[Frameworks] This week [October 11 - 19, 2019] in avant garde cinema

Sat Oct 12 23:20:45 UTC 2019

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This week
[October 12-20, 2019]
in avant garde cinema

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Shapeshifters Cinema Presents Minoosh Zomorodinia [October 13, Oakland, CA] 

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Found Images: Films By Scott Stark [October 16, Berkeley, CA United States] 

NEW CALLS FOR ENTRIES:
Cosmic Rays Film Festival (Chapel Hill, NC, USA; Deadline: December 01, 2019)
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DEADLINES APPROACHING:
Black Maria Film Festival (Hoboken, NJ, USA; Deadline: October 15, 2019)
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Winter Film Awards International Film Festival (New York, NY, USA; Deadline: November 15, 2019)
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The Wake Up! Memorial (Cologne, Germany; Deadline: October 31, 2019)
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Experiments in Cinema v15.1 (Albuquerque, New Mexico, USA; Deadline: November 01, 2019)
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Events are sorted alphabetically BY CITY within each DATE.

This week's programs (summary):

*	To the Stars: Experimental Inspirations For Ad Astra [October 12, Astoria, New York]
*	Nathaniel Dorsky: Nyc Premieres [October 12, New York, NY]
*	Psycho-Geo2 [October 12, San Francisco]
*	Black Maria Film Festival Coming To the Syracuse Film Festival [October 12, Syracuse, NY]
*	Remains To Be Seen: Program 2 [October 13, Los Angeles, CA United States]
*	Nathaniel Dorsky: Nyc Premieres [October 13, New York, NY]
*	Shapeshifters Cinema Presents Minoosh Zomorodinia [October 13, Oakland, CA]
*	Ismo Ismo Ismo--"Redes" [October 15, Mexico City]
*	Show & Tell: Ute Aurand [October 15, New York, NY]
*	Film Screening - Love Boat: Taiwan [October 15, San Francisco, CA United States]
*	Found Images: Films By Scott Stark [October 16, Berkeley, CA United States]
*	Cineinfinito #85: Margaret Tait [October 16, Madrid, Spain]
*	Richard Serra, Program 1 [October 17, New York, NY]
*	Trinh T. Minh-Ha Film Screening With Introduction By việT LÊ [October 17, San Francisco, CA United States]
*	Loose Ends, Loose Corner, and More [October 18, New York, NY United States]
*	Richard Serra, Program 2 [October 18, New York, NY]
*	Richard Serra, Program 3 [October 18, New York, NY]
*	Richard Serra, Program 4 (With Panel Discussion) [October 19, New York, NY]
*	Incredibly Strange Music 2 [October 19, San Francisco]
*	A Song Dissolved In the Dawn: Films By Phil Solomon, Program 1 [October 20, Los Angeles, CA United States]

SATURDAY, OCTOBER 12, 2019

10/12
Astoria, New York: Museum of the Moving Image
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6:30pm, 36-01 35 Avenue
TO THE STARS: EXPERIMENTAL INSPIRATIONS FOR AD ASTRA
While in pre-production on his science-fiction epic Ad Astra, director James Gray was searching for ways to develop a new visual grammar for a cinematic depiction of outer space. He turned to an unlikely source for help: two scholars and curators of experimental media. Over the course of a year, Leo Goldsmith and Gregory Zinman put together notes, quotes, and research on over forty films for Gray and his production team. Their brief was to provide Gray with examples of how artists of the last twenty-five years had addressed themes of space and isolation in their work. This program highlights the films and videos of those artists in order to illuminate the ways that Ad Astra developed its powerful aesthetic. From painted film to digital abstraction, and from Afrofuturist music video to essayistic video-collage, these works provide insight into the diverse material and conceptual approaches to the cosmos the filmmakers drew upon. This program hopes to raise questions regarding the relationship between artists’ moving image and commercial enterprises, and to demonstrate the ways discrepant visual ideas help shape a film’s unified look and feel. Organized by Leo Goldsmith and Gregory Zinman.

10/12
New York, NY: Anthology Film Archives
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7:30 PM, 32 Second Avenue
NATHANIEL DORSKY: NYC PREMIERES
THE DREAMER (2016, 19 min, 16mm, silent) "This year our mid-summer's night was adorned with a glorious full moon. The weeks and days preceding the solstice were magically alive with crisp, cool breezes, bright, warm sunlight, and a general sense of heartbreaking clarity. THE DREAMER is born out of this most poignant San Francisco spring." -Nathaniel Dorsky World Premiere! CALYX (2018, 13 min, 16mm, silent) "I photographed CALYX during the rather tense 21 days preceding my open-heart surgery to replace an aortic valve and then shipped the footage off to the lab the day before my operation. I edited the 21 rolls about three weeks after coming home from a rather dramatic nine days in the hospital. I hope this little film captures some of the feelings of dread mixed with an elegiac feeling for our world. CALYX is the husk surrounding the tender bud of a soon to be flower." -Nathaniel Dorsky COLOPHON (FOR THE ARBORETUM CYCLE) (2018, 13.5 min, 16mm, silent) "COLOPHON has three sections. It is in the spirit of the early Chinese landscape colophons, a text added to the horizontal scroll at a later date from when the landscape itself was enacted. COLOPHON was not made to be shown along with the ARBORETUM CYCLE, but a new thing, a spring later, a different maker, so to speak." -Nathaniel Dorsky World Premiere! APRICITY (2019, 22 min, 16mm, silent) "The title APRICITY refers to the warmth of the sun in winter. It is an homage to the writer Jane (Brakhage) Wodening. In speaking to her I mused, 'perhaps your age is the winter and you are the warmth of the sun.'" -Nathaniel Dorsky Total running time: ca. 75 min.

10/12
San Francisco: Other Cinema
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8:30, 992 Valencia Street
PSYCHO-GEO2
OCT.12: MARK STREET’s NYC + GLENNA ALLEE’s HANFORD + PAUL ECHEVERRIA’s DETROIT + Our second LOCUS FOCUS is plotted out along three axes. Mark Street returns from NY with his 100 Sides of a Sphere book-launch and a few new movies: After the gloriously granular revival of his 16mm Winter Wheat, he unspools a sneak peak at Work Songs (inspired by Studs Terkel) and premieres Morning, Noon, Night; Water, Land, and Sky, on the Brooklyn Navy Yard. The program’s 2nd component is a bundle of briefs on the “Nuclear West”, anchored by (in person) Glenna Cole Allee’s Hanford Reach, a cautionary montage on the most toxic plutonium dump in North America. Glenna’s landscape is extended south to the Trinity Site by Georg Koszulinski’s New Mexico Death Wish Diatribe (world premiere), and even to the Mexican frontier by Laura Poitras’ Triple Chaser (narr. David Byrne), on the sleazy dealer whose weapons are used against the refugees on the desert border. Our 3rd vector points to famously failed Detroit--Paul Echeverria’s Glitchtown, Dustin Dehah’s God Is an Artist (on Shephard Fairey’s mural), and an exc. from Sabine Gruffat’s I Have Always Been a Dreamer. Come early for Sharon Trahan’s space-time samples of the Salton Sea! *$7.77

10/12
Syracuse, NY: Redhouse Arts Center, 400 South Salina Street
1:00 PM, 400 South Salina Street
BLACK MARIA FILM FESTIVAL COMING TO THE SYRACUSE FILM FESTIVAL
The Thomas Edison Black Maria Film Festival presents a program of award-winning short films as part of the Syracuse Film Festival on Saturday afternoon October 12th at 1:00PM at the Redhouse in Theater Two, First Program at 1:00PM. Festival DIrector Jane Steuerwald will be present to introduce the program and host a Q & A post screening. For details go to the Syracuse International Film Festival website: http://syrfilm.com/index.html

SUNDAY, OCTOBER 13, 2019

10/13
Los Angeles, CA United States: Echo Park Film Center
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8:00 PM, 1200 N Alvarado St
REMAINS TO BE SEEN: PROGRAM 2
Sunday, October 13 at 8 PM Doors 7:30; $5 admission. “This is a mystery program of archival experimental film which I promise will contain some really excellent work. Basically, part of my job as an archivist and curator is to look at prints of films, whether they’re new preserved/restored prints, or existing archival prints I’m checking as reference, or sometimes just films I need to look at to further familiarize myself with an artist’s body of work. I’m perpetually behind on this, and it occurred to me that instead of looking at films alone at the archive, it would be fun to instead open up the process to share with an audience. The catch is that the titles will not be announced in advance! However, I promise that these will be films well worth looking at. Films will primarily screen on 16mm, in either newly struck prints or in existing archival prints, and will span a wide range of time, content, authorship, and style. I will do my best to mix up a nice variety of films for each program and will give a little background info on each film and its preservation at the show. Program length will vary, but will usually be between 90-120 minutes (including talking). I look forward to sharing these films with you and hearing what you think! We really filled up last time, so arrive early if you can!” (Mark Toscano)

10/13
New York, NY: Anthology Film Archives
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7:30 PM, 32 Second Avenue
NATHANIEL DORSKY: NYC PREMIERES
THE DREAMER (2016, 19 min, 16mm, silent) "This year our mid-summer's night was adorned with a glorious full moon. The weeks and days preceding the solstice were magically alive with crisp, cool breezes, bright, warm sunlight, and a general sense of heartbreaking clarity. THE DREAMER is born out of this most poignant San Francisco spring." -Nathaniel Dorsky World Premiere! CALYX (2018, 13 min, 16mm, silent) "I photographed CALYX during the rather tense 21 days preceding my open-heart surgery to replace an aortic valve and then shipped the footage off to the lab the day before my operation. I edited the 21 rolls about three weeks after coming home from a rather dramatic nine days in the hospital. I hope this little film captures some of the feelings of dread mixed with an elegiac feeling for our world. CALYX is the husk surrounding the tender bud of a soon to be flower." -Nathaniel Dorsky COLOPHON (FOR THE ARBORETUM CYCLE) (2018, 13.5 min, 16mm, silent) "COLOPHON has three sections. It is in the spirit of the early Chinese landscape colophons, a text added to the horizontal scroll at a later date from when the landscape itself was enacted. COLOPHON was not made to be shown along with the ARBORETUM CYCLE, but a new thing, a spring later, a different maker, so to speak." -Nathaniel Dorsky World Premiere! APRICITY (2019, 22 min, 16mm, silent) "The title APRICITY refers to the warmth of the sun in winter. It is an homage to the writer Jane (Brakhage) Wodening. In speaking to her I mused, 'perhaps your age is the winter and you are the warmth of the sun.'" -Nathaniel Dorsky Total running time: ca. 75 min.

10/13
Oakland, CA: 567 5th St., Oakland
7:30 PM, 567 5th St.
SHAPESHIFTERS CINEMA PRESENTS MINOOSH ZOMORODINIA
PLEASE NOTE NEW LOCATION FOR SHAPESHIFTERS 567 5th St., Oakland Admission is free, but donations are greatly appreciated. Minoosh Zomorodinia is an Iranian-born interdisciplinary artist who makes visible her emotional and psychological reflections as seen in her mind's eye inspired by nature and her environments. Her work exposes and experiments with humanity's relationship to the natural world. The piece she will be presenting, "Illusion" is an ongoing project addressing confusion in contemporary urban life. Using a variety of cameras (digital, 16mm and super-8mm), the artist documents her own wanderings through various landscapes in search of the lost spirituality in the modern world and the ambiguous and mystical origin of self. http://shapeshifterscinema.com/ http://rahelehzomorodinia.com/

TUESDAY, OCTOBER 15, 2019

10/15
Mexico City: Filmforum
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10AM-6PM, Tuesday-Sunday, Paseo de la Reforma 51, Col. Bosque de Chapultepec
ISMO ISMO ISMO--"REDES"
Ismo Ismo Ismo: Experimental Film in Latin America/Cine experimental en América Latina Redes: Experimental Women Filmmakers from Latin America This program showcases female filmmakers who sought to carve out a place within the male-dominated world of Latin American independent audiovisual production. Key works, such as Argentine filmmaker Narcisa Hirsch’s “Come Out,” exemplify the defiant position toward gendered and essentializing aesthetics expected of Latin American women filmmakers. The program also includes pioneering Uruguayan filmmaker Lydia García Millán’s “Color,” one of the first abstract experimental films from Latin America, the politically charged Super 8 experiments by Puerto Rican underground artist Poli Marichal, an imagined dialogue with an iconic painting of Diego Rivera by Silvia Gruner, and a comic video essay by Mexican artist Ximena Cuevas. Redes: Realizadoras Experimentales de América Latina ‘Redes” busca indagar los posibles desbordes e implicaciones epistémicas de los términos “mujer latinoamericana”, “artista latina”, para componer un mapa de empatías conceptuales, estrategias coincidentes y redes afectivas que traspasaron barreras geopolíticas y apostaron a la subversión del canón modernista. La genealogía propuesta es sinuosa y fragmentaria, señala puntos en encuentro y desencuentro entre las creaciones cinematográficas realizadas por mujeres de américa latina. La emblemática obra de Narcisa Hirsch: “Come Out” (1975) funciona como síntesis conceptual de este panorama, trabajando desde una espacialidad personal e independiente, que resulta clave para comprender las indagaciones experimentales de las realizadoras presentadas en este programa. La performatividad sonora sirve como punto de partida de este recorrido. Lydia García, una de las pioneras en esta práctica, en “Color” trabaja con el Hot Jazz Club que acompaña en vivo la filmación de un action painting realizado por la artista. En una búsqueda musical comparable, Vivian Ostrovsky, quién vivió su infancia y adolescencia en Río de Janeiro, con Copacabana Beach realiza un collage lúdico que retrata las escenas cotidianas de una jornada en la playa de Copacabana. A partir del ritmo de fragmentos musicales, entre ellos canciones de Carmen Miranda, la película puede ser entendida como “beach symphony film” (una sinfonía costera), tal como la describe Johnson y Stam. En "Popsicles" de Gloria Camiruaga la sonoridad está trabajada a partir de bocas que repiten el mantra del Ave María, mientras chupan un helado de agua que dentro contiene el clásico soldadito miniatura. La obra es una fuerte denuncia a la ligazón entre la iglesia y la dictadura militar chilena, e interpela a la negación de los devotos a ver estos nexos. La enunciación feminista a través del señalamiento poético de la corporalidad en escena se muestra en Silvia Gruner en "Desnudo con alcatraces," donde la artista logra una atmósfera sutil contaminada por el grano de la película, sensual en la relación de su piel con los alcatraces y desafiante en los encuadres de su cuerpo desnudo.

10/15
New York, NY: Anthology Film Archives
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7:30 PM, 32 Second Avenue
SHOW & TELL: UTE AURAND
Anthology welcomes German filmmaker Ute Aurand for a special screening of her brand-new 16mm film RUSHING GREEN WITH HORSES, as well as OH! THE FOUR SEASONS, a 1988 film made in collaboration with Ulrike Pfeiffer (and, via an introductory text, Anthology's founder Jonas Mekas). "Aurand's is a cinema of intimacy, populated by friends and family, in which daily experience forms the basis for a practice rich in lyrical beauty. I consider it amongst the most compelling work in experimental cinema today. [â€¦] The expanses of time Aurand spends with her subjects are telescoped through montage so as to bring together disparate glimpses of changing lives. Even when the passing of time emerges as a central concernâ€¦Aurand's films do not dwell in melancholy, but rather delicately register how our relationships to those around us develop and change over time. She shares with us the feeling that though time's arrow may bring loss, it is also time that brings tenderness, care, and complexity to our lives." -Erika Balsom Ute Aurand & Ulrike Pfeiffer OH! THE FOUR SEASONS / OH! DIE VIER JAHRESZEITEN 1986/88, 20 min, 16mm Aurand and Pfeiffer filmed each other at four famous sites in Europe: walking in a summer dress through the snow in front of the Reichstag in Berlin, spinning a young boy again and again through the air in Red Square in Moscow, climbing on a hot day into the waterfall at the Place de la Concorde in Paris, and, as two angels in London, walking through the night of the city. The film begins with a text about improvisation written and recited by Jonas Mekas. Ute Aurand RUSHING GREEN WITH HORSES / RASENDES GRUÌˆN MIT PFERDEN 2019, 82 min, 16mm "A collection of brief observations and encounters, filmed between 1999 and 2018 at home and while traveling, with friends and alone. Private gestures awaken my attention: Anton in his apartment in Lichtenberg, Lilian and Nanouk 10 days old, JÃ³n's 94th birthday, Sofia dancing, a trip to Detroit, Alma and Ernie at the Brandenburger Gate. We see the same people at various ages, as a child, a teenager, a young womanâ€¦ The magic of moving images and sounds echoes from the past into the present. In the middle of the film appears a handwritten sentence first mirrored then turned around: 'A child asleep in its own life.'" -Ute Aurand

10/15
San Francisco, CA United States: San Francisco State University
4:30 PM, 1600 Holloway Ave
FILM SCREENING - LOVE BOAT: TAIWAN
Join us to watch Love Boat Taiwan, a feature-length documentary from CAAMFest37 Spotlight Honoree and Professor Valerie Soe, which looks into of one of the longest running summer programs in the world. The film revisits the program’s participants and explores the history and popularity of this well-known program, sponsored by the Taiwanese government, which takes place every summer in Taiwan. After the film screening we will host a Q&A with Director Valerie Soe and a reception with Taiwanese snacks.

WEDNESDAY, OCTOBER 16, 2019

10/16
Berkeley, CA United States: Pacific Film Archive
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7:00 PM, 2155 Center St
FOUND IMAGES: FILMS BY SCOTT STARK
Found Images: Films by Scott Stark Wednesday, October 16, 7 PM Tonight’s program focuses on one strain in local filmmaker Scott Stark’s extensive oeuvre—the use of found images, whether industrial footage, movie trailers, amateur films, pornography, books, photographs, or, in the case of I’ll Walk with God, emergency information cards. Conceptually intriguing, often humorous, always surprising, these films are also often uncharacterizable. Stark constructs his most recent work, the performance piece Love and the Epiphanists, out of Hollywood movie trailers and other media, which he twists into a “playful and chaotic” futuristic narrative that is interrupted by timely history lessons. As Stark declares, it is a “pulsing, kinetic and intensely dramatic visual joyride.” This program is copresented by Canyon Cinema Foundation as part of Alternative Visions (September 4–November 13).

10/16
Madrid, Spain: Círculo de Bellas Artes
8:00 PM, Alcalá 42
CINEINFINITO #85: MARGARET TAIT
Cineinfinito #85: Margaret Tait CINEINFINITO / CINE ESTUDIO Miércoles 16 de Octubre de 2019, 20:00h, Círculo de Bellas Artes Calle Alcalá, 42 28014 Madrid Programa: Blue Black Permanent (1992), 16mm, color, sonora, 86min Formato de proyección: DCP Agradecimiento especial a el British Film Institute https://www.cineinfinito.org/cineinfinito-85-margaret-tait/

THURSDAY, OCTOBER 17, 2019

10/17
New York, NY: Anthology Film Archives
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7:00 PM, 32 Second Avenue
RICHARD SERRA, PROGRAM 1
HAND CATCHING LEAD (1968, 3.5 min, 16mm, silent) HANDS SCRAPING (1968, 4.5 min, 16mm, silent. Made in collaboration with Philip Glass.) HANDS TIED (1968, 3.5 min, 16mm, silent) HAND LEAD FULCRUM (1968, 3 min, 16mm, silent) FRAME (1969, 22 min, 16mm) TINA TURNING (1969, 2 min, 16mm, silent) COLOR AID (1970/71, 36 min, 16mm) Total running time: ca. 80 min.Buy tickets for Richard Serra: The Complete Films and Videos

10/17
San Francisco, CA United States: Wattis Institute for Contemporary Arts
7:00 PM, 360 Kansas St (Between 16th & 17th Streets)
TRINH T. MINH-HA FILM SCREENING WITH INTRODUCTION BY VIệT L&ECIRC;
Co-presented with SFMOMA, we screen Trinh T. Minh-ha's 1991 film Shoot for the Contents. Reflecting on Mao’s famous saying, “Let a hundred flowers blossom and a hundred schools of thought contend,” the film—whose title refers in part to a Chinese guessing game—is a unique excursion into the maze of allegorical naming and storytelling in China. The film ponders questions of power and change, politics and culture, as refracted by the protests and massacre at Tiananmen Square in 1989. At the same time, the film offers an inquiry into the creative process of filmmaking, intricately layering Chinese popular and classical music, the sayings of Mao and Confucius, women’s voices and the words of artists, philosophers and other cultural workers. Exploring color, rhythm, and the changing relationship between ear and eye, this meditative documentary realizes on screen the shifts of interpretation in contemporary Chinese culture and politics. The screening is introduced by Việt Lê, who discusses the multidimensional question of color, music, memory and the politics of translation in Trinh's films. Following the screening is a Q&A with Trinh. Read more about Trinh T. Minh-ha here. Việt Lê is Associate Professor in Visual Studies at California College of the Arts. As an artist, academic and curator, their work has been published in American Quarterly, Amerasia Journal, Art Journal and featured at the Bangkok Art and Cultural Center, the Smithsonian, Shanghai Biennale, among other venues. Lê is a board member of the Queer Culture Center and the reviews coeditor of Asian Diasporic Visual Cultures and the Americas (ADVA). This is the second event in our year-long season dedicated to the questions posed by the work of Trinh T. Minh-ha and how they address art, culture, and society today. 7pm: Introduction by Việt Lê 7:15pm: Screening Q&A with Trinh T. Minh-ha to follow. Location: Phyllis Wattis Theater at SFMOMA Free

FRIDAY, OCTOBER 18, 2019

10/18
New York, NY United States: Filmmakers Coop
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7:00 PM, 475 Park Ave S, Fl 6th
LOOSE ENDS, LOOSE CORNER, AND MORE
Films by Chick Strand, Marie Menken, Storm DeHirsch, and Anita Thacher RSVP: filmmakerscoop at gmail.com <mailto:filmmakerscoop at gmail.com>  to reserve your seat The shelves of the Film-makers’ Coop are filled with rarely-screened treasures; the dazzling, inventive 16mm films in this selection are all by women artists. The 79-minute program is part of the ongoing series Songs of the Unsung, programmed by David Schwartz, former Chief Curator of Museum of the Moving Image. The program includes three short works by California filmmaker Chick Strand: Loose Ends (1979, 25 mins.), a collage film about how we process the information that bombards us from the media and personal experience; Fake Fruit Factory (1986, 22 mins.), an intimate documentary about Mexican women who make papier mache fruit and vegetables, focusing on the color, music, and movement, but mainly on gossip and comradery; and Kristallnacht (1979, 8 mins.), a fragile vision of unearthly beauty, dedicated to Anne Frank, with the play of starlight off water and the sounds of animals evoking a lost Eden. Eden is vibrantly alive in Marie Menken’s Glimpse of the Garden (1957, 5 mins.), a lush montage with extreme closeups of boldly colored flowers. Storm DeHirsch’s kinetic and trippy Peyote Queen (1965, 9 mins.) is a mindblowing film made with abstract imagery drawn directly on the film. “Among my favorites...beauty and excitement.” (Jonas Mekas, The Village Voice.) And Anita Thacher’s brilliant and playful Loose Corner (1986, 10 mins.) is a Magritte-like marvel, as a man, woman, child, and dog encounter boxes and objects that take on impossible proportions and features. Like all the films in this program, it uses its artistry to shift and startles our perceptions.

10/18
New York, NY: Anthology Film Archives
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6:30 PM, 32 Second Avenue
RICHARD SERRA, PROGRAM 2
PAUL REVERE (1971, 9 min, 16mm. Made in collaboration with Joan Jonas.) ANXIOUS AUTOMATION (1971, 4.5 min, video. Made in collaboration with Joan Jonas and Gerry Schum. Soundtrack by Philip Glass.) VEIL (1971, 6 min, 16mm, silent. Made in collaboration with Joan Jonas. Preserved by Anthology Film Archives.) CHINA GIRL (1972, 11 min, video. Made in collaboration with Gerry Schum. Courtesy of Stiftung Situation Kunst, Bochum, Germany.) SURPRISE ATTACK (1973, 2 min, video. Camera: Babette Mangolte.) TELEVISION DELIVERS PEOPLE (1973, 6.5 min, video. Made in collaboration with Carlotta Schoolman.) BOOMERANG (1974, 11 min, video) Total running time: ca. 55 min.Buy tickets for Richard Serra: The Complete Films and Videos

10/18
New York, NY: Anthology Film Archives
 <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=15a0502612&e=f36020cad0> http://www.anthologyfilmarchives.org/
8:00 PM, 32 Second Avenue
RICHARD SERRA, PROGRAM 3
MATCH-MATCH THEIR COURAGE (1974, 34 min, 16mm. Made in collaboration with Nancy Holt & Charlemagne Palestine.) PRISONER'S DILEMMA (1974, 40 min, video. Made in collaboration with Robert Bell. With Spalding Gray, Richard Schechner, Kathryn Bigelow, Leo Castelli, and Bruce Boice.) Total running time: ca. 80 min.Buy tickets for Richard Serra: The Complete Films and Videos

SATURDAY, OCTOBER 19, 2019

10/19
New York, NY: Anthology Film Archives
 <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=275fb69bee&e=f36020cad0> http://www.anthologyfilmarchives.org/
6:00 PM, 32 Second Avenue
RICHARD SERRA, PROGRAM 4 (WITH PANEL DISCUSSION)
RAILROAD TURNBRIDGE (1976, 19 min, 16mm, silent) STEELMILL/STAHLWERK (1979, 29 min, 16mm. Made in collaboration with Clara Weyergraf.) Total running time: ca. 50 min + panel discussion.On Sat, Oct 19, the screening will be followed by a panel discussion between curators SÃ¸ren Grammel, Chrissie Iles, and Jeffrey Weiss, moderated by art historian Benjamin Buchloh.Buy tickets for Richard Serra: The Complete Films and Videos

10/19
San Francisco: Other Cinema
 <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=f7d3fb5aa7&e=f36020cad0> http://www.othercinema.com/
8:30, 992 Valencia Street
INCREDIBLY STRANGE MUSIC 2
OCT.19: JAMES SCHNEIDER’s PUNK THE CAPITAL Long-time OC ally James June Schneider (1,2,3 Whiteout) remains an invaluable underground source, and bi-national non-fiction master, on the Washington watch. With essential help from small-gauge guru Paul Bishow, James has finally pulled together their long-awaited doc about the seminal years when punk broke in DC, with powerful new sounds and radical attitudes, thanks to bands like Minor Threat, Bad Brains, and the Void (Chris Stover in person). Tonight James is here in the flesh with the West Coast’s first look at how the DC scene gained momentum, and an affirmative, generous, and creative community emerged. An artists’ co-op called Madam’s Organ was a space of possibility, like punk itself, where generations and musical genres mixed, eventually becoming the launch-pad for Washington’s harDCore movement. Newly discovered footage and in-depth personal accounts afford fresh perspectives on how the impact of that music and those ideas eventually grew to resonate world-wide. *$8

SUNDAY, OCTOBER 20, 2019

10/20
Los Angeles, CA United States: Echo Park Film Center
 <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=478f7506a2&e=f36020cad0> http://www.echoparkfilmcenter.org/
7:30 PM, 1200 N Alvarado St
A SONG DISSOLVED IN THE DAWN: FILMS BY PHIL SOLOMON, PROGRAM 1
Phil Solomon (1954-2019) was an immensely passionate, inspiring, and kind-hearted figure to so many who encountered him and his work. He inhabited this world as a generous friend, dedicated teacher and mentor, and as an artist of profound talent and feeling, whose films have inspired countless over the decades. Los Angeles Filmforum has hosted Phil Solomon on a few occasions over the years, and he was always one of our favorite guests, presenting programs of great personality and memorable, lingering emotionality. So although it is with great sadness that we now present a memorial program for our departed friend, we know that Phil would be so pleased at the thought of his beautiful work continuing to inspire new viewers. This program focuses on what might be considered the more intimate, inward-looking side of Phil’s work. These are films that come from very personal places, which nevertheless bloom into more universal and empathic experiences shared with us through Phil’s nuanced command of montage, mood, and manipulation of the photographic image. Including his widely beloved breakthrough films The Exquisite Hour and Remains to be Seen, this program will also feature some lesser-seen rarities such as The Lateness of the Hour, What’s Out Tonight is Lost, and the delicate and little-known As if We. It will be an evening of genuine cinematic poetry as we celebrate the life and work of a very special artist and friend. Screening: Nocturne 1980/89, 16mm, bw, silent 24fps, 8m Finding similarities in the pulses and shapes between my own experiments in night photography, lightning storms, and night bombing in World War II, I constructed the war at home. As if We 1980, 16mm, color, silent 18fps, 11m Restored print courtesy of the Academy Film Archive Musing on the past and the present, on roads not taken and the road I was already on. For Jeanine Hayden and her son Jeff, wherever you are. What’s Out Tonight is Lost 1983, 16mm, color, silent 18fps, 8.5m Restored print courtesy of the Academy Film Archive “Adopting its title from a poem by Edna St. Vincent Millay, WHAT’S OUT TONIGHT IS LOST is an elegaic 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) Remains to be Seen 1989/94, 16mm, color, sound, 17.5m Using chemical and optical treatments to coat the film with a limpid membrane of swimming crystals, coagulating into silver recall, then dissolving somewhere between the Operating Theatre, The Waterfall, and the Great Plains. The Exquisite Hour 1989/94, 16mm, color, sound, 14m Partly a lullaby for the dying, partly a lament at the dusk of cinema. Based on the song by Reynaldo Hahn and Paul Verlaine. The Snowman 1995, 16mm, color, sound, 8m A meditation on memory, burial and decay - a belated kaddish for my father. The Lateness of the Hour 1999, 16mm, color, silent 24fps, 10m Restored print courtesy of the Academy Film Archive A little Nachtmusik… breathing in the cool night airs, breathing out a children’s song; then whispering a prayer for a night of easeful sleep. My blue attempt at a sequel to Rose Hobart. total = 77m

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