[Frameworks] This Week in Avant Garde Cinema: July 23 - 31, 2022
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*This Week [July 23 - 31, 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)
07.28.2022 Ritual Unions
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07.28.2022 Analog Cookbook Submissions
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07.29.2022 Coney Island Film Festival
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(Extended Deadline)
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)
08.12.2022 Kinoskop Analog Experimental Film Festival
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08.14.2022 Harkat 16mm Film Festival
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(Early Deadline)
08.15.2022 LIFT: Transformations: A Cross Generational Commissioning Project
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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)
08.21.2022 VAM’s Creative Residency
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09.01.2022 Catapult Film Fund Development Grant
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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]
- Imageless Films, Part 4
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[July
10-27, New York, NY]
- Packard's Wild Weekend!
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[July
22-23, Santa Fe, NM]
- EC: Stan Brakhage Pgm + the Text of Light
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[July
23, New York, NY]
- EC: The Pittsburgh Trilogy By Stan Brakhage
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[July
24, New York, NY]
- Uranium Hex: the Nuclear Films of Sandra Lahire
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[July
24, Los Angeles, CA]
- Naomi Uman 16mm From Mexico City
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[July
26, Brunswick, Australia]
- Chicago Underground Film Festival
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[July
27-31, Chicago, IL]
- Golden Jubilee and Experimental Short Films
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[July
28, Madison, WI]
- EC: Robert Breer Pgm
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[July
28, New York, NY]
- My Gaze Covers You Like ivy: the Films of Antoinette Zwirchmayr
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[July
29-30, New York, NY]
- Gearwax: Old vinyl, Repurposed
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[July
31, online]
- 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 23, 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
*___________________________________________________________________*
*July 10 - 27*
Venue type: *Live, physical event*
Anthology Film Archives
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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
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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
*___________________________________________________________________*
*July 22 - 23*
Venue type: *Live, physical event*
No Name Cinema
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6:30pm MT,
No Name Cinema, 2013 Pinon Street, Santa Fe
*PACKARD's WILD WEEKEND!*
Two days & two different programs celebrating the work of underground
filmmaker Damon Packard!
--- Fri July 22nd - doors: 6:30, films: 7pm ---
*REFLECTIONS OF EVIL* - This screening marks the 20th Anniversary of
Packard's 2002 magnum opus; a bizarre, difficult and visionary treatise on
American life, paranoia and the delusions of Hollywood. "*REFLECTIONS OF
EVIL* is like seeing an astral projection of someone’s mental breakdown
through the prism of low-budget horror aesthetics. Produced and
self-distributed by filmmaker Damon Packard thanks to an unexpected
inheritance, this is a highly personal psychedelic collage that utilizes
16mm film, video, and found footage to tell the story of a wandering
creature named Bobby (Packard) as he searches for his missing sister . . .
who may have fallen in with a supernatural drug cult. Packard’s schizoid
style is built on visual manipulations, breakneck editing, renegade
plagiarism, mismatched audio effects, and the juxtaposition of tones. This
is true genre anarchy: a rage-filled, 137-minute outsider manifesto that
toes the line between artsy triumph and genre pastiche. Imagine a
stream-of-consciousness collaboration between Sam Raimi and Charles Manson
and you’re halfway there. After being caught while filming *REFLECTIONS OF
EVIL* inside Universal Studios, Packard was banned for life from the theme
park. He made the right choice." --- The night will begin with a 20 min
behind-the-scenes documentary on the making of Reflections, and an advert
for Packard's Masterclass in filmmaking!
--- Sat July 23rd - doors: 6:30, films: 7pm ---
SHORT FILMS 1988-2022 - A retrospective spanning 34 years of filmmaking
that showcases Packard's humor, talent and singular vision in underground
film. An overview of Packard's short and mid-length works including *Dawn
of an Evil Millennium* (his first film shot on Super-8), the infamous *Untitled
Star Wars Mockumentary*, 2015's transmission from beyond the grave titled *John
Carpenter's Ghost*, and the digital effects laden explosion of 2022's *Howl
of the Unvaccinated*. NOT TO BE MISSED!!!
*SATURDAY, JULY 23, 2022* Venue type: *Live, physical event*
Anthology Film Archives
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5:45pm + 8pm ET,
32 Second Avenue, New York
*EC: STAN BRAKHAGE PGM + THE TEXT OF LIGHT*
-- 5:45pm ---
*THE ANIMALS OF EDEN AND AFTER*, 1970, 35 min, 16mm
*SEXUAL MEDITATION: ROOM WITH A VIEW*, 1971, 4 min, 16mm, b&w. Preserved by
Anthology Film Archives.
*THE SHORES OF PHOS: A FABLE*, 1972, 10 min, 16mm
*THE WOLD-SHADOW*, 1972, 3 min, 16mm
*THE RIDDLE OF LUMEN*, 1972, 14 min, 16mm
*SINCERITY: REEL NO. 1*, 1973, 27 min, 16mm
Total running time: ca. 95 min.
--- 8pm ---
*THE TEXT OF LIGHT*, by Stan Brakhage, 1974, 67 min, 16mm, silent
Preserved by Anthology Film Archives.
“All that is, is light.” –Johannes Scotus Erigena
“[Brakhage shot] *THE TEXT OF LIGHT* in (through) a large crystal ashtray.
This magnificent film – a slow montage of iridescent splays of light and
shifting landscapes of sheer color, which acknowledges debts to Turner and
American Romantic landscape painters as well as to James Davis, the pioneer
film-maker of light projections – is the culmination of Brakhage’s
exploration of anamorphosis.” –P. Adams Sitney, VISIONARY FILM
*SUNDAY, JULY 24, 2022* Venue type: *Live, physical event*
Anthology Film Archives
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5pm ET,
32 Second Avenue, New York
*EC: THE PITTSBURGH TRILOGY by Stan Brakhage*
Preserved by Anthology Film Archives.
*EYES* (1970, 36 min, 16mm, silent)
“After wishing for years to be given the opportunity of filming some of the
more ‘mystical’ occupations of our Times – some of the more obscure Public
Figures which the average imagination turns into ‘bogeymen’... viz.:
Policemen, Doctors, Soldiers, Politicians, etc.: – I was at last permitted
to ride in a Pittsburgh police car, camera in hand, the final several days
of September 1970.” –Stan Brakhage
*DEUS EX* (1971, 34 min, 16mm, silent)
“I have been many times very ill in hospitals; and I drew on all that
experience while making DEUS EX in West Penn. Hospital of Pittsburgh; but I
was especially inspired by the memory of one incident in an emergency room
of San Francisco’s Mission District: while waiting for medical help, I had
held myself together by reading an April-May 1965 issue of ‘Poetry
Magazine’: and the following lines from Charles Olson’s ‘Cole’s Island’ had
especially centered the experience, ‘touchstone’ of DEUS EX, for me:
Charles begins the poem with the statement ‘I met Death –’ And then: ‘He
didn’t bother me, or say anything. Which is / not surprising, a person
might not, in the circumstances; / or at most a nod or something. Or they
would. But they wouldn’t, / or you wouldn’t think to either, / it was
Death. And / He certainly was, the moment I saw him.’” –Stan Brakhage
*THE ACT OF SEEING WITH ONE’S OWN EYES* (1971, 32 min, 16mm, silent)
“Brakhage, entering, with his camera, one of the forbidden, terrific
locations of our culture, the autopsy room. It is a place wherein,
inversely, life is cherished, for it exists to affirm that no one of us may
die without our knowing exactly why. All of us, in the person of the
coroner, must see that, for ourselves, with our own eyes.” –Hollis Frampton
Total running time: ca. 105 min.
*___________________________________________________________________*
Venue type: *Live, physical event*
Los Angeles Filmforum
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=1d13fa1508&e=857b71a9cb>
Doors open at 12:30 pm, showtime at 1:00 pm PT,
2220 Arts + Archives, 2220 W. Beverly Blvd., Los Angeles CA
*Uranium Hex: The Nuclear Films of Sandra Lahire*
Presented for the first time in Los Angeles, *URANIUM HEX: THE NUCLEAR
FILMS OF SANDRA LAHIRE* introduces four important works by the British
experimental feminist filmmaker exploring the anti-nuclear, anti-war
movement of the 1980s alongside deeply personal narratives of sickness,
contamination and corporeal vulnerability of both the self and land.
*Terminals*, 1986, 20 min, 16mm-to-digital
*Plutonium Blonde*, 1987, 16 min, 16mm-to-digital.
*Uranium Hex*, 1987, 12 min, 16mm-to-digital
*Serpent River*, 1989, 32 min, 16mm-to-digital
The program will be introduced by archivist and programmer Charlotte
Procter (London, UK) with artist P. Staff (Los Angeles, USA).
Sandra Lahire (1950-2001) was a central figure in the experimental feminist
filmmaking community that emerged in the UK in the 1980s. She studied
Philosophy at the University of Newcastle-on-Tyne, Fine Art Film at St
Martins School of Art (1984), and Film & Environmental Media at the Royal
College of Art (1986). She was a dedicated member of the London
Film-Makers’ Co-op (now LUX) and feminist film and video distributor Circles
(now Cinenova), and her collaborations with other artists were integral to
her filmic practice and feminist politics. She utilized the optical printer
at the co-op to make stunning 16mm films that explored illness, lesbian
identity, the work of Sylvia Plath, environmental concerns, and the
anti-nuclear movement. Integral to all her work is the relationship between
the body and the materiality of film, registers of violence and proximity to
harm. Her films merge documentary, performance, animation, superimposition –
both in-camera and via the optical printer.Lahire died in 2001, aged 50,
after a prolonged struggle with anorexia. Her loss was felt keenly by her
community of friends and collaborators.
*TUESDAY, JULY 26, 2022* Venue type: *Live, physical event*
Artist Film Workshop
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=185743c93d&e=857b71a9cb>
7:30pm GMT+10,
THE BRUNSWICK GREEN, 313/315 Sydney Rd, Brunswick, Australia
*NAOMI UMAN 16MM FROM MEXICO CITY*
Artist Film Workshop is thrilled to present a program of 16mm experimental
film work by Mexican based film artist Naomi Uman.
Naomi’s work is marked by her signature handmade aesthetic, often shooting,
hand-processing, and editing her films with the most rudimentary of
practices. Her work focuses on repetitive manual practices, agrarian ways
of living, women’s work, and the intersection of ethnography, portraiture,
and self-portraiture. She works in many media, ranging from 16 millimetre
hand-processed film, to video installation and tempera paintings. All films
screening on 16mm prints loaned by the artist.
*Leche*, 1999, 30 mins
*Hand Eye Coordination*, 2002, 10 mins
*Private Movie*, 2000, 6 mins
*Removed*, 1999, 5 mins
*Kalendar*, 2008, 11 mins
In addition, as is our new practice, we will also screen a new film by an
AFW member. This month screening *My Friend Richard* by Sebastian V.
*WEDNESDAY, JULY 27, 2022* *July 27 - 31*
Venue type: *Live, physical event*
Chicago Underground Film Festival
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=89d22ea990&e=857b71a9cb>
times vary,
The Logan Theatre, 2646 N Milwaukee Ave, Chicago, IL
*Chicago Underground Film Festival*
"The Chicago Underground Film Festival, The reigning champion of all
underground film festivals is still going strong as it nears in on two
decades in operation...There’s a reason why CUFF has been so successful for
so many years: The fierce dedication of festival Artistic Director Bryan
Wendorf, who’s been running things since the very beginning. However, the
truly astounding thing that Wendorf has done is that he’s allowed the fest
to grow over the past 19 years.Since the fest abandoned its transgressive
leanings many moons ago, CUFF has always allowed the notion of what an
“underground film” is to grow and adapt. For that reason, it’s always
difficult to pin down exactly what Wendorf and his crew are looking to
program every year, but when they announce their annual lineup it always
seems to make sense.What they program is a little different, off-beat in
varying ways, still embracing a punk aesthetic, intelligent, sometimes
smart-ass, sometimes raucous, experimental in concept although not always
in form and always challenging.” - Mike Everlith, Badlit.com
*THURSDAY, JULY 28, 2022* Venue type: *Live, physical event*
Mills Folly Microcinema
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=88a75d13eb&e=857b71a9cb>
8pm Central,
111 S Livingston St, Madison, WI
*Golden Jubilee and Experimental Short Films*
Join us for an evening of recent short experimental films! Mills Folly
programmers have been busy surveying recent online experimental film
festivals this past Spring, and we will present programs of short films and
videos during our Summer 2022 season.
*Two Sisters* | Magdalena Bermudez | 2021 | 8 minutes
*Flowers blooming in our throats* | Eva Giolo | Belgum, Italy | 2020 | 8.5
minutes
*Golden Jubilee* | Sunil Sanzgiri | 2021 | 19 minutes
*Home When You Return* | Carl Elsaesser | 2021 | 30 minutes
*___________________________________________________________________*
Venue type: *Live, physical event*
Anthology Film Archives
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=ed7e6d48cd&e=857b71a9cb>
7pm ET,
32 Second Avenue, New York
*EC: ROBERT BREER PGM*
With the exception of *MOTION PICTURES NO. 1*, *PAT’S BIRTHDAY*, *BREATHING*,
and *GULLS AND BUOYS*, all of the films in this program were preserved by
Anthology with generous support from the Andy Warhol Foundation for the
Visual Arts and the National Endowment for the Arts.
*FORM PHASES I* (1952, 2 min, 16mm)
*FORM PHASES II* (1953, 2 min, 16mm)
*RECREATION* (1956, 1.5 min, 16mm-to-35mm)
*MOTION PICTURES NO. 1* (1956, 4.5 min, 16mm, silent)
*JAMESTOWN BALOOS* (1957, 6 min, 16mm-to-35mm)
*EYEWASH* (1959, 3 min, 16mm-to-35mm)
*BLAZES* (1961, 3 min, 16mm-to-35mm)
*PAT’S BIRTHDAY* (1962, 13 min, 16mm, b&w)
*BREATHING* (1963, 5 min, 35mm, b&w)
*FIST FIGHT* (1964, 9 min, 16mm-to-35mm)
*66* (1966, 5.5 min, 16mm-to-35mm)
*69* (1969, 4.5 min, 16mm-to-35mm)
*70* (1970, 5 min, 16mm-to-35mm)
*GULLS AND BUOYS* (1972, 8 min, 16mm)
*FUJI* (1974, 9 min, 16mm-to-35mm)
“Roughly speaking [Breer’s] works belong to that category of films
generally called ‘abstract’ (though his are also highly ‘concrete’), but
differ from everything else that has been done along these lines in one
basic respect: Breer is undoubtedly the first filmmaker to have brought to
his medium the full heritage of modern painting and the sum of
sophisticated experimentation that it represents.” – Noël Burch, FILM
QUARTERLY
Total running time: ca. 85 min.
*FRIDAY, JULY 29, 2022* *July 29 - 30*
Venue type: *Live, physical event*
Anthology Film Archives
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=170d772304&e=857b71a9cb>
times vary, see below,
32 Second Avenue, New York
*MY GAZE COVERS YOU LIKE IVY: THE FILMS OF ANTOINETTE ZWIRCHMAYR*
This summer Anthology is graced by a visit from Austrian experimental
filmmaker Antoinette Zwirchmayr, who will present a three-program survey of
films made over the past 10 years, all of them screening on 16mm or 35mm.
Zwirchmayr’s films are distinguished by the carefully considered precision
of their construction, the meditative stillness of their rhythms, and above
all by their preoccupation with bodies, objects, and landscapes, which are
rendered with an extraordinary degree of tactility. In Zwirchmayr’s hands,
bodies and landscapes come to occupy the same plane of perception. She
consistently places people and objects in various natural environments in a
way that is both incongruous and evocative, resulting in a fascinating
confusion of scale, abstraction, and representation. Her films demonstrate
an abiding interest in juxtaposing strikingly different kinds of substances
– skin and stone, fire and ice, plant and textile – and an extraordinary
ability to convey the emotional, mental, and physical frisson that results.
And she films both bodies and landscapes with such an attention to detail
and texture that the bodies are transformed into landscapes, and vice
versa. This is the case not only in the highly condensed, meditative short
works that make up the larger part of her filmography, but also in the
“What I Remember” trilogy of personal essay films that explore the
remarkable, troubled history of her own family in a singularly elliptical
style.
These programs gather together a selection of Zwirchmayr’s work over the
past decade, including the “What I Remember” trilogy, as well as several
brand-new films.
Upcoming Screenings
July 29 at 7:30 PM ANTOINETTE ZWIRCHMAYR, PROG. 1
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=dbb7cb6ef9&e=857b71a9cb>
July 30 at 5:30 PM ANTOINETTE ZWIRCHMAYR, PROG. 2
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=ead0b7b5aa&e=857b71a9cb>
July 30 at 8:00 PM ANTOINETTE ZWIRCHMAYR, PROG. 3: "WHAT I REMEMBER"
TRILOGY
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=ca2fc3ffae&e=857b71a9cb>
*SUNDAY, JULY 31, 2022* Venue type: *Virtual, online event*
*GearWax*
https://www.gearwax.org/
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=6a3d0429d9&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=cb7a1ea77c&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=283a6690ce&e=857b71a9cb>
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/
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=156e82c3c6&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. 18: RITUAL*
John Smith, *Om*. 1986, 4 min
Colectivo Los Ingrávidos, *Tonalli*. 2021, 16 min
Beatriz Santiago Muñoz, *La Cabeza Mató a Todos*. 2014, 7 mins, 30 sec
Rajee Samarasinghe, *The Spectre Watches Over Her*. 2017, 13 min, 53 sec
Tanya Syed,* Delilah*. 2021, 12 min
Michael Curran, *Amami Se Vuoi*. 1994, 5 min
Kurt Kren, *10/65 Selfmutilation*. 2021, 5 min, 19 sec
Haris Epaminonda, *Chapters (Single Screen Version)*. 2013, 26 min, 29 sec
Friedl vom Gröller, *Sacrificio per la sirena*. 2020, 4 min
Valie Export, *Facing a Family*. 1971, 5 min
------------------------------
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