presentation and discussion of new works in film, video, sound, and performance, with local and visiting artists often in- person to introduce their work. This, the fiftieth program in the series, will feature work by John Cannizzaro, Edgar Jorge, Mounir Souss, and Anaïs Hinojosa Téllez. Shadow speaks, Earth speaks. An acceptance of shadow, a prayer. A mirror, the self inverted. Remembering the divinity of the spine, Mother within the body. Guided with gratitude by dancers Maya Deren and Martha Graham, Anaïs Hinojosa Téllez brings together three rolls of super 8mm in a diagnosis of spiritual healing. Black and white roll eco-processed using rosemary, a medicinal herb used for generations by the women of the Téllez family. Created thanks to EPFC’s Youth Alumni Fellowship. Mounir Souss will show several works, including soul, blood, soil; spinning; and a rough cut of aveugle soumission: “In 2020, the Muslim Ban has implemented stricter laws: all individuals of Arab origin or Islamic faith must leave the US and return to their countries of origin. The film depicts a 25-year-old student Luay Al-Derazi who, upon hearing the news, struggles to understand his contested place amidst the cruelty of the American landscape and its new inhabitants.” Mounir Souss is a Moroccan filmmaker and multimedia artist whose work considers the intergenerational effects of colonial rule and imperialism on the psyche. Furthermore, they evoke the interiority of the stateless body while questioning what it means to be ejected from history, specifically from stolen land. Drawing from afrofuturism, Sufism and Kabbalah; Souss considers the complexity among their Arab, Jewish and Afrikan identity. Edgar Jorge will show his new video Babelisms: “Google dares to translate what it doesn’t understand... Much like I do. With this realization, I set out to learn its language and teach it mine.” We’ll also have new work by John Cannizzaro, and possibly one or two other surprise treats!
4/27
New York, NY: Anthology Film Archives
http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=b581e34251&e=f36020cad0>
7:30 PM, 32 Second Avenue
CELEBRATING THE SCREAMING QUEENS WHO STARTED IT ALL
On the occasion of the 50th anniversary celebration of the Stonewall Uprising, this program sheds light on those who have been left out of many LGBTQ liberation narratives. HAPPY BIRTHDAY, MARSHA! reimagines the life of Marsha "Pay It No Mind" Johnson in the hours before she ignited the 1969 Stonewall Riots, while THE SCREAMING QUEENS: THE RIOT AT COMPTON'S CAFETERIA reveals pre-Stonewall activism by focusing on a 1966 event that represents a pivotal but still-overlooked moment in transgender history. SCREAMING QUEENS explores the connection between transgender activism and the larger social upheavals affecting the U.S. in the 1960s, and includes reflective comments from the Compton's Cafeteria subjects who bravely ushered in a controversial revolution that continues today. Tourmaline & Sasha Wortzel HAPPY BIRTHDAY, MARSHA! (2018, 15 min, digital) & Victor Silverman & Susan Stryker SCREAMING QUEENS: THE RIOT AT COMPTON'S CAFETERIA (2005, 57 min, digital)
4/27
San Francisco: Other Cinema
http://www.othercinema.com/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=cb00d8bdc9&e=f36020cad0>
8pm, 992 Valencia Street
SPRINKLE/STEPHENS' "WATER MAKES US WET"
With a poetic blend of curiosity, humor, sensuality, and concern (and narration by Sandy Stone!), this feature work, in its Bay Area theatrical premiere, chronicles the pleasures and politics of H2O from an ecosexual perspective. We travel with Annie, a former sex worker, Beth, a professor, and their dog Butch in their E.A.R.T.H. Lab mobile unit, as they explore the larger role of water in all of our lives. Ecosexuality shifts the metaphor Earth as Mother to Earth as Lover, creating a more empathetic and reciprocal relationship with the natural world. Along the way, Annie and Beth interact with a diverse range of folks--scholars, biologists, treatment-plant workers, and even performance artists—finally climaxing in a shocking event that reaffirms the power of water, life, and love.*$9
SUNDAY, APRIL 28, 2019
4/28
Cambridge, Massachusetts: Harvard Film Archive
http://hcl.harvard.edu/hfa <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=89ae407a3a&e=f36020cad0>
7pm, 24 Quincy Street
SHORT FILMS BY RICHARD P. ROGERS - INTRODUCTION BY SUSAN MEISELAS
Quarry This portrait of an abandoned quarry in Quincy, Massachusetts captures the striking natural beauty of the site as it explores the social rites of the young people who gather along its rugged shores to enjoy leisure in what was once a place of toil. US 1970, 16mm, b/w, 13 min Elephants: Fragments in an Argument A self-portrait of the filmmaker at twenty-nine, this provocative collage of photographs, street scenes, and interviews with family and friends seeks to prove that "one’s consciousness is the result of one’s relationship to power and not, as many believe, vice-versa." US 1973, 16mm, color, 25 min 226-1690 Rogers created this "minimalist soap opera" out of messages left on his telephone answering machine over the course of an entire year. Together with the accompanying visuals of scenes shot from the windows of the filmmaker’s New York loft, the recordings provide an amusing account of life caught between the public and the private; we see weddings take place in the church across the street, passersby struggling through the snow on the sidewalk, gradually becoming submerged in the meditative rhythms of Rogers’ interior world. US 1984, 16mm, color, 23 min
4/28
Los Angeles, California: Filmforum
http://www.lafilmforum.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=6518ed8c5e&e=f36020cad0>
7:30 pm, Spielberg Theatre at the Egyptian, 6712 Hollywood Blvd.
UNRAVELING COLLECTIVE FORMS: FILMS BY ARSHIA HAQ, JEANNETTE EHLERS, SKY HOPINKA, AND CECILIA VICUñA
Filmmaker Jeannette Ehlers, and exhibition curator Daniela Lieja Quintanar in person! In conjunction with the exhibition Unraveling Collective Forms at Los Angeles Contemporary Exhibitions (LACE), Filmforum co-presents digital films by artists Cecilia Vicuña, Jeannette Ehlers, Arshia Haq and Sky Hopinka whose works are on display in the show. The artists approach processes of cultural erasure through visual strategies that document fainting, magnifying the details to revive a death ocean, myths, languages and people’s histories. The diverse strategies that Vicuña, Ehlers, Haq and Hopinka weave on the films are spiritual and rebellious, outside and against Western Aesthetics. Pre-screening reception at LACE, 6522 Hollywood Blvd., from 5:30pm to 6:30pm, just two blocks away from the Egyptian Theater. The exhibition Unraveling Collective Forms runs from April 3 – May 26, 2019, curated by Daniela Lieja Quintanar. For more, see https://welcometolace.org/event/unravelling-collective-forms/ Tickets: $10 general; $6 students (with ID)/seniors; free for Filmforum and LACE Members. Available in advance from Brown Paper Tickets at https://unraveling.bpt.me or at the door.
4/28
Portland, Oregon: Boathouse Microcinema
boathousemicrocinema.com <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=93afc909bd&e=f36020cad0>
7:30pm, 822 N River St
GARRICK DUCKLER
Experimental film work and lecture about psychology and therapy by Garrick Duckeler, who is a psychoanalyst first and an artist second.
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