[Frameworks] Fwd: This Week in Avant Garde Cinema: January 8 - 16, 2022

This Week thisweek.in.avantgardecinema at gmail.com
Sat Jan 8 06:40:33 UTC 2022 

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*This Week [January 8 - 16, 2022] in Avant Garde Cinema*




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*DEADLINES APPROACHING*
Enter upcoming calls for entry here
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___________________________________________________________________________________
*sorted by submission deadline*
01.07.2022 Struts Gallery Open Studio Residency
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=6f26e53def&e=857b71a9cb>
01.09.2022 Cosmic Rays
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=c0b918cedc&e=857b71a9cb>
01.15.2022 Crossroads
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=33954a837c&e=857b71a9cb>
(Late Deadline)
01.30.2022 Braziers International Film Festival
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=5ad90b87f0&e=857b71a9cb>
(Early Deadline)
01.31.2022 dresdner schmalfilmtage
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=a91fb100ce&e=857b71a9cb>
02.01.2022 Bethesda Film Festival
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=45e92f05eb&e=857b71a9cb>
02.01.2022 Chicago Underground Film Festival
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=90425289ed&e=857b71a9cb>
(Early Deadline)
02.01.2022 International Short Film Festival Oberhausen
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=9ad33afdcf&e=857b71a9cb>
03.01.2022 Fracto Experimental Film Encounter
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=d0698ebfd2&e=857b71a9cb>
03.11.2022 Coney Island Film Festival
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=6bc8ecc812&e=857b71a9cb>
(Regular Deadline)
03.20.2022 Videoart.Ist International Video Art Screening Program
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=cb323ef56f&e=857b71a9cb>
04.30.2022 Antimatter [media art]
<http://filmfreeway.com/AntimatterMediaArt>


*EVENTS*
Enter your event announcements here
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=0a263e7cba&e=857b71a9cb>

___________________________________________________________________________________
*complicated sorting but a true attempt, enjoy!*

This week's programs (summary):

   - Leslie Thornton: Begin Again, Again
   <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=6baa0dd584&e=857b71a9cb>
[October
   22-February 13, Cambridge, MA]
   - Jonas Mekas and the New York Avant-Garde
   <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=59292b8b11&e=857b71a9cb>
[November
   20-February 26, Vilnius, Lithuania]
   - Memories For Forgetfulness Elsewhere: iii. Images of Resistance From
   Elsewhere
   <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=fe691599f9&e=857b71a9cb>
[January
   5-18, online]
   - 'Expedition Content' Expanded: Robert Gardner + Imageless Films
   <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=26a5963e61&e=857b71a9cb>
[January
   7-16, New York]
   - deskt0p_cinema
   <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=74ebaa3681&e=857b71a9cb>
[January
   8, Baltimore]
   - Gearwax: Old vinyl, Repurposed
   <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=6eae5f0f4f&e=857b71a9cb>
[January
   16, online]
   - The Long Conversation
   <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=fad1898bcf&e=857b71a9cb>
   [ongoing, online]
   - 6x6 Project: Artists' Moving Image Works — Edition Nº 26
   <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=c81361b5e0&e=857b71a9cb>
   [ongoing, online]
   - Ecstatic Static Screenings
   <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=58b1d388d2&e=857b71a9cb>
[ongoing,
   online]


*STARTING BEFORE JANUARY 8, 2022*

*October 22 - February 13*
Venue type: *Live, physical event*
MIT List Visual Arts Center
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=cde993db7b&e=857b71a9cb>
times vary,
MIT List Visual Arts Center 20 Ames Street, Bldg E15, Atrium level,
Cambridge, MA
*LESLIE THORNTON: BEGIN AGAIN, AGAIN*
Thornton’s List Center exhibition marks the artist’s first US solo museum
exhibition and most comprehensive presentation to date. The exhibition will
premiere a new video work, *Hemlock *(2021), as well as a new installation
of Thornton’s influential cycle *Peggy and Fred in Hell* (1983–2015).

In a career spanning nearly five decades, Leslie Thornton has produced an
influential body of work in film and video. Her early encounters with
experimental, structuralist, and cinéma vérité traditions as a student in
the 1970s fueled her iconoclastic take on the moving image and gave shape
to her practice of weaving together her own footage and voice with archival
film and audio. In part through her forceful and dynamic use of sound,
Thornton exposes the limits of language and vision in her works, while
acknowledging the ways that language and vision nevertheless remain central
to scientific discourse and narrative in general. Engaging these themes
within a focused survey, Thornton’s List Center exhibition will mark the
artist’s first US solo museum exhibition and most comprehensive
presentation to date.

The relationship between technology, power, and violence is an enduring
concern for Thornton. In early works, such as *X-TRACTS* (1975), *All Right
You Guys* (1976) and *Jennifer, Where Are You?* (1981), Thornton contends
with the basic conditions of representation in film and how the camera
itself wields power. In *Let Me Count the Ways* (2004–ongoing) and *Cut
>From Liquid to Snake* (2018), Thornton takes up the United States’ history
of nuclear warfare—a subject fraught with personal resonance for her, as
both her father and grandfather were involved in the Manhattan Project, the
top-secret effort that produced the atomic bombs that the U.S. dropped on
Japan in the final days of World War II. A touchstone of experimental
film, *Peggy
and Fred in Hell *is a multi-chapter work that surfaces the Cold War-era
anxieties that shaped Thornton’s formative years and plumbs the
psychological impact of technology in postwar America. Thornton’s recent
film *Ground* (2020) embeds the voice of a physicist discussing particle
decay within elegant yet foreboding technological landscapes. The
exhibition’s title, *Begin Again, Again*—borrowed from a line in *Peggy and
Fred in Hell*—alludes to human-made cycles of destruction and renewal as
well the hallmarks of Thornton’s practice: an accumulation and repetition
of images and language and a radically open-ended approach to observing,
processing, and understanding.

Thornton’s exhibition is organized by Natalie Bell, Curator, MIT List
Visual Arts Center. In conjunction with the exhibition, the List Center is
co-publishing the artist’s first monograph with Sternberg Press.

*Exhibition Brochure with list of works exhibited*:
https://listart.mit.edu/sites/default/files/MIT_List-Thornton_Brochure_2021.pdf
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=0c6b0fb7c9&e=857b71a9cb>

*___________________________________________________________________*

*November 20 - February 26*
Venue type: *Live, physical event*
National Gallery of Art, Vilnius
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=9125655c81&e=857b71a9cb>
times vary,
National Gallery of Art, Konstitucijos pr.22, Vilnius, Lithuania
*Jonas Mekas and the New York Avant-Garde*
The exhibition presents Jonas Mekas' (1922-2019) work in the expanded
sense. It covers his filmic practice as well as his intellectual,
organizational, and often bluntly administrative approach to the labour of
building and running multiple institutions and fostering new habits of
looking at film as an art form. The exhibition focuses on the first three
decades of Mekas' activities, starting with his coming to New York as a
displaced person in 1949, through to him becoming a central figure in
advocating, producing, distributing, promoting, and preserving the filmic
avant-garde.

The exhibition features Mekas' filmic corpus, including his celebrated
diary films that epitomize his lifelong practice of recording glimpses of
everyday life: while they show personal experiences, marked by exile,
longing, family, and friendships, they are also steeped in the social and
political events of the day. Though known primarily as a poet and a
filmmaker in Lithuania, Mekas wore many more hats that granted him the
title of the 'godfather' of American avant-garde cinema. Before premiering
his first film, Mekas together with his brother Adolfas Mekas began
publishing *Film Culture* magazine in 1955 and soon joined the *Village
Voice* as a film critic. These became the main outlets through which Mekas
channeled his ideas about film as an art form of personal expression and
called for a new kind of cinema free from censorship and existing
production and distribution systems.

An alternative arts movement sprang up across New York in the postwar
years, as artist-run spaces, groups, and cooperatives took the production
and distribution of art into their own hands in response to mainstream
institutional structures and official cultural politics. Mekas had been a
crucial part of it. By the mid-1960s, Mekas' loft at 414 Park Avenue South
became a headquarters for the fermenting avant-garde film culture; a
sleepless hub frequented by filmmakers and artists alike. This decade
marked Mekas' embrace of the avant-garde spirit, as he took part in the
formation of the New American Cinema Group, and the establishment of the
Film-Makers' Cooperative, the Filmmakers' Cinematheque, and Anthology Film
Archives. These time-consuming activities occasionally seeped into his
filmic diaries and even, as Mekas suggested, to some degree determined his
films' fragmentary structure. They are presented in the exhibition through
a selection of critical writings, photographs, magazines, institutional
ephemera, and other archival material arranged in porous conceptual
clusters on the table traversing the exhibition space. Images, sounds, and
materials Mekas collected and organized throughout his lifetime - in his
films and in his personal archive - serve today as an entry point into the
history of avant-garde film culture in New York.

The exhibition pays tribute to this era of the burgeoning American
avant-garde film scene and contextualizes Mekas' output by presenting a
selection of works by filmmakers who shared his aesthetic sensibility, whom
he championed, and with whom he worked, including Gideon Bachmann, Stan
Brakhage, Shirley Clarke, Maya Deren, Storm de Hirsch, Ken Jacobs, Marie
Menken, Carolee Schneemann, Paul Sharits, Jack Smith, and Andy Warhol. A
selection of films is screened behind the curved wall in the specially
designed projection rooms. These rooms are loosely inspired by the
Invisible Cinema, an experimental movie theater designed by the Austrian
artist and filmmaker Peter Kubelka and originally installed at Anthology
Film Archives in 1970.

*Curators:* Inesa Brašiškė and Lukas Brašiškis

an article:
https://arterritory.com/en/visual_arts/events/25859-jonas_mekas_and_the_new_york_avant-garde/
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=c844132547&e=857b71a9cb>

*___________________________________________________________________*

*January 5 - 18*
Venue type: *Virtual, online event*
e-flux Video & Film
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=86f9b41a1b&e=857b71a9cb>
streaming 24/7,
Event URL:
https://www.e-flux.com/video/programs/439671/iii-images-of-resistance-from-elsewhere/
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=4dfa15fe2e&e=857b71a9cb>
*Memories for Forgetfulness Elsewhere: III. Images of Resistance from
Elsewhere*
The films in this program pose the question of the image of political
struggles elsewhere from the point of view of the engaged observer. What
are the stakes in the circulation of images of wars elsewhere? What must be
considered when the filmmaker travels to the site of conflict to document
it? What is an image of solidarity that can break through the hegemony,
technocracy, and capitalism that mediate the consumption of images of
conflict elsewhere?

Harun Farocki, *War at a Distance*, 2003, 58 minutes
The Otolith Group, *Nervus Rerum*, 2009, 32 minutes
Jocelyne Saab, *One Dollar a Day*, 2016, 6 minutes
b.h. Yael, *Even in the Desert*, 2006, 33 minutes
Mohanad Yaqubi, *Off Frame AKA Revolution Until Victory*, 2016, 62 minutes

Images of Resistance from Elsewhere is the third of five chapters in
Memories for Forgetfulness Elsewhere, an online film program curated by
Irmgard Emmelhainz on e-flux Video & Film. The program streams in five
thematic group screenings each two weeks long, and will be accompanied by
two live discussions.

*___________________________________________________________________*

*January 7 - 16*
Venue type: *Live, physical event*
Anthology Film Archives
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=afc82441a7&e=857b71a9cb>
times vary, see description,
32 Second Avenue, New York
*'EXPEDITION CONTENT' EXPANDED: ROBERT GARDNER + IMAGELESS FILMS*
On the occasion of Anthology's week-long theatrical premiere run of Ernst
Karel & Veronika Kusumaryati's EXPEDITION CONTENT
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=905071f656&e=857b71a9cb>,
which concerns filmmaker Robert Gardner's 1961 Harvard Peabody Expedition
to Netherlands New Guinea (current day West Papua), we present a short
series expanding on the new film's source materials and formal strategy.
This weekend-long program features screenings of Gardner's celebrated
feature, DEAD BIRDS (1964), as well as his BALIEM VALLEY 1961 series of
short films, which he left unfinished upon his death but which have now
been completed (thanks to the efforts of Adele Pressman, Olivia Wyatt,
Ernst Karel, and Documentary Educational Resources).

We will also present a handful of programs placing EXPEDITION CONTENT
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=e1c2e73b8d&e=857b71a9cb>
in
the context of the tradition of entirely or mostly imageless films: in
particular, films that have similarly placed an imageless visual track
alongside field recordings or other “found” or spoken audio tracks (such as
Derek Jarman’s BLUE, Jeff Perkins’s MOVIES FOR THE BLIND, and so on). These
screenings will represent a sneak preview of a larger series coming later
in the winter which will more deeply explore the various kinds of
“imageless films.”

*EXPEDITION CONTENT will be screening from Fri-Thurs, Jan 7-13 at 6:45 &
9:00 nightly (with co-director Veronika Kusumaryati in person on Sunday,
January 9 and Tuesday, January 11). For more details, click here.
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=da2fb50b4b&e=857b71a9cb>*

*IMAGELESS FILMS:*
EXPEDITION CONTENT sets Michael Rockefeller’s Harvard Peabody Expedition
sound recordings against a visual track consisting predominantly of black
leader, interrupted only by title cards, captions, and occasional brief
flashes of imagery. Though this formal technique is bold and unusual, it’s
far from unprecedented. Infrequently but consistently throughout the
history of the cinema, artists have challenged the conventional (and
seemingly self-evident) conception of the medium as a predominantly visual
one by creating works designed for the cinema auditorium that are –
perversely – mostly or entirely imageless. 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.

Later this year, Anthology will present a series surveying the various
kinds of “imageless films”. In the meantime, in connection with EXPEDITION
CONTENT, we offer a kind of sneak preview, highlighting a brief selection
of works that – like Ernst Karel & Veronika Kusumaryati’s new film – anchor
their “imagelessness” in a foundation of field recordings, spoken language,
or found sound.

*BALIEM VALLEY 1961: PROGRAM 1: DAILY LIFE
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=03d568037f&e=857b71a9cb>*
January 8 at 4:30 PM
January 15 at 7:00 PM

*BALIEM VALLEY 1961: PROGRAM 2: RITUALS
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=15eb31a574&e=857b71a9cb>*
January 9 at 4:30 PM
January 16 at 6:30 PM


*Robert Gardner DEAD BIRDS
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=f3faffc9b2&e=857b71a9cb>*
January 14 at 7:00 PM
January 16 at 8:30 PM


*Derek Jarman BLUE
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=99a862dabc&e=857b71a9cb>*
January 14 at 9:15 PM
January 15 at 9:00 PM


*Jeff Perkins MOVIES FOR THE BLIND, VOLUME 2
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=6fc0cad11d&e=857b71a9cb>*
January 15 at 4:30 PM


*Gilad Baram & Adam Kaplan THE DISAPPEARED
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=2a3908afd6&e=857b71a9cb>*
January 16 at 4:30 PM

*SATURDAY, JANUARY 8, 2022* Venue type: *Live, physical event*
Sight Unseen
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=a181ab78d1&e=857b71a9cb>
6:30pm ET,
SNF Parkway Theatre, 5 West North Ave, Baltimore
*deskt0p_cinema*
produced and mixed by Greg de Cuir Jr
This program takes the form of a projector performance, better yet
interface performance, in which the platform is both artistic tool and
canvas: the desktop display. The desktop as material, as editing suite, as
camera, as projection mechanism -- as perhaps the most consequential
surface that touches countless people every day across the globe. Desktop
cinema is a relatively new form of moving image study, but with a complex
lineage in essay films, video art, television, net art, and short works of
cinema of varying types. Practiced by visual artists to challenge
conventional forms of expression, used by academics to present and perform
new modes of research, by film critics to engage with their objects of
contemplation, and by legions of nonprofessionals who distribute all types
of user-generated content online. Desktop cinema deletes divisions of high
and low, commercial and non, film and video. It is the lingua franca of the
21st century. This projection performance will take a short journey through
the various aesthetic and technological contours of the art of the desktop.

Desktop cinema is audiovisual pieces most commonly labeled as “desktop
documentaries” or “videographic studies”, and other works alluding
explicitly to or replicating the digital interface which has been employed
to technically create the work itself. But these definitions are already
limited for what can be broadly conceptualised as desktop practices.
Experimenting with what theorists have called “operational images”, the
kind of audiovisual works we are dealing with in the context of this
program combine technical and aesthetic elements in a digital collage that
interrogates the desktop environment as well as its most commonly used apps
and software. The pioneering performance artist / film artist Tomislav
Gotovac once famously said that “everything is a film”. One might make that
claim more pragmatic when considering not only what desktop cinema is, but
also what it will be.

Greg de Cuir Jr is an independent curator, writer and translator who lives
and works in Belgrade, Serbia.

*SUNDAY, JANUARY 16, 2022*

Venue type: *Virtual, online event*
*GearWax*
https://www.gearwax.org/
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=d66914bd61&e=857b71a9cb>
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=335c236747&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=cec15a05b9&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-six editions with six different artists.
There are now a total of one hundred and fifty-six artists’ profiles and
almost four hundred artists’ film and moving image works available to view
on the website.

Edition Nº 26 includes works by Jenna Bliss, Kerry Jones, Ruaidhri
Ryan, Daniel Theiler, Tetsuya Maruyama.

*___________________________________________________________________*

Venue type: *Virtual, online event*
*Ecstatic Static*
https://www.ecstaticstatic.com/screenings/
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=ed89a3859d&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. 8: At Land*
Maya Watanabe, *Sceneries II*. 2014, 15 min
Lois Patiño, *In Landscape´s Movement*. 2012, 9. min, 30 sec
Minjung Kim,* (100ft)*. 2017, 3 min
Salomé Lamas, *Encounters With Landscape (3x)*. 2012, 29 min
Malena Szlam, *Altiplano*. 2018, 15 min, 30 sec
Carla Andrade, *The Landscape Is Empty and Emptiness Is Landscape*. 2017, 15
min
Jumana Emil Abboud, *Hide your Water from the Sun (Chapter II)*. 2016, 9 min
Jeremy Leatinu'u, *Mai i te kei o te waka ki te ihu o te waka*. 2018, 8 min


------------------------------



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