[Frameworks] This Week in Avant Garde Cinema: August 26 - September 3, 2023
This Week
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*This Week [August 26 - Septrember 3, 2023] 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)
08.31.2023 Alchemy Film and Moving Festival
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(Early Deadline)
09.01.2023 Cauldron International Film and Video Festival
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(Early Deadline)
09.03.2023 PRISME #6
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09.06.2023 Punto de Vista
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09.08.2023 Light Matter Film Festival
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09.08.2023 Slamdance Film Festival
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(Late Deadline)
09.08.2023 Coney Island Film Festival
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(Early Deadline)
09.30.2023 Istanbul International Experimental Film Festival
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(9th Deadline)
10.05.2023 International Short Film Festival Oberhausen
<https://www.kurzfilmtage.de/en/festival/submission/#c3164> (Early Deadline)
11.01.2023 Experiments in Cinema <https://www.experimentsincinema.org/>
*EVENTS*
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___________________________________________________________________________________
*complicated sorting but a true attempt, enjoy!*
This week's programs (summary):
- Refresh
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[March
2022 - Spring 2023, Denver, CO]
- Inheritance
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[June
22, 2023-Feb 2024, New York, NY]
- Lilan Yang: Nowhere Near
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[August
18-26, Cambridge, MA]
- Group 312 Annual Report 2023
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[August
26, Chicago, IL]
- Weather Diary 5
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[August
26, New York, NY]
- Innocents Abroad
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[August
28, New York, NY]
- James Benning: Allensworth
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[August
31, Los Angeles, CA]
- The Short Films of Nina Fonoroff
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[September
1, Santa Fe, NM]
- Crossroads + The Exploding Digital Inevitable
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[September
1-2, New York, NY]
- Environment In Focus - A Program of Film And Video Shorts
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[September
2, Tallahassee, FL]
- The Long Conversation
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[ongoing, online]
- 6x6 Project: Artists' Moving Image Works
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[ongoing,
online]
*STARTING BEFORE AUGUST 26, 2023*
*March 2022 - Summer 2023*
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.
*___________________________________________________________________*
*June 22, 2023 - February 2024*
Venue type: *Live, physical event*
Whitney Museum of American Art
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99 Gansevoort St, New York, NY
*Inheritance*
Inheritance traces the profound impacts of legacy and the past across
familial, historical, and aesthetic lines. Featuring new acquisitions and
rarely-seen works from the Whitney collection by forty-three leading
artists, the exhibition includes paintings, sculptures, videos,
photographs, and time-based media installations from the 1970s to today.
This diverse array of works consider what has been passed on and how it may
shift, change, or live again.
Drawing inspiration from Ephraim Asili’s 2020 film of the same title,
Inheritance reflects on multiple meanings of the word, whether celebratory
or painful, from one era, person, or idea to the next. The exhibition takes
a layered approach to storytelling by interweaving narrative with
documentary and personal experiences with historical and generational
events. A group of works examining the cycle from birth to death opens the
exhibition, while other galleries take up different kinds of lineages, such
as how artists borrow from and remake art history or unspool legacies of
racialized violence and their recurrences.
The poet Rio Cortez speaks of being “framed by our future knowing”—even as
we sit in this moment, we slide backward and forward in time, between our
foremothers and the descendants we will never know. Rather than passively
accepting our current state, the artists whose work is on view here ask:
How did we get here, as individuals and as a society, and where are we
going?
Artists featured in this exhibition include Ephraim Asili, Sadie Barnette,
Kevin Beasley, Diedrick Brackens, Beverly Buchanan, Widline Cadet, Andrea
Carlson, Jonathan Lyndon Chase, Ralston Crawford, Mary Beth Edelson, John
Edmonds, Kevin Jerome Everson, Chitra Ganesh, Todd Gray, Wade Guyton, David
Hartt, Emily Jacir, Wakeah Jhane, Mary Kelly, Deana Lawson, An-My Lê,
Maggie Lee, Sherrie Levine, Dindga McCannon, Ana Mendieta, Thaddeus Mosley,
Lorraine O’Grady, Kambui Olujimi, John Outterbridge, Pat Phillips, Faith
Ringgold, Sophie Rivera, Carissa Rodriguez, Cameron Rowland, Sturtevant,
Hank Willis Thomas, Clarissa Tossin, Kara Walker, Joan Wallace, Carrie Mae
Weems, WangShui, and Bruce and Norman Yonemoto.
This exhibition is organized by Rujeko Hockley, Arnhold Associate Curator
at the Whitney Museum of American Art.
*___________________________________________________________________*
*August 18 - 26*
Venue type: *Live, physical event*
Gallery 263
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Opens on Aug 18, 6-8pm EST, screening on Aug 26, doors at 7:30pm EST,
263 Pearl St, Cambridge, MA 02139
*Lilan Yang: Nowhere Near*
>From Aug 20-26, Lilan Yang's debut solo exhibition, *Nowhere Near*, takes
center stage, presenting a curated selection of photographs and
experimental film installations that delve into the essence of memory and
its dissolution. Yang's pseudo-films defy traditional filmmaking norms by
employing a unique non-chemical method to create 16mm and 35mm films. This
pioneering approach melds analog and digital realms, utilizing inkjet/laser
printing and laser cutting techniques. The exhibition chronicles Yang's
introspective solo journeys through the Pacific Northwest, the Atlantic
Coastline, and a poignant voyage to the American West. It stands as both a
visual narrative and a meditation on perception — contemplates on ways of
seeing and not seeing. Moreover, it delves into an experimental
juxtaposition between film and memory, exploring how film's natural and
mechanical degradations as an archival medium mirrors the gradual erosion
of memories over time.
To mark the exhibition’s closing on Aug 26, an exclusive film screening in
the original 16mm format is also slated. A rare opportunity to view many of
Yang’s unedited, shot-on-camera short films in the evocative Kodak Black &
White Reversal. Additionally, Yang's MFA thesis film, *Everything Comes
Full Circle*, crafted during her introspective hiatus, will also be
featured with a new score by London-based composer Julian Tran. After a
two-year sojourn, this exhibition heralds Yang's much-anticipated return to
Boston, unveiling her new works to the public for the very first time.
*SATURDAY, AUGUST 26, 2023* Venue type: *Live, physical event*
Chicago Filmmakers
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7PM Central,
1326 W Hollywood Ave, Chicago, IL 60660
*GROUP 312 ANNUAL REPORT 2023 | In-Person (8/26)*
Over the past year, not-for-profit artists’ collective Group 312 Films has
gathered their best shorts for their annual report at Chicago Filmmakers.
Tune in to see the wacky, poetic, and experimental featured works by Kevin
B. Chatham, Johnny Lange, Kelly McGowan, Richard Syska, David Purdie, Brian
Klein, and Kevin Ortinau.
For Chicago Filmmakers' [IN]SIGHT Magazine, Anna Castagnaro reviewed the
program, saying: "From Richard Syska’s satirical tone and archival
experimentation to Kelly McGowan’s colorful stop-motion puppetry, prepare
to be amazed by the inventive storytelling of each director and their
distinctive voice. Every director has approached their short from a variety
of skill levels and expertise, all while collaborating with one another to
perfect their craft."
Kevin B. Chatham – *Wrong* (3:35)
Johnny Lange – *Non Iterum* (3:43)
Kelly McGowan – *Next Time It Will Be Better* (3:23)
Richard Syska – *Greatest Movie Never Made* (7:47)
Dave Purdie – *In A Box* (4:29)
Kevin B. Chatham –* Incognito* (3:04)
Brian Klein –* Incognito* (2:41)
Richard Syska – *Incognito* (5:46)
Kevin B. Chatham – *Unreleased* (12:14)
Kevin Ortinau – *Why Weee* (1:42)
Kelly McGowan – *Metamorphosis* (2:57)
Johnny Lange – *Meditations on Middle Age* (10:39)
Richard Syska – *This Time It Will Be Different* (4:20)
Kevin B. Chatham – *This Time It Will Be Different* (5:02)
TOTAL RUNNING TIME: Approx. 70’
*___________________________________________________________________*
Venue type: *Live, physical event*
Anthology Film Archives
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6:30pm ET,
32 Second Avenue, New York, NY
*WEATHER DIARY 5*
by George Kuchar, 1989, 38 min, video
Reflecting the fascination of a born-and-bred Bronx native with the “big
skies” and extreme weather of the Great Plains, George Kuchar’s “Weather
Diaries” were made during his annual vacations to the heartland, where he
would stay in small, nondescript motel rooms, ostensibly waiting for
tornados to materialize. In fact, the “Weather Diaries” encompass the
immediate environment of the motels, the lives and habits of the people he
encounters, George’s own loneliness, and his musings on things great and
small. In *WEATHER DIARY 5*, a more socially-active addition to the series,
we meet the natives and participate in the rituals of business and
schooling and high hopes on the flatlands.
“I’ve watched the entire ‘Weather Diary’ series more times than I can count
but number 5 has always been my favorite. Most of the editing seems to have
been done in-camera which still baffles me. There’s even this one amazing
scene when he’s getting a tour of a hair salon and instead of putting a
music track over it in post-production, he actually carried around a tape
player and made everyone scream over the Muzak playing in the room.” –John
Wilson
With:
George Kuchar *LOW LIGHT LIFE* (1988, 15 min, video)
Shooting in low-light style, Kuchar documents his experiences with various
underground filmmakers such as James Broughton and Ken Jacobs, then moves
on to the other side of the Hollywood lifestyle to visit Nicholas Cage.
Images of crowds and facial close-ups comprise this haunting tape.
George Kuchar *AWARD* (1992, 20 min, video)
A behind-the-scenes look at the man behind the trophy and the poisons that
taint an otherwise jubilant jamboree.
Total running time: ca. 75 min
*MONDAY, AUGUST 28, 2023* Venue type: *Live, physical event*
Anthology Film Archives
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9pm ET,
32 Second Avenue, New York, NY
*INNOCENTS ABROAD*
by Les Blank, Vikram Jayanti, and Chris Simon, 1991, 84 min, 16mm
*INNOCENTS ABROAD* takes a wry look at how Europeans and Americans
stereotype each other, and also examines the validity of
20th-century-style, high-speed, mass tourism. It is a glimpse into an
industry which is vital to the European economy, but which also takes a
very real toll on the continent, both culturally and ecologically. The
eclectic soundtrack includes Mozart, Bob Dylan, Sandy Denny, Jonathan
Richman, and others.
“Les Blank filming a bunch of American tourists on a bus traveling around
Europe. I feel like I don’t hear about this movie very often when people
talk about his filmography, and it’s a rare feature-length project that
deserves more attention.” –John Wilson
*THURSDAY, AUGUST 31, 2023* Venue type: *Live, physical event*
Academy Museum
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7:30pm PT,
Ted Mann Theater, Academy Museum, 6067 Wilshire Boulevard, Los Angeles, CA
*James Benning: ALLENSWORTH*
DIRECTED BY: James Benning. WITH: Faith Johnson. 2022. 65 min. USA. Color.
English. DCP.
“The artist is someone who pays attention and reports back.”—James Benning
Structuralist, avant-garde, minimalist… These are adjectives often applied
in the process of describing the LA-based
artist-filmmaker-educator-activist James Benning. For the last five
decades, Benning has been an earnest and prolific practitioner of art and
film. His innovation and highly refined creative language come from his
candid diligence and genuine curiosity. His consistency in filmmaking is
affirmation aligned with his work ethics and modest approach to exercising
his right and responsibility of being an artist and filmmaker.
Born into a working-class, immigrant family in Milwaukee, Benning grew up
directly experiencing and understanding the roles and impacts of capitalism
and how the brutality of poverty deeply effects individual, community,
and/or society, especially in relations to race and racism. Activist turned
artist-filmmaker, Benning creates works founded on substantive narratives,
manifested through heavily form-based aesthetic language that can
potentially minimize the narratives. The evidence is there: Benning wants
the audience’s deliberate engagement and participation while they
experience his work.
Benning’s recent film *ALLENSWORTH* is a remarkable collage of images and
sounds, created from his extensive survey of a ghost town founded in 1908
which became the first municipality in California to be run by African
Americans. The crucial historical context, the fundamental component of the
film, is reported to us by Benning via the meticulous, bold, and
sophisticated language he employs in filmmaking.
Programmed and note by Hyesung ii.
Academy Museum film programming generously funded by the Richard Roth
Foundation
*FRIDAY, SEPTEMBER 1, 2023* Venue type: *Live, physical event*
No Name Cinema
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7pm MST,
No Name Cinema, 2013 Pinon Street, Santa Fe, NM
*the short films of Nina Fonoroff*
presented on 16mm film! filmmaker in attendance! post-screening Q&A!
Central to Fonoroff's creative process is a deep involvement in almost all
of the phases of a film’s production—from scripting and shooting to editing
and finishing of image and sound elements. "Though I begin work on a film
with a rough plan, the process remains fluid, indeterminate: partly a
matter of calculation and planning, partly of serendipitous discovery.
Through most phases of the process, I work to shape a story through
constant revision of both sound and picture elements; so the films may be
considered palimpsests that have been subjected to numerous revisions of
thought and idea." Fonoroff's films have screened widely in the U.S. and
elsewhere, including the Museum of Modern Art and the Centre Georges
Pompidou in Paris. She has held residencies at the MacDowell Colony and the
Ucross Foundation among others, and has received a Guggenheim Fellowship.
She has been teaching courses in filmmaking at UNM for the past twenty
years.
*___________________________________________________________________*
*September 1 - 2*
Venue type: *Live, physical event*
Anthology Film Archives
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7:30pm ET,
32 Second Avenue, New York, NY
*CROSSROADS + THE EXPLODING DIGITAL INEVITABLE*
In 1976 groundbreaking artist, collagist, sculptor, and filmmaker Bruce
Conner released his magnum opus, a 36-minute assemblage of U.S. government
footage of the iconic Bikini Atoll atomic bomb test. If Conner invented the
modern found-footage film with *A MOVIE* in 1958, he re-invented it with
*CROSSROADS*. His editing of the film’s brilliant “dual” score – by seminal
minimalist composer Terry Riley and synthesizer pioneer Patrick Gleeson –
evokes a surreal beauty latent in the devastating images that comprises one
of the most profound meditations on the nuclear era extant.
Created by Ross Lipman – a filmmaker, performer, and archivist who is the
author of numerous short experimental films, live lectures, and
essay-films, including *NOTFILM* (2015) about Samuel Beckett and Buster
Keaton’s *FILM*, and who is responsible for restorations of numerous
vitally important works including *SCORPIO RISING*, *WANDA*, *KILLER OF
SHEEP*, and more – *THE EXPLODING DIGITAL INEVITABLE* (2017) is a
documentary essay that takes *CROSSROADS* as its subject. Integrating an
array of movie and audio clips, still photographs, and rare archival
documents, it tells the story of *CROSSROADS*’ unique production, as well
as the massive cultural spectacle of the original Bikini Atoll tests
themselves – the most recorded event in human history. It also chronicles
the extraordinary collaboration of Conner with Riley and Gleeson, including
original interviews with both composers.
With Christopher Nolan’s *OPPENHEIMER* calling attention once again to the
development of the atomic bomb, we thought it was high time for revival
screenings of both Conner’s seminal film and Lipman’s fascinating chronicle
of its production and historical context.
Bruce Conner *CROSSROADS* 1976, 36 min, 35mm-to-DCP. Exhibition copy
courtesy of the Conner Family Trust.
Ross Lipman *THE EXPLODING DIGITAL INEVITABLE* 2017, 48 min, digital
Total running time: ca. 90 min. Special thanks to Ross Lipman and Michelle
Silva (Conner Family Trust).
*SATURDAY, SEPTEMBER 2, 2023* Venue type: *Live, physical event*
Tallahassee Film Festival
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1:30pm (EDT),
Theater #1/Residence Inn & Suites – Seminole Room, Tallahassee, FL
*Environment in Focus - A Program of Film and Video Shorts*
A curated collection of experimental and non-traditional visual documents
of our environment. This film program is sponsored by the Sunshine State
Biodiversity Group (SSBG) who believe in community, wildlife, and creating
a sustainable future in Florida and is curated by Vice President Alison
Sperling and TFF Artistic Director Steve Dollar.
*Stasis*, by Maya Watanabe
*Oceanic: Queering the Ocean*, by micha cárdenas, Gerald Casel, Ian
Costello, Cynthia Ling Lee, Susana Ruiz, Huy Trong
*Disappearing Waters*, by Ian Edward Weir
*Taxonomic Ambiguity*, by Juan Arturo García
*Picture a Forest*, by Dave Rodriguez
*Sunflower Siege Engine*, by Sky Hopinka
*Tending the Orchard*, by Katherine Agard, Bill Basquin
*How to Carry Water*, by Sasha Wortzel
*ONGOING*
Venue type: *Virtual, online event*
Riverwest Radio
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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
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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.
------------------------------
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