[Frameworks] This Week in Avant Garde Cinema: January 14 - 22, 2023
This Week
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Sat Jan 14 22:31:32 CST 2023
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*This Week [January 14 - 22, 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)
01.15.2023 Video Art Miden
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01.15.2023 Mimesis Documentary Festival
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(Early Deadline)
01.16.2023 New Cinema Days
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01.31.2023 Laterale Film Festival
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(Fourth Deadline)
01.31.2023 Crossroads
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02.01.2023 Milwaukee Underground Film Festival
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02.01.2023 International Short Film Festival Oberhausen
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02.01.2023 Chicago Underground Film Festival
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(Early Deadline)
02.01.2023 Winnipeg Underground Film Festival
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02.03.2023 Coney Island Film Festival
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(Late Deadline)
02.22.2023 PACT Zollverein Residency
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02.24.2023 Edinburgh Short Film Festival
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(Early Deadline)
02.26.2023 Moviate Underground Film Festival
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02.28.2023 Braziers International Film Festival
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(Regular Deadline)
03.01.2023 EXIS
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03.01.2023 Media City Film Festival
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03.01.2023 Fracto Experimental Film Encounter
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03.01.2023 Found Footage Magazine
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03.26.2023 Magmart international videoart festival
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04.02.2023 VSW Project Space Residency
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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 - Spring 2023, Denver, CO]
- Jonas Mekas: A Small Table, With A Bottle of Wine, Garlic, Sausage,
Bread
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[Dec 8-Jan 21,
New York, NY]
- Soda Jerk: the Time That Remains
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[January
6 - February 6, online]
- THOUSANDSUNS CINEMA
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[January
9-30, online]
- Extended Nature: Feel Like A Plant
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[January
14, Paris, France]
- Sound & Cinema Performances By K/S/R + Wind Tide
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[January
14, Santa Fe, NM]
- SPACE//SPACE
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[January
15, New York, NY]
- Stan Brakhage On 8mm + 35mm
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[January
15, New York, NY]
- Fred Camper
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[January
16, New York, NY]
- Invisible At the Time: Guest Program By Afea
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[January
17, Paris, France]
- Space Is the Place, a Cosmic Rays Touring Program
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[January
17, Columbus, OH]
- EC: No President
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[January
18, New York, NY]
- EC: Carriage Trade
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[January
18, New York, NY]
- EC: Wavelength
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[January
19, New York, NY]
- EC: <---> (Back and Forth)
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[January
19, New York, NY]
- Mike Henderson: the Blues and the Abstract Truth
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[January
19, Los Angeles, CA]
- Sprung From the Dirt
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[January
20, Brooklyn, NY]
- 1
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[January
20, Homestead, PA]
- Alexander Hammid
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[January
20-29, New York, NY]
- Dominic Angerame: A Complete Retrospective (Program 1)
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[January
21, Oakland, CA]
- Teddy Bears and Little Friends: the Films of “Nanny" Lynn Ochberg
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[January
22, Los Angeles, CA]
- The Long Conversation
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[ongoing, online]
- 6x6 Project: Artists' Moving Image Works
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[ongoing,
online]
*STARTING BEFORE JANUARY 14, 2023*
*November 1 - January 25, 2023*
Venue type: *Both physical and online*
Jonas Mekas 100!
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=905f8ed2bc&e=857b71a9cb>
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 - Spring 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.
*___________________________________________________________________*
*December 8 - January 21*
Venue type: *Live, physical event*
Microscope Gallery
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12:00-6:00pm ET,
525 West 29th Street, 2nd Floor New York, NY 10001
*Jonas Mekas: A small table, with a bottle of wine, garlic, sausage, bread*
“A small table with a bottle of wine, garlic, sausage, bread,” a solo
exhibition of works by Jonas Mekas, opening on December 8 and taking place
in connection with 100th anniversary of his birth on December 24, 1922.
“A small table with a bottle of wine, garlic, sausage, bread" features
Mekas’ final work *Requiem* (2019), an 84-minute video piece that, after
its debut as part of a live visual/orchestral performance at The Shed in
2019, is being exhibited for the first time in its final single-channel
video form. Additionally, the show includes a selection of the artist's
4-channel video installations, know as “quartets,” as well as
multi-projector 35mm slide, sound, and photographic installations made
between 2000 and 2018 — most of which have rarely, if ever, been presented
in the United States.
Associated events will also be taking place during the course of the
exhibit.
*___________________________________________________________________*
*January 6 - February 6*
Venue type: *Virtual, online event*
VISIONS
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streaming 24/7,
Event URL: https://visionsmtl.com/2023/soda-jerk-2/
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*SODA JERK: The Time That Remains*
2012 | digital | 12 mins
Dear J,
After you left the house this afternoon — we had both so much and so little
to say to each other, as if the objects around us contained our words and
we had to unlock them one by one, the way jewelery boxes of thought ready
to bring forth their miniature dancer—I was seized with a sudden melancholy
(for lack of a better word to describe the calm nervous breakdown that
gripped me). The prospect of seeing you again terrified me. Because after
all that we have shared, made shine, passionately sabotaged, in short,
after all that we have lived leaning against each other, and here we are
catapulted out of ourselves and yet perhaps more than ever in- inside of
us, something was said in me without formulating it clearly that we would
inevitably miss this reunion imposed by others. Did I just want to see you
again? You must have grimaced when M. proposed this meeting to you.
The prospect of seeing you again terrified me, I was just telling you, and
this manifested itself in the dreams of the previous night, dreams during
which frayed images formed an atmosphere where you were going, alternately
shimmering and shimmering. Who were you, who was I, these images asked, who
were we to each other, to each other, what was the distance that was
intrinsically part of our relationship, this intimacy- there, this
detestation of love, this hinge, this fold through which we articulated
ourselves on both sides of closed doors and our broken lives at the work of
appearing without common measure?
So you were there and not quite there. You were beautiful and then I
watched you being beautiful and you yourself watching me, only I was
elsewhere than within beauty, elsewhere than beautiful yes, that I knew,
from the now familiar sensation of my more more porous and to the
ever-surprised vision of my own weathered face, no longer belonging to
myself and yet welcoming all the strata of this I no longer am and then am
by the desiring force of oblivion. And the dream, made of an image of a
ball, of a marvelous dress, of curly hair falling in a cascade, image of
you archaic and new, image of a waltz by Chopin, of a sea evoking the
density of a psalm, conveyed a traversed and traversing duration, an idea
of you and of me. From my dream emanated the affinity emerging from the
vitality of our antagonism, I cannot tell you exactly how, since they were
only old images projected by the mind which sleeps and fears the next day,
but yes the affinity and split were expressed in the same way, like a
wavering, a given meaning, the indifference of the setting sun.
In the morning, I got up as if accomplished in a train station. After all
these years, you would soon be here, as we began our disappearance and this
disappearance became the new surface, the new support of our being. I was
about to welcome you into this detachment, into this impalpable transit
where I felt you, still erotic and hot with anger, I was about to see you
and say hello to you ironically.
You were there, in front of me, with your make-up that fools no one, your
buried beauty, your sulky lips but worked at the same time by a subtle
smile with an impossible to define spring. We disdainfully drank tea with
these people who framed us and this pan of fatalism hanging on your blink,
hanging on the closing of your incredibly long eyelids behind which I knew
you knew all the material of our battles against the world.
This afternoon, you were once again this other against whom I sought
headlong to define myself and impose an image, this creature to swallow, to
engulf like food. We pretty much said the things they expected, those
barking dogs. And that was suddenly all. The door, with its people, your
presence, its uproar, has closed. You were well and truly gone this time.
And I immediately noticed a flicker, at the source of the intranquility
that makes me take paper and pencil.
I write to you as to myself, to this other that I have become, similar to
what you have always been in the hollow of my angular heart and who lives a
little through your own memories whose exact content I do not know, but
within which I know I exist. I am writing to you through various accents,
through the ages that we have had, alone and together, and from this
station from where I would like to wish you good continuation, good
disappearance, dear... wish you a beautiful death like sea, a beautiful
death like your eyebrows.
Friendships,
B.
*___________________________________________________________________*
*January 9 - 30*
Venue type: *Virtual, online event*
Media City Film Festival
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streaming 24/7,
Event URL: https://mediacityfilmfestival.com/thousandsuns-cinema/
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*THOUSANDSUNS CINEMA*
60+ FILMS BY INDIGENOUS ARTISTS FROM TURTLE ISLAND AND AROUND THE WORLD,
PRESENTED WITH COUSIN COLLECTIVE
THOUSANDSUNS CINEMA animates aspects of Media City Film Festival’s
long-storied program history online. Featuring selections from hundreds of
artists showcased by MCFF over its twenty-five year history, THOUSANDSUNS
presents short and feature-length films, previous MCFF commissions,
fellowship screenings, retrospectives, and other cinematic endeavours
connected with our activities since 1994. Moving image artworks exhibited
in THOUSANDSUNS CINEMA will screen for a limited time. Conceived as a
working space, THOUSANDSUNS will also function as an ever-growing online
index, cataloguing artists operating in avant-garde film circles
internationally. As MCFF works to migrate its immense history of previously
screened filmmakers online, new artists will also be invited to exhibit
their work.
*SATURDAY, JANUARY 14, 2023* Venue type: *Live, physical event*
Lightcone
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3pm GMT+1,
National Museum of Natural History, Auditorium of the Grande Galerie de
l'Évolution - 36 rue Geoffroy Saint-Hilaire, 75005 Paris, France
*EXTENDED NATURE: FEEL LIKE A PLANT*
While our time is marked by the extent of human actions on the rest of the
living (the Anthropocene), filmmakers engage in ecological practices that
lead to a decentering of the privilege attributed to humans. Experimental
filmmakers work to broaden our view of nature and their films gradually
realize non-human perceptions: an "animal seeing", from the knowing gaze of
a pet cat to the multifaceted eye of a bee, a " vegetal smell", from the
photosynthesis of the dandelion to the delicacy of a Mimosa pudica.
These experimental films, whose production requires ingenuity and poetry,
invite you to discover new perceptual senses in animals or plants, to
marvel, to reconnect with other forms of life while participating in
philosophical and scientific research. contemporary on these issues. The
production methods of these films are the terrain of a political ecology
thanks to artisanal alternatives to productivism, groupings in
eco-responsible collectives and an exploration of processes on film support
such as “phytography” or “eco-development”.
This cycle accompanies the publication of the collective work *Expanded
Nature - Ecologies of Experimental Cinema* under the direction of Elio
Della Noce and Lucas Murari at Light Cone Editions.
FEEL LIKE A PLANT
In the presence of Elio Della Noce and Emmanuel Lefrant.
For this third and final session, the gaze leaves the animal world for a
while to turn to the sentience of plants. From the seed, the petiole, the
petals and the leaves, how do the filmmakers disseminate this “plant
intelligence” which is embodied in a variety of perceptual senses? For
this, experimental cinema offers surprising correspondences between the
biochemical processes of plants and the technical processes of film on
silver support. From the photosynthesis of a leaf to the "phytogram" that
prints it negative on celluloid, from "herbarium collages" to the
techniques of in-camera animation of "cinematic bouquets", from
"photograms" of petals with photosynthetic properties which preside over
the perception of their color.
*GESTURES TOWARD PLANT VISION* by Sarah ABBOTT / 2021 / HD / color / sound
/ 10' 09
*FLOWERS #1* by Alexander GRANGER & Philip HOFFMAN / 2022 / HD / color /
silent / 3' 06
*GRAND PARK-PHOTOSYNTHESIS* by Robbie LAND / 2017 / HD / color / silent /
7' 00
*PHSYCHÈ TROPHIKÈ* by Bruno VARELA / 2020 / HD / b&w / sound / 2' 15
*PURKYNE'S DUSK* by Helena GOUVEIA MONTEIRO / 2020-2021 / HD / color-b&w /
silent / 9' 09
*THE PUDIC RELATION BETWEEN MACHINE AND PLANT* by Pedro NEVES MARQUEZ /
2016 / HD / color / sound / 2' 30
*LICHEN* by Lisa JACKSON / 2019 / HD / color / sound / 12' 00
*BOTANICOLLAGE ON FRISCO BAY* by Caryn CLINE / 2017 / HD / color / sound /
3' 46
*THE GARDEN OF EARTHLY DELIGHTS* by Stan BRAKHAGE / 1981 / 16mm / color /
silent / 1' 50
*GLIMPSE OF THE GARDEN* by Marie MENKEN / 1957 / 16mm / color / sound / 4'
00
*TRACK MOSS BYPASS* by Miles MCKANE / 1987 / 16mm / color / silent / 7' 00
*LES POPPIES* by Rose LOWDER / 2000 / 16mm / color / silent / 2' 30
*A PERFECT STORM* by Karel DOING / 2022 / 16mm / color-b&w / sound / 3' 00
Free admission within the limit of available places (reservations
recommended
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=31affcd2fc&e=857b71a9cb>).
Doors open: 2:45 p.m
*___________________________________________________________________*
Venue type: *Live, physical event*
No Name Cinema
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7pm MST,
No Name Cinema, 2013 Pinon Street, Santa Fe, NM
*Sound & Cinema performances by K/S/R + Wind Tide*
All new works for hand painted & found footage 16mm projections with live
improvised sound - along with the premiere of a collaborative handmade 16mm
film created through the mail by all 5 performers using dirt & food.
Release show for the new K/S/R + Wind Tide split cassette!
And a winter clothing drive for the local harm reduction shelter (bring
winter clothing to donate)
$5 - $15 suggested donation
Free Popcorn, books + VHS
BYO snacks + drinks
*SUNDAY, JANUARY 15, 2023* Venue type: *Live, physical event*
Anthology Film Archives
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1:30pm ET,
32 Second Avenue, New York, NY
*SPACE//SPACE*
by Alex Harvey & Banana Bag & Bodice
2022, 72 min, digital
SPECIAL SCREENING! FILMMAKERS IN PERSON!
It’s been ten years since Banana Bag & Bodice’s beloved experimental
production *SPACE//SPACE* made waves in the New York theater scene (“*WAITING
FOR GODOT* in space”, raved the New York Times). Now the married
performance artist duo who created that infamous work are squeezed into the
first wave of pandemic lockdown: alone in their attic, they rehash their
claustrophobic container tale of two brothers stuck in a space capsule –
but this time performing for a bank of empty seats. The play, and their
relationship with their eight-year-old son, Zoom-schooling in the house
below, merge into a semi-permeable dream about marriage, parenting,
performance, and the elasticity of time in the age of Coronavirus.
*SPACE//SPACE* is a hybrid cinematic collaboration between writer/director
Alex Harvey and Banana Bag & Bodice (aka Jason Craig and Jessica Jelliffe).
A hall of narrative mirrors that keeps revealing and then hiding its
subjects behind continually crumbling fourth walls, the film ponders the
nature of relationships in isolation and the ways in which families perform
for each other – and fail to perform for each other. Ultimately a grief cry
made by artists and lovers, *SPACE//SPACE* laments an era where aliveness
and physical connection are endangered species.
*___________________________________________________________________*
Venue type: *Live, physical event*
Anthology Film Archives
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7:30pm ET,
32 Second Avenue, New York, NY
*STAN BRAKHAGE ON 8MM + 35MM*
To celebrate the publication of a new book on the films of Stan Brakhage by
esteemed scholar Fred Camper – and on the occasion of a visit to NYC from
Camper himself – we present a very special program focusing on the
relatively rare instances in Brakhage’s filmography in which he departed
from the 16mm film gauge. The program will feature a selection of works
drawn from his 8mm SONG cycle, as well as all the 35mm Brakhage films that
are currently in circulation, with all films screening on their intended
formats.
To be released on January 14 – which marks the 90th anniversary of
Brakhage’s birth – “Seeking Brakhage” (2023, Eyewash Books) encompasses
five decades worth of Camper’s writing on the filmmaker, and features an
introduction by P. Adams Sitney. For more info visit:
www.eyewashbooks.com/camper
“Truth to materials’ is a statement that, though less fashionable today, I
still think informs some of the best art. The artist, it argues, should use
media in ways that acknowledge their natures. Brakhage’s films are replete
with momentary illusions, but the emphasis is on ‘momentary’; they do not
seek to lose the viewer in substitute worlds, as his ‘worlds’ are
constantly changing. It is natural, too, that his films vary according to
the materials with which they are made, the acknowledgement of which
reflects a fundamental honesty.
“The majority of Brakhage’s work was created on 16mm film. But he also
worked with three types of 8mm: standard 8mm, Super-8, and also briefly in
Polavision, a short-lived format which used a unique type of 8mm film
instantly processed in its cartridges. Additionally, he hand-painted on
35mm film (as well as 70mm, reduced to 35mm in printing). This program
presents a selection of his standard 8mm SONGS, as well as all of his 35mm
films (with the exception of two that are not currently available on 35mm).
“The differences between the two gauges, particularly when the films are
shown in their original formats, is vast. Brakhage used the size of 35mm to
create hand-painted images with a detail not possible in the smaller
formats, as in *INTERPOLATIONS* for instance, which offers forest-like
densities in which the viewer can feel lost. He used 8mm more as a highly
developed sketch book, in which often lush yet fragile illusions
momentarily coalesce out of evanescent imagery, yet with thought-provoking
moments that, among other things, may refer in varied and complex ways to
their own making.” –Fred Camper
We’ll also take advantage of Camper’s presence in NYC to highlight the
little-known but fascinating 16mm films he made himself, all of which have
been newly restored (only on 16mm) by the Chicago Film Society.
All the films in this program are silent.
8mm:
*SONG 1* 1964, 4 min, 8mm
*SONG 2* 1964, 2 min, 8mm
*SONG 3* 1964, 3 min, 8mm
*SONG 6* 1964, 2 min, 8mm
*SONG 7* 1964, 2.5 min, 8mm
*SONG 13* 1965, 3 min, 8mm
*SONG 21* 1965, 5 min, 8mm
*SONG 22* 1965, 3 min, 8mm
35mm:
*EYE MYTH* 1967, 9 sec, 35mm
*THE GARDEN OF EARTHLY DELIGHTS* 1981, 1.5 min, 35mm
*NIGHTMUSIC* 1986, 30 sec, 35mm
*THE DANTE QUARTET* 1987, 6 min, 35mm
*RAGE NET* 1988, 1 min, 35mm
*INTERPOLATIONS 1-5* 1992, 12 min, 35mm
*NIGHT MULCH* 2001, 2 min, 35mm
*VERY* 2001, 4 min, 35mm
*CHINESE SERIES* 2003, 2.5 min, 35mm
Total running time (with pauses and discussion): ca. 105 min
*MONDAY, JANUARY 16, 2023* Venue type: *Live, physical event*
Anthology Film Archives
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7:30pm ET,
32 Second Avenue, New York, NY
*FRED CAMPER*
Artist, scholar, and teacher Fred Camper has been a well-known and
influential member of the avant-garde cinema scene since the late 1960s.
Though Camper is justifiably revered within avant-garde and auteurist
circles for his critical writings, his own filmmaking efforts are far less
recognized. In the late 1960s, Camper produced five short films over the
course of three years, which, like his writings, demonstrate his dual
interests in the avant-garde cinema and the auteurist canon. His body of
work represents a unique synthesis of these seemingly disparate influences,
often locating an aesthetic epiphany in a forgotten work of Hollywood
cinema and extrapolating a rigorous and suggestive way of seeing that can
be applied to non-narrative ends.
Camper’s films have been out of distribution since the mid-1970s, and have
been shown together only once since then, when curator Patrick Friel
presented two programs under his White Light Cinema banner in Chicago in
2011. Over the last several years, however, working directly with Camper,
the Chicago Film Society has preserved all five films from the original
elements. Available once again, only on 16mm per Camper’s wishes, the films
demonstrate that Camper is not only one of our most important and
invaluable film scholars and critics, but also a formidable film artist in
his own right.
All films preserved by Chicago Film Society. *DAN POTTER* and
*BATHROOM* preserved
with the support of the National Film Preservation Foundation. *WELCOME TO
COME* and *A SENSE OF THE PAST* preserved through the NFPF’s Avant-Garde
Masters Grant Program and the Film Foundation; funding provided by the
Hobson/Lucas Family Foundation.
Alongside our friends at the Museum of the Moving Image, we’re pleased to
present the first public screenings of these new preservations. Special
thanks to Kyle Westphal (Chicago Film Society).
*JOAN GOES TO MISERY* 1967, 8 min, 16mm
“Both a ‘short story’ – a film about a girl who rejects ‘reality’ to live
in her own private world – and a film about progressive states of mind.
Joan goes to a two-room apartment, removes wigs, false eyelashes, makeup;
depressed at her own appearance, she lies on the bed and over-eats. The
soundtrack (‘It’s my party and I’ll cry if I want to…’) adds irony to her
‘orgy.’ But it is her isolation from human contact, and her entrance into a
self-indulgent fantasy world that are central ‘themes’ of the film.” –Fred
Camper
*A SENSE OF THE PAST* 1967, 4 min, 16mm, silent
This short work is an explicit homage to Stan Brakhage. (The titles are
even scratched in black leader à la Brakhage.) Largely a fragmentary
description of a shadowy room, its dark portents are suggested by stacks of
old letters piled on a desk.
“*A SENSE OF THE PAST* was shot without pre-planning during a long weekend
reading Henry James, and I would like to think that its form was somewhat
influenced by his passive descriptions that seem to both evoke and conceal
great, not fully articulated, traumas.” –Fred Camper
*DAN POTTER* 1967-68, 39 min, 16mm, silent
“Though not a portrait, it was inspired by the way Gregory J. Markopoulos’s
portraits in *GALAXIE* intermingle the identities of his figures with
objects around them; less obvious influences are F.W. Murnau’s TABU and the
relationships between figures and backgrounds in the films of Howard
Hawks.” –Fred Camper
*WELCOME TO COME* 1968, 3 min, 16mm
“As much a fragment as a completed film, it suggests more than it answers:
an almost-mystical suggestion of an idea. A long slow zoom from a warm room
interior to a close shot of dark blue tree branches seen outside the
window. A film about the eye’s ability to move subjectively from one place
to a completely different one; about the ability of the imagination to
discover and enter ‘other worlds’ hidden amidst the surface clutter of
everyday surroundings.” –Fred Camper
“One of the most successful tours de force ever promulgated on the U.S.
screen. […] The shifting expectations, some horrible in nature, which it
manages to evoke in a spectator during its incredibly brief running time
are heightened by an astute use of the Beach Boys’ recording which provides
the title. *WELCOME TO COME* is a prospective small classic.” –Stuart
Byron, VARIETY
*BATHROOM* 1968-69, 25 min, 16mm, silent
“*BATHROOM* shows a somewhat seedy bathroom, beginning with a stab at
seeing it ‘objectively’ that soon fails; the forms descend into what I hope
is a terrifying, even self-destroying irrationality. One inspiration was
the long take depiction of madness at the end of Edgar G. Ulmer’s *DETOUR*;
another, the two out-of-focus shots of the altar near the end of Douglas
Sirk’s *THE FIRST LEGION*.” –Fred Camper
Total running time: ca. 85 min.
*TUESDAY, JANUARY 17, 2023* Venue type: *Live, physical event*
Light Cone / Luminor Hôtel de Ville
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8:30PM (GMT+1),
Luminor Hôtel de Ville, 20 rue du Temple, Paris, France
*INVISIBLE AT THE TIME: GUEST PROGRAM BY AFEA*
Presented by Rose Lowder
The creation of Afea (Archives du Film Expérimental d’Avignon) was above
all a necessity. In mid-1970s France it was virtually impossible to see
films that were conducting specifically cinematographic research in image
and sound. With few exceptions, so-called “experimental films” were almost
never programmed by cinemas, museums, cultural centers, universities or art
schools. After several attempts to invite groups of emerging filmmakers to
present their films, the necessity to work on a more comprehensive program
began to be felt, in addition to the desire to give greater access to films
that carried so much importance for cinema history.
In 1981, when, after numerous unsuccessful requests for institutional
support we were ready to abandon the idea of organizing experimental film
screenings, the arrival of a new government more inclined to finance
cultural project allowed us to obtain our first grants. Knowing that such
support is rarely long-lasting and is generally insufficient to cover film
rentals, we chose to establish our own collection, in order to avoid the
costs that would be incurred by renting from other sources. It is difficult
to describe in a few words the countless sleepless nights and the hard work
that followed for Afea come into existence.
When selecting films for this screening, I avoided choosing those that had
been recently shown in Paris, as well as those (with one exception)
distributed by Light Cone. Marc Adrian’s film was a gift. When we invited
him to present his work in Avignon, he made a film which later arrived in
the mail. *Bouddi* was one of the titles shown when we invited Arthur and
Corinne Cantrill to present three screenings of their films. With *Mass for
the Dakota Sioux*, Bruce Baillie brings his great poetic talent to the
program. George Kuchar’s *Wild Night in El Reno* demonstrates how we can
say many things without showing them. I have included *Pluie de Roses* as a
tribute to Jakobois, who was also a great cinematographic poet with an
abundant sense of humor. Finally, Kenneth Anger’s *Scorpio Rising* closes
the program with calm and determination.
*AVIGNON 92* by Marc ADRIAN / 1992 / 16mm / color / sound / 10' 00
*BOUDDI* by Arthur CANTRILL & Corinne CANTRILL / 1970 / 16mm / color /
sound / 8' 00
*MASS FOR THE DAKOTA SIOUX* by Bruce BAILLIE / 1963-1964 / 16mm / b&w /
sound / 20' 00
*WILD NIGHT IN EL RENO* by George KUCHAR / 1977 / 16mm / color / sound / 6'
00
*PLUIE DE ROSES* by JAKOBOIS / 1984 / 16mm / color / sound / 3' 20
*SCORPIO RISING* by Kenneth ANGER / 1963 / 16mm / color / sound / 31' 00
*___________________________________________________________________*
Venue type: *Live, physical event*
Wexner Center for the Arts
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7pm ET,
Wexner Center for the Arts, 1871 North High Street, Columbus, OH
*Space is the Place, a Cosmic Rays Touring Program*
Organized by the North Carolina–based group Cosmic Rays, this touring
program explores inner and outer spaces through short films that use a
variety of formal approaches.
These cosmonautical films map star systems high above or deep inside us.
Stick around after the screening for refreshments and a casual discussion
in the café facilitated by Ohio State student group Cinéseries. (program
approx. 73 mins., digital video)
*Space is the Place* (Rupert Jörg, 2020, 6:03 mins.)
*Seeing Spacecraft Earth* (Lisa McCarty, 2021, 5:51 mins.)
*Laika* (Deborah Stratman, 2021, 4:33 mins.)
*Of this Beguiling Membrane* (Charlotte Pryce, 2020, 5 mins.)
*Continental Drifts* (Georg Koszulinski, 2021, 12 mins.)
*in ocula oculorum* (Anna Kipervaser, 2021, 12:14 mins.)
*Time Crystals* (Abinadi Meza, 2021, 5:35 mins.)
*To Live and Die in the Shadows: Meditations on Ferns, Survival, and
Horizontal Gene Transfer* (Shannon Silva, 2021, 5:29 mins.)
*If a Tree Falls in a Forest* (Leonardo Pirondi, 2021, 15 mins.)
--More about the Cosmic Rays Film Festival
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The annual Cosmic Rays Film Festival presents several programs of short
films that are formally inventive, speak with a personal voice, and are
inspired by the possibilities of film as art.
--More about Cinéseries
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In the words of Cinéseries’ members: Cinéseries is a student-led group that
organizes monthly screenings in collaboration with the Wexner Center for
the Arts. We aim to offer a space for students and the community to engage
with film and expanded cinema from makers of a variety of backgrounds. We
aspire to create an environment conducive to critical engagement by
inviting filmmakers to showcase work that takes risks, challenges norms,
and opens a conversation by devoting to a wide range of artist-centered and
independent media.
*WEDNESDAY, JANUARY 18, 2023* Venue type: *Live, physical event*
Anthology Film Archives
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7pm ET,
32 Second Avenue, New York, NY
*EC: NO PRESIDENT*
by Jack Smith
1967-70, 45 min, 16mm.
Restored print courtesy of the Gladstone Gallery.
*NO PRESIDENT* was Jack Smith’s third feature film. In this version,
restored by filmmaker Jerry Tartaglia, the scenes alternate between
elaborate tableaux shot at Smith’s Greene Street loft with found footage of
former presidential candidate Wendell Willkie. The film features
underground stars, including Tally Brown, Jerry Sims, Irving Rosenthal,
Donna Kerness, Mario Montez, and Charles Henri Ford.
“The last of Jack Smith’s 16mm features – austerely black and white, more
an exercise in sensibility than craft – evolved out of his November 1967
program, Horror and Fantasy at Midnight. Like Ken Jacobs’s *STAR SPANGLED
TO DEATH*, Horror and Fantasy at Midnight would mix original material with
found footage including newsreel footage of the 1940 Republican Convention
that nominated Wendell Willkie to run for president. By late March 1968,
Horror and Fantasy had coalesced into Kidnapping and Auctioning of Wendell
Willkie (sic) by the Love Bandit – an all black-and-white presentation
starring writer Irving Rosenthal as the infant Wendell abducted by a
mustachioed pirate and sold on the block of a slave market. In early
January 1969, the movie had its theatrical premiere as NO PRESIDENT. For
musical accompaniment Smith played records and also used the soundtracks of
the found material, albeit slowed down for being projected at silent speed.
The surviving version *NO PRESIDENT* alternates scenes shot in the Plaster
Foundation with found footage – including a Lowell Thomas travelogue of
Sumatra, a clip, apparently from the late 1940s, of an unidentified couple
singing ‘A Sunday Kind of Love’, and newsreel footage of candidate Willkie
addressing the future Farmers of America. […] Parker Tyler would hail *NO
PRESIDENT* as ‘an even more daring exploitation of the themes in *FLAMING
CREATURES*, and the Selection Committee for the newly established Anthology
Film Archives voted to include both in its canon of essential cinema.” –J.
Hoberman
*___________________________________________________________________*
Venue type: *Live, physical event*
Anthology Film Archives
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8:30pm ET,
32 Second Avenue, New York, NY
*EC: CARRIAGE TRADE*
by Warren Sonbert
1971, 61 min, 16mm
“With *CARRIAGE TRADE*, Sonbert began to challenge the theories espoused by
the great Soviet filmmakers of the 1920s; he particularly disliked the
‘knee-jerk’ reaction produced by Eisensteinian montage. In both lectures
and writings about his own style of editing, Sonbert described *CARRIAGE
TRADE* as ‘a jig-saw puzzle of postcards to produce varied displaced
effects.’ This approach, according to Sonbert, ultimately affords the
viewer multi-faceted readings of the connections between shots through the
spectator’s assimilation of ‘the changing relations of the movement of
objects, the gestures of figures, familiar worldwide icons, rituals and
reactions, rhythm, spacing, and density of images.” –Jon Gartenberg
*THURSDAY, JANUARY 19, 2023* Venue type: *Live, physical event*
Anthology Film Archives
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=b183928e14&e=857b71a9cb>
7pm ET,
32 Second Avenue, New York, NY
*EC: WAVELENGTH*
by Michael Snow
1967, 45 min, 16mm
“*WAVELENGTH* is without precedent in the purity of its confrontation with
the essence of cinema: the relationships between illusion and fact, space
and time, subject and object. It is the first post-Warhol, post-Minimal
movie; one of the few films to engage those higher conceptual orders which
occupy modern painting and sculpture. It has rightly been described as a
‘triumph of contemplative cinema’.” –Gene Youngblood, L.A. FREE PRESS
*___________________________________________________________________*
Venue type: *Live, physical event*
Anthology Film Archives
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8:30pm ET,
32 Second Avenue, New York, NY
*EC: (BACK AND FORTH)*
by Michael Snow
1969, 50 min, 16mm-to-35mm
Restored by Anthology Film Archives with funding provided by the Los
Angeles County Museum of Art (LACMA) and The Film Foundation. Special
thanks to Dan DeVincent, Simon Lund, and Adam Wangerin (Cineric, Inc.).
“This neat, finely tuned, hypersensitive film examines the outside and
inside of a banal prefab classroom, stares at an asymmetrical space so
undistinguished that it’s hard to believe the whole movie is confined to
it, and has this neckjerking camera gimmick which hits a wooden stop arm at
each end of its swing. Basically it’s a perpetual motion film which
ingeniously builds a sculptural effect by insisting on time-motion to the
point where the camera’s swinging arcs and white wall field assume the
hardness, the dimensions of a concrete beam.
“In such a hard, drilling work, the wooden clap sounds are a terrific
invention, and, as much as any single element, create the sculpture.
Seeming to thrust the image outward off the screen, these clap effects are
timed like a metronome, sometimes occurring with torrential frequency.”
–Manny Farber, ARTFORUM, 1970
*___________________________________________________________________*
Venue type: *Live, physical event*
Academy Museum
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7:30pm PT,
Academy Museum, 6067 Wilshire Boulevard, Los Angeles, CA 90036
*Mike Henderson: The Blues and the Abstract Truth*
In person: Mike Henderson.
Blues musician, painter, and filmmaker, the truly original artist Mike
Henderson’s creative path found its luminous trajectory upon his relocation
from Missouri to San Francisco in the mid-1960s, where he had come to study
at the San Francisco Art Institute, one of the only desegregated schools
available to him at the time. Quickly befriending remarkable artists and
musicians such as Bruce Nauman, Robert Nelson, Jay DeFeo, William T. Wiley,
and even Jerry Garcia, Henderson established himself as a
multi-disciplinary artist and educator with a one-of-a-kind vision drawing
on his complex notions of identity, society, and the elusive mystery of art
itself.
His 16mm short films, spanning the late 1960s to the mid 1980s, represent
an incredibly fresh and engaging sensibility that is equal parts painting,
blues, and film. Self-taught as a filmmaker, Henderson’s films approach the
unique qualities of the medium in an unexpected way. These films—whether
they be his talking blues shorts, his films querying Black history and
identity, or his bewitching, semi-abstract works of the 1980s—are full of
visual, intellectual, and emotional pleasures as they navigate the
confusions and curiosities of consciousness. Engaging, exciting, hilarious,
and humane, his films often grapple with the very essence of artistic
creation itself, as if to ask (quoting his dear friend Wiley), “What’s it
all mean?”
The Academy Film Archive has been conserving and restoring Mike Henderson’s
films since 2008. This program represents the first time these remarkable
and illuminating works are being seen in Los Angeles.
Programmed and notes by Academy Film Archive Senior Film Preservationist
Mark Toscano.
All films directed by Mike Henderson unless otherwise noted. All prints
have been restored and provided courtesy of the Academy Film Archive.
*The Last Supper* 1970/73. 8 min. USA. Color. English. 16mm.
*Dufus* 1970/73. 6 min. USA. B&W. English. 16mm.
*When & Where* 1984. 4 min. USA. B&W. 16mm.
*King David* DIRECTED BY: Mike Henderson, Robert Nelson. 1970/2003. 8 min.
USA. Color. English. 16mm.
*Too Late To Stop Down Now* 1982. 4 min. USA. B&W. English. 16mm.
*Down Hear* 1972. 12 min. USA. B&W. English. 16mm.
*Ducksarenodinner* 1983. 4 min. USA. B&W. English. 16mm.
*The Shape of Things* 1981. 8 min. USA. B&W, Color. English. 16mm.
*Just Another Notion* 1983. 3 min. USA. Color. English. 16mm.
*Pitchfork and the Devil* 1979. 15 min. USA. B&W, Color. English. 16mm.
*Money* 1970. 2 min. USA. B&W. English. 16mm.
Total program runtime: 74 min.
*FRIDAY, JANUARY 20, 2023* Venue type: *Live, physical event*
Millennium Film Workshop
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8pm EST,
167 Wilson Avenue (near Central Ave M or DeKalb Ave L), Brooklyn, NY
*Sprung from the Dirt*
A program of new work by David Finkelstein and Fred Hatt, exploring our
relation to the soil and celebrating the Earthling Rebellion. The program
is 79 minutes and will be followed by a discussion with the artists.
*___________________________________________________________________*
Venue type: *Live, physical event*
Pittsburgh Sound + Image
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8:00 PM EST,
Eberle Studios, 229 E. 9th Ave, Homestead, PA 15120
*1*
We watch a lot of weird, old film reels, and we've noticed that, in many
cases, the shorter the title, the better. So we've selected some of our
favorite 16mm films with one word titles to prove that a shorter title
tends to be a movie with a more abstract theme...and with freeform
aesthetics to match!
We'll provide everyone a list of one-word title films — more than we’ll
have time to show. We’ll ask each guest to mark a “1” next to the ONE film
that sounds most intriguing. At showtime, we’ll collect and count votes.
The films with the most votes get shown!
Just a few examples of titles you might see in this show:
*Sally Eucalyptus Walking Fog Omega Momentum*
Come get freaky. Doors open at 7:30. Films start at 8:00. BYOB.
Accessibility note: The street-level entrance to the screening space has at
2-3 inch lip at the door, which we'll be very glad to assist with. Stairs
are not required. Details and contact info will be emailed to registrants.
*___________________________________________________________________*
*January 20 - 29*
Venue type: *Live, physical event*
Anthology Film Archives
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=e8a80217ec&e=857b71a9cb>
times vary,
see below, 32 Second Avenue, New York, NY
*ALEXANDER HAMMID*
Alexander Hammid (born Alexandr Hackenschmied in Linz, Austria-Hungary, in
1907 and raised in Prague) is best known in avant-garde cinema circles for
his collaborations with his then-partner Maya Deren, and above all for his
role in making *MESHES OF THE AFTERNOON* (1943), which remains one of the
most extraordinary and influential films in the history of American
filmmaking. Hammid’s career, however, extends far beyond his partnership
with Deren, and is in fact an astonishingly wide-ranging and accomplished
body of work, spanning nearly half a century and touching on almost every
genre and category of film imaginable.
This retrospective explores every chapter in his rich and constantly
morphing career: the pioneering experimental films he made in
Czechoslovakia before emigrating to the U.S. during the war; his
collaborations with Deren; his work making political documentaries with the
filmmaker Herbert Kline in the early years of WWII; the propagandistic
films commissioned by the United States Office of War Information; the
sponsored films about social behavior made for Affiliated Film Producers;
his numerous collaborations with artists, dancers, and musicians; and the
films that emerged from his partnership in the 1960s-70s with Francis
Thompson, which were produced for the 1964 New York World’s Fair, the 1967
Montreal Expo, and for the inauguration of the National Air and Space
Museum (1976’s T*O FLY!*, for which the pair helped develop the new IMAX
70mm film format). The series features several works preserved in
Anthology’s collection, including a brand-new 16mm print of *THE PRIVATE
LIFE OF A CAT* (1944).
“Because [Hammid’s vision] is a wonderful combination of formalist and
humanist tendencies, it gives his work a terrible lyricism. He is incapable
of sentimentality because of his terrific sense of form; and he is
incapable of formalism because of a profoundly childlike love of things and
tenderness. Consequently you get a terrifically high pitch of lyricism in
its most out-of-the-world form…like the best of the fairy-tales, or like an
unaccompanied improvisation on a flute. I speak of him because he never
speaks much, having an almost purely visual mind.” –Maya Deren, letter to
Herbert Passin, 1943
Special thanks to Julia Hammid; Carmel Curtis (Indiana University Libraries
Moving Image Archive); Skip Elsheimer (A/V Geeks); Tina Harvey, Paul Gordon
& Douglas Smalley (Library and Archives Canada); Martina Kudlácek; Giovanna
Pugliese (NYPL); Jeffrey Schissler (SC Johnson); Katie Trainor (MoMA);
Gerald Weber (Sixpack); and Todd Wiener & Steven Hill (UCLA Film &
Television Archive).
Upcoming Screenings EARLY SHORT FILMS: ALEXANDER HAMMID
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=6fa1ee1081&e=857b71a9cb>
January 20 at 7:00 PM
January 25 at 7:00 PM
January 28 at 9:00 PM
Herbert Kline, Alexander Hammid & Hans Burger
CRISIS: A FILM OF “THE NAZI WAY”
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January 21 at 5:00 PM
January 26 at 6:30 PM
Herbert Kline
LIGHTS OUT IN EUROPE
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January 21 at 7:15 PM
January 25 at 9:00 PM
Herbert Kline & Alexander Hammid
THE FORGOTTEN VILLAGE
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January 21 at 9:00 PM
January 28 at 7:00 PM
Martina Kudláček
AIMLESS WALK – ALEXANDER HAMMID
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January 22 at 4:45 PM
January 29 at 8:30 PM
OFFICE OF WAR INFORMATION: ALEXANDER HAMMID
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January 22 at 6:30 PM
January 28 at 4:45 PM
AFFILIATED FILM PRODUCERS: ALEXANDER HAMMID
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January 22 at 8:30 PM
January 29 at 4:00 PM
THE ARTS: ALEXANDER HAMMID
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January 23 at 7:00 PM
January 26 at 8:45 PM
Gian Carlo Menotti
THE MEDIUM
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January 23 at 9:00 PM
January 29 at 6:00 PM
TO THE FAIR: HAMMID & THOMPSON
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January 24 at 7:30 PM
January 27 at 7:00 PM
*SATURDAY, JANUARY 21, 2023* Venue type: *Live, physical event*
Shapeshifters Cinema
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=5aaafbc14f&e=857b71a9cb>
8pm, 567 5th St, Oakland, CA
*Dominic Angerame: A Complete Retrospective (Program 1)*
This program is the first in a series of monthly screenings comprising a
complete retrospective of the work of Dominic Angerame. Since 1968 Angerame
has produced more than 30 films on 16mm and several newer works in digital
format. Some of these films have never had a public screening. Many of
Angerame’s films show San Francisco, the city he has lived and worked in
since 1979, and its varying cityscape as it looks and changes over time. He
has also created short comedies, short-form documentaries and many diary
films. Angerame has taught film in many schools and universities in the Bay
Area as well as at the University of Nevada, Reno. He was Executive
Director of Canyon Cinema from 1980-2012.
This first program will include his most recent work: *Luminae* (2022),
*Khorosho* (2022), *Flashbacks* (2021), *Have Another Espresso* (2020),
*Prometheus* (2021), *Revelations* (2018), and *The Soul of Things* (2018)
with live guitar accompaniment by Kevin Barnard.
*SUNDAY, JANUARY 22, 2023* Venue type: *Live, physical event*
Los Angeles Filmforum
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=b07dc9f0df&e=857b71a9cb>
1:00 PM PST,
2220 Arts & Archives - 2220 Beverly Blvd, Los Angeles, CA 90057
*Teddy Bears and Little Friends: The films of “Nanny" Lynn Ochberg*
In person: James Thacher, Sam Gurry. Over Zoom: Lynn Ochberg
An internet mystery solved at last.
Thirty years ago, VHS tapes containing striking Commodore Amiga animations
started showing up at parties, micro cinemas, and living rooms across the
country. Each copy was made to satisfy the audience's thirst for more of
these narratively diverse films showcasing fairy tales, dinosaurs,
consumption, play, politics, and even the Bosnian War. Those holding their
tapes were left hungry in their pursuit of figuring out the true identity
of its creator, Nanny Lynn. In the late 2010s, renewed interest led to the
discovery of Lynn Ochberg, an Octogenarian Grandmother living in Florida
whose oeuvre of animated wonders was created for her grandchildren.
Ochberg's work contains a legato sincerity with a patient narration of the
artist herself grounding each work. Her films evoke being wrapped in the
crock of her arms, worlds unfolding with hums, both human and analog.
Ochberg's films featured her grandchildren, rendered in her surreal,
digital realism, alongside figures from her family's life, including
neighbors, doctors, and close friends. She is cited as a direct inspiration
by a generation of animators including Paperrad. While the films themselves
were never meant for widespread consumption, Lynn is delighted by the
recent interest and ongoing restoration of her work.
Filmforum is excited to showcase a program of Lynn Ochberg's animated
films. Following the program, there will be a Q&A with Ochberg and animator
James Thacher. Thacher was instrumental in discovering Nanny Lynn's true
identity and works with Ochberg to preserve and distribute her work. Notes
and Program by Sam Gurry. Thanks to James Thatcher & Lynn Ochberg.
Lynn Ochberg, born 1943 in Philadelphia, PA, grew up in the Pine Barrens of
South Jersey. She attended Harvard, Johns Hopkins, Goucher, Georgetown, and
Stanford Law. Ochberg married her husband, Frank, in 1962 and had two sons
and two daughters. Following a career in real estate, Ochberg worked in
both municipal politics and made maple syrup sold at local farmers markets
for several decades. When she lost elections, she would volunteer with the
American Red Cross disaster service, creating computer generated cartoon
stories. Outside of her work, Lynn drew, painted, and carved wooden
sculptures and furniture until the mid 1980s. Following her Mandarin
studies at Michigan State University, she studied in China where she fell
in love with silk embroidery which has comprised the bulk of her artistic
focus since then. Her hobbies include “reading history, doing water
aerobics every day, and cooking something new every night." James Thacher
is a moving image artist based in Brooklyn. He utilizes hand-made animation
techniques to explore ideas of vision, memory, and historical struggle.
*The Chartreuse Crayon Adventure*, 1994, Sound, 5m, Digital, World
Theatrical Premiere
*Teddy Bear and Little Dog go into the Woods*, 1994, Sound, 6m,
Digital, World Theatrical Premiere
*La Petite Moufette*, 1995, Sound, 6m, Digital, World Theatrical Premiere
*Jake and the Peanut Butter*, 1995, Sound, 6m, Digital, World Theatrical
Premiere
*The Story of Srebrenica*, 1996, Sound, 23m, Digital, World Theatrical
Premiere
*Alphabet Movie*, 1994, Sound, 6m, Digital, World Theatrical Premiere
*The Heavy Metal Teddy Bear*, 1994, Sound, 7.5m, Digital
Total Program Length approx. 60 minutes
*ONGOING*
Venue type: *Virtual, online event*
Riverwest Radio
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=17aaa3f29b&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://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=61d784aec8&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.
------------------------------
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