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

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

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   Malcolm Le Grice: Before and After Cinema <#anchor1>  [February 11, Los
Angeles, CA United States]
  

NEW CALLS FOR ENTRIES:
 Hyderabad (Indian; Deadline: February 22, 2019)
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 ARTerra (Tondela, Portugal; Deadline: December 31, 2019)
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 FRACTO Experimental Film Encounter (Berlin; Deadline: February 15, 2019)
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DEADLINES APPROACHING:
 Another Experiment by Women Film Festival (NY NY; Deadline: February 15,
2019)
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 Winnipeg Underground FIlm Festival (Winnipeg, MB, Canada; Deadline: March
01, 2019)
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 UNCG International SUSTAINABILITY SHORTS FILM COMPETITIO (Greensboro, USA;
Deadline: February 15, 2019)
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 Hyderabad (Indian; Deadline: February 22, 2019)
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 FRACTO Experimental Film Encounter (Berlin; Deadline: February 15, 2019)
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Events are sorted alphabetically BY CITY within each DATE.

This week's programs (summary):
*  Malcolm Le Grice: Before and After Cinema <#anchor1> [February 11, Los
Angeles, CA United States]
*  Ismo Ismo Ismo <#anchor2> [February 13, Madrid]
*  Celebrating Jonas Mekas <#anchor3> [February 13, San Francisco, CA United
States] 
*  Malcolm Le Grice <#anchor4> [February 14, Los Angeles, California]
*  Ismo Ismo Ismo <#anchor5> [February 15, Madrid]
*  Visions | 15.02.19 | Nazli Din«El | Feelings Are Facts <#anchor6>
[February 15, MontrÈal]
*  Jonas Mekas'S Walden: Diaries, Notes, and Sketches <#anchor7> [February
16, Brooklyn, NY United States]
*  Thomas Edison Black Maria Film Festival'S Hoboken Museum Gala <#anchor8>
[February 16, Hoboken, NJ United States]
*  Malcolm Le Grice, Here and Now <#anchor9> [February 17, Los Angeles,
California] 
*  Tomorrow Tripoli Au Studio Galande, Avec Florent Marcie <#anchor10>
[February 18, Paris, France]
MONDAY, FEBRUARY 11, 2019

2/11
Los Angeles, CA United States: Redcat
http://www.redcat.org/
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&id=9bec263dd4&e=f36020cad0>
8:30 PM, 631 W 2nd St
MALCOLM LE GRICE: BEFORE AND AFTER CINEMA
 MALCOLM LE GRICE: Before and After Cinema Program Co-Presented with Los
Angeles Filmforum and Guest-Curated by Mark Toscano. REDCAT, in
collaboration with Los Angeles Filmforum, welcomes UK legend Malcolm Le
Grice for his first California screening in decades. One of the most
compellingly original and radical artist-theorists in the history of the
post-war moving image, Le Grice has been innovating at the center and the
fringes of time-based media for over fifty years, embracing and exploring
the signification of images, multiple projection, and the materiality of
media. Le Grice’s body of work functions as an illuminating and rigorous
investigation of the fundamental form, essence, and politics of cinema, and
this program will span and celebrate the breadth and richness of his
singular career. Malcolm Le Grice’s visit made possible by a generous grant
from the Mike Kelley Foundation for the Arts. In person: Malcolm Le Grice
“Malcolm Le Grice is by far the most important film artist working today in
England... His work is serious, inspired, inspiring, original, very
beautiful – and deals with the basic capabilities of cinema...” – Jonas
Mekas, The Village Voice "An entire alternative, parallel history of cinema
can be constructed through the work of artist and experimental filmmaker
Malcolm Le Grice.” – BFI "Malcolm Le Grice has produced a vast body of work
since 1965 incorporating single-screen films, expanded cinematic
performances and three-screen digital video works. Pieces such as Castle 1
(1966), Berlin Horse (1970), Horror Film (1971) and Threshold (1972) are
canonical, but in the present era of 'digital aesthetics' there are other
avenues of his work and biography that have become increasingly significant.
– LUX Curated by Steve Anker, Bérénice Reynaud and Mark Toscano as part of
the Jack H. Skirball Series. Funded in part by the Ostrovsky Family Fund

WEDNESDAY, FEBRUARY 13, 2019

2/13
Madrid:  Museo Nacional de Arte Reina Sofia
http://www.lafilmforum.org/
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&id=f19a061214&e=f36020cad0>
7:00 P.M., Calle de Santa Isabel, 52, 28012 Madrid, Spain
ISMO ISMO ISMO
 Programa 4 Meta: el cine critica al cine DuraciÛn: 72 min Luis Ospina y
Carlos Mayolo. Agarrando Pueblo 1977, 29 min, 16mm transferido a digital,
Colombia. Daniel Santiago. Duelo 1979, 3 min, Super 8/16mm, color, sonido,
Brazil. Ximena Cuevas. Cinepolis, La Capital Del Cine 2003, 22 min, b&n,
color, sonido, MÈxico Teo Hern·ndez. Souvenir de Cannes 1982, 12 min, Super
8 transferido a digital, MÈxico Enrique Colina. ChapucerÌas 1987, 11 min,
color, sonido, 35mm transferido a digital, Cuba Mostrar menos En un modo
reflexivo, los realizadores de este programa contemplan su medio elegido, su
historia, caracterÌsticas definitorias y movimientos icÛnicos. Agarrando
pueblo (1977) de Luis Ospina y Carlos Mayolo es uno de los puntos de partida
de esa tradiciÛn del meta-cine. En el filme hay una reflexiÛn sobre la
representaciÛn de la pobreza en AmÈrica Latina, producida por cineastas
locales privilegiados y financiada por fondos europeos en busca del elusivo
ìrealî en el cine del Tercer Mundo. Ospina y Mayolo acompaÒaron el estreno
parisino de 1978 de Agarrando pueblo con un manifiesto titulado ìøQuÈ es la
pornomiseria?,î que representa un nuevo nivel de autoconciencia y crÌtica
con respecto a la percepciÛn extranjera del cine latinoamericano. En
Souvenirs de Cannes, Teo Hern·ndez presenta una mirada extranjera y oblicua
sobre el espect·culo en torno al Festival de Cannes. Ximena Cuevas en
CinÈpolis, la capital del cine (2003) presenta una inquietante perspectiva
interna sobre el mundo cotidiano de la creaciÛn y consumo de im·genes.
Daniel Santiago en Duelo (1979) y Claudio Tozzi en Fotograma (1973) logran
giros conceptuales que se convirtieron en cl·sicos de la escena Super 8
brasileÒa en los aÒos setenta.

2/13
San Francisco, CA United States: San Francisco Cinematheque
http://www.sfcinematheque.org
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7:30 PM, ATA, 992 Valencia St
CELEBRATING JONAS MEKAS
 Jonas Mekas (1922–2018), tireless advocate for the underdog, was without a
doubt the world’s foremost advocate for personal/underground/avant-garde
cinema. As a poet, publisher, filmmaker, curator, critic, archivist, rabble
rouser and hopeless romantic, his cultural influence cannot be
underestimated. Born in Semeniskiai, Lithuania, Mekas emigrated to the U.S.
in 1949 (after imprisonment in a Germen labor camp and life in a displaced
persons camp), fell in love with New York City and immediately took to
filmmaking, a practice he maintained to the end of his life, eventually
pioneering the personal diary into an epic film genre. By 1955 he was
co-publisher (with his brother Adolfas) of Film Culture, a journal
articulating the aesthetics of underground cinema which was published
quarterly until 1995, while his Village Voice column “Movie Journal”—which
ran 1958–1978—presented weekly updates on the New York underground scene of
the day while cultivating community and bracingly attacking mainstream
cinema. A visionary infrastructuralist, Mekas’ establishment of the
Film-Makers’ Cooperative (in 1962) and Anthology Film Archives (in 1970)
ensured that underground and personal film would be preserved and cherished
for generations. In this screening San Francisco Cinematheque and Canyon
Cinema celebrate the life of Jonas Mekas with a special screening of his
1997 film BIRTH OF A NATION (1997): 160 portraits/appearances, sketches and
glimpses of avant-garde, independent filmmakers and film activists, filmed
1955—1996, a celebration of Mekas’ artistic community and adopted homeland.

THURSDAY, FEBRUARY 14, 2019

2/14
Los Angeles, California: Filmforum
http://www.lafilmforum.org/
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7:00 pm, USC School of Cinematic Arts, The Albert and Dana Broccoli Theatre,
SCA 112, George Lucas Building Lobby, 900 W. 34th Street
MALCOLM LE GRICE
 Malcolm Le Grice in person! One of the most compellingly original and
radical artist-theorists in the history of the post-war moving image, Le
Grice has been innovating at the center and the fringes of time-based media
for over fifty years, embracing and exploring the signification of images,
multiple projection, and the materiality of media. Le Griceís body of work
functions as an illuminating and rigorous investigation of the fundamental
form, essence, and politics of cinema, and this program will span and
celebrate the breadth and richness of his singular career. Malcolm Le
Griceís visit made possible by a generous grant from the Mike Kelley
Foundation for the Arts. Designated by the British Film Institute as
ìprobably the most influential modernist filmmaker in British cinema,î
Malcolm Le Grice achieved global significance in the 1970s as the doyen of
the group of filmmakers centered on the London Filmmakersí Coop. Often known
as ìStructural- Materialists,î Le Grice and his cohorts radically extended
the material-specific preoccupations of the US ìStructuralî filmmakers in an
aesthetic project of unprecedented formal and theoretical ambition,
precision. and clarity. Now a Professor Emeritus of the University of the
Arts in London, Malcolm Le Grice is making one of his very rare visits to
Los Angeles. USC is honored to welcome him. Tickets: Free but RSVP required,
RSVP at https://cinema.usc.edu/events/reservation.cfm?id=43133 This
screening is free of charge and open to the public Please bring a valid USC
ID or print out of your reservation confirmation, which will automatically
be sent to your e-mail account upon successfully making an RSVP through this
website. Doors will open at 6:30 P.M.

FRIDAY, FEBRUARY 15, 2019

2/15
Madrid:  Museo Nacional de Arte Reina Sofia
https://www.museoreinasofia.es/actividades/ismo-ismo-ismo
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7:00 P.M., Calle de Santa Isabel, 52, 28012 Madrid, Spain
ISMO ISMO ISMO
 Programa 5 Materia Oscura: resistencia colectiva, individual y parÛdica
DuraciÛn: 74 min Grupo Los Vagos. Zona intertidal 1980, 14 min, color, VOSE,
16mm transferido a digital, El Salvador Paz Encina. Tristezas 2016, 7 min,
color, sonido, digital, Paraguay Bruno Varela. Materia Oscura 2016, 8 min,
digital, b&n y color, sonido, MÈxico Beatriz Santiago MuÒoz. Cine posmilitar
2014, 11 min, color, sonido, digital, Puerto Rico Zigmunt Cedinsky. La
Guerra sin fin (Iím very happy) 2006, 7 min 30 seg, 35mm transferido a
digital, color, sonido, Venezuela Camilo Restrepo. ImpresiÛn de una guerra
2015. 26 min, 16mm transferido a digital, color, sonido, Colombia/Francia
Mostrar menos El cine experimental en AmÈrica Latina no ha escapado del
impacto de distintos levantamientos sociales y diversas formas de violencia.
En muchos de estos contextos, la resistencia, e incluso el comentario
social, puede ser un proyecto precario y muchas veces peligroso. Este
programa explora algunas de estas expresiones. En los ochenta, durante la
guerra en El Salvador, el colectivo Los Vagos realizÛ varios documentales y
una pelÌcula de ficciÛn: Zona intertidal, un tratamiento poÈtico del
asesinato polÌtico de un profesor de izquierda perpetrado por los
escuadrones de la muerte. En 2014 en el pueblo de Iguala, al sur de MÈxico,
43 estudiantes de la Escuela Normal Rural de Ayotzinapa fueron detenidos por
los militares y entregados a una organizaciÛn criminal local. Un grupo de
especialistas forenses solo ha podido identificar los restos de dos de los
estudiantes desparecidos, de entre las numerosas fosas clandestinas que se
descubrieron durante la investigaciÛn. Bruno Varela hace un comentario sobre
este proceso en Materia oscura (2016). Zigmunt Cedinsky crea una pieza
satÌrica en La guerra sin fin (Iím very Happy) (2006), mientras que en
ImpresiÛn de una guerra (2015) el cineasta colombiano Camilo Restrepo visita
f·bricas textiles, tatuadores, imprentas y conciertos de punk rock para
ofrecer una reflexiÛn ensayÌstica del legado de dÈcadas de guerra en su
tierra natal. 

2/15
MontrÈal: VISIONS
http://www.visionsmtl.com/nazli-dincel.html
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20h, la lumiËre collective [7080, rue Alexandra, #506]
VISIONS | 15.02.19 | NAZLI DIN«EL | FEELINGS ARE FACTS
 In collaboration with La lumiËre collective, VISIONS presents : Nazlı
DinÁel | Feelings are Facts [Filmmaker present | Projection 16mm]

SATURDAY, FEBRUARY 16, 2019

2/16
Brooklyn, NY United States: Light Industry
http://www.lightindustry.org/
<https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3
&id=985f7ba678&e=f36020cad0>
7:00 PM, 155 Freeman St
JONAS MEKAS'S WALDEN: DIARIES, NOTES, AND SKETCHES
 Walden: Diaries, Notes, and Sketches, Jonas Mekas, 1969, 16mm, 180 mins
"Since 1950 I have been keeping a film diary. I have been walking around
with my Bolex and reacting to the immediate reality: situations, friends,
New York, seasons of the year. On some days I shot ten frames, on others ten
seconds, still on others ten minutes. Or I shot nothing. When one writes
diaries, it's a retrospective process: you sit down, you look back at your
day, and you write it all down. To keep a film (camera) diary, is to react
(with your camera) immediately, now, this instant: either you get it now, or
you don't get it at all. To go back and shoot it later, it would mean
restaging, be it events or feelings. To get it now, as it happens, demands
the total mastery of one's tools (in this case, Bolex): it has to register
the reality to which I react and also it has to register my state of feeling
(and all the memories) as I react. Which also means, that I had to do all
the structuring (editing) right there, during the shooting, in the camera.
All footage that you'll see in the Diaries is exactly as it came out from
the camera: there was no way of achieving it in the editing room without
destroying its form and content. Walden contains materials from the years
1965-69, strung together in chronological order. For the soundtrack I used
some of the sounds that I collected during the same period: voices, subways,
much street noise, bits of Chopin (I am a romantic), and other significant
and insignificant sounds." - JM Reel 1 "New York in spring; Tony Conrad;
Bibbie in Central Park; A Wedding; Breakfast in Marseilles; Cassis; Sitney
leaves New Haven; Fire on 87th Street; Brakhage crosses Central Park; Carl
Th. Dreyer; A trip to Millbrook; Flowers for Marie Menken; Gregory
Markopoulos shoots Galaxie; Notes on the Circus." Reel 2 "Kreeping Kreplachs
meet (Ginsberg, Ed Sanders, Tuli, Warhol, Barbara Rubin, etc.) / Hare
Krishna walk; autumn scenes; Sitney's Wedding; New Year's Evening in Times
Square; Goofing on 42nd Street; Uptown Party; Velvet Underground; Deep of
Winter; Naomi visits Ken & Flo Jacobs; Amy stops for Coffee; Coop Directors
meet; Dreams of Cocteau; In Central Park; What Leslie saw thru the Coop
window; Olmsted Hike." Reel 3 "Barbara Rubin shoots a movie; Christmas Eve;
A visit to Brakhages (Colorado); A Visit to Hans Richter; In Central Park;
Peter's Wedding." Reel 4 "Autumn scenes; Mel's children; A trip to New
Jersey; Wendy's Wedding; In Central Park; Skating rink; Winter scenes;
Sunday Morning Snowstorm on 8th Avenue; Martha; Anthology Cinema meets; Yoko
Ono and John Lennon; Central Park." FREE Please note: seating is limited.
First-come, first-served. Box office opens at 6:30pm.

2/16
Hoboken, NJ United States: Black Maria Film Festival
7:00 PM, 1301 Hudson St
THOMAS EDISON BLACK MARIA FILM FESTIVAL'S HOBOKEN MUSEUM GALA
 On Saturday night, February 16th, at 7:00PM, the Black Maria Film Festival
and the Hoboken Historical Museum will screen a program of Stellar
Award-winning films from the Black Maria’s 2019 festival tour with
filmmakers joining the Q & A.  Featured works include "The Velvet
Underground Played at My High School" with filmmakers Tony Jannelli and
Marina Donahue present; and "What Aristotle Said" a portrait of the painter,
art director, illustrator and teacher, Bill Curran of Hoboken, who will also
be present for Q & A.

SUNDAY, FEBRUARY 17, 2019

2/17
Los Angeles, California: Filmforum
http://www.lafilmforum.org/
<https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3
&id=f8ba91f351&e=f36020cad0>
7:30 pm, Spielberg Theatre at the Egyptian, 6712 Hollywood Blvd.
MALCOLM LE GRICE, HERE AND NOW
 Malcolm Le Grice in person! Los Angeles Filmforum, in collaboration with
REDCAT and USC School of Cinematic Arts, welcomes UK legend Malcolm Le Grice
for his first California screenings in decades. One of the most compellingly
original and radical artist-theorists in the history of the post-war moving
image, Le Grice has been innovating at the center and the fringes of
time-based media for over fifty years, embracing and exploring the
signification of images, multiple projection, and the materiality of media.
Le Griceís body of work functions as an illuminating and rigorous
investigation of the fundamental form, essence, and politics of cinema, and
this program will span and celebrate the breadth and richness of his
singular career. Malcolm Le Griceís visit made possible by a generous grant
from the Mike Kelley Foundation for the Arts. Tickets: $10 general; $6 for
seniors; free for students (with ID) and Filmforum members. Available in
advance from Brown Paper Tickets at https://legrice.bpt.me or at the door.

MONDAY, FEBRUARY 18, 2019

2/18
Paris, France: Studio Galande
7pm, Studio Galande, 42 Rue Galande
TOMORROW TRIPOLI AU STUDIO GALANDE, AVEC FLORENT MARCIE
 Aux premiËres heures de la rÈvolution libyenne, pendant que le monde entier
a les yeux rivÈs sur Benghazi, un petit groupe díinsurgÈs dÈfie la dictature
‡ líautre bout du pays, dans les montagnes du Nefoussa. CoupÈs du reste du
monde, assiÈgÈs par líarmÈe de Kadhafi, les montagnards vont, contre toute
attente, infliger une sÈrie de revers aux troupes du rÈgime et parvenir aux
portes de Tripoli. De la guÈrilla du djebel jusquíau rivage de la
MÈditerranÈe, "Tomorrow Tripoli" relate le combat de ces hommes simples et
gÈnÈreux, emportÈs par le tourbillon rÈvolutionnaire.


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