[Frameworks] This Week in Avant Garde Cinema: April 16 - 24, 2022
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*This Week [April 16 - 24, 2022] in Avant Garde Cinema*
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*DEADLINES APPROACHING*
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___________________________________________________________________________________
*sorted by submission deadline*
Ongoing Films for Ukrainian Border Crossings
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(No Dialogue + PG)
04.18.2022 Oak Cliff Film Fest
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(Extended Deadline)
04.24.2022 Mimesis Documentary Festival
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(Late Deadline)
04.25.2022 Edinburgh International Film Festival
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(Late Deadline)
04.30.2022 Antimatter [media art]
<http://filmfreeway.com/AntimatterMediaArt> (Early Deadline)
04.30.2022 Analogica
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(Regular Deadline)
04.30.2022 Istanbul International Experimental Film Festival
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(Late Deadline)
04.30.2022 Ecologies & Cosmologies Residency
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04.30.2022 non-syntax Experimental Image Festival
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(Early Deadline)
05.15.2022 VSW Project Space Residency
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05.15.2022 Sharjah Film Platform
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05.16.2022 Edinburgh Short Film Festival
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(Regular Deadline)
05.20.2022 Coney Island Film Festival
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(Late Deadline)
05.20.2022 New Orleans Film Festival
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(Late Deadline)
05.31.2022 25 FPS Festival
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05.31.2022 Ji.hlava International Documentary Film Festival
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(2022 Films)
05.31.2022 Interbay Cinema Society Lightpress Grants
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06.01.2022 Engauge Experimental Film Festival
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06.03.2022 New York Film Festival
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06.10.2022 Fisura, International Festival of Experimental Film and Video
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(Early Deadline)
06.14.2022 VIDEONALE.19 – Festival for Video and Time-Based Arts
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(Early Deadline)
06.15.2022 Revolutions per Minute Festival
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(Extended Deadline)
06.15.2022 Imagine Science Film Festival
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(Regular Deadline)
07.31.2022 San Diego Underground Film Festival
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(Regular Deadline)
*EVENTS*
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*complicated sorting but a true attempt, enjoy!*
This week's programs (summary):
- Jonas Mekas 100!
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[November
1, 2021-January 25, *2023*, worldwide]
- seen only, heard only through someone else’s description
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[March
5-April 30, San Francisco, CA]
- Jordan Belson LANDSCAPES
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[March
11-April 24, New York, NY]
- Early Blossoms/Perilous Thirds
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[March
26-May 7, Baltimore, MD]
- Jodie Mack: Matter Matters
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[March
29-June 19, Rochester, NY]
- Imageless Films, Part 1
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=d04fb16cab&e=857b71a9cb>
[April
1-20, New York, NY]
- aCinema: KIRISAME
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[April 1-30, online]
- I Am Here: Home Movies and Everyday Masterpieces
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[April
13-August 14, Toronto, Canada]
- Jordan Belson: An Evening of Film, Audio, and Visual Rarities
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[April
16, New York, NY]
- Neil Rolnick @ No Name Cinema
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[April
16, Santa Fe, NM]
- Optronica2: Stereoscopy
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[April
16, San Francisco, CA]
- Allen Downs: Chasing Light From Minnesota To Mexico
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[April
17+18, New York, NY]
- A Synesthete's Atlas
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[April
21, Lisboa, Portugal]
- Film Talks Live: William Raban and John Smith
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[April
21, London, UK]
- I Am Here: Rick Prelinger
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[April
21, Toronto, Canada]
- Friedl Kubelka Vom Gröller
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[April
21-26, New York]
- The Works of Ken Jacobs
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[April
22, Santa Fe, NM]
- “…Whatever Norm Bruns Decides To Bring”: A Norm Bruns Retrospective
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[April
24, New York]
- Gearwax: Old vinyl, Repurposed
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[April
24, online]
- The Long Conversation
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[ongoing, online]
- 6x6 Project: Artists' Moving Image Works — Edition Nº 27
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[ongoing,
online]
- Ecstatic Static Screenings
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[ongoing,
online]
*STARTING BEFORE APRIL 16, 2022*
*November 1 - January 25, 2023*
Venue type: *Both physical and online*
Jonas Mekas 100!
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=d1c0255d3e&e=857b71a9cb>
times and locations vary, see below
Event URL: https://jonasmekas100.com/
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*Jonas Mekas 100!*
In 2022, the world and Lithuania celebrate the life and work of Jonas
Mekas, one of the country’s most prominent cultural figures of the 20th and
21st centuries and a global cultural phenomenon in his own right,
considered by many to be the “godfather of avant-garde cinema”.
Throughout his life, Mekas always emphasized and cherished his Lithuanian
roots. After fleeing the foreign occupation of his native land, he arrived
in New York City, in his own words “at exactly the right moment”, joining
thousands of others escaping the devastation wrought by destructive
ideologies and tyrannical regimes in Europe. One might say that Mekas left
one village, his native Semeniškiai in northern Lithuania, and immersed
himself in the life of another – the Village thriving in and around lower
Manhattan, and in its landmark publication, the Village Voice, helping to
shape American and global culture so profoundly in the latter half of the
20th century.
This centennial celebration, Jonas Mekas 100!, seeks to expand global
recognition of his work and encourage a deeper exploration of Mekas’
prolific contributions to cinema, film criticism, cultural organization,
and, in particular, his body of poems and prose, now published in
Lithuanian, French, German, English, Japanese, Hebrew, and many other
languages.
The centennial program features over 50 events in an expanding list of
countries, including: Belgium, Denmark, Finland, France, Germany, Greece,
Israel, Italy, Lithuania, Norway, Poland, South Korea, Sweden, Taiwan,
Ukraine, the United Kingdom, and the United States. The vast scope of
Mekas’ contribution to global cultural is examined through film screenings
and retrospectives, exhibitions, readings, workshops, new publications and
translations of Mekas’ writings, and concerts celebrating the spirit of his
work, among other events.
The centennial program is a joint international collaboration between
leading art and cinema organisations, curators, publishers, the global
network of Lithuanian cultural attachés, the Estate of Jonas Mekas, and the
Lithuanian Culture Institute.
*___________________________________________________________________*
*March 5 - April 30*
Venue type: *Live, physical event*
McEvoy Foundation for the Arts
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Wed - Sat, 11am-6pm PT,
McEvoy Foundation for the Arts, 1150 25th Street, Building B, San Francisco
*seen only, heard only through someone else’s description*
Short films offer new temporal spaces for considering how images and
narratives construct meaning, artifice, and memory.
*seen only, heard only through someone else’s description* engages
filmmakers and artists whose interdisciplinary practices draw from
performance, film, photography, research, and writing. The program’s title
stems from *Audience Distant Relative* (1977) by Theresa Hak Kyung Cha
(1951–1982)—a poem, performance, and mail art piece that uses language to
unravel dynamics of distance, visibility, hearing, and communication.
The program is organized in two sessions of experimental short films by
women and nonbinary artists from the 1970s through the 2010s. *Sometimes We
Stand Alone* explores personal identity and history through experimental
processes and found footage. *Drawing Energy* is concerned with communities
of women and their collective power to document and deeply engage with
artistic, cultural, or familial lineages. The collected works interweave
varied perspectives to probe formal tensions between the moving image and
still photography. *Sometimes We Stand Alone* screens daily from January 14
through March 4, 2022. *Drawing Energy* debuts March 5 and runs through
April 30, 2022.
Guest curated by Gina Basso in conjunction with Image Gardeners, an
exhibition of modern and contemporary photography from the McEvoy Family
Collection.
---- March 5 – April 30, 2022 /// Drawing Energy ----
Ilene Segalove, *Mom in Famous Women*, 1978
sair goetz, *me and my army*, 2017
Deborah Stratman, *Vever (For Barbara)*, 2019
Onyeka Igwe, *Her Name in My Mouth*, 2017
Madeleine Hunt-Ehrlich, *Spit on the Broom*, 2019
Lily Jue Sheng and Rita Ferrando, *Ikebana*, 2020
*___________________________________________________________________*
*March 11 - April 24*
Venue type: *Live, physical event*
Matthew Marks Gallery
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Tue-Sat 10am - 6pm ET,
526 West 22nd Street, New York, NY
*Jordan Belson LANDSCAPES*
Jordan Belson: Landscapes features a series of collages made between 1970
and 1973. Exhibited here for the first time, Belson’s collages were created
from torn paper painted in various colors. They were inspired in part by
the 1000-year-old Japanese art of chigiri-e, which uses torn paper to
create images of landscapes and flowers.
Jordan Belson (1926–2011) is a seminal figure in twentieth-century
avant-garde cinema. He studied painting as a young man, receiving a degree
in studio art from the University of California, Berkeley, in 1946. He
initially achieved some success as a painter, exhibiting his work at SFMOMA
and the Guggenheim Museum in the late 1940s. After 1950, however, he
focused primarily on filmmaking, and although he continued to make
paintings and drawings for the remainder of his life, he never publicly
exhibited this part of his work again during his lifetime.
All works are Untitled, c. 1970–73, paper collage and mixed media mounted
on board.
*___________________________________________________________________*
*March 26 - May 7*
Venue type: *Live, physical event*
Current Space
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various times, see below,
Current Space, 421 N Howard St, Baltimore, MD
*Early Blossoms/Perilous Thirds*
Current Space is proud to present "Early Blossoms/Perilous Thirds." an
exhibition of works by Stephanie Barber, Patrick David, and Josh Dorman;
curated by Andrew Shenker, Michael Benevento, and Julianne Hamilton. Please
join us for the opening reception!
Opening Reception: March 26th, 6-9pm
Exhibition Duration: March 26th – May 7th
Gallery Hours: Fridays & Saturdays, 1-5pm
"The work from these three artists presents questions of the narrative
image, an experience that opens an associative window––what does a line you
once recognized become as it breaks, what does a body?
The conversation arrives in threes, triangulates the snake in the garden
and holds it to the glass.
A symbol contorts to reflect itself in the eye that catches it. To take the
icon out of its rank, the head from its neck, to weigh how small or smooth
the evidence of a hand in the world it creates.
Broken time, things in place, place in things."
- Caroline Preziosi
"\[Shared most of all, perhaps, is a meditative and uncanny mood at the
edge of the sayable, close to oblivion; a dreamlike warmth (and horror).\]"
- Andrew Shenker
*___________________________________________________________________*
*March 29 - June 19*
Venue type: *Live, physical event*
George Eastman Museum
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Tue-Sat,10-5pm + Sun 11-5pm ET,
Multipurpose Hall, George Eastman Museum, 900 East Avenue, Rochester, NY
*JODIE MACK: MATTER MATTERS*
The George Eastman Museum is pleased to present selected experimental
animated films by Jodie Mack (UK, b. 1983), an artist who has developed a
remarkable filmmaking style that provides new perspectives on a variety of
familiar materials. Mack’s subjects often include captivating decorative
objects and vintage, ornate textiles. Her films invite viewers to
contemplate the objects’ significance and the nature of disposability.
Mack often works with a Bolex camera and 16mm film, and her films explode
with dizzying displays of colors, shapes, and patterns. While her mastery
of traditional stop-motion animation technique is highly precise and
sometimes abstract, Mack’s films have a joyful, handmade quality that
radiates humor and human warmth.
The following film descriptions are provided by the artist.
A program of four animated short films. Originally shot in 16mm the films
will be screened digitally in this presentation on a loop (21 min. total)
during museum hours.
*Posthaste Perennial Pattern* (US 2010, 4 min.). Rapid-fire florals and
morning birdsong bridge interior and exterior, design and nature.
*Blanket Statement #1: Home is Where the Heart is* (US 2012, 3 min.).
Discordant dysfunction down to the nitty-gritty.
*Blanket Statement #2: All or Nothing* (US 2013, 4 min.). A battle of
extreme extremes.
*Something Between Us* (US 2015, 10 min.). A choreographed motion study for
twinkling trinkets: costume jewelry and natural wonders join forces to
perform plastic pirouettes, dancing a luminous lament until the tide comes
in.
*___________________________________________________________________*
*April 1 - 20*
Venue type: *Live, physical event*
Anthology Film Archives
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various times,
32 Second Avenue, New York
*IMAGELESS FILMS, PART 1*
If there’s one central element that would seem to be intrinsic and
indispensable to any reasonable definition of the cinema it would be the
presence of imagery, whether photographed, animated, or generated through
more experimental methods such as hand-painting, scratching, collaging, and
so on. Nevertheless, throughout the history of the medium, artists have
challenged even this seemingly core tenet of the art form by producing
works that subvert or entirely dispense with the image, by expanding the
definition of the kinds of experience that can be shared within the space
of the cinema, or by provocatively defining as “cinema” performances that
might seem a thing apart.
These subversions of the idea of a medium of “moving images” have taken
many forms: works that emphasize spoken dialogue or sound collages; films
whose visual tracks consist primarily of written text; projector
performances that showcase or manipulate light and darkness; flicker films;
pure color studies; films that punctuate long stretches of darkness with
near-subliminal bursts of imagery; and so on and so forth.
With this ongoing series, Anthology embarks on an extended, in-depth, and
multi-chapter exploration of the various ways that filmmakers and artists
have experimented with the possibilities of an “imageless” cinema (or have
played with the idea of “emptiness” or visual subtraction in a more general
sense). The series will include short and feature-length films by
filmmakers as various as Stan Brakhage, Guy Debord, Bradley Eros, Hollis
Frampton, Takahiko Iimura, Derek Jarman, Margaret Honda, Louise Lawler,
Maurice Lemaître, George Maciunas, João César Monteiro, Yoko Ono, Nam June
Paik, Jeff Perkins, Luther Price, Walter Ruttmann, Paul Sharits, Michael
Snow, and many others.
The series begins with several programs in April, but will continue
throughout the summer. In addition, Microscope Gallery will participate by
presenting a number of expanded cinema works or pieces that are specially
designed for a gallery space; for more info visit:
https://microscopegallery.com/
Programmed by Jed Rapfogel & Bradley Eros, in collaboration with John
Klacsmann. Special thanks to Elle Burchill & Andrea Monti (Microscope
Gallery); Keith Sanborn; Jesse Brossoit (CFMDC); Théo Deliyannis (Collectif
jeune cinema); Emmanuel Lefrant & Eleni Gioti (Light Cone); Seth Mitter
(Canyon Cinema); Emily Russo & Nancy Gerstman (Zeitgeist); MM Serra
(Film-Makers’ Coop); Katie Trainor (MoMA); Gerald Weber (sixpackfilm); and
Lise Zipci & Raphaëlle Quinet (Les Films du Losange).
*Upcoming Screenings:*
IMAGELESS FILMS: STRUCTURING ABSENCE – THE FRAME
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April 1 at 7:30 PM
Guy Debord
HOWLINGS IN FAVOR OF SADE / HURLEMENTS EN FAVEUR DE SADE
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April 2 at 6:15 PM
April 3 at 8:15 PM
Derek Jarman
BLUE
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April 2 at 8:30 PM
April 3 at 4:00 PM
April 4 at 9:00 PM
PASSAGE THROUGH: A RITUAL + WEEKEND + FIRE OF WATERS
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April 3 at 6:15 PM
April 4 at 7:00 PM
IMAGELESS FILMS: EMPTINESS AS IMAGE
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April 14 at 6:30 PM
IMAGELESS FILMS: WORD MOVIES
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April 14 at 8:30 PM
April 19 at 7:30 PM
IMAGELESS FILMS: COLOR STUDIES
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April 16 at 5:30 PM
IMAGELESS FILMS: IMAGINARY FILMS
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April 17 at 5:00 PM
April 20 at 7:30 PM
*___________________________________________________________________*
*April 1 - 30*
Venue type: *Virtual, online event*
aCinema
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streaming 24/7,
Event URL: https://www.acinema.space/current-program
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*aCinema: KIRISAME*
*Chiyo* • Chiemi Shimada • 12 min 39 sec • video
*bakufuu, hinoumi: bomb wind, ocean fire* • Sancia Miala Shiba Nash • 22
min 18 sec • video
aCinema is a monthly exhibition dedicated to the screening of works by
moving image artists from around the globe for audiences during the 9 month
period of September to May. aCinema also organizes a yearly festival
programmed from an open call for works titled, aDifferent festival. Through
the exhibition of artists -- historical and contemporary, emerging and
established -- in curated programs, aCinema creates a platform for artists
of all career statuses to share a common exhibition space.
Through the curatorial themes and independent thoughts expressed within the
works, aCinema hopes to inspire and expand audiences' views of the moving
image, fostering an arts educational space, where audiences are free to
engage in discussion with curators and artists (when present) following the
screenings.
*___________________________________________________________________*
*April 13 - August 14*
Venue type: *Live, physical event*
Art Gallery of Toronto
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during gallery hours,
317 Dundas Street West, Toronto, Ontario
*I AM HERE: HOME MOVIES AND EVERYDAY MASTERPIECES*
>From the earliest cave paintings to TikTok, humans have found creative ways
to document their day-to-day lives. *I AM HERE: Home Movies and Everyday
Masterpieces*, a major new AGO exhibition opening in April of 2022, is a
revealing look at our universal need to capture, share and cherish the
everyday. Featuring lost-and-found home movies from the Prelinger Archives,
alongside celebrated artworks by the likes of David Hockney, Patti Smith,
Claes Oldenburg, Annie Pootoogook, Arthur Jafa and Mary Pratt, as well as
snapshots, photo albums, letters, television, grocery lists, and social
media, *I AM HERE* brings together a broad range of personal records from
different time periods and locales to explore the shared human impulse to
document life as it happens.
Co-curated by Jim Shedden, the AGO’s Manager of Publishing, and Alexa
Greist, AGO Associate Curator and R. Fraser Elliott Chair, Prints &
Drawings, in collaboration with archivist, scholar and writer Rick
Prelinger, the exhibition is a celebration of daily life and human
creativity, replete with music and creative prompts. Among the artworks on
display will be a digital collage of the more than 3000 submissions
received from around the world as part of the AGO’s 2021 Portraits of
Resilience exhibition. The exhibition will be accompanied by a catalogue
co-published by the AGO and DelMonico Books/D.A.P
*SATURDAY, APRIL 16, 2022* Venue type: *Live, physical event*
Anthology Film Archives
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7:30pm ET,
32 Second Avenue, New York
*JORDAN BELSON: AN EVENING OF FILM, AUDIO, AND VISUAL RARITIES*
Jordan Belson (1926-2011) was a seminal figure in 20th-century avant-garde
cinema. He studied painting as a young man, receiving a degree in studio
art from the University of California, Berkeley, in 1946. He initially
achieved some success as a painter, exhibiting his work at SFMoMA (then the
San Francisco Museum of Art) and the Guggenheim Museum (at the time, the
Museum of Non-Objective Art) in the late 1940s. After 1950, however, he
focused primarily on filmmaking, and although he continued to make
paintings and drawings for the remainder of his life, he never exhibited
this part of his work again publicly during his lifetime. Belson’s first
one-person New York City exhibition would occur only posthumously, at
Matthew Marks Gallery in 2019. This spring, Matthew Marks presents a second
exhibition devoted to Belson’s work, an occasion we will celebrate here at
Anthology with an evening of audio and visual rarities.
On view from March 10-April 23 at Matthew Marks Gallery (526 West 22nd
Street), the new exhibition showcases a group of artworks made by Belson
between 1970-73, displayed for the first time. These are untitled landscape
collages, created from torn paper painted in various colors, inspired in
part by the 1,000-year-old Japanese art of chirigi-e. Many of these works
were inspired by the gentle mountainous landscapes the artist viewed daily
from his window overlooking the San Francisco Bay. Others, evoking distant
planetary landscapes, appeared as backgrounds in later films such as
*INFINITY* (1979) and *APOLLO* (1982), both of which will be shown at this
screening, along with the even more rarely-screened *PISCES/BLUES* (1980).
In addition, we will be projecting 16mm prints of *COSMOS* (1970),
*MEDITATION* (1971), and *CHAKRA *(1972). Curator Raymond Foye will also
present examples of Belson’s visual art, unseen images from Belson’s
extensive archives, and a selection of recently restored audio tape
compositions by Belson.
The program will include:
*COSMOS* (1969, 5 min, 16mm)
*MEDITATION* (1971, 7 min, 16mm)
*CHAKRA *(1972, 6 min, 16mm)
*INFINITY *(1979, 8 min, 16mm-to-digital)
*BLUES* (1980, 9 min, 16mm-to-digital)
*APOLLO* (1982, 10 min, 16mm-to-digital)
*___________________________________________________________________*
Venue type: *Live, physical event*
NO NAME CINEMA
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2pm,
No Name Cinema, 2013 Pinon Street, Santa Fe
*NEIL ROLNICK @ No Name Cinema*
midday solo musical performance for laptop and keyboard!
Rolnick has been a pioneer in the use of computers in musical performance
since the late 1970s, his work has been performed world-wide and released
on over 20 albums. It's an extreme delight and honor to host Rolnick at NNC
for this live solo performance!
Free admission & Free herbal tea (donations appreciated)
*___________________________________________________________________*
Venue type: *Live, physical event*
Other Cinema
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8pm PT,
ATA Gallery, 992 Valencia (@ 21st), San Francisco
*OPTRONICA2: STEREOSCOPY*
McLAUGHLIN + BLOOMBERG + SNIDER +
The SF Earthquake and Firestorm of 1906 was one of the first natural
disasters to create a true media frenzy. On the (almost) anniversary of
the '06 Quake, we are *spectacularly* pleased to have back the literally
eye-popping 3-D projections of the Bay Area's own Pad McLaughlin, this time
with fellow stereo superstar Bob Bloomberg!! These two masters offer a full
40 amazing minutes of the '06 and '89 temblors, true history lessons as
well as delirious visual thrills. Our second half releases a riot
of 3-D formats, from a half-dozen artistes: Bernal Heights
media-queen Greta Snider shares her *Unfinished Business from Ancestors*,
unsettled ghost visions made from phytograms and found footage, while Hy
Hirsch provides a post-mortem peek at *Come Closer.* PLUS OC faves John
Warren, Rich Pell, Pete Smith, and even the Three Stooges. Come early for
the free wine and anaglyph visit to a Viewmaster factory!
*SUNDAY, APRIL 17, 2022* *April 17 + 18*
Venue type: *Live, physical event*
Anthology Film Archives
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7:30pm ET,
32 Second Avenue, New York
*ALLEN DOWNS: CHASING LIGHT FROM MINNESOTA TO MEXICO*
Far from the burgeoning underground film scenes in NYC and San Francisco,
Allen Downs started making films in the 1950s in Minnesota. Inspired by the
documentary photographers before him, and graced with a painterly eye,
Downs made films in the spirit of a poet chasing light. In perhaps the
greatest of his early films, THE COLOR OF THE DAY (1954-56), Downs
documented the urban landscape with patient walks through St. Paul and the
West Bank of Minneapolis, capturing reflections and moments of the summer’s
day.
Allen Downs earned an MA degree in painting and printmaking from the State
University of Iowa in 1940. He became an accomplished photographer and
filmmaker and was a professor of photography and film at the University of
Minnesota from 1950 through 1977. In 1952 he started the UMN film program,
which continues to this day. Much of what is known about Allen Downs today
stems from his legacy as a teacher. No less an experimental film luminary
than Bruce Baillie once claimed, “Allen Downs taught me everything I know
about filmmaking.”
In the early 1970s Downs helped create an experiential learning
program through the University of Minnesota that sent students to Tlaxiaco,
Mexico, to learn about the traditions of pottery, weaving, and
blacksmithing from the local Mixtec residents. Students would also learn
about painting, photography, and filmmaking from Downs and guest faculty
from Minnesota. As a result, many of Downs’s later films are about life in
Mexico, where he moved after retiring from teaching in 1977. He passed away
in Oaxaca City on November 6, 1983, at the age of 68. By the early 2000s,
unaware of their value, the University had slated his reels for the
dumpster. Thankfully, Matthew Bakkom and Adam Sekuler of Search and Rescue
saved his films and eventually donated them to the Ruben/Bentson Moving
Image Collection at the Walker Art Center in Minneapolis, MN.
This program consists of 16mm prints from the Walker’s RBMIC Collection;
both screenings will be presented by Michael Walsh, Assistant
Curator/Archivist of the Walker’s Moving Image department.
*THE COLOR OF THE DAY* (1954-56, 17 min, 16mm)
*LOVE SHOTS* (1971, 8 min, 16mm)
*WINTER IN CHINA* (1970, 8 min, 16mm)
*A MEXICO* (1973, 7 min, 16mm)
MAKING MIXTEC POTTERY (1973, 38 min, 16mm)
Total running time: ca. 85 min.
The program is supported by the Ruben/Bentson Moving Image Collection at
the Walker Art Center. Major support to preserve, digitize, and present the
Ruben/Bentson Moving Image Collection is generously provided by the Bentson
Foundation.
*THURSDAY, APRIL 21, 2022*
Venue type: *Live, physical event*
Hangar: Centro de Investigação Artística
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20:00 WEST/UTC +1,
Rua Damasceno Monteiro, 12, Lisboa, Portugal
*A Synesthete's Atlas*
An evening of expanded cinema: projected digital cartography, manipulated
in real time, in performance with Helena Espvall, cello and voice.
Follow https://www.instagram.com/erictheise/
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for updates.
*___________________________________________________________________*
Venue type: *Live, physical event*
Contact
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8:15pm (GMT+1),
Close-Up Film Centre, 97 Sclater Street, London, UK
*Film Talks Live: William Raban and John Smith*
Film Talks Live is a series of events related to the book *Film Talks: 15
Conversations on Experimental Cinema*, published by Contact. This screening
is a programme of two films each by William Raban and John Smith, followed
by a discussion with the filmmakers. In Film Talks their conversation,
entitled ‘Made in London’, covers significant developments in their
careers, a mutual interest in structural film processes and the coincidence
of politics and the everyday in their immediate environment. Both Raban and
Smith live and work in East London, a location which often features in
their films.
*Hackney Marshes - November 4th 1977*, John Smith, 1977, 14'30 min
*About Now MMX*, William Raban, 2010, 26’22 min
*London Republic*, William Raban, 2016, 2'22 min
*Citadel*, John Smith, 2020, 16 min
*___________________________________________________________________*
Venue type: *Live, physical event*
Art Gallery of Toronto
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4pm ET,
on Zoom
Event URL:
https://us06web.zoom.us/webinar/register/WN_GrZpU0mKQNiwrHjUZAVcZA
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*I AM HERE: RICK PRELINGER*
Join archivist and filmmaker Rick Prelinger for a talk about his film
background, love for "ephemeral films", home movies, the Internet Archive
and his multimedia installation *PANORAMA*.
Rick Prelinger is an archivist, filmmaker, writer and educator. He began
collecting "ephemeral films" (films made for specific purposes at specific
times, such as advertising, educational and industrial films) in 1983. His
collection of 60,000 films was acquired by Library of Congress in 2002.
Beginning in 2000, he partnered with Internet Archive to make a subset of
the Prelinger Collection (now over 8,500 films) available online for free
viewing, downloading and reuse. His archival feature *Panorama Ephemera*
(2004) played in venues around the world, and his feature project *No More
Road Trips?* received a Creative Capital grant in 2012. His *26 Lost
Landscapes* participatory urban history projects have played to many
thousands of viewers in San Francisco, Detroit, Oakland, Los Angeles, New
York and elsewhere. With Megan Prelinger, he co-founded Prelinger Library
in 2004. He is currently Chair and Professor of Film & Digital Media at
University of California, Santa Cruz.
Presented in conjunction with the AGO exhibition *I Am Here: Home Movies
and Everyday Masterpieces*.
*___________________________________________________________________*
*April 21 - 26*
Venue type: *Live, physical event*
Anthology Film Archives
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times vary, see below,
32 Second Avenue, New York
*FRIEDL KUBELKA VOM GRÖLLER*
Astonishingly prolific both as a photographer (under the name Friedl
Kubelka) and a filmmaker (as Friedl vom Gröller, since 2009), Friedl
Kubelka vom Gröller has been active since the 1960s, but the majority of
her moving-image work has emerged in the years since 2000, with a nonstop
flood of short films whose refreshing but deceptive brevity (they rarely
exceed 3 minutes in length) belies their formal variety, thematic richness,
and vibrant spontaneity. Though her films encompass a wide range of ideas
and approaches, they very often gravitate around the practice of
portraiture. Indeed, even if she had never made a motion picture herself,
Kubelka vom Gröller’s photographic body of work would be vitally important
within the realm of experimental cinema thanks to her commitment to
producing extraordinary portraits of many of the most important avant-garde
filmmakers of her time, including her ex-husband Peter Kubelka, Jonas
Mekas, Bruce Baillie, Kenneth Anger, Hollis Frampton, Shigeko Kubota, Stan
Brakhage, Ken & Flo Jacobs, George Landow, and many others (as well as
numerous artists, friends, and strangers).
But of course, Kubelka vom Gröller has made many films of her own – in
fact, more than 120 and counting. Though these works have cropped up in
various short film festivals and showcases of new avant-garde cinema in the
U.S. over the years, they have rarely, if ever, been showcased all
together. Long overdue, this five-program survey of her work will take
place in conjunction with her month-long residency at the Deutsches Haus at
NYU, a component of the ExtraVALUE Award that was bestowed on her film
L’AVENIR? DE F.V.G? at the 2019 Viennale film festival.
The series – which will combine her films with slides of selected
photographs from throughout her career – has been guest-programmed by
Dietmar Schwärzler, Austrian artist film distributor, representative of the
distribution company Sixpack, and editor of the book Friedl Kubelka vom
Gröller – *One Is Not Enough. Photography & Film II* (Buchverlag Walther
König & Index 2018). Both Kubelka vom Gröller and Schwärzler will be here
in person to present each program.
This program is co-presented by Erste Bank, Deutsches Haus at NYU, the
Austrian Cultural Forum New York, and Sixpack. Special thanks to Juliane
Camfield & Sarah Girner (Deutsches Haus at NYU); Christian J. Ebner
(Austrian Cultural Forum New York); Ruth Goubran (Erste Bank); Eva
Sangiorgi & Paolo Calamita (Viennale); and Gerald Weber (Sixpack).
FRIEDL KUBELKA VOM GRÖLLER, PROGRAM 1
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April 21 at 7:30 PM
FRIEDL KUBELKA VOM GRÖLLER, PROGRAM 2
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April 22 at 7:30 PM
FRIEDL KUBELKA VOM GRÖLLER, PROGRAM 3
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April 23 at 7:30 PM
April 26 at 6:30 PM
FRIEDL KUBELKA VOM GRÖLLER, PROGRAM 4
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April 24 at 7:30 PM
April 26 at 8:30 PM
FRIEDL KUBELKA VOM GRÖLLER, PROGRAM 5
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April 25 at 7:30 PM
FILMMAKER IN PERSON!
*FRISDAY, APRIL 22, 2022* Venue type: *Live, physical event*
NO NAME CINEMA
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Time TBD, visit website,
No Name Cinema, 2013 Pinon Street, Santa Fe
*The works of Ken Jacobs*
A program of short films & videos by the seminal avant-garde pioneer Ken
Jacobs!
Presented in partnership with Millennium Film Workshop
*SUNDAY, APRIL 24, 2022* Venue type: *Live, physical event*
Anthology Film Archives
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4:30pm ET,
32 Second Avenue, New York
*“…WHATEVER NORM BRUNS DECIDES TO BRING”: A NORM BRUNS RETROSPECTIVE*
Norm Bruns was a singular figure in the 1980s Chicago experimental film
scene. His filmography includes elaborate bargain-basement set pieces and
effects worthy of Jack Smith or James Bidgood’s *PINK NARCISSUS*;
eccentrically rumpled eroticism akin to the brothers Kuchar, with a touch
of Warhol; and some visual witticisms that recall Stuart Sherman. He used
such palpably simple symbolic elements with such a pure-hearted twist of
legerdemain that the films seem out-of-time. Bruns worked at a blazing pace
with startling boldness: after purchasing a Super-8mm camera in 1980, he
created 11 films in 10 months. In the words of Barbara Scharres, writing in
the Chicago Reader in 1981, these early films are “strikingly in the
tradition of Jean Cocteau and of American avant-garde filmmakers like Maya
Daren and Curtis Harrington in their concern with personal ritual and the
replication of dreamlike states.”
Most of Bruns’s films are in swirling black-and-white, and show a natural
confidence in his skill and vision. As he developed as a filmmaker, his
sets, costumes, and complicated superimpositions and laboratory techniques
expanded his palette and allowed for a deepening of his focus on bodies,
city life, dreams, and rituals. Sadly, Norm passed away in 1990, and his
films went unseen for 30 years until librarian and filmmaker Josh B Mabe
tracked down the prints, which had been residing with family members in the
far western side of Illinois. The films were shown virtually as part of the
Onion City Experimental Film + Video Festival in 2020, but this
presentation at Anthology represents their first screening on Super-8mm
since Bruns’s death, and quite possibly their first ever appearance in New
York City.
Guest-programmed and presented by Josh B Mabe.
*THEATRE OF THE HORSE AND MOON* (ca. 1980-81, 13 min, Super-8mm, silent)
*SWIM *(ca. 1980-81, 7 min, Super-8mm)
*BED DESERT* (ca. 1980-81, 5 min, Super-8mm, silent)
*FIGURE WITH 14 TRAINS* (ca. 1980-81, 7 min, Super-8mm)
*BINGO* (ca. 1980-81, 6 min, Super-8mm, silent)
*BLUE AURA* (ca. 1980-81, 4 min, Super-8mm)
*DUCK* (ca. 1980-81, 3 min, Super-8mm, silent)
*THE POET AND THE POND* (ca. 1980-81, 6 min, Super-8mm)
*SCREEN TEST* (ca. 1980-81, 3 min, Super-8mm, silent)
*THE UNUSUAL BOOK *(ca. 1980-81, 10 min, Super-8mm)
Total running time: ca. 70 min.
*___________________________________________________________________*
Venue type: *Virtual, online event*
*GearWax*
https://www.gearwax.org/
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6pm-8pm PT,
*GEARWAX: OLD VINYL, REPURPOSED*
A bi-weekly online radio program featuring old LPs, 45rpm and 78rpm
records. Hosted by Kathleen and Scott from San Francisco. Every other
Sunday, 6-8pm PT!
*ONGOING*
Venue type: *Virtual, online event*
*Riverwest Radio*
https://www.riverwestradio.com/show/the-long-conversation/
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=3d3b9a42d6&e=857b71a9cb>
streaming 24/7
*THE LONG CONVERSATION*
THE LONG CONVERSATION with Xav Leplae and Stephanie Barber is on indefinite
hold. But... all episodes from the last year and a half are streaming!!!
*___________________________________________________________________*
Venue type: *Virtual, online event*
*6x6 Project*
https://6x6project.com/
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=af2ede9d2a&e=857b71a9cb>
streaming 24/7
*Artists' Moving Image Works — Edition Nº 26*
6x6 project is an online artists' community that serves as a platform for
disseminating artists' moving image works, and to create
an ever-growing network among peers.
To date, there have been twenty-seven editions with six different artists.
There are now a total of one hundred and sixty-two artists’ profiles and
more than four hundred artists’ film and moving image works available to
view on the website.
Edition Nº 27 includes works by Krzysztof Honowski, Tilly Shiner, André
Santos Martins, Deniz Şimşek, João Pedro Faro, Clara Helbig
*___________________________________________________________________*
Venue type: *Virtual, online event*
*Ecstatic Static*
https://www.ecstaticstatic.com/screenings/
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=16fda5ba13&e=857b71a9cb>
streaming 24/7
*ECSTATIC STATIC SCREENINGS*
We host regular online screenings of artists’ films and videos on the
landing page, as a way to share work both new and rare, that may otherwise
have a limited release. For more information on each artist and ways on how
to support their work, please see the links below.
*Screening No. 14: ———*
Mohamad Hafeda, *Sewing Borders*. 2018, 25 min
Irene Gutiérrez, *Diarios de Frontera (Border Diaries)*. 2013, 25 min
Ryan Ferko, *Hrvoji, Look at You From the Tower*. 2019, 17 min
Jumana Emil Abboud , *Smuggling Lemons*. 2006, 20 min
Randa Maroufi, *Bab Sebta (Ceuta's Gate)*. 2019, 19 min
Chen Chieh-jen, *Empire's Borders I*. 2009, 26 min, 50 sec
Annemarie Jacir, *Like Twenty Impossibles*. 2003, 17 min
Alia Syed, *On a Wing and a Prayer*. 2016, 19 min
------------------------------
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