[Frameworks] This Week in Avant Garde Cinema: December 30, 2023 - January 7, 2024

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*This Week [January 13 - 21, 2024] in Avant Garde Cinema*




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*DEADLINES APPROACHING*
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___________________________________________________________________________________
*sorted by submission deadline*
Ongoing Films for Ukrainian Border Crossings
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(No Dialogue + PG)
01.15.2024 RPM Fest - Revolutions Per Minute Festival
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(Regular Deadline)
01.18.2024 Onion City Film Festival
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(Late Deadline)
01.22.2024 ICDOCS - Iowa City International Documentary Film Festival
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(Early Deadline)
01.31.2024 Crossroads Film Festival
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(Early Deadline)
01.31.2024 Crescent City Film Festival
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(Regular Deadline)
01.31.2024 Cauldron International Film and Video Festival
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(Late Deadline)
01.31.2024 Laterale Film Festival
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(Fourth Deadline)
02.01.2024 International Short Film Festival Oberhausen
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02.09.2024 Coney Island Film Festival
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(Extended Deadline)
02.09.2024 Tiny Film Fest
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(Extended Deadline)
02.23.2024 Edinburgh Short Film Festival
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(Early Deadline)
03.15.2024 Found Footage Magazine
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03.30.2024 Braziers International Film Festival
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(Regular Deadline)
03.31.2024 Experimental Film & Video Festival in Seoul (EXiS)
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04.01.2024 The Franklin Furnace FUND for Performance Art
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*EVENTS*
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___________________________________________________________________________________
*complicated sorting but a true attempt, enjoy!*

This week's programs (summary):

   - Inheritance
   <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=bef5ffec62&e=857b71a9cb>
[June
   22, 2023-Feb 2024, New York, NY]
   - Fragments of A Faith Forgotten: The Art of Harry Smith
   <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=716712b75b&e=857b71a9cb>
[October
   4-January 28, 2024, New York, NY]
   - Ephraim Asili Song For My Mother
   <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=9c968a2e64&e=857b71a9cb>
[October
   5-January 28, 2024, Brooklyn, NY]
   - Last Things
   <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=e565db14da&e=857b71a9cb>
   [January 12-18, New York, NY]
   - The Festival of (In)Appropriation #13
   <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=5cf9dda0d9&e=857b71a9cb>
   [January 14, Los Angeles, CA]
   - Joe Wakeman: Recent Short Works
   <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=3f18049633&e=857b71a9cb>
   [January 16, Los Angeles, CA]
   - Harry Smith's Film No. 18 (Mahagonny)
   <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=9638a7d7bc&e=857b71a9cb>
[January
   16-17, New York, NY]
   - Joe Wakeman: The Shoplifters
   <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=82cc15f107&e=857b71a9cb>
   [January 17, Los Angeles, CA]
   - Skip Norman: Here And There
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   [January 19-24, New York, NY]
   - The Long Conversation
   <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=893fc57704&e=857b71a9cb>
   [ongoing, online]
   - 6x6 Project: Artists' Moving Image Works
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[ongoing,
   online]


*STARTING BEFORE JANUARY 13, 2024*

*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.

*___________________________________________________________________*

*October 4 - January 28, 2024*
Venue type: *Live, physical event*
Whitney Museum of American Art
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times vary, see below,
Whitney Museum of American Art, 99 Gansevoort St, New York, NY
*Fragments of a Faith Forgotten: The Art of Harry Smith*
Member Previews, Sept 28–Oct 2
Oct 4, 2023–Jan 28, 2024

Harry Smith (1923–1991), was a painter, filmmaker, folklorist,
musicologist, and collector as well as a radical nonconformist whose work
defies categorization. Although his creative output includes paintings,
films, poetry, music, and sound recordings, it also consists of extensive
collections of overlooked yet revealing objects, such as string figures and
found paper airplanes. His best-known work, a compilation of recordings
from the 1920s and 1930s titled the *Anthology of American Folk Music*,
achieved cultlike status among many musicians and listeners since it was
first published in 1952.

*Fragments of a Faith Forgotten: The Art of Harry Smith* puts the artist's
life on display alongside his art and collections. It follows him from an
isolated Depression-era childhood in the Pacific Northwest—a time when he
was immersed in ecstatic religious philosophies and Native American
ceremony—to his bohemian youth of marijuana, peyote, and intellectualism in
postwar Berkeley, California. The exhibition also traces his path through
the milieus of bebop and experimental cinema in San Francisco to his
decades in New York, where he was an essential part of the city's
avant-garde fringe.

Keenly attuned to changing technology, Smith embraced innovation and used
whatever was new and of the moment. At the same time, his lifelong interest
in abstract art, ancient traditions, metaphysics, spiritualism, folk art,
and world music came to the fore even as he devised ingenious ways of
collecting sounds and creating films. These concerns make Smith's work feel
increasingly prescient as collecting and sharing come into view as creative
acts that are necessary for drawing meaning from the glut of images and
juxtaposition of cultures we encounter every day.

*___________________________________________________________________*

*October 5 - January 28, 2024*
Venue type: *Live, physical event*
Amant
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times vary, visit website
Amant, Géza, 306 Maujer, Brooklyn, NY
*Ephraim Asili Song for My Mother*
Working across mediums, Ephraim Asili weaves together fragments of popular
culture and personal narrative to tell stories that situate individuals and
the ideas that inform them within broader historical contexts. In *Song for
My Mother* (2023), a new three-channel film installation, Ephraim takes
inspiration from his own story and charts a process of ancestral awakening
that arose out of a period of tremendous personal loss. By layering
gathered footage from across various sites, including unscripted interviews
and performances arising from chance encounters with members of the BCU
community, with archival materials and other cultural iconography, the
installation functions as a historical journey that crosses and connects
space and time to the past, present and future.

By relocating the personal within a wider context of what Ephraim calls
“Black radical collectivity,” *Song for My Mother* establishes a dialogue
with his first feature film *The Inheritance* (2020), a semi-fictional
documentary that follows the inner workings of a Black Marxist commune in
Philadelphia. Working in tandem, both films explore the nature of the
collective, from the interpersonal to the institutional, within the Black
American experience and its importance in establishing and maintaining safe
spaces for Black people to think outside of the constant reminders of a
racist society.

*Song for My Mother* is part of Rituals of Speaking, a film-led series that
explores how artists represent the voices of others through collective
storytelling.

*___________________________________________________________________*

*January 12 - 18*
Venue type: *Live, physical event*
Anthology Film Archives
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times vary, see below,
32 Second Avenue, New York, NY
*LAST THINGS*
by Deborah Stratman, 2023, 50 min, 16mm-to-35mm

Distributed by Cinema Guild. Co-presented by UnionDocs.
A new work from Deborah Stratman – who has put together one of the most
multi-faceted, unpredictable, and aesthetically, politically, and
intellectually rich bodies of work in contemporary experimental cinema – is
always cause for celebration. A feature-length meditation on evolution and
extinction from the point of view of rocks and various future others, *LAST
THINGS* originated from two novellas by J.-H. Rosny, the joint pseudonym of
the Belgian brothers Boex who, starting in the 1880s, wrote proto-sci-fi
novels on natural, prehistoric, and speculative subjects. The film takes up
their pluralist vision of evolution, where imagining prehistory is
inseparable from envisioning the future. But in keeping with Stratman’s
inexhaustible curiosity and dazzling range of influences and references,
Rosny is only part of the DNA of *LAST THINGS*, which also channels Roger
Caillois’ writing on stones, Robert Hazen’s theory of Mineral Evolution,
Clarice Lispector’s *HOUR OF THE STAR*, the Symbiosis theory of Lynn
Margulis, the multi-species scenarios of Donna Haraway, Hazel Barton’s
research on cave microbes, and Marcia Bjørnerud’s thoughts on time
literacy. In one way or another, these thinkers have all sought to displace
humankind and human reason from the center of evolutionary processes.
Passages from Rosny and interviews with Bjørnerud form the film’s
science-fictional / science-factual spine. Stones are its anchor. To touch
stone is to meet alien duration. We trust stone as archive, but we may as
well write on water. In the end, it’s particles that remain.

“Stratman’s haunting, iridescent work of science-nonfiction actively
decenters the human perspective, narrating the history and the speculative
future of the universe with rocks as its protagonists. The idea that
minerals evolve over time – and preserve records of our world’s many lives
– drives Stratman’s inquiry, which, as is often the case with her work, is
at once dryly analytical, politically urgent, and cinematically riveting.
[…] The stars of the show, though, are the many images of rocks, crystals,
particles, plants, and other earthly objects that Stratman weaves
throughout, and which sparkle and glow and hum like otherworldly objects,
producing a kind of awe that urges us to look differently, obliquely, at
the world around us.” –Devika Girish, FILM COMMENT

Preceded by:
Cauleen Smith *SONGS FOR EARTH AND FOLK* 2013, 11 min,
Super-8-and-16mm-to-digital
“Commissioned by the Chicago Film Archives, and scored by the Chicago-based
band The Eternals, *SONGS FOR EARTH AND FOLK* scores a dizzying
amalgamation of archival footage – from Castle Films newsreels to
speculative imagery of outer space – exploring the human impulse to waste,
exploit, and destroy in almost every context.” –FILM SOCIETY OF LINCOLN
CENTER

Shambhavi Kaul *SLOW SHIFT* 2023, 9 min, 16mm-to-digital
SLOW SHIFT was shot in Hampi, India, in the remains of a 14th century city
that is also a World Heritage site in the state of Karnataka. This city,
strewn with ancient ruins and massive boulders, some of the oldest in the
world, is also said to be the mythic monkey kingdom of ancient lore. The
film playfully interrogates various intersections between ancient and
geological timescales, the real and mythic, the lived and preserved, and
human and animal.

Total running time: ca. 75 min.

*SUNDAY, JANUARY 14, 2024* Venue type: *Live, physical event*
Los Angeles Filmforum
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7:30 PM PST,
2220 Arts & Archives - 2220 Beverly Blvd, Los Angeles, CA 90057
*LOS ANGELES FILMFORUM PRESENTS THE FESTIVAL OF (IN)APPROPRIATION #13*
In person: Festival Director Jaimie Baron

Featuring Los Angeles premieres!!

Founded in 2009, the Festival of (In)appropriation is a preeminent
international showcase for experimental, found-media film and video. Every
year, the Festival attracts artists working across an astonishing array of
moving-image formats while probing the limits of collage, machinima,
re-mix, détournement, mash-up, and more. The raw material for their work
derives from the abundant new sources of audiovisual media to have surfaced
in recent decades, from official state and commercial archives to
vernacular collections, home movie repositories, and digital databases of
every stripe. By exploiting and refashioning these pre-existing materials,
such creations generate novel juxtapositions and recombinations, often
producing ideas and meanings that were unintended or unimagined by the
original makers. These remarkable works, in other words, are
“inappropriate” in the profoundest sense of the term. Sponsored by Los
Angeles Filmforum, the Festival of (In)appropriation strives to evince the
remarkable range, sophistication, and critical impact of this vital
aesthetic practice. This year’s program was curated by Jaimie Baron,
Jennifer Proctor, and Adam Sekuler.

*Tulipomania: You Had to Be There*, US, Cheryl Gelover, Tom Murray 2022,
3:45, color
Magnification doesn’t always yield detail. Maybe you had to be there…When
the observer and the observed exchange places – at what point do we hold
ourselves accountable? You Had to Be There is the first music video for
Tulipomania’s soon to be released new album Dreaming of Sleep. The
animation was created frame by frame including animated lip sync as well as
vintage found footage in an exploration of varied states of disintegration
and recombination created on thousands of individual sheets of black or
white paper.

*Headspace*, US, Sophia Haboush, 2023, 4:44, color
Headspace is an experimental film that expresses the feelings of anxiety
and peace through composites of archival video and images. Taking
inspiration from the principals and techniques of dada and surrealism, my
film uses unorthodox techniques and focuses on the internal space. With
collaboration between visuals, music, and sound design, we were able to
create a world the depicts what the headspaces of anxiety and peace could
be like.

*Collage 42*, Spain, Luis Carlos Rodriguez, 2022, 2:26, color
An audiovisual “divertimento” based on the work in the Public Domain. The
Great St. Louis Bank Robbery (1959) by Charles Guggenheim, Collage 42 is
part of a broad experimental audiovisual research project that seeks to
explore, through the construction and deconstruction of classic film scenes
in the public domain and, from the point of view of artistic-expressive
activities, questions that encompass formal, structural, narrative, and
aesthetic aspects of the Audiovisual Arts.

*Her Violet Kiss*, US, Bill Morrison, 2021, 5:00, color
A woman attends a party where she encounters a mysterious stranger.

*Time Scraps: Film Threads and Sprocket Holes*, US, Krista Leigh Steinke,
2023, 8:15, color
An homage to the women who worked in the motion picture industry in the
early part of the 20th century. Scraps from old footage – sprocket holes,
light leaks, film leaders, scratches (parts of the film material not
intended for viewing) – are hand painted, collaged, and stitched together
as a way to reclaim and honor their skill and labor as film editors and
colorists. Here, color bleeds outside of the lines, while other moments
break from convention and become chaotic and unruly. Visuals are contrasted
against male narrators who dictate directions and explain how to correctly
handle cinema technology.

*Date Night*, Canada, Jean-Pierre Marchant, 2023, 1:29, color

*Queen of Dots*, Japan, Michael Lyons, 2020, 2:02, color
The Queen of dots is also a queen of Instagram and Tumblr.

*Motor*, Austria, Grzegorz Kielawski, Alexander Bayer, 2023,18:04, color
Farmers, truckers, and gamers stream live on a daily basis. MOTOR offers a
glimpse of their content. The flow of images and words is condensed into a
chamber play on working conditions, time structures and professional
identities. Simulation and documentation merge, work and play interlace.

*Dreams Under Confinement*, US, Christopher Harris, 2020, 2:30, color
“Frenzied voices on the Chicago Police Department’s scanner call for squad
cars and reprisals during the 2020 uprising in response to the murders of
George Floyd, Breonna Taylor, and Ahmaud Arbery, as Google Earth tracks the
action through simulated aerial views of urban spaces and the vast Cook
County Department of Corrections, the country’s third-largest jail system.
In Christopher Harris’s *Dreams Under Confinement*, the prison and the
street merge into a shared carceral landscape.”—New York Film Festival

*Another Set of Jaws*, Canada, Jean-Pierre Marchant, 2023, 0:57, color

*OilMoonNight*, Germany, Anna Malina Zemlianski, 2022, 5:26, color
A revenge fantasy. A corrupted & glitched daydream. A futile endeavor to
cope with visions of terror… Sunflower Fields Forever! I cut scenes from
various films by necrorealist filmmaker Yevgeni Yufit into a new narrative
influenced by the pain unleashed by Russia’s recent invasion of Ukraine.
This new cut was data moshed and printed with an inkjet printer. As I
allowed the ink cartridges to run empty, the prints and colors became
faulty, adding another layer of glitching. For some scenes the prints were
manipulated even further by collaging, applying water to the ink or using
sticky tape to tear off parts of the images. The sound too is made entirely
with sounds found in the same films which I collaged and manipulated as
well.

*Home*, Iran, Yasaman Baghban, 2:51, 2020, color
The war in Afghanistan has resulted in immense suffering and displacement
for many of its citizens. Two Afghan painters were among those affected and
were forced to flee their home country. They found refuge in Iran, a
country that has generously taken in thousands of Afghan refugees since the
conflict began. However, despite the warm welcome, the painters have faced
challenges in adapting to life in a new place, and the effects of the
trauma they have experienced cannot be overlooked. The experience of living
in the diaspora has had a profound impact on their memories and has shaped
their lives in ways that are not easily forgotten. The trauma of war has
taken a toll on these individuals, and it is important to recognize the
difficulties they face as they try to rebuild their lives.

*A Heated Exchange*, Canada, Jean-Pierre Marchant, 2023, 1:15, color

*Skyscraper Film*, Italy, Federica Foglia, 2023, 7:56, color
Can I use the film strip structure as an architectural element? Is it
possible to use the celluloid from the film as a cement? Can these
skyscrapers be turned into something else? Can solid lines blend into
sensual, natural curves? Can I melt skyscrapers? Skyscraper Film was
created to try to give a visual answer to these questions, arising from the
artist’s relation to urban maps of various locations and their respective
skylines, populated by imposing skyscrapers and reinforced concrete
panoramas: Quebec, Kingston (Canada), Maryland, Pittsburgh, Baltimore (USA)
etc. Cities are presented to us as an abstract handmade camera-less
collage, created from scraps of orphan 16mm films from the 1980s.

*Cupid’s Fever*, Canada, MilleFeuille, 2021, 16:00, color
Child hunters look through scope-cam rifles to aim for the heart. A
found-footage portrait of love told through YouTube vlogs of relationship
breakups and psycho exes. Cupid’s Fever is part of the feature ‘I Went to a
Party Alone’ in which YouTube vlogs of random, daily life are recast as
dramatic events imbued with cinematic qualities and mythic allusions. When
the hard cuts and juxtapositions reveal a landscape of oppressive social
control, the vloggers’ mundane normal soon gives way to the surreal.
Seemingly innocuous recordings are fraught with foreboding as the vloggers
who yearn for freedom, love and self-expression find themselves unable to
escape society’s haunting bondage.

*Long Time No Techno*, Germany, Eugenia Bakurin, 2022, 3:44, color
The footage comes from the archive of the Odesa Film Studio, which was the
first film studio established in the Russian Empire. During the Soviet era,
many films were shot there, which shaped the childhood of millions of
people. However, today the film studio, like many other cultural monuments
in Ukraine, is threatened with destruction by the Russian army. The video
features dancing moments from children’s films of the 70s and 80s, which
provide a glimpse into a carefree time of adventure, fantasy trips, and
freedom. These scenes serve as illusions of a time that has since passed.

*TUESDAY, JANUARY 16, 2024* Venue type: *Live, physical event*
Whammy! Analog Media
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=0446c7ca35&e=857b71a9cb>
7:30 PM PT,
2514 Sunset Blvd. Los Angeles, CA 90026
*JOE WAKEMAN: RECENT SHORT WORKS*
Join Whammy! as we welcome NYC's Joe Wakeman to the microcinema for a 2-day
showcase of his recent work in both feature length and short form,
co-presented by NYC's Millennium Film Workshop on Tuesday January 16th and
Wednesday January 17th.

‍Filmmaker and video artist Joe Wakeman works in all manner of moving image
media, ranging in tone from the satiric to the diaristic to the
indescribable. Executive Director of NY’s Millennium Film Workshop, a
nonprofit organization that supports non-commercial and self-started moving
image artists, the ethos of the handmade, DIY or punk film that is the
spiritual bedrock of Millennium’s community is reflected likewise in Joe’s
body of personal work.

On Tuesday 1/16 will be a presentation of recents Short Works on 16mm, VHS,
and digital, including recently completed music videos for Gold Dime (
*Denise*, *Wasted Wanted*) and Nite Music (*I’ve Got To Make The Call* -
shot and edited using all-analog VHS cameras, decks, and mixers). Much of
Joe’s work centers around looking at the things outside ourselves we
construct our identities out of, and the way this extends to costume and
place. These identity-constructions manifest as both farce and
introspection, sometimes existing side by side in the work.

*Cornelia/Fabian (Takes 2 & 1)*, 2022, 16mm to Digital 5 min‍
*Memoires (Paris Vu Par)*, 2022, 16mm to Digital 8:30 min
*Gowns*, 2022, iPhone/16mm to Digital 7:30 min
*Kate M.*, 2023, 16mm ‍3 min
*Girls in Chelsea*, 2023, 16mm 3 min‍
*Gold Dime: Denise*, Joe Wakeman & Andry Ambro 2023, Digital 6 min
*Gold Dime: Wasted Wanted*, 2023, Digital ‍5 min
*Nite Music: I’ve Got to Make The Call*, 2023, VHS ‍6 min‍
*Pea Island*, 2016, VHS ‍18 min
//
‍7:30 doors, 8pm screening

*___________________________________________________________________*

*January 16 + 17*
Venue type: *Live, physical event*
Anthology Film Archives
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=c5b3cb85d2&e=857b71a9cb>
7:15pm ET both nights,
32 Second Avenue, New York, NY
*HARRY SMITH’S ‘FILM NO. 18 (MAHAGONNY)’*
In conjunction with the Whitney Museum of American Art’s current
exhibition, “Fragments of a Faith Forgotten: The Art of Harry Smith” –
which represents an extraordinary opportunity to survey the many different
dimensions of the great Harry Smith, including not only his films but also
his paintings, drawings, diverse collections, and his work chronicling and
showcasing American folk music – we offer screenings of his most ambitious
film, *FILM NO. 18 (MAHAGONNY)*.

Presented on 35mm, both screenings of *FILM NO. 18 (MAHAGONNY)* will be
introduced by P. Adams Sitney, co-founder of Anthology Film Archives and
the author of the foundational study of avant-garde cinema, *Visionary Film*,
as well as *Modernist Montage*, *Eyes Upside Down*, and other indispensable
books on cinema and poetry.

For more info about the exhibition “Fragments of a Faith Forgotten: The Art
of Harry Smith”, which is on view through January 28, visit:
https://whitney.org/exhibitions/harry-smith
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=79a9cba871&e=857b71a9cb>

Special thanks to Megan Heuer & Seth Fogelman (Whitney Museum), Andrew
Lampert, and Simon Lund (Cineric, Inc.).

Harry Smith *FILM NO. 18 (MAHAGONNY)* 1970-80, 141 min, 16mm-to-35mm.
Preservation work by Cineric, Inc., with support from The Andy Warhol
Foundation for the Visual Arts, the National Endowment for the Arts, New
York State Council on the Arts, Sony Entertainment, the National Film
Preservation Foundation, and The Getty Research Institute. This 35mm print
represents the efforts of a preservation project by Anthology Film Archives
and the Harry Smith Archives.

Smith worked obsessively on *MAHAGONNY* for over ten years, shooting it
from 1970-72 and editing it from 1972-80. Based on the Kurt Weill and
Bertolt Brecht opera *RISE AND FALL OF THE CITY OF MAHAGONNY*, the film was
an epic, four-screen projection which the filmmaker considered to be his
magnum opus and described as a mathematical analysis of Marcel Duchamp’s
“Large Glass.”

*MAHAGONNY* is an allegory of contemporary life; it explores the needs and
desires of man amid the rituals of daily life in NYC. Smith’s New York,
like Brecht’s *Mahagonny*, is a place where everything is permitted and the
only sin is not having enough money. Much of the film takes place within
the Chelsea Hotel and contains invaluable portraits of important figures
such as Allen Ginsberg, Patti Smith, and Jonas Mekas. These appearances are
intercut with installation pieces from Robert Mapplethorpe’s studio, NYC
landmarks of the era, and Smith’s unique, visionary animation.

*MAHAGONNY* was originally shown at Anthology in 1980 on four 16mm
projectors, with the filmmaker conducting each screening. This restoration
is a composite of all four original 16mm masters (and the Weill
soundtrack), which have been optically printed into a single “tiled” 35mm
film image, making the work accessible for the first time since the 1980
screenings.

Preceded by:
Simon Lund *RESTORING HARRY SMITH’S MAHAGONNY* (2002, 6 min, 35mm)

*WEDNESDAY, JANUARY 17, 2024* Venue type: *Live, physical event*
Whammy! Analog Media
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=8f44c971cf&e=857b71a9cb>
7:30 PM PT,
2514 Sunset Blvd. Los Angeles, CA 90026
*JOE WAKEMAN: THE SHOPLIFTERS*
Join Whammy! as we welcome NYC's Joe Wakeman to the microcinema for a 2-day
showcase of his recent work in both feature length and short form,
co-presented by NYC's Millennium Film Workshop on Tuesday January 16th and
Wednesday January 17th.
//
‍Filmmaker and video artist Joe Wakeman works in all manner of moving image
media, ranging in tone from the satiric to the diaristic to the
indescribable. Executive Director of NY’s Millennium Film Workshop, a
nonprofit organization that supports non-commercial and self-started moving
image artists, the ethos of the handmade, DIY or punk film that is the
spiritual bedrock of Millennium’s community is reflected likewise in Joe’s
body of personal work.

*The Shoplifters* (2018) is the story of a group of would-be
Marxist-Leninist revolutionaries play-acting Ché Guevara in contemporary
Brooklyn. Their movement hiccups when they’re forced to confront the fact
that their revolutionary tactics have more to do with petty theft and
sartorial choices than worker solidarity: in the final analysis, what they
really want is to be seen wearing berets. Starring Joe
Wakeman(Writer/director), Sannety, Taylor Bruck, Max Goldbaum, Candice
Fortin

‍Followed by an in-person Q/A with JW and writer/actor Taylor Bruck.

*THE SHOPLIFTERS* dir. Joe Wakeman, 2018, Digital (MiniDV/VHS/2K), 70 min
//
‍7:30 doors, 8pm screening

*FRIDAY, JANUARY 19, 2024* *January 19 - 24*
Venue type: *Live, physical event*
Anthology Film Archives
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=589c67aa5c&e=857b71a9cb>
times vary, see below,
32 Second Avenue, New York, NY
*SKIP NORMAN: HERE AND THERE*
American filmmaker, cinematographer, photographer, visual anthropologist,
and educator Skip Norman (aka Wilbert Reuben Norman Jr.) was born in
Baltimore. In 1966 – following five years in Germany and Denmark, where he
developed an interest in acting and directing alongside his studies
dedicated to the German language and literature – he was accepted into the
inaugural cohort of students at Berlin’s DFFB Film School. While there he
befriended and worked alongside a group of artists and activists interested
in the revolutionary potential of film, including Harun Farocki, Holger
Meins, Helke Sander, and Gerd Conradt.

In addition to collaborating as cinematographer and assistant director on
several of his classmates’ works, Norman authored a remarkable but
little-seen body of documentary, experimental, and essay films in the late
1960s and early 1970s. Building upon and contributing to the incendiary
work of his peers decrying the US war in Vietnam, he produced a number of
equally urgent films about his experience as a Black man in both West
Germany and in his home country. Upon his subsequent return to the United
States, he continued to collaborate with notable filmmakers like Haile
Gerima while further pursuing his interest in photography, both as an
artistic practice and as the subject of his doctoral studies, before
eventually teaching the craft in Cyprus.

While there have been selected presentations of Norman’s films in Germany
in recent years, his work remains less known abroad. Featuring premieres of
new restorations and newly produced subtitles, “Skip Norman: Here and
There” is the first U.S. retrospective to explore Norman’s multifaceted,
international career, bringing his practice as a filmmaker in dialogue with
his work as a cinematographer and bridging his time on both sides of the
Atlantic.

“Skip Norman: Here and There” has been guest-curated by Jesse Cumming, who
wrote the series description above, as well as the individual program
descriptions. The series is co-presented with the German Film Office, an
initiative of the Goethe-Institut and German Films.

Special thanks to Hanife Aliefendioglu; Mirra Bank; Jesse Cumming; Greg de
Cuir Jr.; Ismail Gökçe; Karina Griffith; Anke Hahn & Masha Matzke (Deutsche
Kinemathek); Alexis Norman; Volker Pantenburg (Harun Farocki Institut);
Joanna Raczynska; Josh Siegel (MoMA); Sara Stevenson (German Film Office);
and Alexandra Symons-Sutcliffe.

A selection of the newly restored films will be presented at The Museum of
Modern Art on Thursday, January 18, as part of “To Save and Project: The
20th MoMA International Festival of Film Preservation”; for more info
visit: https://www.moma.org/calendar/film
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=acdb0dbcbf&e=857b71a9cb>

In addition, on Saturday, January 20, the German Film Office will host a
free public program entitled “Skip Norman in Relation” at the
Goethe-Institut New York, organized and presented by Greg de Cuir Jr, the
co-founder and artistic director of Kinopravda Institute (Belgrade,
Serbia). Select screenings of Norman’s films will be complemented by talks
from a panel of experts dealing with key themes that connect Norman’s work
with a wider aesthetic and cultural context. For more info visit:
https://www.germanfilmoffice.us
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=96e76b6d47&e=857b71a9cb>

Upcoming Screenings
SKIP NORMAN PROGRAM 1: THE DFFB YEARS
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=d6268a9063&e=857b71a9cb>
January 19 at 7:30 PM
January 22 at 7:30 PM

SKIP NORMAN PROGRAM 2: 1 BERLIN-HARLEM
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=7b2701e3a5&e=857b71a9cb>
January 20 at 7:30 PM

SKIP NORMAN PROGRAM 3: COLLABORATIONS
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=48004cb4fb&e=857b71a9cb>
January 21 at 4:00 PM

SKIP NORMAN PROGRAM 4: PERFORMANCES
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=df02a6ff85&e=857b71a9cb>
January 21 at 6:15 PM

SKIP NORMAN PROGRAM 5: THE INDEPENDENT YEARS
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=211cbafdd5&e=857b71a9cb>
January 21 at 8:00 PM
January 24 at 7:30 PM

SKIP NORMAN PROGRAM 6: WILMINGTON 10 — U.S.A. 10,000
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=577ff2f320&e=857b71a9cb>
January 23 at 7:30 PM

*ONGOING*

Venue type: *Virtual, online event*
Riverwest Radio
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=30c64b9a30&e=857b71a9cb>
streaming 24/7
*THE LONG CONVERSATION*
THE LONG CONVERSATION with Xav Leplae and Stephanie Barber is on indefinite
hold. But... all episodes from the last year and a half are streaming!!!

*___________________________________________________________________*

Venue type: *Virtual, online event*
6x6 Project
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=7f18d45355&e=857b71a9cb>
streaming 24/7
*Artists' Moving Image Works*
6x6 project is an online artists' community that serves as a platform for
disseminating artists' moving image works, and to create
an ever-growing network among peers.

There are now more than four hundred artists’ film and moving image works
available to view on the website.









------------------------------



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