[Frameworks] This Week in Avant Garde Cinema: April 20 - 28, 2024
This Week
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Sat Apr 20 17:11:55 CDT 2024
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*This Week [April 20 - 28, 2024] in Avant Garde Cinema*
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*DEADLINES APPROACHING*
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___________________________________________________________________________________
*sorted by submission deadline*
04.27.2024 Cauldron International Film and Video Festival
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(Extended Deadline)
04.30.2024 Cindependent Film Festival – NEW Experimental Section
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(Early Deadline)
04.30.2024 WNDX Festival of Moving Image
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04.30.2024 Laterale Film Festival
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(Seventh Deadline)
05.01.2024 Chicago Underground Film Festival
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(Late Deadline)
05.03.2024 Locarno Film Festival
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(Late Deadline)
05.05.2024 Sans Souci Festival of Dance Cinema
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(Late Deadline)
05.10.2024 aDifferent Program
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05.17.2024 Edinburgh Short Film Festival
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(Regular Deadline)
05.18.2024 Braziers International Film Festival
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(Late Deadline)
05.30.2024 Analogica
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(Extended Deadline)
05.31.2024 25FPS Festival
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05.31.2024 San Diego Underground Film Festival
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(Early Deadline)
05.31.2024 Interbay Cinema Society (ICS) Lightpress Grants
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06.01.2024 Engauge Experimental Film Festival
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06.15.2024 RPM Fest - Revolutions Per Minute Festival
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(Extended Deadline)
06.28.2024 Duluth Superior Film Festival
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(Regular Deadline)
*EVENTS*
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*complicated sorting but a true attempt, enjoy!*
This week's programs (summary):
- Margaret Tait / Luke Fowler
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[April
14-27, New York, NY]
- Ron Vawter's ‘Roy Cohn/Jack Smith’
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[April
19-21, New York, NY]
- Agnès Varda Shorts, Program 2
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[April
20, Berkeley, CA]
- Psycho-Geography2
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[April
20, San Francisco, CA]
- Resonance Spiral
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[April
21, Berkeley, CA]
- Takashi Makino (Japan) In Toronto
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[April
22, Toronto, ON, Canada]
- Spell Reel
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[April
23, Berkeley, CA]
- Millennium Film Journal No. 79
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[April
23, New York, NY]
- Craig Baldwin (In Person!)
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[April
23, Santa Fe, NM]
- Walking Archives: Thoughts On Mangroves, Schools, Round Houses, And
Weaving
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[April
24, Berkeley, CA]
- EC: Sidney Peterson
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[April
24, New York, NY]
- Bill Morrison Special Exhibition
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[April
24-28, Seoul, South Korea]
- Prism, Beyond Cinema, Busan Short Film Festival
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[April
25-30, Busan, South Korea]
- Shinkichi Tajiri
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[April
25, New York, NY]
- Wide Open Experimental Film Festival
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[April
26-28, Oklahoma City, OK]
- RE-MIX SATIRIX
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[April
27, San Francisco, CA]
- EC: O’Neill / Richter / Sharits
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[April
28, 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 SATURDAY, APRIL 20, 2024* *April 14 - 27*
Venue type: *Live, physical event*
Anthology Film Archives
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times vary, see below,
32 Second Avenue, New York, NY
*MARGARET TAIT / LUKE FOWLER*
*BEING IN A PLACE – A PORTRAIT OF MARGARET TAIT* finds one of Scotland’s
preeminent contemporary experimental filmmakers, Luke Fowler (whose
extensive body of work includes the film cycle *A GRAMMAR FOR LISTENING*, *ALL
DIVIDED SELVES*, and *ELECTRO-PYTHAGORAS*, among many others) paying
tribute to one of the most illustrious of his Scottish forebears, the great
Margaret Tait, whose work is still not sufficiently celebrated here in the
U.S.
Tait’s path to the cinema was an unusual one: her initial training was in
medicine, and she practiced both abroad with the Royal Army Medical Corps
during WWII and back in the UK in the late 1940s. But she had also, in the
immediate postwar period, studied at the Centro Sperimentale film school in
Rome. And eventually, in the early 1950s, she began making her own films,
which span or combine short-form documentary, family portraiture,
impressionistic experimental filmmaking, and animation. Her unconventional
path – as well as her parallel identity as a writer of poetry and short
stories – is reflected in her cinema, which is distinctly noncommercial,
personal, and lyrical. Her body of work is also proudly local: making more
than thirty films during her lifetime, Tait focused intently on the
landscapes, people, and stories of Scotland, and in particular of the
Orkney islands, where she was born.
On the occasion of a visit to NYC from Luke Fowler in April, we’ll be
screening his invaluable portrait film, *BEING IN A PLACE*, as well as a
program of his own recent short films. Later in the month, we’ll host the
filmmaker Ute Aurand, who introduced Tait’s work to audiences in Germany in
the mid-1990s, and visited the artist herself in Orkney before her death.
Following on from her presentations at the Harvard Film Archive in
mid-April, Aurand will present two programs of Tait’s work here at
Anthology.
Very special thanks to Ute Aurand and Luke Fowler; and to Haden Guest &
Alexandra Vasile (Harvard Film Archive); Hanan Coumal (LUX); Angelika
Ramlow (Arsenal – Institut für Film und Videokunst); and Calum Sutherland
(The Modern Institute).
Upcoming Screenings RECENT SHORT FILMS BY LUKE FOWLER
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April 14 at 7:30 PM
Luke Fowler
BEING IN A PLACE – A PORTRAIT OF MARGARET TAIT
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April 15 at 7:00 PM
MARGARET TAIT PGM 1
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April 27 at 5:30 PM
MARGARET TAIT PGM 2
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April 27 at 7:30 PM
*___________________________________________________________________*
*April 19 - 21*
Venue type: *Live, physical event*
Anthology Film Archives
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times vary, see below,
32 Second Avenue, New York, NY
*RON VAWTER’S ‘ROY COHN/JACK SMITH’*
Anthology Film Archives and Electronic Arts Intermix honor the legacy of
Ron Vawter, a leading presence in downtown theater, as well as film and
video, from the start of his career in the mid-1970s until his premature
death from AIDS-related causes 30 years ago, in April 1994.
Born into a military family (his father was a Green Beret and his mother
was a WAVE during World War II), Vawter was given enlistment papers for his
17th birthday. Eventually, the Vietnam War-era enlistee discovered LSD and,
later, avant-garde theater. Quitting the military, Vawter joined The
Performance Group, the downtown theater troupe founded by Richard
Schechner, from which The Wooster Group emerged. A founding member of the
Wooster Group, Vawter, together with Willem Dafoe, Spalding Gray, Kate
Valk, and others, under the direction of Elizabeth LeCompte, would create
some of the most indelible pieces in the legendary experimental theater
group’s repertoire. In addition, Vawter performed in theater pieces by
Richard Foreman, Mabou Mines, and Jeff Weiss.
Although devoted to theater, Vawter also delivered memorable performances
as a character actor in film and television, appearing in groundbreaking
feature films by Michael Almereyda, Lizzie Borden, Shu Lea Cheang, Jonathan
Demme, Tom DiCillo, Bette Gordon, Tom Kalin, Michael Oblowitz, Peter
Sellars, and Stephen Soderbergh – including *BORN IN FLAMES*, *SEX, LIES,
AND VIDEOTAPE*, *THE SILENCE OF THE LAMBS*, and *SWOON*. He collaborated on
many short works as well, with artists and independent film- and
video-makers such as Joan Jonas, Ken Kobland, Mark Rappaport, Leslie
Thornton, and Bruce and Norman Yonemoto.
Vawter may be best remembered for his innovative and renowned two-part solo
performance piece *ROY COHN/JACK SMITH*, in which he, as a gay man living
with AIDS, portrayed two very different queer men, both of whom had
recently died due to the virus. In the first part, written by Gary Indiana,
Vawter brilliantly embodied the sleazy right wing lawyer Roy Cohn, a chief
architect of McCarthyism and later mentor to Donald Trump. The second part
saw Vawter uncannily recreate a 1981 performance by underground artist Jack
Smith, *WHAT’S UNDERGROUND ABOUT MARSHMALLOWS?* Directed by Greg Mehrten
and created with Clay Shirky and Marianne Weems, Vawter’s groundbreaking *ROY
COHN/JACK SMITH* would become one of the defining artistic achievements of
the 1990s.
These screenings at Anthology offer three different entry points into
Vawter’s masterwork. Gea Kalthegener and Douglas Ferguson’s documentary
portrait *FREE FALL* follows Vawter backstage during what would be one of
his final performances of *ROY COHN/JACK SMITH*. Video documentation of a
1992 performance of *ROY COHN/JACK SMITH* captures the legendary piece as
it was first seen by audiences. Finally, Jill Godmilow’s 1994 film version
re-edits and re-invents Vawter’s theater performance for the cinema. Newly
digitized, *FREE FALL* will screen for the first time in nearly 20 years,
while Godmilow’s film version of *ROY COHN/JACK SMITH* will screen in a new
preservation from the Academy Film Archive.
This tribute to Ron Vawter is co-presented with Electronic Arts Intermix,
which will host a free screening of Vawter’s collaborations with artists in
video.
To see Ron Vawter in work by The Wooster Group, please visit
www.thewoostergroup.org.
Special thanks to Douglas Ferguson; Jill Godmilow; Clay Hapaz (The Wooster
Group); Greg Mehrten; Sandra Schulberg (IndieCollect); and Mark Toscano &
Edda Manriquez (Academy Film Archive).
*Upcoming Screenings*
Gea Kalthegener & Douglas Ferguson
FREE FALL
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April 19 at 7:30 PM
ROY COHN/JACK SMITH (Live Stage Recording)
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April 20 at 5:30 PM
April 21 at 8:00 PM
Jill Godmilow
ROY COHN/JACK SMITH
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April 20 at 8:00 PM
April 21 at 5:30 PM
*SATURDAY, APRIL 20, 2024* Venue type: *Live, physical event*
Pacific Film Archive
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4:30PM PST,
2155 Center St, Berkeley, CA 94720
*Agnès Varda Shorts, Program 2*
Agnès Varda’s daughter, Rosalie Varda, helped with the posthumous
completion of a very precious film her mother made with the Italian
filmmaker Pier Paolo Pasolini at the time of the 1966 New York Film
Festival. A snapshot of Bay Area hippiedom in full flower, *Uncle Yanco* is
a portrait of Varda’s relative, Sausalito artist Jean Varda (to whom the
filmmaker was introduced by former PFA curator and film producer Tom
Luddy). The film’s images are as vibrant as Yanco’s paintings and the man
himself. An important document of a different facet of Bay Area culture, *Black
Panthers* depicts rallies in Oakland demanding Huey Newton’s release from
prison and features activists, including Stokely Carmichael, Kathleen
Cleaver, and Newton. *La réponse de femmes* is a feminist “ciné-tract,” a
series of frontal tableaux in response to the question, What does it mean
to be a woman? In *Plaisir d’amour en Iran*, filmed in Isfahan, Iran, Varda
considers the relationship between eros and architecture, sacred and
profane. For *Ulysse* she interviews the subjects of a photograph she took
nearly three decades earlier. And with *Les dites cariatides*, Varda
contemplates the sculpted women who support doorways and lintels along the
streets of Paris, invoking Charles Baudelaire’s “dream of stone.” *Tribute
to Zgougou* is a lovely example of the highly personal and intimate films
Varda made through the years.
*Agnès Varda—Pier Paolo Pasolini—New York—1967*, Agnès Varda, France, 2022,
Color, DCP, 4min
*Uncle Yanco (Oncle Yanco)*, Agnès Varda, United States, 1967, Color, DCP,
20min
*Black Panthers*, Agnès Varda, United States, 1968, Color, DCP, 30min
*La réponse de femmes (Women’s Answer)*, Agnès Varda, France, 1975, Color,
DCP, 8min
*Plaisir d’amour en Iran, Agnès Varda*, France, 1976, Color, DCP, 6min
*Ulysse*, Agnès Varda, France, 1983, B&W, DCP, 22min
*Les dites cariatides*, Agnès Varda, France, 1984, Color, DCP, 12min
*Tribute to Zgougou*, Agnès Varda, France, 2002, Color, Digital, 2min
*___________________________________________________________________*
Venue type: *Live, physical event*
Other Cinema
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8pm PT,
ATA Gallery, 992 Valencia (@ 21st), San Francisco, CA
*PSYCHO-GEOGRAPHY2*
DAVID COX: TRAUM EUROPA + LASLEY + RHODY/SMITH +
The second half of our Neo-Geo double-header is all about
the world-at-LARGE, with a dozen expansive cine-essays, ranging from
the Sri Lanka civil war to Texas-toasted digital
dystopias. Mission maestro David Cox anchors the evening with his
exploded-tabletop live-triagrammed *Traum Europa**,* an enacted
micro/meta-history of Europe's shifting relations of Nation and Identity.
Closer to home, tho still Great Plains-otherworldly, Justin Rhody and Abby
Smith are here in person, back from from Santa Fe with their tableaux
vivant poem *Interior Frontier**.* Their New Mexico comrade Ben Kujawski's
also here in the flesh, with his sublimely soulful *Empty House**,*
and Valencia/Clarion
Alley veteran Julie Murray shares her Chicago souvenir *Haversine*. Sarah
Lasley, whose 3-D animation, *Welcome to the Enclave*, clues us to our
future virtual-realities, while Rajee Samarasinghe's *Strangers* reminds us
of the utter human-scale poignancy of lived moments in
the Indian sub-continent*.* PLUS Ann Deborah Levy's *Rain Painting**,* sky-tram
dollies into the Alps, Canadian oil-wastelands, and more.
*SUNDAY, APRIL 21, 2024* Venue type: *Live, physical event*
Pacific Film Archive
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5PM PST,
2155 Center St, Berkeley, CA 94720
*Resonance Spiral*
by Filipa César, Marinho de Pina, Portugal, Guinea-Bissau, Germany, 2023,
Color, Digital, 92min
Centrifugal movement was an expression once used to describe the tactical
and situated beginnings of an anticolonial armed struggle. In a flow of
gestures and recurrences, a building is collectively imagined and
constructed in the traditional community of the militant filmmaker Sana na
N’Hada. Intertwining the local dreams and cine-kins’ visions, *Resonance
Spiral* traverses moments at the newly manufactured community space in
Malafo. Old plans for a videoteque are revisited and materialize a
mediateca. The women from the Satna Fai association listen to forgotten
voices and rest from millennia of abuse. An informal sewing workshop, an
experimental garden, a bibliotera, and a preschool take up space.
Adolescents voice a circle and sound self-built instruments. At the well a
discussion is staged about mud medicine. Cine-kins undermine their agencies
and distrust neo-liberal slogans. Hope-hearted, seeking to flip
verticalities into horizon lines, the collective slides through what lies
ahead. Onshore. Abotcha. Na tchon. Humus, humans, humbled, humiliated by
humanity. -Filipa César
preceded by
*Mined Soil*, Filipa César, Germany, Portugal, 2012–14, Color, Digital,
34min
A film essay/performance on the “memory of the soil,” which explores
Amílcar Cabral’s time working as an agronomist and subversive political
activist.
*MONDAY, APRIL 22, 2024* Venue type: *Live, physical event*
PIX FILM Collective
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7pm ET,
PIX FILM Gallery, 1411 Dufferin St Unit C, Toronto, ON
*Takashi Makino (Japan) In Toronto*
Presented by PIX FILM Collective in Collaboration with OKla.quebec and The
Liaison of Independent Filmmakers of Toronto ( LIFT ). Screening and 16mm
Film + Digital Performance by Takashi Makino, considered to be one of the
most influential Japanese moving-image artists of his generation.
*Microcosmos* / 2021 / stereo / digital / 4:3 / 12min / a non-narrative
experimental documentary film that records 100 collages produced by Makino
in 2021 in chronological order.
30-minute Film+Digital Performance - *Space Noise 3D*
*Memento Stella* / 2018 / Digital / 60min / an original phrase I coined to
remind me to “remember the stars” and “never forget that we too reside
among the stars.” – Takashi Makino
*TUESDAY, APRIL 23, 2024* Venue type: *Live, physical event*
Pacific Film Archive
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7PM PST,
2155 Center St, Berkeley, CA 94720
*Spell Reel*
Filipa César, Germany, Guinea-Bissau, 2017, 96min, digital
Portuguese artist Filipa César’s *Spell Reel* is “the result of a
multifaceted research and digitization project that she initiated in 2011
with Sana na N’Hada and Flora Gomes. Having studied film in Cuba, the two
began using the camera to observe the fight for independence [from
Portugal] in Guinea-Bissau (1963–74). After the decaying visual and audio
material was digitized in Berlin, the filmmakers travelled with a mobile
cinema to the places where the footage had originally been shot and showed
it to audiences for the first time, adding their own commentary. . . . *Spell
Reel* watches an archive at work to produce the present” (Stefanie Schulte
Strathaus, Arsenal—Institute for Film and Video).
*___________________________________________________________________*
Venue type: *Live, physical event*
Anthology Film Archives
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7:30pm ET,
32 Second Avenue, New York, NY
*MILLENNIUM FILM JOURNAL NO. 79*
This program consists of recent short films covered in Millennium Film
Journal No. 79. Descriptive texts below are excerpted from the issue.
The Millennium Film Workshop gratefully acknowledges support for the
Millennium Film Journal by the following individuals and organizations:
Deborah and Dan Duane; Walter and Karla Goldschmidt Foundation; Anonymous
donors; and New York State Council on the Arts. If you’d like to support
the publication of the Millennium Film Journal with a tax deductible gift,
please access https://millenniumfilmjournal.com/donations/donation-form
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Takeshi Murata & Christopher Rutledge *LARRY* U.S., 2023, 4 min, digital
“To the rhythm of blaring electronic beats, the titular CGI canine emerges.
Larry sheds skins, liquifies like molten volcanic lava, swims, multiplies,
frays at the edges, solidifies into plastic, becomes a 3D model, and
finally adopts the form of other animals before dissolving into a Lynda
Benglis-like pour of digital goo.” –Rachel Valinsky
Steve Reinke *SUNDOWN* Canada, 2023, 8 min, digital
“Drawing out a constellation of memories, observations, and more
philosophical reflections on the ways that art processes inevitable death,
Reinke ponders the strange feeling of seeing a retrospective of his own
work installed in Vienna – retrospective, is, after all, one way of calling
narrative to a close.” –Rachel Valinsky
Wayne Koestenbaum *STIGMA PUDDING* U.S., 2023, 6 min, digital
“Over the last five years, Wayne’s made more than 200 short films, but *STIGMA
PUDDING* is the first which combines original painting with digital video.
Now that he’s at last put felt-tip to film-stock, he’s created something
more opulent and vivid, remarkable for ‘the increasing vibrance of the
color’ and ‘the peculiarity and individuation of the marks.’” –Nick Gamso
Kevin Jerome Everson *BOYD V. DENTON* U.S., 2023, 3 min, digital
“BOYD V. DENTON is titled after the court case mandating the closure of the
prison in 1990. Here black and white visual imagery abstracts the prison
into flickering mosaics while grainy walkie-talkie audio emits banalities.”
–Rachel Hutcheson
Kevin Jerome Everson *AIR FORCE TWO* U.S., 2023, 5 min, digital
“Everson uses erratic handheld camerawork to inspect prison cells used for
the corresponding Hollywood film. The frantic pacing and jostling of the
image contrasts with the deadpan voiceover reading the screenplay of the
earlier film’s Moscow prison break scene.” –Rachel Hutcheson
Aria Dean *ABATTOIR, U.S.A.!* U.S., 2023, 11 min, digital
“A bright orange light pulsates expressionistically against a black
background, abrupt and shocking. Then the play of light stops, and we are
again ‘outside,’ in a harsh institutional light, as a door swings open, and
the camera enters and pivots around a sterile room. There are no bodies in
this space. There is only the surface of unctuous red fluid that covers the
floor as a bloody remnant of an enduring past.” –Vera Dika
Suneil Sanzgiri *AT HOME BUT NOT AT HOME* U.S., 2019, 11 min, digital
“The imbrication of past and present in Sanzgiri’s films addresses the
retrospective urgency of haunting… In the realm of technical imaging,
remembering becomes an act of imagination, a process of world-building.”
–Ally Luo
Kathryn Ramey *FALL U.S.*, 2006, 5 min, 35mm
“When a heterosexual dude makes a film about his kids, that is very
political. When a woman makes a film that engages with the act of being a
parent, it’s often seen as less significant. That shows how political it is
because even now, motherhood is a terrible double bind. When I was
expecting my first child, I was told by more than one female filmmaker,
‘Forget it, you’re done, you’ll never make a film again.’” –Kathryn Ramey,
in dialogue with Sarah Keller & Yangqiao Lu
Vincent Grenier *TABULA RASA* Canada, 1993-2004, 8 min, digital
“This is such loaded material, heavily marked by time and social place, the
architecture evoking prison and damage, and yet as elegantly constructed as
shifting Japanese shoji panels. It is the voices of instructor and student,
heard off screen, that pierce like a dagger and reverberate throughout the
space ideas about power and reality.” –Joanna Kiernan
Marie Menken *ARABESQUE FOR KENNETH ANGER* U.S., 1958-61, 5 min, 16mm.
Preserved by Anthology Film Archives.
“Made with Anger’s (literal) support, the film consists of controlled
hand-held camera moves that follow repetitive patterns of ornamental
ceramics and other geometric surfaces in the Alhambra’s Islamic
architecture. The restraint of the music matches the film’s erotic visual
rhythms without overdetermining or dominating.” –Grahame Weinbren
Total running time: ca. 70 min.
*___________________________________________________________________*
Venue type: *Live, physical event*
No Name Cinema
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=1210b0e7ed&e=857b71a9cb>
7pm MST,
No Name Cinema, 2013 Pinon Street, Santa Fe, NM
*CRAIG BALDWIN (in person!)*
expanded cinema performance *11th Dimension* (Craig Baldwin, 2024,
dual-16mm, 3-D, 30 min)
mid-length historical acid western *¡O No Coronado!* (Craig Baldwin, 1992,
16mm, 40 min)
and a pre-show of 16mm shorts from Other Cinema's film archive *Baldwin's
Anomolies!*
filmmaker in attendance from San Francisco! 3D glasses provided! book
launch event! presented on film!
*WEDNESDAY, APRIL 24, 2024* Venue type: *Live, physical event*
Pacific Film Archive
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=71b7b31e8f&e=857b71a9cb>
7PM PST,
2155 Center St, Berkeley, CA 94720
*Walking Archives: Thoughts on Mangroves, Schools, Round Houses, and
Weaving*
Many of Filipa César’s films begin as research projects done in
collaboration with others; they often include people’s memories, which
collaborator Sónia Vaz Borges has called “walking archives.” *Mangrove
School* draws on Borges’s research into the Guinea-Bissau militants’ effort
to decolonize minds by creating schools during the liberation war. The
poetic film is concerned with both the mangrove’s unique alluvial ecosystem
and the re-creation of a school amidst the watery trees, where teachers
expose the current generation to their time in the schools. In *Round,
Square*, a conversation over tea ponders the value of traditional versus
contemporary house designs. According to César, *Quantum Creole*, which
grew out of the Looming Creole program, is “an experimental documentary
film collectively researching creolization and addressing its historical,
ontological and cultural forces.” It opens with a Guinea-Bissau song about
what children want to know and proposes, “youth, don’t believe in the
white’s lies” and “in the weaves lies our value.” The film itself is a
tapestry of imaging techniques, songs, fables, and performances, including
subversive takes on the origins of Guinea-Bissau’s traditional *pano di
pinti* fabric, links between computer programming and weaving, and
contemporary globalization projects as a form of recolonization.
*Mangrove School*, Sónia Vaz Borges, Filipa César, Portugal, Guinea-Bissau,
2022, 35min, digital
*Round, Square (Redonda, quadrada)*, Filipa César, Suleimane Biai,
Portugal, Guinea-Bissau, 2014, 6min, digital
*Quantum Creole*, Filipa César, France, Portugal, Guinea-Bissau, 2020,
40min, digital
*___________________________________________________________________*
Venue type: *Live, physical event*
Anthology Film Archives
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7:30pm ET,
32 Second Avenue, New York, NY
*EC: SIDNEY PETERSON*
*THE POTTED PSALM* and *THE PETRIFIED DOG* have been preserved by Anthology
Film Archives through the Avant-Garde Masters program funded by The Film
Foundation and administered by the National Film Preservation Foundation. *MR.
FRENHOFFER AND THE MINOTAUR* and *THE LEAD SHOES* have been preserved by
Anthology with support from the National Film Preservation Foundation.
*THE POTTED PSALM* (1946, 19 min, 16mm)
*THE PETRIFIED DOG* (1948, 19 min, 16mm)
*MR. FRENHOFFER AND THE MINOTAUR* (1949, 21 min, 16mm)
*THE LEAD SHOES* (1949, 17 min, 16mm)
“These images are meant to play not on our rational senses, but on the
infinite universe of ambiguity within us.” –Sidney Peterson
“Sidney Peterson’s work and sensibility are those of a native American
surrealist. Many of his films chronicle the picaresque adventures of a
wacky protagonist and use disjunctive editing strategies to construct new
time and space relations…. But perhaps their best-known feature is the use
of distorted, funhouse mirror-images, which he created by shooting with an
anamorphic lens. […] In his films, he investigates extreme states of
consciousness, and the primary tool of his epistemology of irrationalism is
the photographic image distorted and transformed to register the impact of
those states.” –R. Bruce Elder, IMAGE AND IDENTITY
Total running time: ca. 80 min
*___________________________________________________________________*
*April 24 - 28*
Venue type: *Live, physical event*
Seoul Art Cinema
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times vary, see website, all times UTC+9,
22 Jeongdong, Jung-gu, Seoul, South Korea
*BILL MORRISON SPECIAL EXHIBITION*
As part of the monthly experimental film series FrameWorks, Bill Morrison
will be in South Korea to introduce *Dawson City Frozen Time *(April
24) along with a retrospective of his films at the Seoul Art Cinema April
24-28, 2024. Frameworks was started in 2022 as an initiative of Pip
Chodorov and film programmers Seonguk Kim and Sukyun Kim.
Bill Morrison, who utilizes the found footage technique of excavating,
restoring, cutting and pasting old and worn-out film and (re)editing it
cinematically, is one of the most important auteurs of our time. Bill
Morrison, who began his career in visual art and animation, was fascinated
by the corrosion and decomposition of old nitrate film and the incredible
visual effects created by the layering of chemical compounds in old
archival images. Since 1990, he has been creating an experimental film
focusing on the physical properties of the film medium. I've been working
on it. Bill Morrison's film, which uses archival footage, reveals the
formative and poetic characteristics of images contained in deteriorated
film. He shows that celluloid film, like our bodies, is a fragile and
ephemeral medium and can deteriorate in countless ways.
Bill Morrison's 'Archive Film' places us in front of the slow and fleeting
traces of time inherent in film. His archaeological work explores the
history and memory contained in analog film and the impact that corroded
film images have on our senses. Bill Morrison's films are also known for
combining rare archival footage with contemporary music. *Decasia* (2002)
with Michael Gordon, *Miner's Hymn* (2011) with Johann Johansson, *The
Flood* (2013) with guitarist and composer Bill Frisell, and Philip Glass
and Steve Reich. Collaborations with top musicians such as , Kronos Quartet
and Alex Somers are another key element of his work. In this special
exhibition, a total of 15 films will be screened, including long and short
films such as his representative works *Dawson City: Frozen Time* (2016)
and *Decasia* (2002). In addition, on April 24th (Wednesday), director Bill
Morrison will visit Seoul Art Cinema to have a conversation with the
audience, and on the 27th (Saturday), critic Youngbin Kwak will conduct a
cinetalk.
*THURSDAY, APRIL 25, 2024* *April 25 - 30*
Venue type: *Live, physical event*
Busan International Short Film Festival BISFF
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=4ebb079453&e=857b71a9cb>
11am - 10pm KST (UTC+9),
Busan Cinema Center, Busan, South Korea
*Prism, Beyond Cinema, Busan short film festival*
Combining the theme of cinema and reality with the guest country of Italy,
this year’s Prism program focuses on found footage, the practice of
recycling old images to make new meanings. Experimental cinema in Italy has
often used found footage and reanimated photographs as a starting point to
make personal, poetic or political statements.
*Prism 1, The Cinema of Reality,* demonstrates how the medium of film can
represent the world around us. These four films create striking visual
impressions of the real world, manipulating reality through techniques of
the camera or in post-production, creating altogether new realities.
Bill Morrison, *Vigneti*, 1996
Roberto Nanni, *Lontano Ancora*, 1983-2008
Giovanni Puggioni, *Quattro Staggioni*, 1999
Gianni Castagnoli, *La nott'e'l giorno*, 1976
*Prism 2, The Reality of Cinema*, shows the medium for what it really is,
not a window into the world but as a strip of celluloid projected onto a
flat screen. These five films use found footage as a starting point,
allowing these images to tell different stories, or even to completely
break down the cinematic illusion.
Bill Morrison, *The Film of Her*, 1996
Alberto Grifi & Gianfranco Baruchello, *La Verifica Incerta*, 1964
Paolo Gioli, *L'Operatore Perforato*, 1979
Siegfried Fruhauf, *Exposed*, 2001
Hangjun Lee & Sandy Ding, *Window of the World Part 1: Hairstyle
Colidascope*, 2019 (world premiere)
*___________________________________________________________________*
Venue type: *Live, physical event*
Anthology Film Archives
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7:30pm ET,
32 Second Avenue, New York, NY
*SHINKICHI TAJIRI*
This program shines a spotlight on artist Shinkichi Tajiri, who is best
known for his sculptural work, but who also made a number of fascinating
films. Born in Los Angeles to first-generation Japanese immigrants, Tajiri
enlisted in the army to escape imprisonment in the Japanese concentration
camps that the U.S. government created during the war. Moving to Paris in
1948, he was based there for most of the next decade, a period in which he
studied with sculptor Ossip Zadkine and painter (and filmmaker) Fernand
Léger, collaborated with the CoBrA group of artists, and co-founded Galerie
Huit. Tajiri’s first film, *VIPERS* (1955), which he intended to evoke the
experience of taking psychoactive drugs, was awarded the Golden Lion for
‘Best Use of Film Language’ at the Cannes Film Festival. For this program,
we’ll be presenting four of Tajiri’s short films, as well as Johan van der
Keuken’s 1962 film portrait of Tajiri and Carmen D’Avino’s 1950
documentary *VERNISSAGE
OF AMERICAN ARTISTS*, which provides glimpses of Tajiri and several other
American artists in Paris at the time. All the films in this program, with
the exception of *VERNISSAGE OF AMERICAN ARTISTS*, are screened courtesy of
the Eye Filmmuseum.
Shinkichi Tajiri *THE VIPERS* 1955, 9.5 min, 16mm. Co-cinematography by
Baird Bryant.
Shinkichi Tajiri *MAD NEST* 1955, 4.5 min, 16mm
Shinkichi Tajiri *FERDI* 1955, 12 min, 16mm-to-digital
Shinkichi Tajiri *BICYCLES* 1960, 5 min, 16mm-to-digital
Johan van der Keuken *TAJIRI* 1962, 12 min, 16mm-to-digital
Carmen D’Avino *VERNISSAGE OF AMERICAN ARTISTS* 1950, 18 min,
16mm-to-digital
Total running time: ca. 65 min
*FRIDAY, APRIL 26, 2024* *April 26 - 28*
Venue type: *Live, physical event*
Wide Open Experimental Film Festival
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times vary, see below,
Oklahoma City Museum of Art, 415 Couch Drive, Oklahoma City, Oklahoma
*Wide Open Experimental Film Festival*
WOEFF 2024 will screen five programs of short experimental films from
around the world, including films by Tomonari Nishikawa, Lori Felker, Mark
Street, Crystal Z Campbell, Gregg Biermann, Sasha Waters, and many more.
Admission to all programs is free.
April 26
6pm, Program 1: Something Else
8pm, Program 2: New Light
April 27
6pm, Program 3: Losing Sight
8pm, Program 4: Altered Consciousness
April 28
1pm, Program 5: What Next
*SATURDAY, APRIL 27, 2024* Venue type: *Live, physical event*
Other Cinema
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8pm PT,
ATA Gallery, 992 Valencia (@ 21st), San Francisco, CA
*RE-MIX SATIRIX*
SODA JERK: *HELLO DANKNESS* + CULT JAMS
The two Australian siblings--and long-time OC comrades--who make up Soda
Jerk are arguably thee finest remix makers on the planet, and now they have
scored a huge international cinema hit with this
jaw-dropping found-footage fable taking the form of a suburban
stoner musical! Through genius editing strokes, mischievous rotoscoping,
and masterful VFX wizardry, they have managed to concoct a
multi-award-winning (Berlinale!) ”compilation narrative” that is in fact
stitched together from almost a thousand Hollywood movie samples, mostly
from the miserable milieu leading up to and during the Trump presidency.
Their seamless, insanely clever montage conjures up a critical--and
comic!--psychotropic spectacle that follows an American neighborhood as
consensus reality disintegrates into conspiracy, culture wars, and zombie
revolution. Opening the evening is a set of provocative shorts by Vicki
Bennett, Animal Charm, and The Simpsons that similarly satirize US values
and mythologies.
*SUNDAY, APRIL 28, 2024* Venue type: *Live, physical event*
Anthology Film Archives
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=2380f7aea4&e=857b71a9cb>
7:30pm ET,
32 Second Avenue, New York, NY
*EC: O’NEILL / RICHTER / SHARITS*
Pat O’Neill *SAUGUS SERIES* 1974, 19 min, 16mm
This series is actually seven short films, united by a common soundtrack.
Each is an evolving “still life” made up of meticulously assembled but
spatially contradictory elements. “*SAUGUS SERIES* exhibits the
possibilities of the optical printer with considerable self-confidence and
élan. The colors are deeply saturated; radically incompatible spaces are
meticulously pieced together; moving images are layered in front of each
other or masked within ‘negative’ spaces outlined by the absence of an
object; a multiplicity of textures and densities and the dynamics of
particles in turmoil enliven the imagery.” –P. Adams Sitney, MILLENNIUM
FILM JOURNAL
Hans Richter *RHYTHMUS 21* 1921, 3 min, 35mm, silent
“Its content is essentially rhythm, the formal vocabulary is elemental
geometry, and the structural principle is counterpoint of contrasting
opposites.” –Standish Lawder
Hans Richter *TWO PENNY MAGIC / ZWEIGROSCHENZAUBER* 1929, 2 min, 16mm
Produced as a commercial for a German illustrated magazine, this film is an
experiment with visual rhymes.
Hans Richter *EVERYTHING REVOLVES, EVERYTHING TURNS / ALLES DREHT SICH,
ALLES BEWEGT SICH* 1929, 9 min, 16mm
“Richter’s unique and fascinating view of magic and cruelty in a carnival
side-show.” –Cecile Starr
Paul Sharits *N:O:T:H:I:N:G* 1968, 36 min, 16mm. Preserved by Anthology
Film Archives with support from the National Film Preservation
Foundation.“Based in part on the Tibetan Mandala of the Five Dhyani
Buddhas/a journey toward the center of pure consciousness (Dharma-Dhatu
Wisdom)/space and motion generated rather than illustrated/time-color
energy create virtual shape/in negative time, growth is inverse decay.”
–Paul Sharits
Paul Sharits *T,O,U,C,H,I,N,G* 1969, 12 min, 16mm. Preserved by Anthology
Film Archives. “Starring poet David Franks whose voice appears on the
soundtrack/an uncutting and unscratching mandala.” –Paul Sharits
Total running time: ca. 85 min
*ONGOING*
Venue type: *Virtual, online event*
Riverwest Radio
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=07283e895e&e=857b71a9cb>
streaming 24/7
*THE LONG CONVERSATION*
THE LONG CONVERSATION with Xav Leplae and Stephanie Barber is on indefinite
hold. But... all episodes from the last year and a half are streaming!!!
*___________________________________________________________________*
Venue type: *Virtual, online event*
6x6 Project
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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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