[Frameworks] This Week in Avant Garde Cinema: June 18 - 26, 2022
This Week
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*This Week [June 18 - 26, 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)
06.20.2022 Edinburgh Short Film Festival
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(Late Deadline)
06.24.2022 Coney Island Film Festival
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(Extended Deadline)
06.30.2022 Analogica
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(Extended Deadline)
06.30.2022 Istanbul International Experimental Film Festival
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(Extended Deadline)
06.30.2022 Antimatter [media art]
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(Regular Deadline)
06.30.2022 VIDEONALE.19 – Festival for Video and Time-Based Arts
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(Early 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)
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)
09.01.2022 Swedenborg Film 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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*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]
- Jodie Mack: Matter Matters
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[March
29-June 19, Rochester, NY]
- 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]
- cygnet congress landing
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[May
16-June 18, Victoria, BC, Canada]
- Juan Sebastián Bollaín: A Most Wanted Idea of Utopia Programs 1+2
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[June
4-19, Los Angeles, CA]
- Scrapbook Exhibition
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[June
9-29, Paris, France]
- Attention Line Cinema Series: the Films of Craig Baldwin
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[June
11-25, New York, NY]
- Gearwax: Old vinyl, Repurposed
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[June
19, online]
- Andrew Lampert: Swan Silvertones For Two Roberts: Haller & Fenz
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[June
20, New York, NY]
- EC: Warhol / Watson & Webber / Whitney
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[June
20, New York, NY]
- Towards Non-Anthropocentric Moving Images: Exemplars of A
Counter-History
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[June
21, Brooklyn + online]
- Imageless Films, Part 3
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[June
21-28, New York, NY]
- Kathryn Ramey: White Women Are A Curse Against their Sex
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[June
22, Cambridge, MA]
- A Synesthete's Atlas
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[June
23, Cambridge, MA]
- "What We Heard: them" - A Hybrid Talk/Screening/Reading By Steph Gray
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[June
23, New York, NY]
- Once Upon A Time In the TL: Punk/Performance On Screen
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[June
23, San Francisco, CA]
- EC: Warhol: Blow Job & Soap Opera
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[June
24, New York, NY]
- New Films On the Re:Voir Online App
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[June
24, online]
- Fast Forward + Rewind
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[June
24-25, Winnipeg, MB, Canada + online]
- Cinema of Breath: Rapture/Rupture
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[June
25, Vancouver, BC, Canada + online]
- The Actor In His Labyrinth Screening + Talkback
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[June
25, Queens, NYC]
- Re | Frame: Optically Printed Films From the Canyon Cinema Collection
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[June
25, Seattle, WA]
- Actual/Virtual Realities: Harun Farocki's Parallel & Related visions
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[June
26, Los Angeles, CA]
- 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 JUNE 18, 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.
*___________________________________________________________________*
*March 29 - June 19*
Venue type: *Live, physical event*
George Eastman Museum
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Tue-Sat,10-5pm + Sun 11-5pm ET,
Multipurpose Hall, George Eastman Museum, 900 East Avenue, Rochester, NY
*JODIE MACK: MATTER MATTERS*
The George Eastman Museum is pleased to present selected experimental
animated films by Jodie Mack (UK, b. 1983), an artist who has developed a
remarkable filmmaking style that provides new perspectives on a variety of
familiar materials. Mack’s subjects often include captivating decorative
objects and vintage, ornate textiles. Her films invite viewers to
contemplate the objects’ significance and the nature of disposability.
Mack often works with a Bolex camera and 16mm film, and her films explode
with dizzying displays of colors, shapes, and patterns. While her mastery
of traditional stop-motion animation technique is highly precise and
sometimes abstract, Mack’s films have a joyful, handmade quality that
radiates humor and human warmth.
The following film descriptions are provided by the artist.
A program of four animated short films. Originally shot in 16mm the films
will be screened digitally in this presentation on a loop (21 min. total)
during museum hours.
*Posthaste Perennial Pattern* (US 2010, 4 min.). Rapid-fire florals and
morning birdsong bridge interior and exterior, design and nature.
*Blanket Statement #1: Home is Where the Heart is* (US 2012, 3 min.).
Discordant dysfunction down to the nitty-gritty.
*Blanket Statement #2: All or Nothing* (US 2013, 4 min.). A battle of
extreme extremes.
*Something Between Us* (US 2015, 10 min.). A choreographed motion study for
twinkling trinkets: costume jewelry and natural wonders join forces to
perform plastic pirouettes, dancing a luminous lament until the tide comes
in.
*___________________________________________________________________*
*April 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
*___________________________________________________________________*
*May 16 - June 18*
Venue type: *Live, physical event*
Deluge Contemporary Art
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DUSK TO MIDNIGHT IN THE DELUGE TRANSOM WINDOW,
Deluge Contemporary Art, 636 Yates Street, Victoria, BC
*cygnet congress landing*
A trio of films from across Canada engaging with structural impermanence
and the resilience of nature. Geographic solitude and avian society as
beacons from the future of artistic imagination.
*Cygnus* | Brandon Poole, 2022, HD video, 6 min
A networked planet; an improvised signal; the last swan.
Filmed on the northern shores of Lake Ontario, amid the ruined utopic
architecture of Ontario Place, 𝘊𝘺𝘨𝘯𝘶𝘴 takes the geodetic-domed
Cinesphere (the first permanent installation of IMAX), a sunken lake
freighter turned breakwater and an invasive mute swan as subjects of its
tripartite cosmic zoom.
*Congress* | Kyath Battie, 2020, 16mm on HD video, 4 min
Mediated under flight and wing, possible collective memories are
represented through a prism of vast tundra landscapes, a wrecked 19th
century paddleboat and ancient lichen fields. Time, place and history
become nostalgic remnants from the Yukon Territory.
*landing* | Cecilia Araneda, 2021, 16mm on HD video, 5 min
Shot at Bate Island in Ottawa, landing is made from hand-processed B&W 16mm
film hand-coloured with organic and photochemical tones, video and found
sound. landing examines moments of respite in between flight and movement,
where landing becomes refuge.
*___________________________________________________________________*
*June 4 - 19*
Venue type: *Virtual, online event*
Filmforum
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streaming,
Program 1 Event URL:
https://watch.eventive.org/juansebastianbollain/play/6284860ba681b800539e8bcf
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Program 2 Event URL:
https://watch.eventive.org/juansebastianbollain/play/628489813b236b00b5d28011
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*Juan Sebastián Bollaín: A Most Wanted Idea of Utopia PROGRAM 1*
Filmforum is honored to host the US. premiere of multiple films from Juan
Sebastián Bollaín, a cult figure of Spanish cinema of the 70s, whose work
has been recently digitized and restored. His films are a humorous and
delirious reinvention of the most traditional and religious city in Spain:
Seville, Andalusia, the heart of the Spanish clichés, Holy Week and
flamenco. A most wanted and urgent idea of utopia in these dystopian and
strange times.
In Program 1, we will see four films devoted to imagining a brave new crazy
and marvelous city. Sevilla: the best place to live in the world. Live Q&A
with guest curator Elena Duque on Sunday June 12, 1pm Pacific Time
*Juan Sebastián Bollaín: A Most Wanted Idea of Utopia PROGRAM 2*
Filmforum is honored to host the US. premiere of multiple films from Juan
Sebastián Bollaín, a cult figure of Spanish cinema of the 70s, whose work
has been recently digitized and restored. His films are a humorous and
delirious reinvention of the most traditional and religious city in Spain:
Seville, Andalusia, the heart of the Spanish clichés, Holy Week and
flamenco. A most wanted and urgent idea of utopia in these dystopian and
strange times. Two different programs!
In program 2 are two films in which Bollaín reflects on urgent urban
planning problems using different and imaginative approaches. Live Q&A with
guest curator Elena Duque on Sunday June 12, 1pm Pacific Time
*___________________________________________________________________*
*June 9 - 29*
Venue type: *Live, physical event*
Light Cone
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Wednesday to Saturday, 2pm - 7pm, GMT+2,
10, rue André Antoine, Paris
*Scrapbook Exhibition*
2022 marks an important moment for Light Cone: its 40th anniversary. Such
an event should be celebrated in the best possible way. Light Cone has come
together thanks to the filmmakers whose films entered the collection over
the years. We’ve decided to invite them to participate in an editorial
project, a book in which we would publish their contributions: letters,
postcards, photographs, drawings, film stills, collages, etc., which they
have sent us for the occasion of the anniversary. A collective scrapbook in
which the materiality of the objects – paper, photos, colors, handwritten
notes – evokes that of analog cinema, which we have always defended. A book
of images is born, and through the creation of this micro-collection, so is
a portable museum of about one hundred pieces, which are ready to be
exhibited and which will remain in the care of Light Cone’s archive.
With contributions from Michael Snow, Rose Lowder, Cécile Fontaine, Ben
Russell, Daïchi Saïto, Mara Mattuschka, Mika Taanila, Peter Tscherkassky,
Bruce McClure, Charlotte Pryce, Michel Nedjar, Frédérique Devaux, Miles
McKane, Peter Miller, Pierre Rovere, Maria Kourkouta, Emily Richardson,
Jeanne Liotta, Patrice Kirchhofer, Olivier Fouchard, Luc Meichler, Claudio
Caldini, Caroline Avery, among others.
Exhibition opening on Thursday, June 9, at 7pm
In parallel to Light Cone's 40th anniversary celebrations, which will take
place from June 13 to 19, 2022, in Paris, and the publication of the
*Scrapbook*, we wanted to pay tribute to the generosity of the artists that
we have represented for forty years by exhibiting their works in a Parisian
gallery for three weeks. The Scrapbook exhibition will be open from June 9
to 29, 2022, at Rue Antoine gallery in the 18th arrondissement in Paris.
The book will be available for purchase at Rue Antoine gallery during the
exhibition. It will also be for sale at our online shop from June 7th, 2022.
More info on 40th anniversary celebrations at
https://www.helloasso.com/associations/association-light-cone/boutiques/pass-40-ans-de-light-cone
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*___________________________________________________________________*
*June 11 - June 25*
Venue type: *Live, physical event*
ARTISTS SPACE
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times vary, see below,
11 Cortlandt Alley, New York City
*Attention Line Cinema Series: The Films of Craig Baldwin*
As part of *Attention Line*, Artists Space presents a retrospective of
films by Craig Baldwin in our downstairs cinema.
Shocking revelations, covert histories, unidentified flying objects,
copyright infringement, the very fate of humanity…all this and more, much
more, can be discovered in this retrospective of maverick filmmaker Craig
Baldwin. A master of found footage storytelling, Baldwin’s dynamic short
and feature length epics are rapid fire quasi-fiction essays on topics real
and utterly unbelievable. Baldwin is one of the premiere experimental
filmmakers of his or any generation, and these screenings definitively
prove that he is as deadly serious as he is deeply funny.
--- Wednesday, June 15 ---
12:15 - 5pm: A continuous screening of Baldwin’s collected shorts
*Stolen Movie* (1976, Super 8mm-on-video, 9 minutes)
*Wild Gunman* (1978, 16mm-on-video, 1978, 19 minutes)
*RocketKitKongoKit* (1986, 16mm-on-video, 30 minutes)
*Communique for the Cube* (2015, Digital, 1:16 minutes)
*Bulletin* (2015, Digital, 5:40 minutes)
(total running time: 64 minutes)
5pm: *Tribulation 99: Alien Anomalies Under America* (1991, 16mm-on-video,
48 minutes)
--- Thursday, June 16 ---
12:15 - 5pm: A continuous screening of Baldwin’s collected shorts
*Stolen Movie* (1976, Super 8mm-on-video, 9 minutes)
*Wild Gunman* (1978, 16mm-on-video, 1978, 19 minutes)
*RocketKitKongoKit* (1986, 16mm-on-video, 30 minutes)
*Communique for the Cube* (2015, Digital, 1:16 minutes)
*Bulletin* (2015, Digital, 5:40 minutes)
(total running time: 64 minutes)
5pm: *¡O No Coronado!* (1992, 16mm-on-video, 40 minutes)
--- Friday, June 17 ---
12:15 - 4pm: A continuous screening of Baldwin’s collected shorts
*Stolen Movie* (1976, Super 8mm-on-video, 9 minutes)
*Wild Gunman* (1978, 16mm-on-video, 1978, 19 minutes)
*RocketKitKongoKit* (1986, 16mm-on-video, 30 minutes)
*Communique for the Cube* (2015, Digital, 1:16 minutes)
*Bulletin* (2015, Digital, 5:40 minutes)
(total running time: 64 minutes)
4pm: *Sonic Outlaws* (1995, 16mm-on-video, 87 minutes)
--- Saturday, June 18 ---
4:30pm: *Spectres of the Spectrum* (1999, 16mm-on-video, 94 minutes)
--- Wednesday, June 22 ---
12:15 - 4pm: A continuous screening of Baldwin’s collected shorts
*Stolen Movie* (1976, Super 8mm-on-video, 9 minutes)
*Wild Gunman* (1978, 16mm-on-video, 1978, 19 minutes)
*RocketKitKongoKit* (1986, 16mm-on-video, 30 minutes)
*Communique for the Cube* (2015, Digital, 1:16 minutes)
*Bulletin* (2015, Digital, 5:40 minutes)
(total running time: 64 minutes)
4pm: *Mock Up on Mu* (2008, 16mm-on-video, 110 minutes)
7pm: Craig Baldwin in Conversation with Adam Khalil
Online
--- Thursday, June 23 ---
12:15 - 5pm: A continuous screening of Baldwin’s collected shorts
*Stolen Movie* (1976, Super 8mm-on-video, 9 minutes)
*Wild Gunman* (1978, 16mm-on-video, 1978, 19 minutes)
*RocketKitKongoKit* (1986, 16mm-on-video, 30 minutes)
*Communique for the Cube* (2015, Digital, 1:16 minutes)
*Bulletin* (2015, Digital, 5:40 minutes)
(total running time: 64 minutes)
5pm: *Tribulation 99: Alien Anomalies Under America* (1991, 16mm-on-video,
48 minutes)
--- Friday, June 24 ---
12:15 - 5pm: A continuous screening of Baldwin’s collected shorts
*Stolen Movie* (1976, Super 8mm-on-video, 9 minutes)
*Wild Gunman* (1978, 16mm-on-video, 1978, 19 minutes)
*RocketKitKongoKit* (1986, 16mm-on-video, 30 minutes)
*Communique for the Cube* (2015, Digital, 1:16 minutes)
*Bulletin* (2015, Digital, 5:40 minutes)
(total running time: 64 minutes)
5pm: *¡O No Coronado!* (1992, 16mm-on-video, 40 minutes)
--- Saturday, June 25 ---
12:15pm: A screening of Baldwin’s collected shorts
*Stolen Movie* (1976, Super 8mm-on-video, 9 minutes)
*Wild Gunman* (1978, 16mm-on-video, 1978, 19 minutes)
*RocketKitKongoKit* (1986, 16mm-on-video, 30 minutes)
*Communique for the Cube* (2015, Digital, 1:16 minutes)
*Bulletin* (2015, Digital, 5:40 minutes)
(total running time: 64 minutes)
1:30pm: *Sonic Outlaws* (1995, 87 minutes, 16mm-on-video)
3pm: *Spectres of the Spectrum* (1999, 16mm-on-video, 94 minutes)
5pm: *Tribulation 99: Alien Anomalies Under America* (1991, 16mm-on-video,
48 minutes)
*SUNDAY, JUNE 19, 2022* 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, JUNE 20, 2022* Venue type: *Live, physical event*
Microscope Gallery
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7:30 pm ET,
525 West 29th Street, 2nd Floor, New York, NY 10001
*Andrew Lampert: Swan Silvertones for Two Roberts: Haller & Fenz*
Microscope presents an evening with Andrew Lampert including *Other
Means *(2014)
and *Swan Silvertones for Two Roberts: Haller & Fenz*, (2022) as part of
our series of imageless film performances taking place in connection and
collaboration with the *Imageless Films* series at Anthology Film
Archives. A Q&A with Lampert follows the performance.
First presented at the Gene Siskel Film Center in Chicago, IL in 2014, *Other
Means* is an audio piece consisting of filmmakers and fellow travelers of
Lampert’s talking about the “relevance of cinematic viewing versus the
convenience of an iPad and other technologies.” This subject feels
particularly timely after the recent closures of cinema theaters and our
experience of being forcibly deprived of the theatrical projection.
His new piece *Swan Silvertones for Two Roberts: Haller & Fenz* is a
“memorial reprisal” of the artist’s Projector Euthanasia series in which he
“cares for” broken and barely working projectors. Lampert feeds them food
and liquids, performs minor surgery and subjects them to other
restorative/destructive actions in in order to provide a swift and painless
passing.
“When invited somewhere I ask my host to gather as many half-working
projectors as they can find and then I ceremonially sentence them to
death.” — AL
The first performance took place in 2013 at the Bastard Film Encounter in
Raleigh, North Carolina. The series, which includes many iterations with
different titles, has also appeared at Issue Project Room (2015) and the
International Film Festival Rotterdam (IFFR) in 2017, among others.
Advance Tickets: https://microscopegallery.ticketleap.com/andrew-la
mpert-swan-silvertones-for-two-roberts-haller--fenz/dates/Jun-20-2022_at_0730PM
.
Please note: Masks are required for entry to our events at this time.
*___________________________________________________________________*
Venue type: *Live, physical event*
Anthology Film Archives
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7:30pm ET,
32 Second Avenue, New York
*EC: WARHOL / WATSON & WEBBER / WHITNEY*
Andy Warhol
*EAT* (1963, 35 min, 16mm, b&w, silent)
“A portrait of artist Robert Indiana, EAT is one of the classics of
Warhol’s minimalist cinema. As Indiana slowly eats one mushroom, the action
is rendered mysterious by Warhol’s decision to assemble the rolls out of
order, so the mushroom appears to magically renew itself from time to
time.” –Callie Angell
James Sibley Watson & Melville Webber
*FALL OF THE HOUSE OF USHER* (1928, 13 min, 16mm, b&w, silent)
“Filmed in a Rochester, New York, carriage house, this expressionist film
is the earliest live-action dramatic film made by a collaboration of poets
and artists in the United States. Watson devised the optical effects that
distinguish the film, while Webber provided its visual design, based upon
medieval frescoes.” –Robert A. Haller
John & James Whitney
*FILM EXERCISES 1-5* (1943-45, 18 min, 16mm)
“The visual images in these films were created by shining light through
flexible masks, so that the camera was filming direct light rather than
light reflected from drawings. The results seem like dazzling neon
apparitions, that were as novel and shocking as the accompanying
soundtrack.” –William Moritz
James Whitney
*LAPIS* (1963-66, 10 min, 16mm)
“The most elaborate example of a mandala in cinema. It utilizes a field of
tiny dots, symmetrically organized in hundreds of very fine concentric
rings, to generate slowly changing intricate patterns…. Both structurally
and visually LAPIS conforms to the circular form of the mandala; its
elaborate movements belie a fundamental stasis.” –P. Adams Sitney
Total running time: ca. 80 min.
*TUESDAY, JUNE 21, 2022* Venue type: *Both physical and online*
e-flux
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7pm ET,
e-flux Screening Room, 172 Classon Avenue, Brooklyn
Event URL:
https://www.e-flux.com/live/475136/towards-non-anthropocentric-moving-images-exemplars-of-a-counter-history-a-lecture-by-nbsp-jonathan-walley-nbsp/
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*Towards Non-Anthropocentric Moving Images: Exemplars of a Counter-History
A lecture by Jonathan Walley*
The second lecture in the monthly lecture series Film Beyond Film at e-flux
Screening Room, by researchers whose work has formed the discourse at the
intersection of modern and contemporary art and cinema, and that focuses on
the histories of artists’ films, situating them within broader aesthetic,
political, and economic contexts.
For the film machine to become an artistic medium, it had to be absolved of
its automaticity. To complicate matters, its automaticity was three-fold:
It was an industrial machine, optical device, and photochemical process,
its actions determined by the physical properties of light, lens optics,
and the invisible chemical actions taking place on emulsion layered onto a
strip of plastic, and driven via cogs and pins by a motor set in motion by
the touch of a button—operating on the same principles as machine guns and
sewing machines. Primal forces and laws came together in a box housing an
array of industrial products.
For cinema to become an art form, its automaticity had to be shunted to the
background, the machine re-cast as creative tool, its operations determined
by individual human will rather than nonhuman natural and mechanical
forces. To accomplish this, film artists and critics refashioned the film
machine into an extension of the human body, and, moreover, one that could
be used creatively and generatively, not a mere prosthesis but an
instrument of creative action and thought. In short, it was a matter of
anthropomorphizing the moving image. This has taken a multiplicity of
forms: Vertov’s camera eye, Brakhage’s camera eye/I, analogies between
cinema and human consciousness emerging from phenomenological readings of
structural film, countless comparisons of film to human skin made by
filmmakers continuing to work with celluloid, etc. The analogies invest a
non-human object, and, what’s more, an industrial object (not to mention
with some toxic chemistry), with meaning and value. We empathize with the
machine because we can see ourselves in it.
What might the opposite of this look like? How might moving-image artists,
in utilizing their technological mediums, see those mediums not as
extensions, but, instead, make concessions of their humanity—their
artistry, sensibility, consciousness—to the machine? Not in the sense of
conceptual or “systems” art, in which, as Sol Le Witt wrote, “the idea
becomes the machine that makes the art,” but one in which the machine is
the machine that makes the art—the moving-image machine, whether analog or
digital. The artist serves as an extension of the machine rather than the
other way around, conceding their humanity to it, albeit to varying degrees.
*___________________________________________________________________*
*June 21 - 28*
Venue type: *Live, physical event*
Anthology Film Archives
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times vary, see below,
32 Second Avenue, New York
*IMAGELESS FILMS, PART 3*
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 with
films by Lawrence Andrews, Bradley Eros, Takahiko Iimura, Andrew Lampert,
Louise Lawler, Malcolm Le Grice, Maurice Lemaître, Luther Price, Paul
Sharits, and many others.
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); Lawrence Andrews; Rebecca Cleman, Tyler Maxin, and Karl McCool
(Electronic Arts Intermix); Jeanne Cousseau; Tim Haines; Andrew Lampert;
Emmanuel Lefrant & Eleni Gioti (Light Cone); Ninon Liotet & Martina
Aschbacher (Lost But Found); and Jeff Weber.
Upcoming Screenings IMAGELESS FILMS: ownerBuilt
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June 21 at 7:30 PM
June 28 at 7:30 PM
IMAGELESS FILMS: mythicPotentialities
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June 23 at 7:00 PM
June 26 at 7:30 PM
IMAGELESS FILMS: I HAD NOWHERE TO GO
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June 23 at 8:45 PM
June 25 at 5:00 PM
IMAGELESS FILMS: FLICKER FILMS
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June 25 at 7:30 PM
IMAGELESS FILMS: FOUND SOUND
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June 26 at 5:00 PM
June 27 at 7:30 PM
*WEDNESDAY, JUNE 22, 2022* Venue type: *Live, physical event*
Revolutions Per Minute Film Festival + The Brattle
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7pm ET,
The Brattle, 40 Brattle St, Cambridge, MA
*Kathryn Ramey: White Women Are a Curse Against Their Sex*
RPM and The Brattle present a solo screening program of Kathryn Ramey’s
work, titled “WHITE WOMEN ARE A CURSE AGAINST THEIR SEX : films from 30
years of making against the cisheteropatriarchy by a person living with a
uterus.”
The program highlights her filmmaking praxis as a resistance to the
collusion of white college educated women in the racist transphobic ableist
patriarchy and condemns Amerikkka in the 21st century. Kathryn Ramey
defines/(reminds us) what’s the meaning of a creative person living with a
uterus. Her films are known for hand processing and multiple exposure
through painstakingly optical printing. Most works will be shown in their
original format of 16mm or 35mm.
Kathryn Ramey is a filmmaker and anthropologist whose work operates at the
intersection of experimental film processes and ethnographic research. She
is a recent recipient of Guggenheim fellow, LEF Foundation fellow and
Creative Capital grantee. For more info please visit rameyfilms.com
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*LIMEN*, 12 minutes, 16mm, b/w sound. 2019
*Razed by Wolves*, 8 mins, 16mm, color/sound, 1998
*The Passenger*, 17 mins, 16mm, col/sd. 2007
*WEST: What I know about her*, 20 mins, 16mm, col/bw, optical sound, 2012
*SAYOR*, 10 mins,16mm, 2022
*Fall, 2006*, 5 mins, 35mm, col/sd, 2006
Post screening Q&A: Kathryn Ramey & Sarah Keller
*THURSDAY, JUNE 23, 2022* Venue type: *Live, physical event*
Magazine Beach Powder Magazine
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7:30 ET,
Powder Magazine building
Mass Audubon Magazine Beach Park Nature Center
668 Memorial Drive, Cambridge, MA
*A Synesthete's Atlas*
Real time cartographic improvisations using projected, manipulated digital
maps by Eric Theise, accompanied by Ken Field's ethereal and cinematic
improvisations on saxophone with looping electronics. An evening of street
grids, rivers, islands, and curiosities from the built environment.
Saturated colors. Glitches in crowdsourced data. Orphaned information and
free-floating symbology.
Eric Theise is a San Francisco-based artist and geospatial software
developer. Through video and realtime performance
tools he reinvigorates the perceptual inquiries of structural filmmakers,
experimental animators, op artists, and the light
and space movement as new possibilities in the realm of digital
cartography. Theise is returning to the US after a
residency at Hangar (Lisbon) where he worked on single channel videos in
his series of If Maps in addition to evolving the
Carto-OSC toolkit for realtime performance which is at the core of this
evening's event. Theise's 16mm films have
screened across the United States and Canada, also France; he’s held
residencies at Signal Culture (New York) and the
Fine Arts Museums of San Francisco and he’s received grants in support of
his work from the Interbay Cinema Society,
Bay Area Video Coalition, and Film Arts Foundation.
https://erictheise.com/
Ken Field is a saxophonist, flautist, and composer. He leads the
Revolutionary Snake Ensemble, an experimental &
improvisational brass band, and is a longtime member of the electronic
modern music ensemble Birdsongs of the
Mesozoic. His solo releases document his work for layered saxophones and
his soundtracks for dance and film. Field was
named a Finalist in Music Composition by the Massachusetts Cultural
Council. He has performed in the US, Canada,
Mexico, France, Germany, Spain, Hungary, Portugal, Sweden, Ireland, Italy,
Poland, Australia, New Zealand, & Japan,
and has been awarded residency fellowship grants at the MacDowell Colony
(NH), the Ucross Foundation (Wyoming), the
Fundación Valparaíso (Spain), and the Atlantic Center for the Arts
(Florida). Field composed & produced soundtracks for
many of the animated films by his late wife, Karen Aqua, and for
Bridgman/Packer Dance. His music is also heard
regularly on the children's television program Sesame Street. He is the
host of WMBR Radio’s “The New Edge”, Vice
President of the Board of Directors of Tutoring Plus of Cambridge, Member
of the HONK! Festival Organizing Committee,
President of the Board of Directors of JazzBoston, and former member &
chair of the Cambridge Bicycle Committee.
http://kenfield.org
*___________________________________________________________________*
Venue type: *Both physical and online*
The Poetry Project
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8pm ET,
St. Mark’s Church, 131 E 10th Street, New York City
Event URL:
https://www.poetryproject.org/events/what-we-heard-them-a-hybrid-screening-talk-reading-by-steph-gray
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*"what we heard: them" - a hybrid talk/screening/reading by Steph Gray*
Filmmaker-poet Steph Gray is giving a hybrid screening/talk/poetry reading
in the Poetry Project's (NYC) experimental lecture series titled, "what we
heard: them", an evening that explores hearing, sound, language and the
impossibility of translation. The event will be in-person and live
streamed. The super 8 film in the evening was processed and scanned with
Mono No Aware. The film will be shown live, as celluloid film.
--"What we heard: them" is a mix of talk, screening (super 8 film &
experimental video) and prose poetry that explores and ruptures the
concepts of sound, listening, hearing, and the impossibility of translation
through poetics(tix) of how we get words to say what we mean and mean what
we say. *What do you hear when you hear them [talking ‘bout us]? Well,
maybe it’s not a surprise. Maybe u see right thru them, but for this hybrid
presentation, our lips are not sealed.* This evening will attempt to
explore—what do we really hear when we hear? What do we really mean when we
speak?—filtered through prosey-poetry poetics, glitched video and scratched
film. *Indirect credit to Ms. Belinda Carlisle.
--Featuring a guest introduction by Rachelle Rahmé. This project was
supported, in part, by a Foundation for Contemporary Arts Emergency Grant.--
--Limited capacity in person; also will be live streamed. See event link
for in-person Covid protocols and live streaming registration. Register
early!--
*___________________________________________________________________*
Venue type: *Live, physical event*
San Francisco Cinematheque
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7pm PT, The Tenderloin Museum, 398 Eddy Street, San Francisco
*Once Upon a Time in the TL: Punk/Performance on Screen*
Program presented in association with The Tenderloin Museum. Curated by
Dale Hoyt.
By the early 1980s, San Francisco’s Tenderloin and Mid-Market
neighborhoods’ had fully devolved from dazzling districts of movie theaters
into seedy porno joints and schlocky grind houses. But these cultural dregs
reacted spectacularly with the DIY ethos and youthful energy of punk
rockers and performance artists attracted to the neighborhood’s rough and
ready atmosphere. Both materially and symbolically, the Tenderloin informed
this artistic milieu’s experiments in appropriation, recontextualization,
and cultural critique, aided by the emergence and proliferation of work
created in the relatively new medium of video.
In celebration of this history, San Francisco Cinematheque and the
Tenderloin Museum present *Once Upon a Time in the TL: Punk/Performance on
Screen*, a screening of video and film works selected by the late, great
video artist Dale Hoyt. *Once Upon a Time in the TL* accompanies
Punk/Performance in the ‘Loin, a gallery show and public program series
exploring the 1980s-era intersection of punk rock and performance art in
San Francisco’s wild and ragged Tenderloin District (also organized by
Hoyt). Leaning towards the musical in its survey of Tenderloin
punk/performance, Hoyt’s selections include videos featuring The Units,
Tuxedomoon, Snakefinger and Flipper, along with film/video works by Craig
Baldwin, Richard Gaikowski and Hoyt himself.
COVID-19 SAFETY REQUIREMENTS: Proof of Vaccination required for all
attendees. Masks must be worn at all times while indoors.
*FRIDAY, JUNE 24, 2022* Venue type: *Live, physical event*
Anthology Film Archives
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=b6177900bb&e=857b71a9cb>
7:30pm ET,
32 Second Avenue, New York
*EC: WARHOL: BLOW JOB & SOAP OPERA*
*BLOW JOB*, 1964, 36 min, 16mm, silent
“Warhol’s unmoving camera remains focused in close-up on the head of a
young man, never descending below his shoulders to show the sex act
advertised by the film’s title, which is nevertheless legible, in slow
motion, in the changing expressions passing across his face. By wittily
restricting what his camera sees, Warhol frustrates the expectations of
porn fans and film censors alike, while simultaneously implicating both
audiences in the same illicit desire.” –Callie Angell
*SOAP OPERA*, 1964, 47 min, 16mm. Co-directed by Jerry Benjamin.
“...an unfinished project from 1964, Warhol explores the format of daytime
television by intercutting his own silent footage of domestic drama with
16mm sound commercials, made by Lester Persky for Pillsbury Cake Mix,
Secret Deodorant, Beauty Set Shampoo, and other products. This one reel
excerpt contains some of the most strikingly ‘Pop’ imagery ever to appear
in Warhol’s films, and invites interesting comparisons with his painted
works.” –Callie Angell
*___________________________________________________________________*
Venue type: *Virtual, online event*
Re:Voir Online
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=232538db2a&e=857b71a9cb>
12:00 GMT,
Event URL: https://apps.apple.com/us/app/online-re-voir/id1545131544
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=4493096811&e=857b71a9cb>
or https://play.google.com/store/apps/details?id=com.revoir.online
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=f250cc7507&e=857b71a9cb>
*New films on the Re:Voir Online app*
Free download and 30-day free subscription. We add two hours of new films
every week.
*Tam Tam* (1976, 57 min) by Adolfo Arrietta
*From the Ladies* (1977, 20 min) by Holly Fisher
*Bertha's Children* (1976, 7 min) by Roberta Friedman and Grahame Weinbren
*Au Dela du declic* (1965-77, 10 min) by Maurice Lemaitre
iPhone: https://apps.apple.com/us/app/online-re-voir/id1545131544
Android: https://play.google.com/store/apps/details?id=com.revoir.online
*___________________________________________________________________*
*June 24 - 25*
Venue type: *Both physical and online*
Mujer Artista
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=d91fd6154e&e=857b71a9cb>
times vary, see below,
The Output, Video Pool, 2nd Floor, Artspace, 100 Arthur Street, Winnipeg,
MB, Canada
Event URL: http://mujerartista.ca/event/ff-rwd/
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=f370a865ac&e=857b71a9cb>
*Fast Forward + Rewind*
Initiated in 2014, the Winnipeg-based Mujer Artista – a multi-year art
project – emerged from the idea that community-based processes could have a
transformative effect on art practice, especially for demographics that
have historically excluded from access to institutional development
systems. Eight years later, Fast Forward and Rewind: Conversations on Place
and Space in Art, will reflect on the impact of Mujer Artista and the
environment from which it emerged and that surrounds it.
June 24 @ 7pm
The Parallel Worlds of Queercornu(c/t)opia
June 25 @ 10am
Institution + Access
June 25 @ 1pm
Art + Emergence
June 25 @ 3pm
Community Effect
June 25 @ 7pm
Observations on Mujer Artista
*SATURDAY, JUNE 25, 2022*
Venue type: *Both physical and online*
Cinema of Breath
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=535faa14ac&e=857b71a9cb>
8pm PT,
Djavad Mowafaghian Cinema, SFU Goldcorp Centre for the Arts, Vancouver,
BC, Canada
Event URL: online June 25-27 - link to be announced on June 25
@cinemaofbreath
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=64239ca95c&e=857b71a9cb>
*Cinema of Breath: Rapture/Rupture*
Part of the symposium *A Light Footprint in the Cosmos *at Simon Fraser
University, the Cinema of Breath program will be both in-person on 25th
June in Vancouver and online June 25-27.
*Self Portrait Post Mortem* by Louise Bourque (2002)
*Incantation* by Peter Rose (1968)
*THAT WAS WHEN I THOUGHT I COULD HEAR YOU* by Matt Whitman (2021)
*to hold to miss to remember* by Lynn Marie Kirby (2017)
*Grihastha* by Sandeep Ashwath (2020)
*Recycled* by Lei Lei and Thomas Nauman (2012)
*Oh My Homeland* by Stephanie Barber (2019)
*Liquidator* by Karel Doing (2011)
*7.24.14* by Jason Livingston (2014)
*An Ecstatic Experience* by Ja'tovia Gary (2015)
*in ocula oculorum* by Anna Kipervaser (2021)
*The Cinema of Breath* series is founded and curated by Kalpana Subramanian.
*___________________________________________________________________*
Venue type: *Live, physical event*
Seven Local Film
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=f4d137aca2&e=857b71a9cb>
8PM EDT,
Terraza 7 40-19 Gleane Street, Elmhurst, Queens, NYC
*THE ACTOR IN HIS LABYRINTH screening + talkback*
SETH FEIN's documentary maps Sebastián Ospina’s journey from Colombian TV
star to "nomadic" New York City theater actor. It observes how Ospina's
travels and travails in NYC today resonate with those of Simón Bolívar in
the play the actor wrote and performs about the South American Liberator’s
final journey, two centuries ago in Colombia. It connects the charismatic
actor's life to those of of Bolívar (whom Ospina's ancestors tried to
assassinate) and noted filmmaker Luis Ospina (Sebastián's late brother) as
it toggles between the artist's past and present in NYC, where an encounter
with Al Pacino in the 1970s changed the thespian's life and where he stages
his Bolívar play in the heart of Colombian NYC – Jackson Heights-Elmhurst –
today. Ospina joins Fein for the post screening talkback/Q&A.
*THE ACTOR IN HIS LABYRINTH* (32 mins)
*___________________________________________________________________*
Venue type: *Live, physical event*
Interbay Cinema Society
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=3116a57b04&e=857b71a9cb>
8 pm PDT,
Northwest Film Forum, 1515 12th Avenue, Seattle, WA
*Re | Frame: Optically Printed Films from the Canyon Cinema Collection*
A selection of optically-printed films from the Canyon Cinema Collection,
curated by Jon Behrens and Caryn Cline, sponsored by Interbay Cinema
Society and Northwest Film Forum. All work screened on 16mm film.
*Arapadaptor (I Feel So)*, Anna Geyer | color/sound | 5 min. | 2003.
*Incantation*, Peter Rose | color/sound | 8.5 min. | 1971.
*Black Ice*, Stan Brakhage | color/silent | 2.5 min. | 1994.
*Out of the Ether*, Kerry Laitala | color/sound | 11 min. | 2004.
*Throbs*, Fred Worden | color/sound | 7 min. | 1972.
*My Good Eye*, Alfonso Alvarez | color/sound | 4 min. | 1995.
*Cowboys Were Not Nice People*, Larry Kreiss | color/sound | 8 min. | 1990.
*Reframe*, Nazlı Dinçel | color/silent | 4 min. | 2009.
*Fever*, Paula M. Froehle | color/sound | 6 min. | 1998.
*Sleeping Dogs (Never Lie)*, Pat O’Neill | color/sound | 9 min. | 1978.
*SUNDAY, JUNE 26, 2022* Venue type: *Live, physical event*
Los Angeles Filmforum
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=0876948723&e=857b71a9cb>
7:30 PM PST,
2220 W. Beverly Blvd., Los Angeles CA
*Actual/Virtual Realities: Harun Farocki’s Parallel & Related Visions*
In his groundbreaking four-part work *Parallel* (2012-14), Harun Farocki
explores the realm of video game design, particularly in its conception and
creation of virtual worlds. With his characteristically probing,
philosophical perspective, Farocki reveals and ponders the myriad ways in
which these designed environments connect to or depart from our own
individual and collective understanding of the actual world we inhabit.
Through Farocki’s lens, video game design, as a practice of digital
cosmogony, reveals itself as both a tool of the imagination and,
inevitably, a mirror of our own self-awareness and self-image, defined as
much by limits as it is by liberation.
This program will feature all four parts of Farocki’s masterful essay work,
each section paired with a film by a contemporary artist which explores
similar themes in a variety of ways, with an emphasis on the spatialization
of collective/personal memory and emotional world-building. Employing
varying technologies to approach their subject matter, these films will
uncover fresh points of resonance with Farocki’s illuminating ideas, which
still carry an ever-relevant visionary insight. (Mark Toscano)
Featuring work by Jacolby Satterwhite, Karolina Głusiec, Ted Wiggin, and
more TBA.
Program and notes by Mark Toscano.
*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=e0f9ae9760&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=bebed51928&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=632d15e4e0&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. 16: The History of That Body*
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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