[Frameworks] This week [August 17 - 25, 2019] in avant garde cinema

Sat Aug 17 23:41:05 UTC 2019

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This week [August 17 - 25, 2019] in avant garde cinema

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Scrapbook Performances: Simon Liu / Bruce Mcclure [August 19, Brooklyn, New York] 

NEW CALLS FOR ENTRIES:
Laterale Film Festival (Cosenza, Italy; Deadline: March 31, 2020)
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RISC / International Science & Film Festival (France; Deadline: September 30, 2019)
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Experiments in Cinema v15.1 (Albuquerque, New Mexico, USA; Deadline: November 01, 2019)
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DEADLINES APPROACHING:
Braziers International Film Festival (Ipsden, Oxfordshire, UK; Deadline: September 01, 2019)
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PRISME #2 (France ; Deadline: September 01, 2019)
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Events are sorted alphabetically BY CITY within each DATE.

This week's programs (summary):

*	Early Films By Phil Solomon [August 17, Brooklyn, NY United States]
*	Sink Or Swim + Martina's Playhouse - Filmmakers In Person! [August 17, New York, NY]
*	Scrapbook Performances: Simon Liu / Bruce Mcclure [August 19, Brooklyn, New York]
*	Ec: Joseph Cornell [August 19, New York, NY]
*	Jonas Mekas Tribute Screenings Part 2: Program 4 [August 20, New York, NY]
*	Ec: Conner / Conrad [August 21, New York, NY]
*	Ec: Maya Deren [August 23, New York, NY]
*	Black Maria Film Festival Returns To the National Gallery of Art [August 24, Washington, DC]
*	Jonas Mekas Tribute Screenings Part 2: Program 5 [August 25, New York, NY]

SATURDAY, AUGUST 17, 2019

8/17
Brooklyn, NY United States: Light Industry
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7:00 PM, 155 Freeman St
EARLY FILMS BY PHIL SOLOMON
Light Industry presents an evening dedicated to the early works of Phil Solomon, who passed away this year. Lauded as “the greatest filmmaker of his generation” by Stan Brakhage, Solomon emerged in the 1980s as part of a new wave of artists who eschewed the calcified formulas of structural film in favor of the fresh possibilities to be found in montage and at the edges of narrativity. Tom Gunning, in his era-defining 1989 essay “Towards a Minor Cinema,” noted how young filmmakers like Solomon, Peggy Ahwesh, Lewis Klahr, and Mark LaPore embraced the marginal status of the late avant-garde in order to “probe the hieroglyphics of imagery rather than the depths of self.” For Solomon, this often meant locating a private iconography in found footage, which he would meticulously re-edit, chemically treat, and rephotograph with an optical printer. The original materials are thereby transformed—coruscating surfaces that flicker uncannily between legibility and abstraction, suffused with a potent and mysterious new emotional life. Nocturne, Phil Solomon, 1980, 16mm, 10 mins “Nocturne strongly evokes one of Brakhage's most exquisite films, Fire of Waters (1965). Its setting is a suburban neighborhood populated by kids at play and indistinct but ominous parental figures. A submerged narrative rehearses a type of young boy's nighttime game in which a flashlight is wielded in a darkened room to produce effects of aerial combat and bombardment. A sense of hostility tinged with terror seeps into commonplace movements…Fantasy merges with nightmare, a war of dimly suppressed emotions rages beneath a veneer of household calm…In Nocturne, found footage is worked so subtly into the fabric of threat that its apperception comes as a shock ploughed from the unconscious.” - Paul Arthur What's Out Tonight Is Lost, Phil Solomon, 1983, 16mm, 8 mins “Adopting its title from a poem by Edna St. Vincent Millay, What’s Out Tonight Is Lost is an elegiac film sifting through the unrecoverable. The film is a reflecting pool where vision breaks up. The home we recognize is swallowed in the brume, the light barely penetrates; and the yellow school bus steals us away, delivering us into new clouds, embracing fear. The film has a surface of cracked porcelain and intaglio: the allergic childhood skin of cracks and bruises. This is a film of transubstantiations, the discorporation of human forms into embers. Air looms and blossoms into solidity and nearness…I hear it breathing…” - Mark McElhatten The Secret Garden, Phil Solomon, 1988, 16mm, 17 mins “No filmmaker reveals the faith in the multiple layers of visual images that the eighties have re-affirmed more than Phil Solomon. Solomon continues the Brakhage tradition of creating a succession of images whose logic comes from a number of sources, rhythmic, formal, and associational, and whose coherence constantly switches from one source to another. As with Brakhage, one must abandon oneself to the trance-like authority of a Solomon film, and be sure-footed enough to follow a structure that relies on overtones as well as melody, on sudden flashes of metaphor as much as narrative line. The Secret Garden is one of Solomon's most exquisite films. As with Thornton and Klahr there is the shadow of a story here, one which deals with the passage from innocence and experience and invokes equally terror and ecstasy…” - Tom Gunning Remains to Be Seen, Phil Solomon, 1989, 16mm, 17 mins “In the melancholic Remains to Be Seen, dedicated to the memory of Solomon's mother, the scratchy rhythm of a respirator intones menace. The film, optically crisscrossed with tiny eggshell cracks, often seems on the verge of shattering. The passage from life into death is chartered by fugitive images: pans of an operating room, an old home movie of a picnic, a bicyclist in vague outline against burnt orange and blue…Solomon measures emotions with images that seem stolen from a family album of collective memory.” - Manohla Dargis Clepsydra, Phil Solomon, 1992, 16mm, 14 mins “Solomon has evolved his technique so that in his latest work (‘Clepsydra’ - ‘waterclock’) the textures are constantly changing and are often appropriate to each figure in metaphoric interplay with each figure's gestural (symbolic) movement. He has, thus, created consonance with thought as destroyer/creator - a Kali-like aesthetic ‘There is a light at the end of the tunnel’ (Romantic); and it is a train coming straight at us: … (and, to balance such, perhaps, with a touch of Zen) … it is beautiful!” - Stan Brakhage Tickets - $8, available at door. Please note: seating is limited. First-come, first-served. Box office opens at 6:30pm.

8/17
New York, NY: Anthology Film Archives
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7:30 PM, 32 Second Avenue
SINK OR SWIM + MARTINA'S PLAYHOUSE - FILMMAKERS IN PERSON!
by Su Friedrich + Peggy AhweshShare +Twitter. Su Friedrich SINK OR SWIM 1990, 48 min, 16mm Su Friedrich's film about her father speaks both about her growing independence and the ways in which her childhood shaped her identity. Structured in 26 chapters, one for each letter of the alphabet but in reverse order, and narrated by a young girl, SINK OR SWIM incorporates found footage, home movies, and Friedrich's own optically-printed images to analyze the traumas of her upbringing while trying to unlearn the myth of the perfect family. With: Peggy Ahwesh MARTINA'S PLAYHOUSE 1989, 20 min, Super 8mm-to-16mm. Preserved by Bard College with support from the National Film Preservation Foundation. Exploring the notion of learned femininity, Peggy Ahwesh shows Martina in turn narrating the film, (mis)reading Lacan, and performing for the camera. "The work is not regulated by the formal devices of modernism - but what better way to address sexuality, girlhood, desire, and mothering than in a provocative home movie?" -Peggy Ahwesh, in Scott MacDonald's A CRITICAL CINEMA 5Su Friedrich will be here in person for both screenings, and she'll be joined by Peggy Ahwesh on Sunday, August 4!

MONDAY, AUGUST 19, 2019

8/19
Brooklyn, New York: Microscope Gallery
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7:30pm, 1329 Willoughby Ave
SCRAPBOOK PERFORMANCES: SIMON LIU / BRUCE MCCLURE
Microscope presents expanded cinema performances by Simon Liu and Bruce McClure as the final performance event of exhibition “Scrapbook (or, Why Can’t We Live Together)”. Simon Liu’s quadruple 16mm projection work “Highview” (2017 conveys the wonder of seeing through as the viewer is inundated with superimposed streams of colors and figures suddenly surfacing for a moment then disappearing back into the flow. The four partially overlapped projections are barely perceivable, blending into each other to form an elongated, cinemascope-like view. This piece is a visually entrancing journal of Liu’s life — both his everyday experiences and his interior thoughts — perceived through the processed, grainy, almost pointillist textures of the filmic imagery. “HAT IN THE RING” is a new performance for 16mm film, guitar effects pedals, projection screen, and a 1000 watt halogen flood light by Bruce McClure. McClure — who is known for hypnotizing works featuring multiple projectors and loud mesmerizing drone sound — in recent years has rethought and minimized his performances to consist of mostly a single, at times film-less projection. This work, which involves a potent light source emanating from behind a screen during projection, plays with our eyes’ ability to adjust to bright light, making the screen appear as the darkest surface in the room. Admission $10, Members / Students $8. More info: www.microscopegallery.com <http://www.microscopegallery.com> , tel: 347.925.1433, info at microscopegallery.com <mailto:info at microscopegallery.com> . Jefferson L (exit Starr Street).

8/19
New York, NY: Anthology Film Archives
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7:30 PM, 32 Second Avenue
EC: JOSEPH CORNELL
Unless otherwise noted, all the films in this program are silent. With the exception of GNIR REDNOW, all films have been preserved by Anthology Film Archives. ROSE HOBART (ca. 1936, 20 min, 16mm, sound) COTILLION (ca. 1940s-1968, 8 min, 16mm, b&w. Completed by Larry Jordan.) THE MIDNIGHT PARTY (ca. 1940s-1968, 3.5 min, 16mm, b&w. Completed by Larry Jordan.) THE CHILDREN'S PARTY (ca. 1940s-1968, 8 min, 16mm. Completed by Larry Jordan.) CENTURIES OF JUNE (1955, 10 min, 16mm. Photographed by Stan Brakhage.) THE AVIARY (1954, 11 min, 16mm, b&w. Photographed by Rudy Burckhardt.) GNIR REDNOW (1955, 5 min, 16mm. Photographed by Stan Brakhage.) NYMPHLIGHT (1957, 8 min, 16mm. Photographed by Rudy Burckhardt.) A LEGEND FOR FOUNTAINS (1957/65, 17 min, 16mm, b&w. Photographed by Rudy Burckhardt; completed by Larry Jordan.) ANGEL (1957, 3 min, 16mm. Photographed by Rudy Burckhardt.) "[ROSE HOBART] is a breathtaking example of the potential for surrealistic imagery within a conventional Hollywood film once it is liberated from its narrative causality. [â€¦] In Cornell's later films - both those photographed by Rudy Burckhardt, Stan Brakhage, and Larry Jordan and the collage films which Jordan completed - Joseph Cornell describes the marginal area where the conscious and the unconscious meet. These are films which affirm a sustained present moment in which a quality of reminiscence is implicated." -P. Adams Sitney, VISIONARY FILM Total running time: ca. 105 min.

TUESDAY, AUGUST 20, 2019

8/20
New York, NY: Anthology Film Archives
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7:30 PM, 32 Second Avenue
JONAS MEKAS TRIBUTE SCREENINGS PART 2: PROGRAM 4
by Ken Jacobs + Jackie Raynal + Jonas MekasShare +Twitter. Ken Jacobs JONAS MEKAS IN KODACHROME DAYS (2009, 3 min, digital, silent) "Jonas remains most famous for not acting famous. Here he can be seen away from film audiences, dawdling in the cosmos while history happens elsewhere (unless we are mistaken, and the most meaningful and revealing moments are the moments at ease)." -Ken Jacobs Jackie Raynal NOTES ON JONAS MEKAS (2000, 26 min, digital) "My purpose in filming NOTES ON JONAS was not to make a portrait per se. As a film editor, I was mainly curious to know about his editing technique. When I tried to get an interview, Jonas played his accordion, his tuba, his harmonicaâ€¦ He even organized a jam session in the basement of AFA. I wondered: 'Is Jonas too shy to let himself be interviewed by a woman?' Enlisting a cameraman to shoot the film instead of me did the trick. Jonas invited us to his loft on Broadway and to his editing room. How happy I was to be watching as he gave me a long master class." -Jackie Raynal Jonas Mekas THIS SIDE OF PARADISE: FRAGMENTS OF AN UNFINISHED BIOGRAPHY (1999, 35 min, 16mm) "Unpredictably, as most of my life's key events have been, for a period of several years of late sixties and early seventies, I had the fortune to spend some time, mostly during the summers, with Jackie Kennedy's and her sister Lee Radziwill's families and children. Cinema was an integral, inseparable, as a matter of fact, a key part of our friendship. The time was still very close to the untimely, tragic death of John F. Kennedy. Jackie wanted to give something to her children to do, to help to ease the transition, life without a father. One of her thoughts was that a movie camera would be fun for children. Peter Beard, who was at that time tutoring John Jr. and Caroline in art history, suggested to Jackie that I was the man to introduce the children to cinema. Jackie said yes. And that's how it all began." -Jonas Mekas Total running time: ca. 70 min.

WEDNESDAY, AUGUST 21, 2019

8/21
New York, NY: Anthology Film Archives
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7:30 PM, 32 Second Avenue
EC: CONNER / CONRAD
Bruce Conner A MOVIE (1958, 12 min, 16mm) COSMIC RAY (1961, 4 min, 16mm) REPORT (1965, 13 min, 16mm) "Conner stands as a kind of twentieth century Peter Breughel. For like the great Flemish master he distorts the visible world in order to penetrate a reality of being rather than appearances; his vision is cosmic in breadth; he deals with some of the most provocative issues, both artistic and otherwise, of his time; and finally, with an evocative ambiguity and painful irony he touches something which we sometimes call the human experience." -Carl I. Belz, FILM CULTURE COSMIC RAY and REPORT have been preserved by Anthology through the National Film Preservation Foundation's Avant-Garde Masters Grant program funded by The Film Foundation. Tony Conrad THE FLICKER (1966, 30 min, 16mm. Preserved by Anthology with funding provided by the National Film Preservation Foundation.) "THE FLICKER is a tremendous harnessing of the raw power, the elemental material of the cinematic medium - light itself - to transport the spectator slowly at first, hardly perceptibly, then accelerating, through a non-objective non-abstract world of sheer energy. Time becomes the compelling pulse of white into black and back, space becomes the unbounded expansion and contraction of force; the screen becomes a new sun, the audience its creatures." -Ken Kelman Total running time: ca. 65 min.

FRIDAY, AUGUST 23, 2019

8/23
New York, NY: Anthology Film Archives
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7:30 PM, 32 Second Avenue
EC: MAYA DEREN
MESHES OF THE AFTERNOON (1943, 14 min, 16mm, b&w. Co-directed by Alexander Hammid. Music by Teiji Ito from 1959.) AT LAND (1944, 15 min, 16mm, b&w, silent. Photographed by Hella Heyman and Alexander Hammid.) A STUDY IN CHOREOGRAPHY FOR CAMERA (1945, 3 min, 16mm, b&w, silent. By Maya Deren and Talley Beatty.) RITUAL IN TRANSFIGURED TIME (1946, 15 min, 16mm, b&w, silent. Choreographic collaboration with Frank Westbrook. Photographed by Hella Heyman. With Rita Christiani and Frank Westbrook.) "MESHES is, one might say, almost expressionist; it externalizes an inner world to the point where it is confounded with the external one. AT LAND has little to do with the inner world of the protagonist, it externalizes the hidden dynamics of the external world, and here the drama results from the activity of the external world. It is as if I had moved from a concern with the life of a fish, to a concern with the sea which accounts for the character of the fish and its life. And RITUAL pulls back even further, to a point of view from which the external world itself is but an element in an entire structure and scheme of metamorphosis: the sea itself changes because of the larger changes of the earth. RITUAL is about the nature and process of change." -Maya Deren Total running time: ca. 55 min.

SATURDAY, AUGUST 24, 2019

8/24
Washington, DC: Black Maria Film Festival
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1:00PM and 3:30PM, 4th Street and Constitution Ave., NW
BLACK MARIA FILM FESTIVAL RETURNS TO THE NATIONAL GALLERY OF ART 
The Black Maria Film Festival returns this year with two programs on Saturday afternoon, August 24th, starting at 1:00pm and again at 3:30pm, in the East Building Auditorium, the National Gallery of Art in Washington, DC, 4th Street and Constitution Ave., NW. Doors open thirty minutes before show time. Both programs, hosted by Curator of Film, Margaret Parsons, will be presented in-person by festival director Jane Steuerwald, and will showcase a collection of stellar works touring with the Festival this season. Selections include films by veteran filmmakers who have been recognized and celebrated for decades, as well as important new work by emerging young filmmakers. Featured selections include “Brainworm Billy,” by Emily Hubley, East Orange, NJ; “Koka, the Butcher,” by Bence Máté and Florian Schewe, Berlin, Germany; “The Elephant’s Song,” by Lynn Tomlinson, Owings Mills MD; “Ulises (Ulysses),” by Jorge Malpica, Catalonia, Mexico; “Woody’s Order,” by Seth Kramer, Red Hook, NY, written and performed by Ann Talman, NY, NY; “I’d Never Bother Another Chicken Again,” by Helen Cho Anthos, Reseda, CA; and “Thy Kingdom Come” by acclaimed photographer/filmmaker Eugene Richards, Brooklyn, NY, with Javier Bardem. Filmmakers will be present to discuss their work. The Thomas Edison Black Maria Film Festival attracts and nationally showcases the works of highly accomplished independent film and video makers. The Festival is a project of the Thomas Edison Media Arts Consortium, an independent non-profit organization in partnership with the Lewis Center for the Arts at Princeton University. For further information, contact festival director Jane Steuerwald, jane at blackmariafilmfestival.org <mailto:jane at blackmariafilmfestival.org> , www.blackmaria.org <http://www.blackmaria.org> . The National Gallery of Art is wheelchair accessible, and large print programs will be available at both Black Maria screenings. Accessibility Information: (202) 842-6690. www.nga.gov <http://www.nga.gov> .

SUNDAY, AUGUST 25, 2019

8/25
New York, NY: Anthology Film Archives
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5:00 PM, 32 Second Avenue
JONAS MEKAS TRIBUTE SCREENINGS PART 2: PROGRAM 5
by Stan Brakhage + Takahiko Iimura + Jonas MekasShare +Twitter. INTRODUCED BY RICHARD FOREMAN!Stan Brakhage 15 SONG TRAITS (1965, ca. 2-min excerpt, 8mm-to-16mm, silent) This part of Brakhage's 8mm SONGS cycle comprises brief portraits of family and friends, culminating with Jonas Mekas. Takahiko Iimura FILMMAKERS (1969, ca. 5-min excerpt, 16mm) "This is a film portrait of filmmakers whom I was most interested in at the timeâ€¦shot during my first visit in U.S.A., 1966-1968, and then completed in Japan, 1969, with 'comments' literally pointing out in words what I see in the picture at the moment (like an English lesson). Each filmmaker's part is about 5 minutes. [â€¦] A part of Jonas Mekas is shot by himself and Akiko Iimura. Intentionally the film 'borrowed' the technique of the filmmaker in his part." -Takahiko Iimura Jonas Mekas BIRTH OF A NATION (1997, 85 min, 16mm) "One hundred and sixty portraits, appearances, sketches and glimpses of avant-garde, independent filmmakers and film activists between 1955 and 1996. Why BIRTH OF A NATION? Because the avant-garde / independents of cinema IS a nation in itself. We are surrounded by a commercial cinema Nation in the same way as the indigenous people of the United States or any other country are surrounded by the Ruling Powers. We are the invisible, but essential nation of cinema. We are Cinema." -Jonas Mekas Total running time: ca. 95 min.

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