[Frameworks] This Week in Avant Garde Cinema: March 18 - 26, 2023
This Week
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Sun Mar 19 09:47:42 CDT 2023
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*This Week [March 18 - 26, 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)
03.20.2023 FILMADRID
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03.21.2023 Istanbul International Experimental Film Festival
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(4th Deadline)
03.23.2023 Reeling The Chicago LGBTQ+ International Film Festival
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(Early Deadline)
03.26.2023 Magmart international videoart festival
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03.28.2023 Live Soundtrack
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(Late Birds)
03.31.2023 Festival Émergence de Montréal
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03.31.2023 Experimental Film Festival Process
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03.31.2023 Chicago Underground Film Festival
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(Extended Deadline)
04.01.2023 Fracto Experimental Film Encounter
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04.01.2023 Crescent City Film Festival
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(Extended Deadline)
04.01.2023 Winnipeg Underground Film Festival
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(90 second ultra shorts)
04.01.2023 Flamingo Film Festival
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04.02.2023 VSW Project Space Residency
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04.07.2023 Buffalo Int’l Film Festival
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04.09.2023 Mimesis Documentary Festival
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(Regular Deadline)
04.18.2023 LMCC Workspace Residency
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04.19.2023 Locarno Film Festival
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(Regular Deadline)
04.30.2023 Antimatter [media art]
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(Early Deadline)
04.30.2023 ANALOGICA
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(Regular Deadline)
04.30.2023 Laterale Film Festival
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(Regular Deadline)
04.30.2023 Braziers International Film Festival
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(Late Deadline)
05.12.2023 New Orleans Film Festival
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(Late Deadline)
05.19.2023 Edinburgh Short Film Festival
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(Regular Deadline)
05.31.2023 Interbay Cinema Society Lightpress Grants
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05.31.2023 25FPS Festival
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06.01.2023 Engauge Experimental Film Festival
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06.15.2023 Revolutions Per Minute Festival
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(Extended Deadline)
07.10.2023 Affective Intermediality International Conference
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*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]
- Su Friedrich's TODAY
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[March
17-23, New York, NY]
- VISIONS: Adam Khalil, Zack Khalil & Jackson Polys
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=4caa449138&e=857b71a9cb>
[March
17-April 17, online]
- Natural Magic: Experiments In Photography
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=7e788e739c&e=857b71a9cb>
[March
17-June 4, Oxford, UK]
- A Synesthete's Atlas - Eric Theise & Brett Darling (Aka Spider Lights)
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=8b757a6c1e&e=857b71a9cb>
[March
18, Fort Collins, CO]
- SISPIX: Roe Vs Wade
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[March
18, San Francisco, CA]
- Youjin Moon. Inner And Outer Space - Filmmaker In Person
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[March
20, Cambridge, MA]
- EC: Robert Breer Pgm
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[March
21, New York, NY]
- 61st Ann Arbor Film Festival
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[March
21-29, Ann Arbor, MI]
- 3 Films By Michael Snow
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[March
22, Montreal, QC, Canada]
- A Synesthete's Atlas - Eric Theise & Carl Ritger
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[March
23, Denver, CO]
- EC: James Broughton, Pgm 1 + 2
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[March
23, New York, NY]
- Cauleen Smith: THE FULLNESS OF TIME
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[March
24, San Francisco, CA]
- LONG HAULERS By Amy Reid
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[March 24, Santa Fe, NM]
- FIFA Expérimental - Focus Michael Snow
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[March
25, Montreal, QC, Canada]
- Abigail Child
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[March
24-28, New York, NY]
- Dominic Angerame: A Complete Retrospective (Program 3: Sex, Death,
Passion)
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[March
25, Oakland, CA]
- SF PSYCHO-GEO2:80s
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[March
25, San Francisco, CA]
- Luis Buñuel Programs
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[March
25-31, New York, NY]
- The Long Conversation
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[ongoing, online]
- 6x6 Project: Artists' Moving Image Works
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[ongoing,
online]
*STARTING BEFORE MARCH 18, 2023*
*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.
*___________________________________________________________________*
*March 17 - April 17*
Venue type: *Virtual, online event*
VISIONS
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11am, Event URL:
https://visionsmtl.com/2023/adam-khalil-zack-khalil-jackson-polys
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*VISIONS: ADAM KHALIL, ZACK KHALIL & JACKSON POLYS*
As part of its online screening series, VISIONS presents, in collaboration
with Présence Autochtone, *The Violence of a Civilization Without
Secrets* (2018,
digital, 10min) by Zack Khalil, Adam Khalil & Jackson Polys, with a an
original text by Ghada Sayegh.
*___________________________________________________________________*
*March 17 - 23*
Venue type: *Live, physical event*
Firehouse Cinema
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times vary, visit link,
Firehouse: DCTV’s Cinema for Documentary Film, 87 Lafayette Street, New
York, NY (The cinema’s entrance is around the corner on White Street
between Lafayette and Centre Streets)
*Su Friedrich's TODAY*
2023, 57 min
NY Theatrical Premiere! "A virtuoso of clarity, Friedrich recasts the
personal as political, makes the public curiously intimate.” — Manohla
Dargis, The Village Voice
Su Friedrich is a pioneering queer filmmaker who has been making
ground-breaking personal films for decades. In *TODAY*, she again eschews
conventional narrative, observing her world over a six-year period. Choice
morsels of documentary footage from the neighborhood of Bed-Stuy, Brooklyn
and beyond are augmented with her wry observations and witty on-screen text
in this casual, engrossing portrait of daily life. Friedrich thought that
using her camera to ‘live in the moment’ would give her access to seeing
the wonders of the world, but instead she saw exactly what was in front of
her, both the devastating and the uplifting. Q&As with Director Su
Friedrich on Mar 17 + 19. Su Friedrich will also be in attendance on Mar
18, 22, 23.
The following short films by Su Friedrich will precede *TODAY* on the
following dates:
Screening March 17
*GENTLY DOWN THE STREAM* Dir. Su Friedrich, 1981, 14 min
Fourteen dreams, and some images that relate to them in various ways.
Screening Mar 18 + 22
*RULES OF THE ROAD* Dir. Su Friedrich, 1993, 31 min
a story of a love affair and its demise through one of the objects shared
by the couple: an old beige station wagon with fake wood paneling. A
typical American family car for an atypical American family, it provides
the women at first with all the familiar comforts. But when their
relationship ends, the car becomes the property of one and the bane of the
other’s existence. Even long after their separation, this tangible reminder
of their life together—and thousands of its imitators—continues to prowl
the streets of the city, haunting the woman who no longer holds the keys
either to the car or the other woman’s heart. Through spoken text, popular
music, and images from the streets of New York, Rules of the Road takes a
somewhat whimsical, somewhat caustic look at how our dreams of freedom,
pleasure, security, and family are so often symbolized by the automobile.
Screening Mar 19
*SEEING RED* Dir. Su Friedrich, 2005, 27 min
Three elements run parallel, overlap, diverge, lock horns and in various
other ways give voice to the notion that a color, a melody, or a person has
multiple characteristics that cannot be grasped by, or understood within, a
simple framework. One element is purely visual. One is very verbal and
minimally visual. One is purely musical. So is red the color of a fire
truck or a ruby, of rust or a rose, of blood or a brick? How fixed is a
melody if it can be twisted, stretched and shaken to the point where we no
longer recognize its original form? And when we “see red,” what color is
that exactly? What aspect of passion are we feeling? Are we looking outward
and seeing injustice and cupidity, or looking inward at our own limitations
and failings?
Screening Mar 20 + 23
*THE HEAD OF A PIN* Dir. Su Friedrich, 2004, 22 min
Those of us who grow up in cities and continue living in them tend to have
a romantic view of life in the countryside. Moreover, we know every subway
route, shopping district and urban legend of our city, and feel that our
"street smarts" enable us to function anywhere--but put us out in the
country and we're just plain stupid about almost everything that nature has
to offer. What's the name of that tree with the peeling bark? What fish
just jumped? And are those beaver, heron, goose or duck tracks? And then
there's our experience of violence--urban violence, of course. We know how
to avoid it or, even better, how to escape it by going to the country,
where it's so different: so quiet, so peaceful, so safe, so gentle. And it
is when you're lying on a hot rock by the river, or having a drink in the
yard at sunset. And it is until you spend twenty minutes watching a spider
work over and finally kill an insect twice its size. So what exactly is
this "nature" that's so lovely and such a respite if it's filled with death
and dismemberment? And what changes when we try to learn about it instead
of just treating it as a pretty backdrop to our daily work and worries?
Screening Mar 21
*FIRST COMES LOVE* Dir. Su Friedrich, 1991, 23 min
Perfectly choreographed scenes of four wedding ceremonies accompanied by a
complex medley of popular love songs. All seems to be going as it should
until the couples reach the altar, when the celebratory atmosphere is
interrupted for a surprising public service announcement. Then the song and
dance continues until the happy couples depart, leaving behind a dwindling
crowd and a few altar boys who carefully sweep up the rice that blankets
the pavement like snow. The film doesn't attempt to defend—or discredit—the
institution of marriage. Instead, it reveals the many subtle emotions
surrounding the event, and raises questions about how the double standard
regarding marriage affects gay and straight couples.
*TODAY* is an Icarus Films release
Enjoy reserved seating! Doors open 30 minutes prior to showtime.
*___________________________________________________________________*
*March 17 - June 4*
Venue type: *Live, physical event*
Bodleian Library
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Mo - Sa 10am-5pm, Su 11am-4pm GMT,
Transept, Weston Library, Bodleian Library, University of Oxford, Broad St,
Oxford, UK
*Natural Magic: Experiments in Photography*
Photography was invented by a network of chemical experimenters. Little by
little, they discovered the photosensitive properties of precious metals
and learned to capture images from life on a chemical emulsion of silver
nitrate, or iron, or gold, or ground up vegetables. Today’s digital
photography feels a long way from the experiments of the nineteenth
century, but an intrepid society of alchemists is reviving the processes of
the past and creating new approaches to darkroom photography.
*Natural Magic* features work by Megan Ringrose, Nettie Edwards, Karel
Doing, Andrés Pardo, and Garry Fabian Miller – artists who have spent a
lifetime exploring the chemical potentials of photography.
*SATURDAY, MARCH 18, 2023*
Venue type: *Live, physical event*
Art Lab Fort Collins
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8p MST,
239 Linden St, Fort Collins, CO
*A Synesthete's Atlas - Eric Theise & Brett Darling (aka Spider Lights)*
Real time cartographic improvisations using projected, manipulated digital
maps by Eric Theise, in live collaboration with noise magician Brett
Darling (aka Spider Lights).
A visual wash of street grids, land masses, water bodies, and curiosities
from built and natural environments. Saturated colors. The subtlest of
tints. Unreal spaces for formerly-real sounds. Glitches in crowdsourced
data. Jittery zooms and pans. Orphaned information and free-floating
symbology.
The performance will last 50 minutes, and will occasionally introduce
strobing effects that may affect photosensitive viewers.
Eric Theise
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=50ddb66f9b&e=857b71a9cb>
is a San Francisco-based artist and geospatial software developer. Through
video and realtime performance tools he reinvigorates the perceptual
inquiries of structural filmmakers, experimental animators, op artists, and
the Light and Space movement as new possibilities in the realm of digital
cartography.
spider lights
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=5e8599abfa&e=857b71a9cb>:
Improvisational experimental music and soundscapes utilizing modular
synthesis.
*___________________________________________________________________*
Venue type: *Live, physical event*
Other Cinema
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8pm PT,
ATA Gallery, 992 Valencia (@ 21st), San Francisco, CA
*SISPIX: ROE VS WADE*
JANE COLLECTIVE +
We are horrified by the over-turning of Roe vs Wade by the Supreme
Court last June, so here's an all-women program that SHOUTS OUT its rage,
and its demand that women retain control over their own bodies. Curated
for Women's History Month by UCB avant savant Jeff Skoller, here screening
are seven experimental and documentary works that explore both the very
personal histories and the high-stakes political struggles for abortion
access in a pre- and now post-Roe America: *Jane An Underground Abortion
Service* (Nell Lundy/Kate Kurtz), *Lesser Choices* (Courtney Stephens),
*Sincerely* (Lynn Kirby), *Futility* ( Greta Snider), *S’aline’s Solution*
(Aline Mare), *Abortion Helpline, This is Lisa* (Barbara Attie/Janet
Goldwater), *This Is What a Post-Roe Abortion Looks Like* (Ora
DeKornfeld). Reproductive rights activists and
filmmakers Snider and Mare in person, plus Pussy Riot of course!!
*MONDAY, MARCH 20, 2023*
Venue type: *Live, physical event*
Harvard Film Archive
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7pm ET,
24 Quincy Street, Cambridge, MA
*Youjin Moon. Inner and Outer Space - Filmmaker in person*
Youjin Moon's foundation in painting as well as her work in photography and
photochemical filmmaking inform a textural approach to her cinematic craft.
Seemingly located in a dimension somewhat similar to this one, Moon’s
layered worlds orbit somewhere between inner and outer, macro and micro,
Earth and space, liquid and solid, natural and constructed, scientific and
science fiction. Even when accompanied by electronic beeps or buzzing,
these transforming spaces manifest as living, breathing, complex cosmoses
frequently grounded by familiar terrestrial sights, albeit slightly altered
or distorted. All elements eventually fold into Moon’s complex spatial
fabric, which is in a constant state of flux, always transitioning to
something breathtakingly new and intricate.
In the work of the first part of the program, the atmospheres and elements
of the moons of Jupiter influence the moods, palettes and composition of
the videos. In these, she seems to extract an organic sentience out of the
ones and zeroes. By the later pieces, however, the warmth of biology
recedes, revealing the grids and geometry of technology—no less
breathtaking. Throughout all the work, viewers are induced into a constant
state of wonder and captivation, experiencing a sense of discovering realms
unknown. Eyes wide open, relaxed yet alert, her audience is free to make
myriad associations among dislocated galaxies where there is darkness and
light, beauty and mystery within a perpetual cycle of countless births and
deaths, both of this world and far beyond. – *Brittany Gravely*
*Ganymede*, Directed by Youjin Moon. US, 2016, DCP, color, 9 min. DCP
source: Filmmaker
*Europa*, Directed by Youjin Moon. US, 2015, DCP, color, 12 min. DCP
source: Filmmaker
*io*, Directed by Youjin Moon. US, 2015, DCP, color, 11 min. DCP source:
Filmmaker
*Laomedeia*, Directed by Youjin Moon. US, 2019, DCP, color, 11 min. DCP
source: Filmmaker
*Telesto*, Directed by Youjin Moon. US, 2020, DCP, color, 13 min. DCP
source: Filmmaker
*Arcalis*, Directed by Youjin Moon. US, 2022, DCP, color, 13 min. DCP
source: Filmmaker
*TUESDAY, MARCH 21, 2023*
Venue type: *Live, physical event*
Anthology Film Archives
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=01449ee92f&e=857b71a9cb>
7:30pm ET,
32 Second Avenue, New York, NY
*EC: ROBERT BREER PGM*
With the exception of *MOTION PICTURES NO. 1*, *PAT’S BIRTHDAY*, *BREATHING*,
and *GULLS AND BUOYS*, all of the films in this program were preserved by
Anthology with generous support from the Andy Warhol Foundation for the
Visual Arts and the National Endowment for the Arts.
*FORM PHASES I* (1952, 2 min, 16mm)
*FORM PHASES II* (1953, 2 min, 16mm)
*RECREATION* (1956, 1.5 min, 16mm-to-35mm)
*MOTION PICTURES NO. 1* (1956, 4.5 min, 16mm, silent)
*JAMESTOWN BALOOS* (1957, 6 min, 16mm-to-35mm)
*EYEWASH* (1959, 3 min, 16mm-to-35mm)
*BLAZES* (1961, 3 min, 16mm-to-35mm)
*PAT’S BIRTHDAY* (1962, 13 min, 16mm, b&w)
*BREATHING* (1963, 5 min, 35mm, b&w)
*FIST FIGHT* (1964, 9 min, 16mm-to-35mm)
*66* (1966, 5.5 min, 16mm-to-35mm)
*69* (1969, 4.5 min, 16mm-to-35mm)
*70* (1970, 5 min, 16mm-to-35mm)
*GULLS AND BUOYS* (1972, 8 min, 16mm)
*FUJI* (1974, 9 min, 16mm-to-35mm)
“Roughly speaking [Breer’s] works belong to that category of films
generally called ‘abstract’ (though his are also highly ‘concrete’), but
differ from everything else that has been done along these lines in one
basic respect: Breer is undoubtedly the first filmmaker to have brought to
his medium the full heritage of modern painting and the sum of
sophisticated experimentation that it represents.” – Noël Burch, FILM
QUARTERLY
Total running time: ca. 85 min.
*___________________________________________________________________*
*March 21 - 29*
Venue type: *Both physical and online*
Ann Arbor Film Festival
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=dce7a4d09c&e=857b71a9cb>
various times,
various locations including: the Michigan Theater and State Theatre
Event URL: https://www.aafilmfest.org/61-aaff
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=0c4b740d42&e=857b71a9cb>
*61st Ann Arbor Film Festival*
61st Ann Arbor Film Festival Features 108 Films From 33 Countries With
screenings and programs both online and in person, the oldest avant-garde
and experimental film festival in North America opens March 21.
Founded in 1963, the Ann Arbor Film Festival (AAFF) is the oldest
avant-garde and experimental film festival in North America.
Internationally recognized as a premiere forum for independent filmmakers
and artists, AAFF engages audiences with remarkable cinematic experiences.
For a second year, the festival will be presented in a hybrid format,
allowing selected filmmakers to reach a worldwide audience from March 21 to
29. In-person screenings and events will take place in Ann Arbor, Michigan,
from March 21 to 26.
Distinguished artists and an acclaimed film programmer/festival director
will jury this year’s edition: Amir George, Christine Panushka, and Koyo
Yamashita. Each juror will present a curated program of their own work that
also will be screened online.
Highlights from the upcoming festival include:
Submissions: 2,754 films from 95 countries
Films in Competition: 108 films from 33 countries
Features in Competition: All 12 features from outside the United States
Premieres: 12 world, 30 North American, and 13 United States premieres
Percentage on Film: 11% of selected films shot on 16mm or 35mm
*WEDNESDAY, MARCH 22, 2023*
Venue type: *Live, physical event*
Cinémathèque québécoise
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=55ed843005&e=857b71a9cb>
8pm ET,
Cinémathèque québécoise, 335 Boul. de Maisonneuve E, Montreal, QC, Canada
*3 Films by Michael Snow*
Michael Snow was an experimental filmmaker fascinated by disappearance in
infinite detail, by disorientation in the infinitely large. He pushed back
the limits of cinema without formalizing it too much, as much concerned
with forms (as an accomplished visual artist) as with sounds (he was an
experimental musician with a sweet spot for free jazz).
*New York Eye and Ear Control* 1964, 34min
"One of the major achievements of the sixties. Mike Snow postulates an eye
that stares at surfaces with such intensity... The image itself seems to
quiver, finally gives way under the pressure. A deceptive beginning -
silent: a flat white form sharply cut to the silhouette of a walking
woman...More human images, love-making - a human epic now still ruled by
the after image of the Walking Woman. As in no other film yet seen, its
alternately soft and granite images lift us toward the year 2000; capturing
not events, not objects, but again and again registering a ‘placement’ of
consciousness - the subject matter of the future, really. Human energy on
film...” - Richard Foreman, New York Film Co-op
*Wavelength* 1967, 45min
“The outstanding film of 1968... a very beautiful and important film.” -
Jonas Mekas, Village Voice “*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, 1968 “Michael Snow’s *Wavelength*, a pure,
tough 45 minutes that may become *The Birth of a Nation* in Underground
films, is a straightforward document of a room in which a dozen businesses
have lived and gone bankrupt. For all of the film’s sophistication (and it
is overpowering for its time-space-sound inventions) it is a singularly
unpadded, uncomplicated, deadly realistic way to film three walls, a
ceiling and a floor... it is probably the most rigorously composed movie in
existence.” - Manny Farber, Artforum
*Breakfast (Table Top Dolly)* 1976, 15min
“Snow’s use of the dolly shot in *Breakfast (Table Top Dolly)* vividly -
and comically - emphasizes the physical effects of the camera’s forward
movement, in contrast to the purely optical effects of the zoom in
*Wavelength*. In *Breakfast*, the camera dollies toward an untidy still
life of breakfast items and slowly pushes the objects along the table until
the tip over, tumble off, or are smashed against the wall at the far end of
the table.” - William C. Wees, Light Moving in Time
*THURSDAY, MARCH 23, 2023*
Venue type: *Live, physical event*
Counterpath
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=c0786e879d&e=857b71a9cb>
7:30p doors, 8p event MST;
7935 East 14th Av, Denver, CO
*A Synesthete's Atlas - Eric Theise & Carl Ritger*
Real time cartographic improvisations using projected, manipulated digital
maps by Eric Theise, in live improvisatory collaboration with Denver-based
guitarist and sound artist Carl Ritger, whose prepared lap steel and
modular sampler approach will provide a deeply textural counterpoint to the
visual wash of street grids, land masses, water bodies, and curiosities
from built and natural environments. Saturated colors and the subtlest of
tints. Aural grit and shadowy resonance. Glitches in crowdsourced data.
Jittery zooms and pans. Liminal drones. Orphaned information and
free-floating symbology.
The performance will last 50 minutes and will occasionally introduce
strobing effects that may affect photosensitive viewers. The evening opens
with Jose Antonio Villarán reading from his recently published *Open Pit*.
*A Synesthete's Atlas* premiered in Lisbon in April 2022 and has since been
performed in a dozen-plus East Coast, West Coast, Midwest, and Front Range
cities.
Eric Theise
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=cde20999c7&e=857b71a9cb>
is a San Francisco-based artist and geospatial software developer, in
Denver for the American Association of Geographers Annual Meeting. Through
video and realtime performance tools he reinvigorates the perceptual
inquiries of structural filmmakers and the Light and Space movement,
occasionally incorporating letterform experiments inspired by concrete
poetry, as new possibilities in the realm of digital cartography.
Carl Ritger
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=4371e89059&e=857b71a9cb>,
FKA Radere, is an improviser, composer, and sound artist hailing from
Philadelphia, Pennsylvania. Currently living and working on Colorado's
Front Range, his work spans the shadowy gulf between drone, noise, and
musique concrète, compositing guitars, electronics and location recordings
into densely textured sonic environments. His recordings have been
published via many independent labels, including Great Circles, Full
Spectrum, Moodgadget, and Going In, among others.
Jose Antonio Villarán
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=de375247e7&e=857b71a9cb>
is the author of two books of poetry: la distancia es siempre la misma
(2006) & el cerrajero (2012); one book of translation, Album of Fences
(2018); and creator of the AMLT project, an exploration of hypertext
literature and collective authorship. Villarán holds an MFA in Writing from
UCSD and is a PhD candidate in Literature at UCSC. He lives in Davis,
California, with his son.
https://www.eventbrite.com/e/a-synesthetes-atlas-cartographic-improvisations-between-theise-and-ritger-tickets-586565873317
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=f544b8d197&e=857b71a9cb>
*___________________________________________________________________*
Venue type: *Live, physical event*
Anthology Film Archives
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=c8ccc4e25e&e=857b71a9cb>
6:30pm + 8:30pm ET,
32 Second Avenue, New York, NY
*EC: JAMES BROUGHTON, PGM 1 + 2*
--- PGM 1 @ 6:30pm ---
*THE PLEASURE GARDEN* (1953, 38 min, 35mm, b&w)
*THE BED* (1968, 19 min, 16mm)
*NUPTIAE* (1969, 14 min, 16mm)
“Broughton was and is a poet, sometimes a dramatist. Yet whatever the mode,
his style is remarkably consistent: urbane and witty with the persona of
the naïve, or the simpleton, or the child. Like the poems, the films record
the basic rites of passage, the search for love, the primal relationships,
with ironic insight: there are parents who are children, a rube who’s
really the artist, a loony wise man.” –P. Adams Sitney
Total running time: ca. 75 min.
--- PGM 2 # 8:30pm ---
*THE GOLDEN POSITIONS* 1970, 32 min, 16mm
“A lovely, poetic, humorous, and crystal investigation of mankind standing,
sitting, and lying down.” –John Wasserman, SAN FRANCISCO CHRONICLE
*DREAMWOOD* 1972, 45 min, 16mm
“A modern day spiritual odyssey in which a man is mysteriously compelled to
leave his home and embark on a voyage to a strange, magical island. On the
island he faces the most improbable and intense experiences of his life,
ranging from total humiliation to a deep sense of oneness with the force of
life. Heroic in concept, subtle in execution, DREAMWOOD is a beautiful film
by a true master of the medium.” –David Bienstock
*HIGH KUKUS* 1974, 3 min, 16mm
“A High Kuku is, of course, a cuckoo haiku. In inventing this form
Broughton has concocted zany verses which are ‘high’ in the sense that they
are often metaphysical and are keenly aware of the metacomedy of things.”
–Alan Watts
Total running time: ca. 85 min.
*FRIDAY, MARCH 24, 2023*
Venue type: *Live, physical event*
San Francisco Cinematheque
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=f086bad715&e=857b71a9cb>
7pm PT,
4 Star Theater, 2200 Clement Street, San Francisco, CA
*Cauleen Smith: THE FULLNESS OF TIME*
presented association with Variable Density at the 4 Star Theater
Filmmaker Cauleen Smith is best known for Afro-futurist cinematic works
that weave intimate narratives of love, yearning and the dream-world with
known histories, imagined landscapes and broader cultural symbols to
activate collective memory. In partnership with the 4 Star Theater’s
monthly Variable Density series, San Francisco Cinematheque presents
Smith’s *The Fullness of Time* (2008). Described by the artist as a
“science-fiction rumination on space, place, and post-traumatic stress,”
the loosely episodic work, filmed in a neorealist style in New Orleans
immediately post-Katrina, is a unique hybrid of documentary and dystopian
sci-fi chronicling the wanderings of a “sister from another planet” through
the devastation of that city while ruminating on the rage, grief and
collective resilience of its residents.
*Not the Black* (2008) digital video, color, sound, 2 minutes, exhibition
file from the maker
*Sine at the Canyon Sine at the Sea* (2016) digital video, color, sound, 7
minutes, exhibition file from the maker
*Songs for Earth and Folk* (2013) digital video, color, sound, 11 minutes,
exhibition file from the maker
*The Fullness of Time* (2008) digital video, color, sound, 50 minutes,
exhibition file from the maker.
All by Cauleen Smith.
“Everything I make is just an offering. I think of my work as a
contribution to the histories of the Black diasporas and our powers of
invention, survival and generativity.” — Cauleen Smith.
*___________________________________________________________________*
Venue type: *Live, physical event*
No Name Cinema
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=88a8075ebe&e=857b71a9cb>
7pm MST,
No Name Cinema, 2013 Pinon Street, Santa Fe, NM
*LONG HAULERS by Amy Reid*
2020, 74min, 16mm + digital
An experimental documentary shot on 16mm film and digital video while
riding with around the Southwest with three long haul female truckers.
Filmmaker Amy Reid created the feature-length film while acting as a crew
of one; independently filming, recording sound, editing, and raising funds
to complete the project. “All truckers are either running away or running
to something.” Through experimentation, performative play, and direct
observational filmmaking we meet female truckers who have fled domestic
violence, the stigmas of being formerly incarcerated, and mental health
issues. Weaving together the stories of these three truck drivers, *Long
Haulers* shares how each woman started trucking and what keeps them
trucking.
filmmaker in attendance! post-screening Q&A!
*___________________________________________________________________*
*March 24 - 28*
Venue type: *Live, physical event*
Anthology Film Archives
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=2f9decfea5&e=857b71a9cb>
times vary, see below,
32 Second Avenue, New York, NY
*Abigail Child*
This spring, Anthology hosts a long-overdue retrospective of the work of
the moving-image artist, writer, and poet Abigail Child. A leading figure
of the generation of experimental filmmakers that emerged in the late
1970s-early 1980s, Child has continued to make innovative and challenging
work – in a dizzying variety of forms and on a wide range of topics – ever
since.
Child, who has often grouped her films into thematically and/or formally
linked series, first gained widespread recognition with the seven films
presented under the title “Is This What You Were Born For?” Created between
1981-89, these works inspired (and continue to inspire) a plethora of
commentary, and have become modern classics. But Child’s body of work
extends far beyond this renowned series, encompassing her rarely-screened
but remarkable early films; later cycles such as the “Suburban Trilogy”
(2004-11) and the “Foreign Film” series (2005-14); and feature-length works
produced over the past decade, including the experimental biographical
films *UNBOUND: SCENES FROM THE LIFE OF MARY SHELLEY* (2013) and *ACTS &
INTERMISSIONS: EMMA GOLDMAN IN AMERICA* (2017), and the recent *ORIGIN OF
THE SPECIES* (2020), which explores the growing field of android
development and the ethical, emotional, and psychological impacts of these
technological developments.
This retrospective gathers together all these films and many more, offering
a rare chance to experience and grapple with Child’s body of work as a
whole. Child has restlessly explored different mediums and modes, often
working with preexisting footage – drawn from Hollywood films,
advertisements, home movies, and many other sources – which she radically
transforms in ways that unite formal experimentation and social-political
analysis. But what unifies her moving-image work above all is the
unparalleled dynamism of her investigations into the relationship between
sound and image, the still not-fully-tapped possibilities of cinematic
montage, the technique of audiovisual fragmentation, and the complex
mechanisms of language. Child’s films, videos, and installations activate
the potential energy of the cinema to an extraordinary degree.
“[Child] has for decades been an inspiring teacher, and I feel the same
energy drives her films. The very title of the series: ‘Is this what you
were born for?’ captures the tone of her pedagogy: Asking questions, not
instilling answers, demanding a personal address from filmmaker to viewer,
probing the very foundations of one’s existence. […] The complexity of
Child’s pedagogy relies on such juxtapositions and transformations in
meaning between image and sound, image and image, language and noise, as
well as image and language.” –Tom Gunning, “Abigail Child: The Pulse of the
Last Machine”
“As an artist and writer, Child has worked seriously across a range of
media. In all of them, her principal form has been montage, developing, as
Tom Gunning writes, ‘a system founded not on coherence, but on breakdown,
not on continuity, but interruption.’” –Colin Beckett
Child will be here in person for the majority of the screenings!
ABIGAIL CHILD PROGRAM 1: IS THIS WHAT YOU WERE BORN FOR?
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=1e8404804f&e=857b71a9cb>
March
24 at 7:30 PM
ABIGAIL CHILD PROGRAM 2: EARLY FILMS
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=10bef64640&e=857b71a9cb>
March
25 at 4:00 PM
ABIGAIL CHILD PROGRAM 3: FACING REALITY
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=b9cbe500a1&e=857b71a9cb>
March
25 at 6:00 PM
ABIGAIL CHILD PROGRAM 4: FOREIGN FILM SERIES
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=451f9fb2f3&e=857b71a9cb>
March
26 at 5:45 PM
ABIGAIL CHILD PROGRAM 5: THE SUBURBAN TRILOGY
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=163c6e2e78&e=857b71a9cb>
March
26 at 8:00 PM
ABIGAIL CHILD PROGRAM 6: UNBOUND
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=cd2757858c&e=857b71a9cb>
March
27 at 6:45 PM
ABIGAIL CHILD PROGRAM 7: ACTS & INTERMISSIONS
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=e00daa0dd1&e=857b71a9cb>
March
27 at 8:45 PM
ABIGAIL CHILD PROGRAM 8: ORIGIN OF THE SPECIES
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=e52595c3bc&e=857b71a9cb>
March
28 at 7:30 PM
*SATURDAY, MARCH 25, 2023*
Venue type: *Live, physical event*
FIFA
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=bc4999c69c&e=857b71a9cb>
5pm ET,
Université Concordia - J.A. de Sève, LB-125, Pavillon J. W. McConnell,
Montreal, QC, Canada
*FIFA EXPÉRIMENTAL - FOCUS MICHAEL SNOW*
On January 5, Michael Snow discreetly left us. And he left us, each of us,
a magisterial body of work to which we can turn to plumb its riches,
cherish its subtleties, to re-view it, to get in touch with the artist.
Three works have been selected for *Focus Michael Snow*. Each epitomizes
the artist’s attentiveness and profound attachment to word, image and
sound, while underscoring his wit and wisdom in bringing them together and
into dialogue. Each is also inhabited by Snow’s passion for light and
space, duration and movement, and the experiential present of every work of
art. This program, assembled with respect, hails the contributions of a
truly exceptional Canadian artist whose practice spanned more than seventy
years.
The screening will be in the presence of Michael Snow’s life partner, art
historian and experimental film and video specialist Peggy Gale. Programmed
by Nicole Gingras, Programmer, FIFA Experimental section
*WVLNT – WAVELENGTH For Those Who Don’t Have the Time: Originally 45
minutes, now 15!* – Michael Snow. Canada. 2003. 15 min. English.
*So Is This* – Michael Snow. Canada. 1982. 43 min. Without sound. English.
*See You Later / Aurevoir* – Michael Snow. Canada. 1990. 17 min 25 s.
English.
*___________________________________________________________________*
Venue type: *Live, physical event*
Shapeshifters Cinema
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=119dd62e68&e=857b71a9cb>
8pm PT,
567 5th St., Oakland, CA
*Dominic Angerame: A Complete Retrospective (Program 3: SEX, DEATH,
PASSION)*
This is the third 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.
For this third screening we will present a compelling program of mid-career
work that wrestles with the adverse forces of desire and death. All (but
one) of them shot and shown on 16mm film. The program includes *Anaconda
Targets* (2004), *Consume* (2003), *The Waifen Maiden* (2003), *Pixiescope*
(2003), *Battlestations: A Naval Adventure* (2002), *Phone/Film Portraits*
(1985), *Voyeuristic Tendencies* (1984), *Hit the Turnpike* (1984), *Honeymoon
in Reno* (1984), *I’d Rather be in Paris* (1983) and *The Mystery of Life
(as Discovered in Los Angeles)* (1982).
*___________________________________________________________________*
Venue type: *Live, physical event*
Other Cinema
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=4810e4dcc8&e=857b71a9cb>
8pm PT,
ATA Gallery, 992 Valencia (@ 21st), San Francisco, CA
*SF PYSCHO-GEO2:80s*
YORK's WHO CARES ANYWAY + CRAIG & PAUL MIDGET + STAR PANELISTS +
An outrageous oral history of the Bay Area's wild post-punk underground!
Writer Will York spent two decades conducting interviews and whittling it
all down to a mere (?) 560 pages’ worth of existetial drama, dark humor,
spectacular failures, and improbable successes—including in-depth coverage
of acts ranging from Flipper to Factrix, Minimal Man to Mr.
Bungle, Inflatable Boy Claims to Thinking Fellers Union Local 282.
Now Will is flying across the country to launch it in thee City that gave
it birth, here moderating a panel that includes Bill Gould of Faith No
More, photographer Joan Osato, Longshoreman Dog Swan, Peter Urban (aka “The
Pope of Punk”), punk fiction pioneer Deise Dee, peace
punk-turned-experimental artist CYRNAI, and RE/Search Pubs guru V. Vale.
Members of Toiling Midgets and (the long-defunct) Arkansaw Man play
separate sets; Liz Keim's *In the Red* and Richard Gaikowski's *Deaf Punk* set
our screen aflame.
*___________________________________________________________________*
*March 25 - 31*
Venue type: *Live, physical event*
Anthology Film Archives
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=a50d68dfc2&e=857b71a9cb>
times vary, see below,
32 Second Avenue, New York, NY
*Luis Buñuel Programs*
--- March 25 @ 5:45pm ET - EC: BUÑUEL / DALÍ ---
Luis Buñuel & Salvador Dalí *UN CHIEN ANDALOU* (1928, 22 min, 35mm, b&w)
Twenty-two minutes of pure, scandalous dream-imagery, a stream of images
from which anything that could be given a rational meaning was rigorously
excluded. It remains the unsurpassed masterpiece of the surrealist cinema.
Luis Buñuel *LAND WITHOUT BREAD / LAS HURDES: TIERRA SIN PAN* (1932, 28
min, 35mm, b&w. With English narration.)
“A documentary describing, matter-of-factly, a region of Spain so ravaged
by epidemic poverty that there our worst fantasies find their objective
correlative.” –Raymond Durgnat
--- March 26 @ 5:30pm ET - EC: *L’ÂGE D’OR* ---
by Luis Buñuel & Salvador Dalí, In French with English subtitles, 1930, 73
min, 35mm, b&w
“The story is a sequence of moral and surrealist aesthetics. The sexual
instinct and the sense of death form the substance of the film. It is a
romantic film performed in full surrealistic frenzy.” – Luis Buñuel
--- March 26 @ 7:45pm ET - EC: *LOS OLVIDADOS* (*THE FORGOTTEN ONES*) ---
by Luis Buñuel, In Spanish with English subtitles, 1950, 88 min, 35mm, b&w
“Buñuel shows the sad condition of the poor without embellishing them,
because if there is one thing Buñuel hates it is that artificial sweetness
imparted to all the poor which we so frequently see in the traditional
film. If, as usually happens in motion pictures, the moral principals
approved by conventional society are carefully observed by members of the
poorest classes…then these principals have some universal validity.
However, Buñuel is concerned with exposing the opposite.” –Emilio Garcia
Riera, FILM CULTURE
--- March 28 @ 7pm ET - EC: *LOS OLVIDADOS* (*THE FORGOTTEN ONES*) ---
by Luis Buñuel, In Spanish with English subtitles, 1950, 88 min, 35mm, b&w
“Buñuel shows the sad condition of the poor without embellishing them,
because if there is one thing Buñuel hates it is that artificial sweetness
imparted to all the poor which we so frequently see in the traditional
film. If, as usually happens in motion pictures, the moral principals
approved by conventional society are carefully observed by members of the
poorest classes…then these principals have some universal validity.
However, Buñuel is concerned with exposing the opposite.” –Emilio Garcia
Riera, FILM CULTURE
--- March 31 @ 6:45pm ET - EC: *LOS OLVIDADOS* (*THE FORGOTTEN ONES*) ---
by Luis Buñuel, In Spanish with English subtitles, 1950, 88 min, 35mm, b&w
“Buñuel shows the sad condition of the poor without embellishing them,
because if there is one thing Buñuel hates it is that artificial sweetness
imparted to all the poor which we so frequently see in the traditional
film. If, as usually happens in motion pictures, the moral principals
approved by conventional society are carefully observed by members of the
poorest classes…then these principals have some universal validity.
However, Buñuel is concerned with exposing the opposite.” –Emilio Garcia
Riera, FILM CULTURE
--- March 31 @ 9pm ET - EC: *L’ÂGE D’OR* ---
by Luis Buñuel & Salvador Dalí, In French with English subtitles, 1930, 73
min, 35mm, b&w
“The story is a sequence of moral and surrealist aesthetics. The sexual
instinct and the sense of death form the substance of the film. It is a
romantic film performed in full surrealistic frenzy.” – Luis Buñuel
*ONGOING*
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