[Frameworks] This Week in Avant Garde Cinema: July 29 - August 6, 2023
This Week
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*This Week [July 29 - August 6, 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)
07.31.2023 Kinoskop – Analog Experimental Film Festival
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(Regular Deadline)
07.31.2023 ULTRAcinema
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(Extended Deadline)
08.04.2023 Strangloscope Experimental International Film Festival
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(Late Deadline)
08.11.2023 Slamdance Film Festival
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(Regular Deadline)
08.15.2023 Istanbul International Experimental Film Festival
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(9th Deadline)
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 Coney Island Film Festival
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(Early Deadline)
*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]
- A Dweller On Two Planets: Ayoung Kim, Yin-Ju Chen, Sow Yee Au, Su Yu
Hsin
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[Jun29-Jul29,
New York, NY]
- Feedback, Part 2
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[July
21-August 2, New York, NY]
- Alex Mackenzie: Experiments For A Single Projector
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[July 28-August 11, European Tour]
- Mono No Aware Community Screening Program
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[July
30, New York, NY]
- Los Angeles Filmforum Presents Long Haulers, By Amy Reid
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[July
30, Los Angeles, CA]
- EC: Paul Sharits
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[August
5, New York, NY]
- EC: Harry Smith (Two Programs)
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[August
6, New York, NY]
- Los Angeles Filmforum Presents 5973 Miles Away: Women's Exorcisms of
Loss
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[August
6, 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 JULY 29, 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.
*___________________________________________________________________*
*June 29 - July 29*
Venue type: *Live, physical event*
Microscope Gallery
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12:00-6:00pm ET,
525 W 29th St, 2nd floor, New York, NY, 10001
*A Dweller on Two Planets: Ayoung Kim, Yin-Ju Chen, Sow Yee Au, Su Yu Hsin*
Microscope is very pleased to present this group exhibition curated by
Alice, Nien-pu Ko featuring new and recent works in single- and
multi-channel video and video installation by four East Asian and Southeast
Asian woman artists: Ayoung Kim, Yin-Ju Chen, Sow Yee Au, and Su Yu Hsin.
>From Alice, Nien-pu Ko:
Inspired by the early science fiction novel, '*A Dweller on Two Planets*,'
by Frederick Spencer Olive, this exhibition suggests some possibilities for
cultural engagement today. This story of time-traveling consciousness,
revealed by an Eastern spirit, depicts imaginary submerged ancient
civilizations that have developed futuristic technology and scientific
discoveries, including holograph-like art works and interplanetary
cohabitation. This fictional story discloses a vision of human existence in
the future, where the co-existence between East and West extends into outer
space. Taking these speculations as a starting point, this exhibition links
four media artists based in Asia. Together, their recent works explore
cultural interference, remixing historical events and colonial legacy in
order to develop an alternative narrative that suggests a mode of planetary
thinking with regards to immigration, futurism, and nature.
*___________________________________________________________________*
*July 21 - August 2*
Venue type: *Live, physical event*
Anthology Film Archives
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times vary, see below,
32 Second Avenue, New York, NY
*FEEDBACK, PART 2*
This past spring, Anthology organized a series that explored the filmic
phenomenon of “documentary feedback”: films that have created a kind of
non-fiction feedback loop by giving their subjects the opportunity to
preview footage and then incorporating their responses into the works’
final form. Now we expand the frame dramatically to illustrate the many
other ways that the concept of “feedback” has been manifested within the
cinema. The films and videos presented here make use of various techniques
– including video feedback, sonic feedback, and mirrors – to create visual
or aural feedback loops. Other works engage with the theme in more
theoretical, conceptual ways, by confronting performers with their own
image, reflecting the audience back to itself, holding up a critical mirror
to the normally hegemonic broadcast news media, and so on. One way or
another, the artists featured here look beyond simplistic, one-way flows of
information or expression. Instead they experiment with circular,
reflective, or multi-directional orchestrations of images, sounds, and
ideas, while also demonstrating how different technologies give rise to
different opportunities for variation, analysis, and philosophical or
aesthetic self-awareness. This series is co-presented by Electronic Arts
Intermix (www.eai.org). Special thanks to Rebecca Cleman & Karl McCool
(EAI); as well as to Tyler Maxin (Blank Forms), and all the filmmakers.
ONTOLOGIES
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July 21 at 7:00 PM
MIRRORING
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July 22 at 6:15 PM
FILM FEEDBACK
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July 22 at 8:30 PM
July 29 at 6:30 PM
PRINT GENERATION
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July 23 at 4:00 PM
BROADCAST TELEVISION, PROGRAM 1
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July 23 at 6:30 PM
July 29 at 8:30 PM
BROADCAST TELEVISION, PROGRAM 2
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July 23 at 8:30 PM
EARLY EXPERIMENTS IN VIDEO FEEDBACK
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July 24 at 6:30 PM
July 30 at 8:00 PM
LATER EXPERIMENTS IN VIDEO FEEDBACK
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July 24 at 8:30 PM
PETER DONEBAUER: THE CREATION CYCLE
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July 25 at 7:30 PM
TELEVISION/NEWS FEEDBACK
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July 26 at 7:30 PM
AURAL FEEDBACK, PROGRAM 1
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July 27 at 7:00 PM
AURAL FEEDBACK, PROGRAM 2
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July 27 at 8:30 PM
VITO ACCONCI
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July 28 at 7:30 PM
VIDEOFREEX
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July 30 at 6:00 PM
AUDIENCE/ACTORS
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August 2 at 7:30 PM
*___________________________________________________________________*
*July 28 - August 11*
Venue type: *Live, physical event*
Alex Mackenzie on Tour
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times and locations vary, see below,
Barcelona, Vienna, Plymouth, London, Frome, Newcastle
*ALEX MACKENZIE: EXPERIMENTS FOR A SINGLE PROJECTOR — TOURING IN EUROPE
LATE JULY & AUGUST 2023*
If you are in Barcelona, Vienna, Plymouth, London, Frome or Newcastle in
the next weeks, come check out Alex MacKenzie’s EXPERIMENTS FOR A SINGLE
PROJECTOR, as he tours this live expanded cinema show to a few select stops
in Europe (see below for links) and presents workshops.
Exploring the potential of the 16mm film projection apparatus and
amplifying the possibilities of this refined and precise tool, EXPERIMENTS
FOR A SINGLE PROJECTOR is a suite of expanded and performed works that use
the mechanism to its fullest potential; manipulating, modifying and
enhancing various aspects of its functionality. Found footage, painted
filmstrips and light are transformed with beam interference, bipacked
looping, focus, lens and shutter alterations to create radically
transformed and dreamlike spaces—epic, immersive, and abstracted. The
results shimmer across the screen, uniting “the cosmic with the
microscopic...in an ecstatic splendour of light” (Marilyn Brakhage).
“Alex MacKenzie is the unequivocal master of contemporary Canadian expanded
cinema: using rare and outdated technology with the deft touch of a visual
alchemist, MacKenzie spins his stunning and mesmerizing anti-narratives
using the detritus of cinematic history to create a completely
unforgettable, and undeniably powerful, alternate vision.” -Antimatter
Media Art
“MacKenzie is a key player in the revival of expanded cinema forms, having
performed an array of super 8 and 16mm projection works over the last
twenty-five years. His projects stretch the possibilities of the analogue
form, manipulating images to beyond our received expectations.”
-Chris Kennedy, Early Monthly Film Segments (Toronto)
Experiments for a Single Projector Trailer: https://vimeo.com/824414370
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DATES AND LOCATIONS:
28 July Barcelona - Crater-Lab Hangar, door T 8pm
https://tinyurl.com/crateralex
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31 July Vienna - filmkoop wien 7pm https://tinyurl.com/wienalex
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02 August Plymouth - CAMP/37 Looe Street https://37looestreet.org/
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07 August London- Close-Up Film Centre 8:15pm
https://tinyurl.com/close-upalex
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09 August Frome - Bennett Centre 7:30pm https://tinyurl.com/fromealex
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11 August Newcastle - Star & Shadow Cinema 7:30pm
https://tinyurl.com/newcastlealex
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*SUNDAY, JULY 30, 2023* Venue type: *Live, physical event*
Mono No Aware
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1pm ET,
32 Second Avenue, New York, NY
*MONO NO AWARE COMMUNITY SCREENING PROGRAM*
Featuring the world premiere of films made locally with the support of MONO
in June and July 2023. These programs will include films made through the
educational initiatives of MONO NO AWARE, a cinema-arts nonprofit
organization and film positive community working to promote connectivity
through the cinematic experience. Established in 2007 and based in downtown
Brooklyn, MONO NO AWARE presents monthly artist-in-person screenings,
facilitates equipment rentals, operates a film distribution initiative,
maintains wet & dry lab facilities, and hosts an annual exhibition for
contemporary artists and international filmmakers whose work incorporates
Super-8mm, 16mm, 35mm, or altered light projections.
For more info visit: www.mononoawarefilm.com
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*___________________________________________________________________*
Venue type: *Live, physical event*
Los Angeles Filmforum
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7:30 PM PST,
2220 Arts & Archives - 2220 Beverly Blvd, Los Angeles, CA 90057
*Los Angeles Filmforum presents Long Haulers, by Amy Reid*
>From 77 year-old Sandi, to formerly incarcerated Lori, to guinea pig lover
Tracy, *Long Haulers* defies stereotypes and gives a platform to women who
have often been marginalized and type-casted. Sharing their sorrows and
triumphs, viewers learn who these women are, and what keeps them trucking.
*Long Haulers* is an experimental 16mm and video feature-length documentary
about three female truck drivers, Sandi, Lori, and Tracy. The film weaves
together the stories of their lives to understand why they started trucking
and what keeps them trucking. Riding along with these women, we learn about
Lori’s time in prison, Sandi’s wisdom as a 77-year old trucker, and Tracy's
experiences working for sexist trucking companies. Through the course of
the film we become a passenger, slowly getting to know these women as they
navigate across the country. From shiny profiles of women-shaped ornaments
to the male-filled diners, *Long Haulers* provides a window into the world
of trucking that reflect the sexism that dominates the industry. Long
Haulers aims to provoke audiences to question gender roles and the
workplace in trucking and at large.
Mapping the paths of these women’s lives in relation to trucking industry,
the film illustrates the reported 5.1% of female drivers in the United
States that has continued to expand since the early 2000’s. Understanding
the truck not only as a means of income for these women but also as a place
of freedom, autonomy, and self-expression, *Long Haulers* prompts Sandi,
Lori, and Tracy to perform with their trucks in order to communicate to
audiences the embedded interdependency between truck and woman. From Lori
drawing out the physical dimensions of the truck as she talks about her
five years in prison, to Tracy caressing her truck like the horses she
trained as a child, *Long Haulers* enables the truck to act as a conduit
for these women to share their traumas, fantasies, and dreams.
Preceded by Vanessa Renwick's wonderful short film *SF Hitch*.
*SATURDAY, AUGUST 5, 2023* Venue type: *Live, physical event*
Anthology Film Archives
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7:30pm ET,
32 Second Avenue, New York, NY
*EC: PAUL SHARITS*
*S:TREAM:S:S:ECTION:S:ECTION:S:S:ECTIONED* 1968-70, 41 min, 16mm. Restored
by Anthology Film Archives.
“Yes, *S:S:S:S:S:S* is beautiful. The successive scratchings of the
stream-image film is very powerful vandalism. The film is a very complete
organism with all the possible levels really recognized.” –Michael Snow
*COLOR SOUND FRAMES* 1974, 26 min, 16mm. Preserved by Anthology Film
Archives.
“A film in which Sharits sums up his researches in the area of film strip
(in opposition to the individual frames). The film strips move horizontally
and vertically; two strips move simultaneously in opposite directions;
variations in color; action of sprocket-holes. Very methodically and
scientifically he covers the area. […] *COLOR SOUND FRAMES* advances one
area of cinema or one area of researches in cinema (call it art if you
wish) to a new climax, to a new peak: his exploration is so total, so
perfect.” –Jonas Mekas, VILLAGE VOICE
Total running time: ca. 70 min.
*SUNDAY, AUGUST 6, 2023* Venue type: *Live, physical event*
Anthology Film Archives
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5:45pm + 7:30pm ET,
32 Second Avenue, New York, NY
*EC: HARRY SMITH (Two Programs)*
--- Program 1: 5:45pm ET ---
*FILM NOS. 1-5, 7, 10 (EARLY ABSTRACTIONS)* (ca. 1946-57, 23 min,
16mm-to-35mm. Restored by Anthology Film Archives and The Film Foundation
with funding provided by the Hobson/Lucas Family Foundation.)
*FILM NO. 11 (MIRROR ANIMATIONS)* (ca. 1957, 4 min, 16mm. Preserved by
Anthology Film Archives.)
*FILM NO. 14 (LATE SUPERIMPOSITIONS)* (1964, 28 min, 16mm-to-35mm. Restored
by Anthology Film Archives and The Film Foundation with funding provided by
the Hobson/Lucas Family Foundation.)
“My cinematic excreta is of four varieties: – batiked animations made
directly on film between 1939 and 1946; optically printed non-objective
studies composed around 1950; semi-realistic animated collages made as part
of my alchemical labors of 1957 to 1962; and chronologically super-imposed
photographs of actualities formed since the latter year. All these works
have been organized in specific patterns derived from the interlocking
beats of the respiration, the heart and the EEG Alpha component and should
be observed together in order, or not at all, for they are valuable works,
works that will forever abide – they made me gray.” –Harry Smith
Total running time: ca. 60 min.
--- Program 2: 7:30pm ET ---
*FILM NO. 12 (HEAVEN AND EARTH MAGIC)* (ca. 1957-62, 66 min, 16mm, b&w)
Preserved by Anthology Film Archives with support from the National Film
Preservation Foundation and Cineric, Inc.
“[the film] can be seen as one moment – certainly the most elaborately
crafted moment – of the single alchemical film which is Harry Smith’s life
work. In its seriousness, its austerity, it is one of the strangest and
most fascinating landmarks in the history of cinema. Its elaborately
constructed soundtrack in which the sounds of various figures are
systematically displaced onto other images reflects Smith’s abiding concern
with auditory effects.” –P. Adams Sitney
*___________________________________________________________________*
Venue type: *Live, physical event*
Los Angeles Filmforum
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7:30 PM PST,
2220 Arts & Archives - 2220 Beverly Blvd, Los Angeles, CA 90057
*Los Angeles Filmforum presents 5973 Miles Away: Women’s Exorcisms of Loss*
Curated by Seok-Young Yang
Los Angeles to Seoul is 5973 miles, but the distance of a loved one lost is
so much further. When my father was mentally and physically suffering while
I was in California and he was across the ocean, I learned that the idea of
“grief” is neither simple nor easily dismissed. The feelings of sadness,
anger, and guilt – in the face of pressure to “move on,” – get imprinted in
the body and in one’s interactions with the world.
These women filmmakers have attempted to find corollaries in filmic spaces,
ways of exorcizing some elements of the profound grief each has faced.
These works invite us to the deep space of the body where emotional
understanding is prioritized over intellectual thinking. The works that
resonate with me the most are those that investigate a continuous process
of grieving, not destined to have any type of resolution.
The program centers around British experimental filmmaker Sarah Pucill's
work, *Stages of Mourning*, which exhibits her attempts to physically
reenact and represent her partner who passed away from anorexia. Onyou Oh's
*Pyrotechnics* elongates a discourse on cinema and loss of theater
experience during the global pandemic by utilizing different forms of
cameras with celluloid film. Celeste Olliveir’s *FATHER* utilizes
reenactment to exorcize the embodied pain coming from an intense
father-daughter relationship. Jeong Yoon Ahn’s *I have never met you* uses
extreme close-up shots on photographs taken by her late sister, emphasizing
the tactility of emotional pixelation and visual noise, from a sister which
Ahn can no longer reach. Xiao Zhang’s *Tongue Film* showcases loss of
liquid from the female body. Water, directly associated with aliveness, the
work brings ghostly souls on screen. The selected films' haptic realism
imprints gestural memories and fades out the tormented marks on women's
bodies. The film program will be accompanied by a poetry reading at its
conclusion. abbi page will present a short reading of their several works,
which center on black femme suffering and tie back to what each film is
discussing. – Seok-Young Yang
Recommended Readings:
*Appetite: Why Women Want*, by Caroline Knapp
*Swallowing Practice*, by Jeannie Park
*Amado Africa*, by Jenny Lee
*Mourning Diary*, by Roland Barthes
*Journal D’un Corpse*, by Daniel Pennac
*Stages of Mourning *By Sarah Pucill, 2021, 16mm, 17 Min. LA Premiere
Ritualized through performance to camera, Stages of Mourning is Pucill’s
journey of bereavement. In as much as this is a meditation on coming to
terms with loss, the film is an exploration of how our relationship with
the dead is made different through film. The artist orders image fragments
of her late lover and collaborator, Sandra Lahire. By trying to physically
immerse herself into photographs and film footage or by restaging these,
Pucill forms a continuous stream of a life of two lovers. Through this
doubling and layering, illusions accumulate as if these were a product of a
machine that didn’t stop.
*Pyrotechnics*, By Onyou Oh, 2023, HD, 11 Min.
A vivid, textural experimental film that explores imaginary cinema spaces
during a surreal time when all the theaters on the planet shut down. Born
out of bits and pieces of sound and image the filmmaker had accumulated
over a span of several years, the abstract yet diaristic and fictional
audio-visual tapestry leads the audience to an abstract yet palpable
experience of her dream theater.
*FATHER*, By Celeste Ollivier, 2022, HD, 11 Min, World Premiere
An interpretive reenactment of a traumatic experience seen through an
observational form. Movement-based, the film is concerned with the
internalization of tarnished familial relationships.
*I Have Never Met You*, By Jeong Yoon Ahn, 2018, HD, 20 Min. US Premiere
The film uses extreme close-up shots on photographs taken by her
collaborator Misun's late sister, emphasizing the tactility of emotional
pixelation and visual noise, which Misun can no longer reach.
*Tongue Film*, By Xiao Zhang, 2022, 16mm to Digital, 7 Min., World premiere
An autobiographical 16 mm project exploring often-ignored, invisible
disease aspects with unknown causes. The film sheds light on the complex
interplay between physically unpredictable emergence and psychological
distress through my partner's suffering from night sweats and my own
sleeping experiences with urinary incontinence. It drives out a mediation
of the confrontation with the uncontrolled body and leaked desires through
celluloid hand-processing.
*Wind-Up Teeth vii*, By abbi page, 2018, HD, 5 Min. with live reading,
World premiere
abbi page’s work in this program is a part of a series of poems and film
poems called the “wind-up teeth” series; it comes from their
work-in-progress multimedia poetry collection titled “A List of: Objects on
My Windowsill/ Things I Wish I Was/ Odes to the Ghost of my motherself
and/or MyBrother & I.” page uses multiple forms and has pieces collide into
each other in order to create overlays of incompossible worlds and times.
The rush of metaphors, images, and syntax across poems in the collection
creates a sort of sensual excess (Amber Jamila Musser) which allows
emotional content to overflow its containers into other pieces; it is a
surplus of intimacy and opacity, which permits us to think beyond black
queer femininity and sensuality in relation to historical and contemporary
violence on the black femme body but still acknowledge that violence and
grief.
*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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