[Frameworks] This Week in Avant Garde Cinema: July 2 - 10, 2022
This Week
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*This Week [July 2 - 10, 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)
07.08.2022 SPECTRAL BAL Summer School
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07.08.2022 Coney Island Film Festival
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(Extended Deadline)
07.08.2022 MESA Film Festival
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07.21.2022 Istanbul International Experimental Film Festival
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(Extended Deadline)
07.22.2022 Celluloid Now
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07.31.2022 San Diego Underground Film Festival
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(Regular Deadline)
07.31.2022 Ji.hlava International Documentary Film Festival
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(rough cuts + without premiere)
07.31.2022 Inhabiting Rivers, Unfinishing Circles
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08.01.2022 The Violence Project
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08.10.2022 Fisura, International Festival of Experimental Film and Video
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(Regular Deadline)
08.14.2022 Harkat 16mm Film Festival
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(Early Deadline)
08.15.2022 Imagine Science Film Festival
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(Late Deadline)
08.15.2022 Thomas Edison Film Festival
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(Early Deadline)
09.01.2022 Swedenborg Film Festival
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09.04.2022 PRISME #5
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09.20.2022 Punto de Vista Festival
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09.23.2022 accordi @ DISACCORDI - International Short Film Festival
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10.01.2022 MONO NO AWARE XVI
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03.01.2023 Fracto Experimental Film Encounter
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*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]
- Refresh
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[March
2022 - Fall 2022, Denver, CO]
- The New England Triennial
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[April
8-September 11, Lincoln + Harvard, MA]
- I Am Here: Home Movies and Everyday Masterpieces
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[April
13-August 14, Toronto, Canada]
- EC: Kenneth Anger, Program 2
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[July
2, New York, NY]
- EC: Bruce Baillie
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[July
2, New York, NY]
- Mono No Aware Community Screening Program
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[July
3, New York, NY]
- EC: Quick Billy
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[July
3, New York, NY]
- EC: Baillie / Belson
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[July
3, New York, NY]
- Gearwax: Old vinyl, Repurposed
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[July
3, online]
- Smoke and Mirrors: A Mid-Summer Benefit For Other Cinema
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[July
4, San Francisco, CA]
- Oskar's Legacy | Filmmakers Influenced By Fischinger
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[July
5, Melbourne, Australia]
- EC: Stan Brakhage Pgm 1 + Dog Star Man
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[July
5, New York, NY]
- EC: Stan Brakhage Pgm 2 + 3
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[July
6, New York, NY]
- EC: Stan Brakhage Pgm 4 + Songs 1-14
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[July
7, New York, NY]
- EC: Stan Brakhage: Songs 15-22
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[July
8, New York, NY]
- The Special People
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[July
8, Santa Fe, NM]
- Drkrm & Friends - Dadaist Poetry and 16mm Film
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[July
8-9, Dresden, Germany]
- EC: Stan Brakhage: The Art of Vision
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[July
9, New York, NY]
- Carte Blanche à Light Cone
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[July
9, Montreuil, France]
- Imageless Films, Part 4
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[July
10-27, New York, NY]
- The Long Conversation
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[ongoing, online]
- 6x6 Project: Artists' Moving Image Works
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[ongoing,
online]
- Ecstatic Static Screenings
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[ongoing,
online]
*STARTING BEFORE JULY 2, 2022*
*November 1 - January 25, 2023*
Venue type: *Both physical and online*
Jonas Mekas 100!
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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 2022 - Fall 2022*
Venue type: *Live, physical event*
Denver Museum of Nature & Science
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open during Museum hours,
The Summit Stage and Expedition Health, Denver Museum of Nature & Science,
2001 Colorado Blvd, Denver, CO
*REFRESH: *CYANOBACTERIA OFFER PERSPECTIVE ON OURSELVES
This art-science collaboration looks at the microscopic ways cyanobacteria
move, on an individual level and in colonies. If we study these organisms
and their varied forms, we might discover ways to improve our future.
On display at the Denver Museum of Nature & Science in the Summit Stage and
Expedition Health, March 2022 - Fall 2022
The cells in your body take in oxygen and sweep out waste products like
carbon dioxide (CO2). Microscopic cyanobacteria use photosynthesis to work
in reverse, breathing in CO2 and pumping out oxygen.
Three billion years ago, cyanobacteria created Earth’s oxygenfilled
atmosphere, supporting the evolution of creatures like us. Today, they
provide one-quarter of the planet’s oxygen, and cyanobacteria like
spirulina provide us with food.
Researchers believe that cyanobacteria —which need only sunlight, CO2, and
water to thrive— could offer solutions to our changing climate. They might
help reduce CO2 on a grand scale, contribute to biofuel production, and
support long-term space travel. This diverse group of organisms offers a
symbolic warning as well: when colonies of cyanobacteria become too dense
or stressed, they can run out of nutrients or be destroyed by their own air
pollution.
Made with the collaborative efforts of filmmaker Erin Espelie and the
Jeffrey Cameron Laboratory at the University of Colorado Boulder, which
created a customized microscope system specifically tailored for long-term
growth and quantitative imaging of cyanobacterial cells; with special
thanks to microbiologist and cinematographer Evan Johnson and artists Nima
Bahrehmand, Travis Austin, Will Alstetter, as well as NEST Studio for the
Arts.
*___________________________________________________________________*
*April 8 - September 11*
Venue type: *Live, physical event*
The New England Triennial
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see below for hours,
deCordova Sculpture Park & Museum, Lincoln, MA + Fruitlands Museum,
Harvard, MA
*The New England Triennial*
The New England Triennial 2022 recognizes the vitality of contemporary art
across the Northeast amid the recent years of upheaval and transformation.
Spanning two museum venues—deCordova Sculpture Park and Museum and
Fruitlands Museum—this year’s iteration features artwork by twenty-five
artists from Connecticut, Maine, Massachusetts, New Hampshire, Rhode
Island, and Vermont.
Prioritizing change over stability, many of the artists’ practices involve
processes of unmaking and remaking—patching things together, dissecting,
and rebuilding forms using discarded parts. Their collective artistry
reveals interconnected tendencies: a focus on kinship and ancestral
lineages; a search for one’s place in the world; the visualization of data;
themes of ruin and decay, and processes of alchemical transmutation.
Artists in this exhibition grapple with difficult and unjust moments of
history and contemporary life. Some employ generations-old creative
traditions in poetic, passionate, and informed ways. Altogether, their work
unearths hidden energies and stories surfacing at a time defined by change
and resilience.
Since 1989, the New England Triennial (formerly known as the deCordova New
England Biennial) has been a mainstay of deCordova’s programming and
mission, exemplifying the museum’s commitment to contemporary art of the
Northeast region. For the first time, this upcoming cycle will span two
museum venues, deCordova and Fruitlands, expanding the platform for this
highly-anticipated survey of art making in New England. We hope you will
visit both locations to appreciate the exhibition’s full scope.
deCordova Artists
Elizabeth Atterbury, Ann Craven, Jeremy Frey, Merik Goma, Kate Greene,
Meena Hasan, Baxter Koziol, Jodie Mack, Anina Major, Marla McLeod, Elle
Pérez, Estefania Puerta, Allison Maria Rodriguez, Em Rooney, Michelle
Segre, Nafis M. White
Fruitlands Artists
Sascha Braunig, Edwige Charlot, Ann Craven, David Antonio Cruz, Furen Dai,
Brenda Garand, Shaina Gates, Harry Gould Harvey IV, Jarrett Key, Heather
Lyon
*___________________________________________________________________*
*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, JULY 2, 2022* Venue type: *Live, physical event*
Anthology Film Archives
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5:30pm ET,
32 Second Avenue, New York
*EC: KENNETH ANGER, PROGRAM 2*
“Anger’s myths address mass-erotic-consciousness through a barrage of
notorious symbols. These often war with one another in Reichian power-trips
of rape, will-power, fascism, and revolution. ‘I find ridiculous the idea
of anyone being the leader,’ Anger has said. Pentagrams war with swastikas
in *INVOCATION OF MY DEMON BROTHER*. Brando tortures Christ in *SCORPIO*,
Shiva asserts absolute power over his guests in *PLEASURE DOME*. Historical
heroes are reduced to pop-idols and history is demythified by comic book
codes. ‘When earths collide, gods die.’” –Carel Rowe, FILM QUARTERLY
*SCORPIO RISING* (1963, 30 min, 16mm)
*KUSTOM KAR KOMMANDOS* (1965, 3 min, 16mm)
*INAUGURATION OF THE PLEASURE DOME* (1954-66, 38 min, 16mm)
*INVOCATION OF MY DEMON BROTHER* (1969, 12 min, 16mm)
Total running time: ca. 90 min.
*___________________________________________________________________*
Venue type: *Live, physical event*
Anthology Film Archives
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7:45pm ET,
32 Second Avenue, New York
*EC: BRUCE BAILLIE*
*MASS FOR THE DAKOTA SIOUX* (1963-64, 20 minutes, 16mm, b&w)
*QUIXOTE* (1964-65, 45 minutes, 16mm)
“In *MASS* and *QUIXOTE* [Baillie] subtly blends glimpses of the heroic
personae with despairing reflections on violence and ecological disaster.
[…] Despite his sophistication, Baillie remains an innocent; the whole of
his cinema exhibits an alternation between two irreconcilable themes: the
sheer beauty of the phenomenal world (few films are as graceful to the eye
as his, few are as sure of their colors) and the utter despair of forgotten
men. It is in QUIXOTE alone that these two themes emerge into a dialectical
form, an antithesis of grace and disgrace.” –P. Adams Sitney, VISIONARY FILM
Total running time: ca. 70 min.
*SUNDAY, JULY 3, 2022*
Venue type: *Live, physical event*
Anthology Film Archives
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1pm ET,
32 Second Avenue, New York
*MONO NO AWARE COMMUNITY SCREENING PROGRAM*
Featuring the world premiere of films made locally with the support of MONO
in June 2022.
This program will include films made through the educational initiatives of
MONO NO AWARE, a cinema-arts nonprofit organization and film positive
community working to promote connectivity through the cinematic experience.
Established in 2007 and based in downtown Brooklyn, MONO NO AWARE presents
monthly artist-in-person screenings, facilitates equipment rentals,
operates a film distribution initiative, maintains wet & dry lab
facilities, and hosts an annual exhibition for contemporary artists and
international filmmakers whose work incorporates Super-8mm, 16mm, 35mm, or
altered light projections as part of a live performance or installation.
For more info visit: www.mononoawarefilm.com
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*___________________________________________________________________*
Venue type: *Live, physical event*
Anthology Film Archives
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5:30pm ET,
32 Second Avenue, New York
*EC: QUICK BILLY*
“The essential experience of transformation, between Life and Death, death
and birth, or rebirth. In four reels, the first three adapted from the
Bardo Thodol, the Tibetan Book of the Dead. The fourth reel is in the form
of a black and white one-reeler Western, summarizing the material of the
first three reels, which are color and abstract.” –Bruce Baillie
*QUICK BILLY*, by Bruce Baillie, 1971, 56 min, 16mm
*___________________________________________________________________*
Venue type: *Live, physical event*
Anthology Film Archives
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7:45pm ET,
32 Second Avenue, New York
*EC: BAILLIE / BELSON*
Bruce Baillie
*CASTRO STREET* 1966, 10 min, 16mm
*ALL MY LIFE* 1966, 3 min, 16mm
*VALENTIN DE LAS SIERRAS* 1968, 10 min, 16mm. Preserved by Anthology Film
Archives.
“In [Baillie’s late 1960s films], the eye of the film-maker quiets his mind
with images of reconciliation; the dialectics of cinematic thought become
calm in the filming of the privileged moment of reconciliation.” –P. Adams
Sitney, VISIONARY FILM
Jordan Belson
*ALLURES* 1961, 9 min, 16mm
*RE-ENTRY* 1964, 6 min, 16mm
*SAMADHI* 1967, 6 min, 16mm
*WORLD* 1970, 6 min, 16mm
“Our greatest abstract film poet: he has found how to combine the vision of
the outer and the inner eye.” –Gene Youngblood
Total running time: ca. 55 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!
*MONDAY, JULY 4, 2022* Venue type: *Live, physical event*
Other Cinema
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8pm PT,
ATA Gallery, 992 Valencia (@ 21st), San Francisco
*SMOKE AND MIRRORS: A MID-SUMMER BENEFIT FOR OTHER CINEMA*
On Monday, the Fourth of July, Other Cinema/ATA Gallery presents a very
special music/film hybrid holiday event, a benefit for the cash-strapped
Other Cinema project, just barely able to continue screening personal
cinema after some 37 years. This festive fund-raiser features 3 San Fran
art-rock bands, coupled with 3 16mm cult-cinema selections.
Starting the party is the wild and watery electromagnetic waves of The
Clog, and stepping into the spotlight later is not only the explosive synth
attacks of Combo, but also the No Wave dance rhythms of Vivian Panache. The
theme being “Smoke and Mirrors”, and the show being centered on the
cross-media intercourse between music and film, then irresistible
psychotronic sequences from legendary cinema anomalies will bridge between
the musical performances. David Carradine and Sylvester Stallone drive to
the climax of Paul Bartel's *Death Race 2000*, a Roger Corman black comedy
that will hit the screen with the same impact as the live acts. And Ishiro
Honda's *Gamera, the Invincible* will bring its kaiju monster-mash to the
break between another pair of performances.
The fusion of art-rock music and apocalyptic movies generates an eccentric
cabaret vibe that calls for a performance-art presence that ATA is so
famous for, here embodied in the form of local light Tommy Becker, popping
up with his *Big Bang Mix*. And of course the entire mid-summer night will
be enlivened with dazzling strobe lights throbbing through the delightful
swirls from our smoke machines!
Doors open at 7:30 for an 8PM showtime, a holiday-discount $7 admission
charge. (All ages).
*TUESDAY, JULY 5, 2022* Venue type: *Live, physical event*
ACMI + CVM
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6:30pm (GMT+10),
ACMI, Fed Square, Melbourne, Australia
*Oskar's Legacy | Filmmakers Influenced by Fischinger*
Dazzling short films by animators and filmmakers inspired by Oskar
Fischinger. Introduced by Melbourne filmmaker, animator and lecturer Paul
Fletcher.
Over many decades, dozens of animators and filmmakers have acknowledged
Fischinger’s influence on their work. Jordan Belson even called him “one of
my heroes”. Our programme presents work by filmmakers impacted by
Fischinger’s explorations into the relationship between animation and
music. With hand-drawn animation on paper, direct painting on film, digital
visualisations and algorithms, these filmmakers employ a range of styles.
Some borrow techniques used by Fischinger, others invented their own. All
acknowledge the visual music tradition with their music/image
relationships. Some, like Gagné, created direct music visualisations, while
others play more loosely with the correspondences. Scher drew in black
charcoal on white paper, then photographed in negative, just as Fischinger
did for his 1930s Studies series. Woloshen animated his film in his car in
a specially constructed box, over four years of driving.
– Curated by Cindy Keefer of Center for Visual Music
This is the first of two events exploring Oskar Fischinger, whose seminal
work *Raumlichtkunst* is currently on display at ACMI, thanks to the
generous support of the Naomi Milgrom Foundation. For more information on
Raumlichtkunst, visit:
https://www.acmi.net.au/whats-on/oskar-fischinger-raumlichtkunst/
Norman McLaren, *Boogie-Doodle*, 1941, Canada, 3 min 15 sec. Originally 35mm
Mary Ellen Bute, *Color Rhapsodie*, 1948, US, 6 min. Originally 35mm
Jordan Belson, *Mandala*, 1953, US, 3 min, restored by CVM. Originally 16mm
Jules Engel, *Play-Pen*, 1986, US, 5 min, restored by CVM. Originally 16mm
Baerbel Neubauer, *Algorithmen*, 1994, Germany, 3 min 30 sec. Originally
35mm
Steven Woloshen, *Shimmer Box Drive*, 2007, Canada, 3 min 45 sec.
Originally 35mm
Kristian Pedersen, *The Boyg*, 2016, Norway, 5 min 50 sec
Jeff Scher, *Grapefruit and confused Crickets*, 2020, US, 3 min
Michel Gagné, *Sensology*, 2010, Canada, 6 min
Scott Draves, *Firebird*, 2007, US, 4 min 15 sec
Bret Battey, *Clonal Colonies I: Fresh Runners*, 2011, UK, 7 min
Oerd van Cuijlenborg, *Jazzimation 2*, 2017, France, 5 min
Robert Seidel, *vitreous*, 2015, Germany, 3 min 30 sec
Steve Wood, *Electric Eye*, 2020, US, 3 min
Paul Fletcher, *The Drive to Work*, 2017, Australia, 3 min 30 sec
Curated by Cindy Keefer. Bute, McLaren, Belson and Engel films are from the
collection of CVM.
*___________________________________________________________________*
Venue type: *Live, physical event*
Anthology Film Archives
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6:30pm + 8:30pm ET,
32 Second Avenue, New York
*EC: STAN BRAKHAGE PGM + DOG STAR MAN*
-- 6:30pm --
Unless otherwise noted, all films are silent.
*DESISTFILM* (1954, 7 min, 16mm, b&w, sound)
*REFLECTIONS ON BLACK* (1955, 12 min, 16mm, b&w, sound. Preserved by
Anthology Film Archives.)
*THE WONDER RING* (1955, 4 min, 16mm)
*FLESH OF MORNING* (1956, 25 min, 16mm, b&w)
*LOVING* (1956, 4 min, 16mm)
*DAYBREAK AND WHITEYE* (1957, 8 min, 16mm)
*WINDOW WATER BABY MOVING* (1959, 12 min, 16mm. Preserved by Anthology Film
Archives.)
Films made during the early, “psychodramatic” period of one of modern
cinema’s greatest innovators, including two of his early experiments with
sound.
Total running time: ca. 75 min.
-- 8:30pm --
*DOG STAR MAN*, 1961-64, 74 min, 16mm, silent
“...elaborates in mythic, almost systematic terms, the worldview of
[Brakhage’s] lyrical films. More than any other work of the American
avant-garde film, it stations itself within the rhetoric of Romanticism,
describing the birth of consciousness, the cycle of the seasons, man’s
struggle with nature, and sexual balance in the visual evocation of a
fallen titan bearing the cosmic name of the Dog Star Man.” –P. Adams
Sitney, VISIONARY FILM
“The film breathes and is an organic and surging thing…it is a colossal
lyrical adventure-dance of image in every variation of color.” –Michael
McClure
*WEDNESDAY, JULY 6, 2022* Venue type: *Live, physical event*
Anthology Film Archives
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=b4afad9b6d&e=857b71a9cb>
6:45pm & 8:30pm ET,
32 Second Avenue, New York
*EC: STAN BRAKHAGE PGM 2 + 3*
-- EC: STAN BRAKHAGE PGM 2: 6:45pm --
Unless otherwise noted, all films are silent.
*THE DEAD* (1960, 11 min, 16mm)
*PASHT* (1965, 5 min, 16mm)
*THREE FILMS: BLUEWHITE, BLOOD’S TONE, VEIN* (1965, 10 min, 16mm)
*FIRE OF WATERS* (1965, 10 min, 16mm, b&w, sound)
*THE HORSEMAN, THE WOMAN AND THE MOTH* (1968, 19 min, 16mm)
Total running time: ca. 60 min.
-- EC: STAN BRAKHAGE PGM 3: 8:30pm --
Unless otherwise noted, all films are silent.
*ANTICIPATION OF THE NIGHT* (1958, 40 min, 16mm)
*CAT’S CRADLE* (1959, 6 min, 16mm)
*SIRIUS REMEMBERED* (1959, 12 min, 16mm)
*THIGH LINE LYRE TRIANGULAR* (1961, 9 min, 16mm)
*MOTHLIGHT* (1963, 4 min, 16mm. Preserved by Anthology Film Archives.)
*BLUE MOSES* (1963, 11 min, 16mm, b&w, sound)
With *ANTICIPATION OF THE NIGHT*, Brakhage leaves psychodrama and enters
the “closed-eye vision” period. This program also contains a unique example
of a film made without a camera, *MOTHLIGHT*, and one of Brakhage’s few
sound (and ‘acted’) films, *BLUE MOSES*.
Total running time: ca. 85 min.
*THURSDAY, JULY 7, 2022* Venue type: *Live, physical event*
Anthology Film Archives
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6:30pm + 8:30pm ET,
32 Second Avenue, New York
*EC: STAN BRAKHAGE PGM 4 + SONGS 1-14*
-- 6:30pm --
All films are silent.
*THE WEIR-FALCON SAGA* (1970, 29 min, 16mm)
*THE MACHINE OF EDEN* (1970, 11 min, 16mm)
*SEXUAL MEDITATION #1: MOTEL* (1970, 7 min, 16mm. Preserved by Anthology
Film Archives.)
*ANGELS’* (1971, 2 min, 16mm)
*DOOR* (1971, 4 min, 16mm)
*WESTERN HISTORY* (1971, 8 min, 16mm)
*THE PEACEABLE KINGDOM* (1971, 8 min, 16mm)
Total running time: ca. 75 min.
-- 8:30pm --
*EC: SONGS 1-14*, 1964-65, ca. 53 min, 8mm-to-16mm, silent
“*SONG 1*: Portrait of a lady. *SONGS 2 & 3*: Fire and a mind’s movement in
remembering. *SONG 4*: Three girls playing with a ball. Hand painted. *SONG
5*: A childbirth song. *SONG 6*: The painted veil via moth-death. *SONG 7*:
San Francisco. *SONG 8*: Sea creatures. *SONG 9*: Wedding source and
substance. *SONG 10*: Sitting around. *SONG 11*: Fires, windows, an insect,
a lyre of rain scratches. *SONG 12*: Verticals and shadows caught in glass
traps. *SONG 13*: A travel song of scenes and horizontals. *SONG 14*:
Molds, paints and crystals.” –Stan Brakhage
*FRIDAY, JULY 8, 2022* Venue type: *Live, physical event*
Anthology Film Archives
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=9c237a5e4f&e=857b71a9cb>
7:30pm ET,
32 Second Avenue, New York
*EC: STAN BRAKHAGE: SONGS 15-22*
1965-66, ca. 75 min, 8mm-to-16mm, silent
“*SONG 15: FIFTEEN SONG TRAITS*: A series of individual portraits of
friends and family – Robert Creeley, Michael McClure, Ed Dorn, Jonas Mekas,
others. *SONG 16*: A flowering of sex as in the mind’s eye, a joy. *SONGS
17 & 18*: The movie house cathedral and a singular room. *SONGS 19 & 20*:
Women dancing and a light. *SONGS 21 & 22*: Two views of closed-eye
vision.” –Stan Brakhage
*___________________________________________________________________*
Venue type: *Live, physical event*
No Name Cinema
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=8e1bceebd5&e=857b71a9cb>
7pm MST,
No Name Cinema, 2013 Pinon Street, Santa Fe, NM
*The Special People*
(directed by Erica Schreiner / 2021 / 120 min)
FILMMAKER IN ATTENDANCE ~ POST-SCREENING Q&A
*The Special People* is a darkly humorous, experimental sci-fi video that
asks the viewer to consider the hypnotic state induced by smart technology
and the human desire for authenticity. The feature-length narrative carries
the audience through a hero’s journey while bathing in sparkling storybook
sets, an eerie combination of VHS nostalgia and foreboding dilemmas.
The citizens of a pink forest stare into iridescent cubes and cannot look
away. Apple, Bird and Violet manage to break their trance, and indulge in
philosophical conversation. They question why they are free while the
others are not. They had their voices removed when they were babies so they
learn to communicate telepathically. They experience the sensuality of
fruit and each other in The Forest, but soon feel it is not enough. The
Special People decide to embark on a journey to bring the other citizens of
The Forest back to consciousness by attempting to destroy the master cube,
guarded by The Overlords. On this journey, the three get separated and
Apple must continue the journey alone. She encounters many of The Obstacles
along the way and learns if she is to free the citizens of The Forest,
she’ll have to sacrifice her life.
Erica Schreiner wrote, directed, and stars in *The Special People*. She
also single handedly built the elaborate, colorful, sparkling sets in her
New York apartment where she filmed the feature using a VHS camcorder and a
cast of non-actor friends.
*___________________________________________________________________*
*July 8 - 9*
Venue type: *Live, physical event*
riesa efau . Kultur Forum Dresden
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=139dae36a9&e=857b71a9cb>
see below for times,
riesa efau . Kultur Forum Dresden, Wachsbleichstraße 4a, Dresden, Germany
*DRKRM & Friends - Dadaist Poetry and 16mm Film*
The workshop will transfer the approaches of Dadaist poetry production to
cine film. How might the cut-up technique be applied to the various craft
processes involved in making a film? Old films will be recomposed, film
spools exposed together and the chance in development challenged. The
results of the workshop will be presented in the DRKRM ("Darkroom") &
Friends program on Saturday evening. No previous experience is required to
participate in the workshop.
Lecturer Isabel Apel, trained at the Friedl Kubelka School of Independent
Film in Vienna, member of the film and photography section of Konglomerat
e. V., she has already been represented twice in the competitions at the
dresdner schmalfilmtage.
Fri 10am - 6pm, Sat 10am - 4pm
free of charge, registration is required.
*SATURDAY, JULY 9, 2022* Venue type: *Live, physical event*
Anthology Film Archives
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=6b51c89a4f&e=857b71a9cb>
4:45pm ET,
32 Second Avenue, New York
*EC: STAN BRAKHAGE: THE ART OF VISION*
1961-65, 261 min, 16mm, silent
“Includes the complete *DOG STAR MAN* and a full extension of the
singularly visible themes of it. Inspired by that period of music in which
the word ‘symphonia’ was created and by the thought that the term, as then,
was created to name the overlap and enmeshing of suites, this film presents
the visual symphony that *DOG STAR MAN* can be seen as and also all the
suites of which it is composed. But as it is a film, and a work of music,
the above suggests only one of the possible approaches to it. For instance,
as ‘cinematographer,’ at source, means ‘writer of movement,’ certain poetic
analogies might serve as well. The form is conditioned by the works of art
which have inspired *DOG STAR MAN*, its growth of form by the physiology
and experiences (including experiences of art) of the man who made it.
Finally, it must be seen for what it is.” –Stan Brakhage
*___________________________________________________________________*
Venue type: *Live, physical event*
Light Cone
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=1c5fed7c0e&e=857b71a9cb>
4pm (GMT+2),
Cinéma Le Méliès, 12 Place Jean Jaurès, Montreuil, France
*CARTE BLANCHE À LIGHT CONE*
To celebrate half a century of existence of the Montreuil movie theater
that bears the name of the first magician of the cinematographic illusion,
Light Cone presents a self-reflexive program on the origins of cinema, its
fundamental elements, and the splendors of the cinephile experience. The
program's starting point is none other than the inventiveness of Georges
Méliès, who, thanks to a camera malfunction, accidentally discovered a
trick that allowed him to make The Vanishing Lady (1896), simultaneously
opening up so many possibilities for the seventh art. Experimental film
would become the privileged arena of optical tricks, which are often laid
bare and pushed to the extremes of spectatorial sensation, as well as a
space of reflection on the medium through the medium itself.
This program is thus a multiple tribute – not only to the persistence of
cinema and cinephilia that Le Méliès and Light Cone support, but also to
photochemical film, which is increasingly rare on the screens. All the
films in the program will be shown in 35mm, providing a precious
opportunity to admire the depth of the color palette and the magical
vibration of this indispensable format.
presented by Eleni Gioti and Mariya Nikiforova
*W O W (KODAK)* / by Viktoria SCHMID / 2018 / 35mm / color / sound / 2' 35
*SELF PORTRAIT POST MORTEM* / by Louise BOURQUE / 2002 / 35mm / color /
sound / 2' 30
*ARIADNE* / by Barbara METER / 2004 / 35mm / color / sound / 12' 00
*DE BLIKJESMAN (THE TINCANMAN)* / by Jaap PIETERS / 1991 / 35mm / color /
silent / 3' 20
*A TO A, Kreis Wr.Neustadt* / by Johann LURF / 2012 / 35mm / color / sound
/ 5' 00
*HONG KONG (HKG)* / by Gerard HOLTHUIS / 1999 / 35mm / b&w / sound / 13' 00
*JIMMY'S BALLET* / by Jaap PIETERS / 1993 / 35mm / color / silent / 3' 00
*DÉJEUNER DU MATIN* / by Patrick BOKANOWSKI / 1974 / 35mm / color / sound /
12' 00
*BROUILLARD, PASSAGE #14* / by Alexandre LAROSE / 2013 / 35mm / color /
silent / 10' 00
*INSTRUCTIONS FOR A LIGHT AND SOUND MACHINE* / by Peter TSCHERKASSKY / 2005
/ 35mm / b&w / sound / 17' 00
*SUNDAY, JULY 10, 2022* *July 10 - 27*
Venue type: *Live, physical event*
Anthology Film Archives
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=c37d8bb3a6&e=857b71a9cb>
times vary, see below,
32 Second Avenue, New York
*IMAGELESS FILMS, PART 4*
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.
This ongoing series represents 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 began in April, and continues throughout the summer:
Part 4 features a rare presentation of artist Louise Lawler’s *A MOVIE WILL
BE SHOWN WITHOUT THE PICTURE*; programs devoted to “audioscapes” and
“scratch films”; and two programs focusing on films that limit their visual
tracks to the printed word.
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, in collaboration with Bradley Eros and John
Klacsmann. Special thanks to Elle Burchill & Andrea Monti (Microscope
Gallery); Rebecca Cleman, Tyler Maxin, and Karl McCool (Electronic Arts
Intermix); Gabriel Coxhead; Olivier De Vos (Auguste Orts); Martha
Fleming-Ives (Greene Naftali Gallery); Tim Haines; John Knight; Louise
Lawler; Malcolm Le Grice; Charmaine Lee; Andreas Leventis (Lisson Gallery);
Seth Mitter (Canyon Cinema); Ryan Muller (Sprüth Magers); Kenneth
Pietrobono; Charlotte Procter (LUX); Peter Rose; Keith Sanborn; Michael
Snow; Katie Trainor (MoMA); and Mark Webber.
Upcoming Screenings Louise Lawler
A MOVIE WILL BE SHOWN WITHOUT THE PICTURE
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=2a0aa755e8&e=857b71a9cb>
July 10 at 7:00 PM
July 11 at 7:00 PM
WORD FILMS: “SO IS THIS” AND ITS ANTECEDENTS
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July 13 at 7:30 PM
IMAGELESS FILMS: AUDIOSCAPES
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July 18 at 7:00 PM
July 26 at 7:00 PM
WORD FILMS: MEDIA + LANGUAGE
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July 24 at 7:30 PM
July 27 at 7:30 PM
IMAGELESS FILMS: SCRATCH FILMS
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July 25 at 7:30 PM
*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=2c5ccf7fa4&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/
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streaming 24/7
*Artists' Moving Image Works*
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.
There are now more than four hundred artists’ film and moving image works
available to view on the website.
*___________________________________________________________________*
Venue type: *Virtual, online event*
*Ecstatic Static*
https://www.ecstaticstatic.com/screenings/
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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. 17: Five Films by Jenny Brady*
Jenny Brady, *Receiver*. 2019, 14 min, 35 sec
Jenny Brady, *Going to the Mountain*. 2016, 10 min, 14 sec
Jenny Brady, *Bone*. 2015, 10 min, 49 sec
Jenny Brady, *Wow and Flutter*. 2013, 13 min, 3 sec
Jenny Brady, *Carve Up*. 2013, 9 min, 56 sec
------------------------------
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