[Frameworks] This Week in Avant Garde Cinema: September 16 - 24, 2023
This Week
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*This Week [September 16 - 24, 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)
09.29.2023 Slamdance Film Festival
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(Extended Deadline)
09.30.2023 Istanbul International Experimental Film Festival
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(9th Deadline)
10.01.2023 Cauldron International Film and Video Festival
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(Early Deadline)
10.02.2023 Berwick Film & Media Arts Festival
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(Early Deadline)
10.05.2023 International Short Film Festival Oberhausen
<https://www.kurzfilmtage.de/en/festival/submission/#c3164> (Early Deadline)
10.15.2023 Wide Open Experimental Film Festival
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(Regular Deadline)
10.15.2023 Little Scuzzy Film Fest <littlescuzzyfilmfest at gmail.com>
10.17.2023 Student Experimental Film Festival Binghamton
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(2022-23 Student Films ONLY)
11.01.2023 Alchemy Film and Moving Festival
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(Early Deadline)
11.01.2023 Experiments in Cinema <https://www.experimentsincinema.org/>
11.10.2023 Coney Island Film Festival
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(Regular Deadline)
11.30.2023 Lightpress Grants
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12.01.2023 Cosmic Rays Film Festival
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01.07.2024 Gravitational Lensing
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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]
- Inheritance
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[June
22, 2023-Feb 2024, New York, NY]
- Alternative Visions
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[September
6-November 15, Berkeley, CA]
- The Film Foundation: Preserving The Avant-Garde
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[September
18, San Francisco, CA]
- EC: Warhol / Watson & Webber / Whitney
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[September
20, New York, NY]
- Honoring Kenneth Anger
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[September
20, San Francisco, CA]
- 16mm Madness
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[September
20, San Francisco, CA]
- VISIONS: Ben Balcom
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[September
21, Montreal, QC, Canada]
- On Film Presents: Tom Gunning
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[September
21, Rochester, NY]
- Avant 2023 – Line Describing A Cone
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[September
22-23, Kristinehamn & Karlstad, Sweden]
- The Tawdry Visions of George And Mike Kuchar
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[September
22, Los Angeles, CA]
- An Evening With Bill Brand
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[September
22, New York, NY]
- The Short Films of Simon Liu
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[September
22, Santa Fe, NM]
- EC: Kenneth Anger, Program 1 + 2
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[September
23, New York, NY]
- EC: Bruce Baillie
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[September
24, 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 SEPTEMBER 16, 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.
*___________________________________________________________________*
*September 6 - November 15*
Venue type: *Live, physical event*
Pacific Film Archive
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7:00 PM PST
2155 Center Street, Berkeley CA, 94720
*Alternative Visions*
We open our annual showcase of historical and current experimental film
with Luis Buñuel’s Surrealist classics, *L’age d’or* and *Un Chien Andalou*.
Further historical explorations include a guest-curated program of local
ninety-year-old filmmaker Paul Fillinger’s one-of-a-kind educational films,
which he refers to as experiential cinema. Leeroy K. Y. Kang presents a
selection of queer Asian experimental video, from Bruce and Norman Yonemoto
to Patty Chang. There are a number of opportunities to see and hear guest
artists: Ernie Gehr travels from New York with four recent city films,
Peggy Ahwesh and Jacqueline Goss screen their “theoretical musical about
scientist and social thinker Wilhelm Reich,” Canadian Lindsay McIntyre
discusses a selection of her films exploring her Inuit and settler
ancestry, and local filmmaker Jerome Hiler presents four programs of his
work. The series includes two programs of recent films drawing on varied
sources, including Super 8mm, glass slides and negatives, photographs,
audio recordings, ray-o-grams, and artificial intelligence, with guest
artists in person. We also pay tribute to longtime cocurator of Alternative
Visions Jeffrey Skoller, who has retired after teaching in the Film & Media
Department at UC Berkeley since 2005; Jaimie Baron, this year’s cocurator,
presents her annual Festival of (In)appropriation.
*MONDAY, SEPTEMBER 18, 2023* Venue type: *Live, physical event*
San Francisco Cinematheque
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7:30pm PT,
4 Star Theater, 2200 Clement Street, San Francisco, CA
*The Film Foundation: Preserving the Avant-Garde*
Presented by the San Francisco Cinematheque in association with 4 Star
Theater and the National Film Preservation Foundation.
This program will be introduced by Jeff Lambert, Executive Director of the
National Film Preservation Foundation.
In association with Scorsese: More than a Gangster, presented at the 4 Star
Theater September 2–24, San Francisco Cinematheque celebrates the work and
legacy of The Film Foundation and the National Film Preservation Foundation.
Founded in 1990 by Martin Scorsese to address the urgent need for film
preservation, The Film Foundation is dedicated to protecting and preserving
motion picture history by supporting the preservation work of film archives
and has served as a vital force in the guardianship and conservation of
international film culture—in its thirty-three years of existence, the Film
Foundation has contributed to the preservation of nearly 1,000 works of
world cinema. In 2003, the Foundation partnered with the San
Francisco-based National Film Preservation Foundation to create the Avant
Garde Masters grant program, which has preserved 214 works of avant-garde
cinema by 83 artists, from canonized classics to obscurities and
rediscoveries. On the occasion of the 20th Anniversary of the Avant Garde
Masters program, San Francisco Cinematheque celebrates this legacy with an
eclectic mix of works preserved under this program. Screening will be
introduced by Jeff Lambert, Executive Director of the National Film
Preservation Foundation.
*Remembrance: A Portrait Study* (1967) by Edward Owens; 16mm screened as
digital video, color, sound, 6 minutes, exhibition file from the
Film-Makers’ Cooperative.
*Orange* (1970) by Karen Johnson; 16mm screened as digital video, color,
sound, 3 minutes.
*Ophelia/The Cat Lady* (1969) by Tom Chomont; 16mm screened as digital
video, color, sound, 3 minutes, exhibition file from the Film-Makers’
Cooperative.
*Prefaces* (1981) by Abigail Child; 16mm screened as digital video, color,
sound, 10 minutes, exhibition file from Video Data Bank.
*Psychosynthesis* (1975) by Barbara Hammer; 16mm screened as digital video,
color, sound, 8 minutes, exhibition file from Electronic Arts Intermix.
*FF* (1986) by Julie Murray; Super-8mm screened as digital video, color,
sound, 10 minutes, exhibition file from Canyon Cinema.
*Note to Pati* (1969) by Saul Levinel; 8mm screened as digital video,
color, silent, 8 minutes, exhibition file from the maker.
*Nocturne* (1998) by Peggy Ahwesh; 16mm screened as digital video, b&w,
sound, 28 minutes.
All films in this program were preserved through the National Film
Preservation Foundation’s Avant-Garde Masters Grant program and The Film
Foundation. Funding provided by the Hobson/Lucas Family Foundation.
*WEDNESDAY, SEPTEMBER 20, 2023* Venue type: *Live, physical event*
Anthology Film Archives
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7:30pm ET,
32 Second Avenue, New York, NY
*EC: WARHOL / WATSON & WEBBER / WHITNEY*
Andy Warhol *EAT* (1963, 35 min, 16mm, b&w, silent)
“A portrait of artist Robert Indiana, *EAT* is one of the classics of
Warhol’s minimalist cinema. As Indiana slowly eats one mushroom, the action
is rendered mysterious by Warhol’s decision to assemble the rolls out of
order, so the mushroom appears to magically renew itself from time to
time.” –Callie Angell
James Sibley Watson & Melville Webber *FALL OF THE HOUSE OF USHER* (1928,
13 min, 16mm, b&w, silent)
“Filmed in a Rochester, New York, carriage house, this expressionist film
is the earliest live-action dramatic film made by a collaboration of poets
and artists in the United States. Watson devised the optical effects that
distinguish the film, while Webber provided its visual design, based upon
medieval frescoes.” –Robert A. Haller
John & James Whitney *FILM EXERCISES 1-5* (1943-45, 18 min, 16mm)
“The visual images in these films were created by shining light through
flexible masks, so that the camera was filming direct light rather than
light reflected from drawings. The results seem like dazzling neon
apparitions, that were as novel and shocking as the accompanying
soundtrack.” –William Moritz
James Whitney *LAPIS* (1963-66, 10 min, 16mm)
“The most elaborate example of a mandala in cinema. It utilizes a field of
tiny dots, symmetrically organized in hundreds of very fine concentric
rings, to generate slowly changing intricate patterns…. Both structurally
and visually *LAPIS* conforms to the circular form of the mandala; its
elaborate movements belie a fundamental stasis.” –P. Adams Sitney
Total running time: ca. 80 min.
*___________________________________________________________________*
Venue type: *Live, physical event*
Renegade Cinema (aka Films with Friends, Those Guys)
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7:00PM PST,
Beat Museum, 540 Broadway, San Francisco, CA
*Honoring Kenneth Anger*
*Mouse Heaven*, *Scorpio Rising*, *Lucifer Rising*, *The Man We Want to
Hang*
*___________________________________________________________________*
Venue type: *Live, physical event*
Renegade Cinema (aka Films with Friends, Those Guys)
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8:30pm PT,
Church Key, 1402 Grant Ave, San Francisco, CA
*16mm Madness*
*Menilmontant* by Dimitri Kirsanov
*Voyeuristic Tendencies* by Dominic Angerame
*THURSDAY, SEPTEMBER 21, 2023* Venue type: *Live, physical event*
VISIONS
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7pm & 9pm ET,
La lumière collective 7080, rue Alexandra, #506, Montréal [QC]
*VISIONS: BEN BALCOM*
In collaboration with Tënk, VISIONS presents a double programme with BEN
BALCOM at la lumière collective!
16mm projection & digital | artist in attendance | @ la lumière collective
doors:18h30
--- 19H00 | IN PRAISE OF LOST FUTURES ---
This program gathers together recent short films by Ben Balcom that are
particularly oriented towards landscape and place. It represents a
collection of filmic speculations that trace utopian longing in the dust of
the ordinary.
*CEOL (RUINSONG)* | 2014 | 16mm | 5 mins
*SPECULATIONS* | 2016 | 16mm to digital | 16 mins
*GARDEN CITY BEAUTIFUL* | 2019 | 16mm to digital | 12 mins
*NEWS FROM NOWHERE* | 2020 | 16mm to digital | 8 mins
*LOOKING BACKWARD* | 2022 | 16mm to digital | 10 mins
*GROWING UP ABSURD* | 2022 | 16mm to digital | 15 mins
*SILENT WITNESS *| 2023 | 16mm to digital | 3 mins
--- 21H00 | FICTIVE CERTAINTIES ---
A programme of short films proposed by BEN BALCOM
*UNTITLED (LIGHT) *Julie Murray | 2002 | 16mm | 5 mins
*THE PLANT* Mary Helena Clark | 2012 |16mm vers numérique | 8 mins
*A FIELD GUIDE TO THE FERNS* Basma Alsharif | 2015 | 16mm vers numérique |
6 mins
*BITTER WITH A SHY TASTE OF SWEETNESS *Saif Alsaegh | 2019 | numérique | 9
mins
*APPLE GROWN IN A WIND TUNNEL* Steven Matheson | 2000 | vidéo | 26 mins
*PEGGY AND FRED IN KANSAS* Leslie Thornton | 1987 | video | 11 mins
*___________________________________________________________________*
Venue type: *Live, physical event*
Visual Studies Workshop
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7pm ET,
Visual Studies Workshop, 31 Prince Street, Rochester, NY
*On Film Presents: Tom Gunning*
A film screening and lecture by internationally renowned film scholar Tom
Gunning, Professor Emeritus of Art History, Cinema and Media Studies, and
the College Cinema and Media Studies at the University of Chicago. Gunning
has chosen a canonical program of 16mm films from the VSW and University of
Rochester collections, and will provide historical and critical contexts
for the program in his lecture. The program, titled Perfect Films, includes
works by Bruce Baille, Stan Brakhage, Bruce Conner and Ernst Lubitsch. This
event is co-sponsored by On Film, a student-run screening project at the
University of Rochester.
*FRIDAY, SEPTEMBER 22, 2023* *September 22 - 23*
Venue type: *Live, physical event*
AVANT
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times vary, see below,
Kristinehamn Art Museum and Karlstad, Cinema Arena, Sweden
*AVANT 2023 – Line Describing a Cone*
The 2023 edition of AVANT celebrates that it is 50 years since Anthony
McCall’s groundbreaking Line Describing a Cone had its world premiere in
Sweden.
AVANT opens at Kristinehamn Art Museum with a screening of *Line Describing
a Cone* and another of McCall’s so-called solid light films, *Conical Solid*.
These two films on 16 mm are followed up with the digital revisits, *Line
Describing a Cone 2.0* and *Doubling Back*. The opening night concludes
with an artist talk between Anthony McCall, Greg Pope and Martin
Grennberger.
The program continues the following day in Karlstad at cinema Arenan with
five short films, presenting McCall’s early performance work. These are
followed by a live performance, by filmmaker Greg Pope and musician/sound
artist Lasse Marhaug, *Film Describing a Screen*, made for a 35 mm
projector. In the afternoon there will be a programme of the international
network SPECTRAL in collaboration with Expanding North – films and live
performances for 16 mm projectors by Gaëlle Rouard and a performance by
Olivier Perriquet.
AVANT has been organized since 2002 and the 18th edition is a collaboration
between Kristinehamn Art Museum, SPECTRAL/Baltic Analog Lab, Expanding
North Region Värmland and Stockholm University. AVANT2023 is sponsored by
Karlstad Municipality, Region Värmland, Barbro Osher Pro Suecia Foundation,
Kristinehamn Art Museum, Creative Europe and Nordic Culture Point.
--- Friday September 22 @ Kristinehamn Art Museum ---
18.30 GMT+2
Opening with Anthony McCall
*Line Describing a Cone* (1973), 30’, 16 mm
*Line Describing a Cone 2.0* (2010), 36’, digital
*Conical Solid* (1974) 10’, 16 mm
*Doubling Back* (2003l) 30’, digital
(Total duration of the program is about 88 min.)
Artist talk with Greg Pope, Martin Grennberger and Anthony McCall.
--- Saturday September 23 @ Karlstad, Cinema Arenan ---
10.00 GMT+2
Anthony McCall: Performance works
*Landscape for White Squares* (1972), 2’
*Earth Work* (1972), 2’
*Landscape for Fire* (1972), 7’
*Circulation Figures* (1972/2011), 2’
*Five-Minute Drawing* (1974/2008), 2’ extract
10.30 GMT+2
Greg Pope & Lasse Marhaug
*Film Describing a Screen* (2023), 90’
Live Performance with 35 mm projector
12.30 GMT+2
Lunch
14.00 GMT+2
Gaëlle Rouard
*Darkness, Darkness, Burning Bright* (2022), 70’, 16 mm
15.30 GMT+2
Gaëlle Rouard Expanded
*Unter* (2011), 20’, 16 mm
*M …H* (2016), 36’, 16 mm
17.00 GMT+2
Olivier Perriquet
*Cut noise* (2023). Live performance, 40’
*___________________________________________________________________*
Venue type: *Live, physical event*
Academy Museum
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7:30pm PT,
Academy Museum, Ted Mann Theater, 6067 Wilshire Boulevard, Los Angeles, CA
90036
*The Tawdry Visions of George and Mike Kuchar*
Special guest: Post-screening conversation with filmmaker Mike Kuchar.
“George and Mike Kuchar’s films were my first inspiration… these were the
pivotal films of my youth, bigger influences than Warhol, Kenneth Anger,
even The Wizard of Oz. Here were directors I could idolize—complete
crackpots without an ounce of pretension, outsiders to even ‘underground’
sensibilities who made exactly the films they wanted to make without any
money, starring their friends.” – John Waters
“The Kuchar brothers gave me the self-confidence to believe in my own
tawdry vision.” – John Waters
Twins George and Mike Kuchar were born in 1942, growing up in a
working-class Bronx neighborhood where their frequent moviegoing
represented a cathartic escape into a world of hyperbolic fantasy that felt
totally alien in contrast to their daily surroundings. They began to make
their own 8mm films as teenagers (first collaboratively, and soon after
individually), producing numerous ambitious and elaborately designed
mini-epics in eye-popping Kodachrome before Jonas Mekas and other New York
experimental film denizens finally caught up with them in the mid-1960s.
These films (and the hundreds more that followed) ooze with massive
inspiration and creativity—not to mention infectious, often uproarious
humor—and manage miraculously to be utterly earnest without naïveté and
brilliantly satirical without a whiff of irony. Programmed and note by
Academy Film Archive Senior Film Preservationist Mark Toscano.
Total program runtime: 94 min.
*Born of the Wind* DIRECTED BY: Mike Kuchar. 1962. 23 min. USA. Color.
English. 16mm. Preserved by Anthology Film Archives through the Avant-Garde
Masters program funded by The Film Foundation and administered by the
National Film Preservation Foundation.
*A Town Called Tempest* DIRECTED BY: George Kuchar. 1963. 33 min. USA.
Color. English. 16mm. Preserved by Anthology Film Archives through the
Avant-Garde Masters program funded by The Film Foundation and administered
by the National Film Preservation Foundation.
*The Craven Sluck* DIRECTED BY: Mike Kuchar. 1967. 23 min. USA. B&W.
English. 16mm. Print courtesy of Anthology Film Archives.
*Hold Me While I’m Naked* DIRECTED BY: George Kuchar. 1966. 15 min. USA.
Color. English. 16mm. Print courtesy of Anthology Film Archives.
Academy Museum film programming generously funded by the Richard Roth
Foundation. Theater accessibility accommodations available upon request.
*___________________________________________________________________*
Venue type: *Live, physical event*
Maysles Cinema
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7pm ET,
Maysles Documentary Center, 343 Malcolm X Boulevard, New York, NY
*An Evening with Bill Brand*
Multi-media artist Bill Brand’s masterfully complex and recently restored
16mm film *Coalfields* (1984) weaves documentary content into a kinetic
abstract visual poem about black lung disease, landscape and a struggle for
worker’s rights in West Virginia. The film features the commissioned poetry
of Kimiko Hahn and music of Earl Howard. Brand will show *Coalfields* along
with other more recent films and give a brief presentation that connects
his moving image work to his paintings and drawings while tracing his
journey with analog and digital mediums from the 1970’s to the present. He
will explain the optical printing techniques he innovated for *Coalfields* and
discuss ideas that inform his unique visual language.
Bill Brand is known for his public artwork *Masstransiscope*, an animated
mural in the New York City subway on the Q and B line in Brooklyn. He is
also a widely respected film preservationist and educator. His artwork is
represented in Paris by Galerie Arnaud Lefebvre and in Brooklyn by Court
Tree Collective.
*Coalfields* (1984) 16mm, 38 minutes
West Virginia industrial landscapes are collaged on an optical printer
through a series of jagged shapes that transform the photographed scenes
into a semi-abstract kinetic field. Woven into the fabric of the film is
the story of Fred Carter, a retired coal miner and black lung activist who
was framed by the Federal Government in its effort to undercut the black
lung movement and to stop his bid for president of the United Mine Workers
Association. His story is told through fragments of documentary interviews
and by a poet whose narrative forms a counter theme within the film. The
film’s thematic content and formal visualizations sit in precarious
balance. Poem by Kimiko Hahn, Music by Earl Howard.
*Susie’s Ghost* (2011) 16mm, 7 minutes
About the mystery of the marks we make and leave behind. The “Susie” in the
title refers to a deceased sibling but the "ghost" refers more generally to
lingering feelings of loss. The cinematography and performance both express
a tentative presence and diffuse sense of disappearance. Is she looking for
something? Is she really there? The film was shot with aging 16mm film in
filmmaker’s downtown Manhattan neighborhood, just before construction mania
obliterated the last traces of the manufacturing district he’d moved into
years earlier. Made in collaboration with Ruthie Marantz.
*August Garden* (2019) Digital, 4 1/2 minutes
Made for a Turtle exhibition organized in Paris by Galerie Arnaud Lefebvre.
Turtle is a series of pop-up exhibitions conceptualized by the late artist
Michael H. Shamberg who wished to create an ongoing, inclusive mobile
sanctuary for artists. The Turtle name was inspired by a turtle sanctuary
that emerged between two warring zones in the Middle East. *August
Garden* forms
a placid zone from colliding layers and views, celebrating the late summer
sanctuary of the garden adjacent to filmmaker’s home in Queens, New York.
*Ornithology 6* (2021) Digital, 8 1/2 minutes
This is the latest in a series of short digital video works extending the
visual idiom that Brand developed with analog film and optical printing in
the 1970s and 80s. *Ornithology 6* is part of an ongoing series of
painting, drawing and moving image works inspired by daily walks taken by
the artist in his Jackson Heights, Queens neighborhood. The video is made
for continuous loop presentation.
*___________________________________________________________________*
Venue type: *Live, physical event*
No Name Cinema
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7pm MST,
No Name Cinema, 2013 Pinon Street, Santa Fe, NM
*the short films of SIMON LIU*
Simon Liu is a film artist who seeks to build a lyrical catalogue of the
rapidly evolving psychogeography of his place of origin in Hong Kong
through alternative documentary forms, abstract diary films, multi-channel
video installations and 16mm projection performances. Liu’s work has been
presented at film festivals and museums globally. The M+ Museum and MoMA
recently acquired Liu’s Quadruple 16mm Projection Highview, along with
other recent works, for their Permanent Collections. Liu is a 2019 Jerome
Hill Artist Fellow, a teacher at the Cooper Union School of Art, and a
member of Negativeland; an artist-run film lab in Brooklyn. Liu is
currently editing his first feature film.
*SATURDAY, SEPTEMBER 23, 2023* Venue type: *Live, physical event*
Anthology Film Archives
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5:30pm ET + 8pm ET,
32 Second Avenue, New York, NY
*EC: KENNETH ANGER, PROGRAM 1 + 2*
“Scandal, evil, violence, and Fascism, like Hollywood, are centers of
fascination for Anger, and his films are the fields in which the dialectic
of that fascination is played and fought.” –P. Adams Sitney, VISIONARY FILM
“All of [Anger’s] films have been evocations or invocations, attempting to
conjure primal forces which, once visually released, are designed to have
the effect of ‘casting a spell’ on the audience. […] Not a surrealist who
puts blind faith in his own dream images and trusts his dreams to convey an
‘uncommon unconscious,’ Anger works predominantly in archetypal symbol. As
the magus, he is the juggler of these symbols, just as in the Tarot, where
the Magician is represented by the Juggler and is given the attribution of
Mercury, the messenger.” –Carel Rowe, FILM QUARTERLY
--- Program 1 @ 5:30pm ET
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---
*FIREWORKS* (1947, 15 min, 16mm-to-35mm, b&w. Preserved by the UCLA Film &
Television Archive, with funding from the Film Foundation.)
*PUCE MOMENT* (1949-70, 6 min, 16mm)
*RABBIT’S MOON* (1950-70, 15 min, 35mm. Preserved by the UCLA Film &
Television Archive, with funding from the Film Foundation.)
*EAUX D’ARTIFICE* (1953, 13 min, 16mm)
Total running time: ca. 55 min.
--- Program 2 @ 8pm ET
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---
*SCORPIO RISING* (1963, 30 min, 16mm)
*KUSTOM KAR KOMMANDOS* (1965, 3 min, 16mm)
*INAUGURATION OF THE PLEASURE DOME* (1954-66, 38 min, 16mm)
*INVOCATION OF MY DEMON BROTHER* (1969, 12 min, 16mm)
“Anger’s myths address mass-erotic-consciousness through a barrage of
notorious symbols. These often war with one another in Reichian power-trips
of rape, will-power, fascism, and revolution. ‘I find ridiculous the idea
of anyone being the leader,’ Anger has said. Pentagrams war with swastikas
in *INVOCATION OF MY DEMON BROTHER*. Brando tortures Christ in *SCORPIO*,
Shiva asserts absolute power over his guests in *PLEASURE DOME*. Historical
heroes are reduced to pop-idols and history is demythified by comic book
codes. ‘When earths collide, gods die.’” –Carel Rowe, FILM QUARTERLY
Total running time: ca. 90 min
*SUNDAY, SEPTEMBER 24, 2023* Venue type: *Live, physical event*
Anthology Film Archives
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7:30pm ET,
32 Second Avenue, New York, NY
*EC: BRUCE BAILLIE*
*MASS FOR THE DAKOTA SIOUX* (1963-64, 20 minutes, 16mm, b&w)
*QUIXOTE* (1964-65, 45 minutes, 16mm)
“In *MASS* and *QUIXOTE* [Baillie] subtly blends glimpses of the heroic
personae with despairing reflections on violence and ecological disaster.
[…] Despite his sophistication, Baillie remains an innocent; the whole of
his cinema exhibits an alternation between two irreconcilable themes: the
sheer beauty of the phenomenal world (few films are as graceful to the eye
as his, few are as sure of their colors) and the utter despair of forgotten
men. It is in *QUIXOTE* alone that these two themes emerge into a
dialectical form, an antithesis of grace and disgrace.” –P. Adams Sitney,
VISIONARY FILM
Total running time: ca. 70 min
*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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