[Frameworks] This week [May 4 - 12, 2019] in avant garde cinema

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This week [May 4 - 12, 2019] in avant garde cinema 


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NEW CALLS FOR ENTRIES: 
Engauge Experimental Film Festival (Seattle, WA USA; Deadline: July 01, 2019)
 http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=65d4b7911a&e=f36020cad0> &readfile=2028.ann 
Black Girl* Magic (Berlin, Germany; 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=29964bcb72&e=f36020cad0> &readfile=2029.ann 
Then, What If? (Torrington, CT, USA; Deadline: July 01, 2019)
 http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=d5d237b2f8&e=f36020cad0> &readfile=2030.ann 

DEADLINES APPROACHING: 
Coney Island Film Festival (Brooklyn, NY, USA; Deadline: June 07, 2019)
 http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=6125748585&e=f36020cad0> &readfile=1997.ann 
25 FPS Festival (Zagreb, Croatia; Deadline: May 31, 2019)
 http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=c4fcf7b72e&e=f36020cad0> &readfile=2024.ann 
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=1404c2ebbb&e=f36020cad0> &readfile=2025.ann 
Black Girl* Magic (Berlin, Germany; 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=a243f94ebf&e=f36020cad0> &readfile=2029.ann 

Events are sorted alphabetically BY CITY within each DATE.

This week's programs (summary): 

*        Forster's 8-Track Mind + video Nuggets <>  [May 4, San Francisco] 

*        An Evening With Sky Hopinka <>  [May 5, Cambridge, Massachusetts] 

*        Kevin Jerome Everson: More New Films <>  [May 5, Los Angeles, California] 

*        Video Work Curated By Hannah Piper Burns <>  [May 5, Portland, Oregon] 

*        Films By Akosua Adoma Owusu: Between Three Worlds <>  [May 6, Los Angeles, CA United States] 

*        Sleepless Nights Stories: A Tribute To Jonas Mekas <>  [May 8, New York, NY United States] 

*        Parallel Borders <>  [May 9, Brooklyn, NY United States] 

*        Carolee Schneemann: Daylong Tribute Screening  <> [May 9, New York, New York] 

*        Kashmere + Goldberg + Morrison's Letter <>  [May 11, San Francisco] 

*        Guy Sherwin and Peter Todd: Recent Work. <>  [May 12, London, England] 


SATURDAY, MAY 4, 2019 

5/4
San Francisco: Other Cinema 
http://www.othercinema.com/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=1bab16b109&e=f36020cad0>  
8pm, 992 Valencia Street
FORSTER'S 8-TRACK MIND + VIDEO NUGGETS 
A dear uncle to OC, as well as a dedicated documentarian, radio DJ, and registered nurse, Russ Forster deliverpays his new zine issue on the occasion of the 25th anniversary of his So Wrong They’re Right, thee best doc ever on those odd ‘70s cartridges! Russ shows off his most super stylized 8-Track decks, unspools both music and video clips, and updates us on that subculture’s state. His trusty theremin is conscripted into use as well, in fact performing a duet with David Cox on Optigan!! Cox also demos the Mellotron loop-pedal, before giving way to Bryan Boyce’s karaoke kookiness. This whole family tree of formats is grounded in the fertile field of mid-century rock music, that we excavate in the form of...Nuggets! Yes, THAT Nuggets, the legendary double-album of pop psychedelia/proto-punk that blew the minds of an entire generation: 13th Floor Elevators, Blues Magoos, Electric Prunes, Strawberry Alarm Clock, The Seeds!!..and these are just a few in the 99 mins. of ultra-early/rare music videos coming all the way from Ryan Daly’s quintessential Louisville collection...played LOUD here on the new ATA speakers!*$8.88 


SUNDAY, MAY 5, 2019 

5/5
Cambridge, Massachusetts: Harvard Film Archive 
http://hcl.harvard.edu/hfa <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=41555075a3&e=f36020cad0>  
7pm, 24 Quincy Street
AN EVENING WITH SKY HOPINKA 
The searching, striking digital films of Sky Hopinka (b. 1984) are complex formal arrangements, conceptually and aesthetically dense, characterized by an intricate layering of word and image. But they are also wellsprings of beauty and mystery, filled with surprising confluences of speech and song, color and motion. A member of the Ho-Chunk Nation of Wisconsin, Hopinka has described his work as “ethnopoetic,” a term that encompasses several imperatives—among them, the mission to reclaim the ethnographic gaze that has dominated the representation of indigenous cultures and to bring the indirection of poetry to an exploration of Native identity both past and present. Hopinka, who is fluent in Chinuk Wawa, has been an active participant in its revival in the Pacific Northwest, and language occupies a central role in his films. Many of them deal with the challenges of language preservation and transmission and, more broadly, with language as a container of culture. In Hopinka’s videos, words are heard and seen, learned and read, translated and transcribed, their meanings by turns communicated and withheld. The emphasis on language—specifically, the act of language learning, with its inherent lacunae of understanding, its movement from confusion to clarity—is often mirrored in the formal operations of his films. The seven-minute Jáaji Approx., Hopinka’s most widely screened work to date (it appeared, for instance, in last year’s Sundance and Ann Arbor film festivals), remains the most concise, and perhaps most vivid, example of the filmmaker’s contrapuntal method. Jáaji is the direct-address word for “father” in the Hočąk language; the second part of the title alludes not only to the approximations of translation but also to the notions of proximity and distance that shape the video’s form and content. A road movie through archetypal landscapes of the American West, it combines fragmentary shots of open skies, coastlines, forests, mountains, deserts, and highways with Hopinka’s audio recordings of his father’s stories and songs from the powwow circuit. The elder’s words, sometimes indistinct, initially appear on-screen as phonetic transcriptions. Midway through, Hopinka cuts in to accompany his father on a song, and as the gap between speaker and listener narrows, the editing slows and the mood shifts, the images becoming more intensely colored. Manipulating simple elements to emotionally complex ends, Jáaji Approx. creates an effect of space and time being at once traversed and collapsed, of a relationship and a shared history coming into focus. – Dennis Lim, adapted from his 2017 Artforum article 

5/5
Los Angeles, California: Filmforum 
http://www.lafilmforum.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=13703a8a8f&e=f36020cad0>  
7:30 pm, Spielberg Theatre at the Egyptian, 6712 Hollywood Blvd.
KEVIN JEROME EVERSON: MORE NEW FILMS 
Kevin Jerome Everson in person! Kevin Jerome Everson is one of the most prolific, important experimental filmmakers currently working. The kind of artist who thinks through the particular problems of cinema by making it, his indefatigable output perfectly fits Manny Farber’s description of “termite” art as having “no sign that the artist has any other object in mind other than eating away the immediate boundaries of his art, and turning these boundaries into conditions of the next achievement.” Everson’s films, by turns light and deeply affective, are never not alive. Because of his near-constant innovation, each new film surprises. Everson’s themes, though clearly identifiable, are never forced; they emerge organically through the course of his work. Among its many achievements, his oeuvre is one of the most significant records of contemporary African American life. Los Angeles Filmforum is delighted to welcome back Everson with the second program this week of recent works by Everson, including many premieres, with the artist in attendance. Tickets: $10 general; $6 students (with ID)/seniors; free for Filmforum Members. Available in advance from Brown Paper Tickets at https://everson2.bpt.me or at the door. 

5/5
Portland, Oregon: Boathouse Microcinema 
boathousemicrocinema.com 
7:30pm, 822 N River St
VIDEO WORK CURATED BY HANNAH PIPER BURNS 
Video work leaning towards the feminine and witchy 


MONDAY, MAY 6, 2019 

5/6
Los Angeles, CA United States: REDCAT - Roy and Edna Disney/CalArts Theater 
8:30 PM, 631 W 2nd St
FILMS BY AKOSUA ADOMA OWUSU: BETWEEN THREE WORLDS 
Ghanaian-American Akosua Adoma Owusu is one of the most distinctive independent filmmakers to have emerged during the past decade. Her work explores collisions and contradictions that result from embodying multiple consciousnesses. For Owusu, feminism, queerness and African identities intersect with African, white American, and black American cultures. Her style ranges broadly, from reenactments of folk tales, media critiques, celebrations of black aesthetics and intimate portraits. Owusu’s work is imbued with a rich sense of form that brings each subject to vivid life. The program includes several recent films and a selection of earlier work. Owusu has exhibited worldwide including at the Berlinale, Whitney Museum of American Art, New Directors/New Films (New York), Centre Pompidou and the London Film Festival. In person: Akosua Adoma Owusu 


WEDNESDAY, MAY 8, 2019 

5/8
New York, NY United States: Ludlow House 
7:00 PM, 139 Ludlow St
SLEEPLESS NIGHTS STORIES: A TRIBUTE TO JONAS MEKAS 
FREE! with RSVP required. Email filmmakerscoop at gmail.com <mailto:filmmakerscoop at gmail.com>  to RSVP Ludlow House and The Film-Makers’ Coop Present: “FROM LIGHT TO LIGHT, SINGING, AND DANCING” A Tribute to Jonas Mekas (1922 - 2019) Program: SLEEPLESS NIGHTS STORIES (Jonas Mekas, 2011, 114 min.) "SLEEPLESS NIGHTS STORIES originated from my readings of the One Thousand and One Nights. But unlike the Arabian tales, my stories are all from real life, though at times they too wander into somewhere else, beyond the everyday routine reality. There are some twenty-five different stories in my movie. Their protagonists are all my good friends and I myself am an inseparable part of the stories. The storyteller of the Arabian Nights was also part of his or her tales. Some of the people in the movie you'll recognize, some not. The fact that some of them you'll recognize has no bearing on the stories: after all, we all recognize John Wayne or Annette Benning, but in their stories they are no longer the people we know. The subjects of the stories cover a wide range of emotions, geographies, personal anxieties, and anecdotes. These are not very big stories, not for the Big Screen: these are all personal big stories . . . And yes, you'll also find some provocations . . . But that's me, one ‘me’ of many. The very question ‘What is a story?’ is a provocative question.” –Jonas Mekas Featuring: Marina Abramovic, Carolee Schneemann, Ken and Flo Jacobs, Louise Bourgeois, Yoko Ono, Harmony Korine, Louis Garrel, Patti Smith, Bkörk, and more! Sebastian Mekas will be present for the event. In celebration of Jonas’s connection to the earth, MM Serra will be distributing flower seeds for audience members to plant around NYC. Our hope is to have a flowering summer in honor of Jonas and his appreciation for life and gardening. 


THURSDAY, MAY 9, 2019 

5/9
Brooklyn, NY United States: UnionDocs 
http://www.uniondocs.org <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=3d632b672d&e=f36020cad0>  
7:30 PM, 322 Union Ave
PARALLEL BORDERS 
UnionDocs presents a trio of films created by Indian filmmaker and photographer, Anal Shah. On the surface, the aesthetic approach and focal points of these films are displaced within a trichotomy. What links these films together is their relationship to tangible and metaphysical borders that exist within the same terrain. Ladakh Diary 26 min., 2012 Ladakh Diary is a ‘border film’. After all, it quietly gazes upon a region north of the Himalayas that is sandwiched between two of the most disputed borders- India’s border with Pakistan on one side, and with China on the other. But the film carefully avoids the obvious military presence. Instead, it gazes at a presence that has inhabited the region since before the borders were created. Unfolding like the leaves of a personal diary, punctuated by the presence of the Buddha, the film is a meditation on life in Ladakh. Chalchitra-Railyatra 42 min., 2010 Chalchitra-Railyatra is a 60-minute experimental documentary tale about Railways and Cinema, the marriage between the two, by way of revisiting images of railways in Indian Cinema interwoven with a personal journey of the filmmaker aboard various trains in India. India has the worlds largest railway network; it is also the biggest film industry in the world. While one is a mode of transportation, the other is a medium that transports us. We stand in long lines for their tickets. The Train takes us on a journey, which may provide the longest tracking shot of the Indian landscape. The Movie, on the other hand, suspends our disbelief and takes us on a journey of its own diegesis. Both of these vehicles, individually and combined, blur, break, bridge and ultimately redefine the notion of borders and boundaries in the collective experience that constitutes and continues to evolve as the Indian Psyche. Structurally and visually this film will shunt seamlessly between the two parallel tracks. One will trace the memory of trains in films as seen through clips/shots of archival material accompanied by the filmmakers commentary. The other will be the filmmakers own personal journey with a camera aboard trains through an intimately observed cinema verite approach. The first track evokes history and memory, while the other invokes reality. Kalaripayattu 28 min., 2017 Anal Shah’s latest short Kalaripayattu is woven from observational footage shot at various gyms showing the oldest martial arts of the world, Kalaripayattu. Intriguingly, the film offers no explanation via narration, thus encouraging the viewer into an unfiltered sensory experience. The task for the viewer is to find the hidden and embedded snippets of personal history in the work. “I see my work as a visual diary of my observations.” 

5/9
New York, New York: Electronic Arts Intermix 
http://eai.org <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=cd11d03df2&e=f36020cad0>  
10 am to 6 pm, 535 West 22nd Street
CAROLEE SCHNEEMANN: DAYLONG TRIBUTE SCREENING 
EAI will honor Carolee Schneemann (1939-2019) with a daylong screening of her film and video work, tracing fifty years of her career, from 1962 to 2012. The program, which spans the many decades of her extraordinary, ferociously pathbreaking approach to performance and the moving image, will screen twice, from 10am to 2pm and again, from 2pm to 6pm. Following the screening, guests will be invited to P•P•O•W’s 6th floor gallery space for their opening of Tooth and Paw, a show of works by Schneemann’s beloved feline companion, La Niña, visualized by Schneemann during the last year of her life. 


SATURDAY, MAY 11, 2019 

5/11
San Francisco: Other Cinema 
http://www.othercinema.com/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=7edcacf920&e=f36020cad0>  
8pm, 992 Valencia Street
KASHMERE + GOLDBERG + MORRISON'S LETTER 
Tonight’s leap into the newly energized field of Film Archiving sports the erudite editor of the cutting-edge INCITE journal, Brett Kashmere, here to share Neither/Nor, his crucial research on folk libraries. One such case-study is focused on the very 16mm repository under our microcinema’s floors! Brett’s take on the Anarchivist is answered by critic Max Goldberg’s report-back on the epochal California Light and Sound project, in which the State’s museums and historical societies are called to digitize their A/V holdings for an accessible online collection. AND lo-and-behold the exquisite textures of The Letter (NorCal premiere), in which early cinema re-animator extraordinaire Bill Morrison has uncannily collaged 7 silents, intertwining love triangles and texts-by-mail. PLUS shorts by Steven Kane, Naeem Mohaiemen, Bruce Conner, and some small-gauge anomalies from under the floorboards! 


SUNDAY, MAY 12, 2019 

5/12
London, England: Close-Up Film Centre 
https://www.closeupfilmcentre.com/film_programmes/2019/guy-sherwin-and-peter-todd-recent-work/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=5cdd31521a&e=f36020cad0>  
8.00pm., 97 Sclater Street London E1 6HR
GUY SHERWIN AND PETER TODD: RECENT WORK. 
We’re thrilled to present a hybrid programme of digital videos by GUY SHERWIN and 16mm films by PETER TODD. These recent works will be shown in an indeterminate way, enabling connections to be made unique to the screening. Both filmmakers will be present throughout and will participate in a discussion following the screening. Total runtime ca 90 min. GUY SHERWIN exclusively made 16mm films for many years but lately has been working on a series of digital thoughts. Sherwin studied painting at Chelsea School of Art in the late 1960s. His subsequent film works often use serial forms and live elements, and engage with light, time and sound as fundamental to cinema. Recent works include installations made for exhibition spaces and performance collaborations with Lynn Loo working with multiple projectors and optical sound. He was guest curator of “Film in Space” an exhibition of expanded cinema at Camden Arts Centre London 2012-3. He taught printing and processing at the London Film-Makers’ Co-op (now LUX) during the mid-70s. His films were included in “Film as Film” Hayward Gallery 1979, “Live in Your Head” Whitechapel Gallery 2000, “Shoot Shoot Shoot” Tate Modern 2002, “A Century of Artists” Film & Video' Tate Britain 2003/4. He lives in London and teaches at Middlesex University and University of Wolverhampton. PETER TODD works in a continuum and intuitively (film, curating, collaboration); his thoughts on “recent” and “work” are fluid. “The objects that he has filmed, his house, a tree, a street, the underground are things that we come across every day and that seem to have come into the film by some chance operation. But he films these things with such determination, and with so much respect for their being that it seems as if they themselves had decided on the framing and the length of image and their place in the film and the filmmaker had only very conscientiously fulfilled their demands” – Renate Sami “In the film programmes that I’ve seen of yours, I’d say there is a strand, a sort of certain strand, that runs through them, that to call it poetic would be doing it a disservice, but it’s one way, it’s such a sort of, how can I say it, it’s a loaded term which doesn’t quite describe in filmic terms, in visual terms what we mean, when we say that word, but it does conjure at any rate, perhaps an outcome the films have, they don’t have a utilitarian outcome, there is no interest in narrative, there is very often no interest in scientific or natural documentary, in capturing, it’s quiet often I’d say, for me what I get from seeing your film programmes they are trying to describe, a feeling and a sensation or a place or an interaction, very small things, and these composite of small things, actually make up a greater whole, and help us towards, not only visual enjoyment, help lead us towards having a richer life.” – Luke Fowler 

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