[Frameworks] This Week in Avant Garde Cinema: May 11 - 19, 2024
This Week
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*This Week [May 11 - 19, 2024] in Avant Garde Cinema*
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*sorted by submission deadline*
05.15.2024 Festival des Cinémas Différents et Expérimentaux de Paris
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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)
05.30.2024 Cairo Video Festival
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05.31.2024 Laterale Film Festival
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(Seventh 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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06.01.2024 Chicago Underground Film Festival
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(Extended Deadline)
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)
06.30.2024 Thomas Edison Film Festival
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(Early Deadline)
07.14.2024 Cindependent Film Festival – NEW Experimental Section
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(Early Deadline)
*EVENTS*
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*complicated sorting but a true attempt, enjoy!*
This week's programs (summary):
- Atlas Variations: The Moving-Image Work of Charles Atlas
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=c8ae14788f&e=857b71a9cb>
[May
8-June 27, New York, NY]
- Cult of Conspiracy
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[May
11, San Francisco, CA]
- VISIONS: Simon Payne & Andrew Vallance
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[May
13-14, Montreal, QC, Canada]
- Yes: Derek Jenkins / Sara Sowell In Person & Online
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=bf5119d1e0&e=857b71a9cb>
[May
13-16, New York, NY]
- The Secret Life of…Anthology Film Archives
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[May
14, New York, NY]
- Available Space: So Dreamy, So Sinister: Animation By Suzan Pitt
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[May
16, Los Angeles, CA]
- New American Experimental Film
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=e3690913ff&e=857b71a9cb>
[May
16, New York, NY]
- Avant-Barb(ie)
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[May
16, San Francisco, CA]
- Illuminated Hours: Three Evenings With Nathaniel Dorsky And Jerome
Hiler
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[May
17-19, New York, NY]
- Archive Fever
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[May
18, San Francisco, CA]
- Courtney Stephens
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[May
18, Santa Fe, NM]
- The Long Conversation
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=defd395bda&e=857b71a9cb>
[ongoing, online]
- 6x6 Project: Artists' Moving Image Works
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[ongoing,
online]
*STARTING BEFORE SATURDAY, MAY 11, 2024* *May 8 - June 27*
Venue type: *Live, physical event*
Anthology Film Archives
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times vary, see below,
32 Second Avenue, New York, NY
*ATLAS VARIATIONS: THE MOVING-IMAGE WORK OF CHARLES ATLAS*
FILMMAKER IN PERSON! Charles Atlas will be here in person for most if not
all of the screenings!
Anthology is overjoyed to present a major survey – throughout May and June
– of the moving-image work of the one-and-only Charles Atlas. An
exceptionally prolific, protean, and inventive artist, Atlas has
collaborated for the past fifty years with an extraordinary array of
choreographers, dancers, musicians, actors, and performance artists, and
has himself occupied a crucial role at the intersection of the worlds of
art, film, video, performance, dance, and installation. During the course
of his career, he has pioneered the medium of videodance, documented the
nightlife and performance scenes of New York City throughout the past
several decades, and created some of the most inspired works of
installation art in recent memory. Arguably no other single figure has
contributed as substantially to so many of the most advanced and important
currents in American culture since the 1970s, both as a chronicler,
collaborator, and creator.
Atlas’s films and videos have taken so many forms and involved so many
collaborations that his moving-image career can only be conveyed through a
large-scale series. Indeed, even this 10-program survey represents a
partial retrospective: since Anthology focused on Atlas’s seminal
collaborations with Merce Cunningham (with whom he collaborated on numerous
films beginning in 1975) during our Cunningham centennial screenings in
2019, we’ve chosen to focus on Atlas’s other collaborations and solo works
here. Encompassing some of his best-known works (including *THE LEGEND OF
LEIGH BOWERY*, *HAIL THE NEW PURITAN*, *SUPERHONEY*, and so on), as well as
more rarely-screened pieces such as the various *“MARTHA” TAPES*, his early
films *MAYONNAISE*, *#1* (1972) and *NEVADA* (1974), his ad campaign for
Calvin Klein, and his stereoscopic film *TESSERACT 3D* (2017), this survey
demonstrates the embarrassment of riches contained within Atlas’s
dizzyingly inventive and ever-morphing body of work.
“Collaboration is a major aspect of Atlas’s expansive practice. He has
collaborated with important figures from the worlds of dance, art,
performance, music and theater, including Michael Clark, Merce Cunningham,
Leigh Bowery, John Kelly, Marina Abramovic, Anohni, Yvonne Rainer, Fennesz,
New Humans (Mika Tajima and Howie Chen), Karole Armitage and Bill Irwin.
For Atlas, the theatricality of dance and performance is a point of inquiry
into artifice, fiction and reality. After first working in film, Atlas was
a pioneer of videodance, collaborating on performance works created
specifically for the two-dimensional space, intimate scale and temporality
of video. His groundbreaking early works…evolved from a unique
collaboration with Merce Cunningham, for whose dance company he was
filmmaker-in-residence from 1975 to 1983. Since then, Atlas has worked on
numerous international productions for television with choreographers,
artists and musicians. In these extravagantly stylized ‘documentary
fictions,’ Atlas manifests his fascination with what he terms ‘narrative,
psychology, dance and flights of fantasy.’ Typified by a provocative,
postmodern performance sensibility and an ironic urban insouciance, Atlas’s
works transform performances into vivid time capsules of contemporary
culture.” –ELECTRONIC ARTS INTERMIX
Co-organized and co-presented by Electronic Arts Intermix; special thanks
to Rebecca Cleman & Karl McCool. Unless otherwise noted, all the individual
film descriptions are from the Electronic Arts Intermix catalogue.
Upcoming Screenings
CHARLES ATLAS, PROGRAM 1
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May 8 at 7:30 PM
CHARLES ATLAS, PROGRAM 2
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May 16 at 7:30 PM
CHARLES ATLAS, PROGRAM 3
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May 22 at 7:30 PM
CHARLES ATLAS, PROGRAM 4
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May 25 at 7:30 PM
CHARLES ATLAS, PROGRAM 5
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May 30 at 7:30 PM
CHARLES ATLAS, PROGRAM 6
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June 5 at 7:30 PM
CHARLES ATLAS, PROGRAM 7
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June 11 at 7:30 PM
CHARLES ATLAS, PROGRAM 8
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June 15 at 7:30 PM
CHARLES ATLAS, PROGRAM 9
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June 19 at 7:30 PM
CHARLES ATLAS, PROGRAM 10
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June 27 at 7:15 PM
*SATURDAY, MAY 11, 2024* Venue type: *Live, physical event*
Other Cinema
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8pm PT, ATA Gallery,
992 Valencia (@ 21st), San Francisco, CA
*CULT OF CONSPIRACY*
THE NET: THE UNABOMBER, LSD, AND THE INTERNET +
By popular demand, from a City eviscerated by the pernicious effects of Big
Tech, here's a cult movie about cult thinking! Lutz Dammbeck's break-out
stunner was considered dangerously paranoid when first released some 20
years ago, and, despite its absence from DVD and streaming platforms, it
has never since ceased to feverishly incite anti-authoritarian skepticism
from an international underground of dissidents, dropouts, crackpots, and
trolls. True to its title, *The Net *excels at the hyperlink-style essay
format in which pulling the threads of seemingly disparate modern
phenomena—electronic art, technology, armed conflict—reveals a single
tight-knit system. As Dammbeck becomes evermore fascinated with Ted
Kaczynski, he digs deeper into his Neo-Luddite ideology and victims in
academia and technology. His search brings him into contact with figures
including Stewart Brand, editor of the self-sufficiency countercultural
publication *Whole Earth Catalog*, and art/literary agent John Brockman,
who draws connections between Norbert Wiener’s *Cybernetics* and
avant-garde figures
including John Cage, Jonas Mekas, and Nam June Paik. Gradually the
narration begins to pull in Dammbeck’s own correspondence with the
incarcerated Kaczynski. “*The Net* is not merely a diagram of the lines and
nodes that form a secret history of the 20th Century, but an unsettling
examination of the morality of the architects of contemporary society” (*Screen
Slate*). OPENING the evening: Short tangles of related conspiracy knots: a
clip from Craig Baldwin's *Tribulation 99*, the whole trembling 9 mins.
of Rodney Ascher's legendary *S from Hell*, and a very rare peek
at Dammbeck's follow-up, the never released *Overgames**, *partially shot
right here at ATA!
*MONDAY, MAY 13, 2024* *May 13 - 14*
Venue type: *Live, physical event*
VISIONS
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6:00pm ET each night,
Cinémathèque québécoise - 335 Boul. de Maisonneuve E, Montréal, QC H2X 1K1
*VISIONS: SIMON PAYNE & ANDREW VALLANCE*
--- 13.05.2024 | Cinémathèque québécoise | 18h00 | FILM TALKS [Programme 1]
---
�� *Candle Neil* | Henderson | 2018 | 16 mm | 3 mins
�� *Arm, Flexion, Extension* | Bea Haut | 2011 | 16 mm | 3 mins
�� *Inflated (double) struggle* | Jenny Baines | 2018 | 16 mm | 3 mins
�� *Babbler, Fairy and Thrush* | Karel Doing | 2022 | 16 mm | 4 mins
�� *It Matters What* | Francisca Duran | 2019 | 16 mm/numérique | 9 mins
�� *Four Diamonds* | Ute Aurand | 2016 | 16 mm | 5 mins
�� *Dark Garden* | Nick Collins | 2011 | 16 mm | 9 mins
�� *Five Films by Helga Fanderl* | Helga Fanderl | 2011-2012 | Super 8 vers
16 mm | 10 mins
�� *Gasometers 3* | Nick Hamlyn | 2015 | 16 mm | 13 mins
�� *Night-line* | Andrew Vallance | 2023 | numérique | 9 mins
Projection 16mm et numérique | En présence de Simon Payne et Andrew
Vallance | Présenté en collaboration avec la Cinémathèque québécoise
--- 14.05.2024 | Cinémathèque québécoise | 18h00 | FILM TALKS [Programme 2]
---
�� *Leaving and Arriving* | Lynn Loo | 2017 | 16 mm vers numérique | 1 min
�� *Animal Studies* | Guy Sherwin | 1998-2023 | numérique | 9 mins
�� *Strontium* | Malcolm Le Grice | 2021 | numérique | 9 mins
�� *Oxygen* | Chris Welsby | 2021 | numérique | 12 mins
�� *Not (a) part *| Vicky Smith | 2020 | 16 mm | 6 mins
�� *Cornish and Faroese Knitting Patterns* | Jennifer Nightingale |
2016-2017 | 16 mm | 3 mins
�� *Clippy* | Alia Syed | 2016 | 16 mm vers numérique | 3 mins
�� *The Oblique* | Jayne Parker | 2018 | numérique | 11 mins
��* Intervals* | Simon Payne | 2023 | numérique | 10 mins
�� *Available Light* | William Raban | 2016 | numérique | 9 mins
�� *A State of Grace* | John Smith | 2019 | numérique | 3 mins
Projection 16 mm et numérique | En présence de Simon Payne et Andrew
Vallance | Présenté en collaboration avec la Cinémathèque québécoise
*___________________________________________________________________*
*May 13 - 16*
Venue type: *Both physical and online*
Microscope Gallery
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7:30PM ET,
525 W. 25th Street, 2nd Floor
Event URL: https://microscopegallery.com/yes-derek-jenkins-sara-sowell/
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=4628fb338c&e=857b71a9cb>
*YES: Derek Jenkins / Sara Sowell In Person & Online*
*In person on May 13 only. Online available starting at 7pm ET on May 13
through 11pm PT May 16 at the link above. *Microscope welcomes Derek
Jenkins and Sara Sowell, who are respectively based in Hamilton, Ontario,
and Milwaukee, WI, for a screening of both of their works as part of our
emerging series YES.
The 8 short works in the program, including several NY premieres, were made
between 2016 and 2023 and were primarily filmed on 16mm film, with others
shot on Super 8mm and video. The works will be screened on site in their
original formats.
In works often borne out of the interaction of 16mm film with the endless
digital TV stream, and utilizing DYI experimental methods, Sowell offers
sociological and ecological critiques such as on the culture of and
standards proposed by America’s Next Top Model and the environmental impact
of private jet personal transportation, or that created by the celluloid
film her works are made with.
Jenkins’ personal and playful filmmaking — often resulting from
unconventional film processes or ideas used to source sound — in these
works formulates odes to obsolete newsprint machinery, a large Canadian
herbarium, and everyday family moments, finding meaning and opportunity for
social activism even in an unmown flower field.
Jenkins and Sowell will be in attendance and available for a Q&A following
the screening, which will also be open to the online audience.
*RHYTHM AS A GIRL *By Sara Sowell, single-channel video, color, sound,
2020, 12min
*The Girl Who Is *By Sara Sowell, 16mm film, B&W, sound, 2021, 6min
*Color Negative *By Sara Sowell, 16mm film, color, sound, 2023, 6min
*Reference Material *By Sara Sowell, 16mm film, B&W, 2023, 3min
*This is how I print *By Derek Jenkins, 16mm film, B&W, silent, 2019, 3min
*Herbaria x Pelicula: Field Portfolio *By Derek Jenkins, 16mm film, color
and B&W, silent, 2021, 11min
*The Shouting Flower *By Derek Jenkins, 16mm film, color, sound, 2018, 12min
*When we reached the top of the stairs, Ruby asked me, “Is this a new
world? Baba, is this a new world?” *By Derek Jenkins, Super 8mm on digital,
color, silent, 2016, 3min
TRT: 56min
*TUESDAY, MAY 14, 2024* Venue type: *Live, physical event*
Anthology Film Archives
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7pm ET,
32 Second Avenue, New York, NY
*THE SECRET LIFE OF…ANTHOLOGY FILM ARCHIVES*
We continue our longstanding tradition of presenting “The Secret Life
of…Anthology Film Archives”, a recurring opportunity to take a peek at the
teeming hive of creativity hiding behind the scenes at Anthology, thanks to
the film- and video-making efforts of AFA’s staff, friends,
fellow-travelers, and devotees.
*THURSDAY, MAY 16, 2024* 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
*Available Space: So Dreamy, So Sinister: Animation by Suzan Pitt*
Though her artmaking practice began with painting, the American visual
artist Suzan Pitt (1943–2019) quickly became frustrated by the medium as
she felt it left her images in “a state of arrested movement.” Pitt pivoted
to animation in 1968 to create the first of her surreal, exuberant,
hand-made animated shorts, and found that through hand-drawn, stop-motion,
and multiplane animation, she “could imagine and dramatize their stories”
beyond the static canvas. Inspired by Fleischer cartoons, surrealist artist
Leonora Carrington, underground comics, and the lush natural world, Pitt’s
visual poetry was never confined to one mode of expression: throughout her
life, she continued painting, developed stage designs for two operas in
Germany, created murals, and decorated one-of-a-kind coats with distinct
iconography. As a gesture toward new objects on display in our Inventing
Worlds and Characters: Animation gallery, including cels and background
paintings from the Suzan Pitt Estate, this program highlights her
celebrated film *Asparagus*, preceded by works from throughout her career.
Programmed and note by K.J. Relth-Miller.
All films directed by Suzan Pitt. Total program runtime: 76 min.
*Pinball* 2013. 7 min. USA. Color. Digital. Restored by the Academy Film
Archive.
*Jefferson Circus Songs* 1975. 19 min. USA. Color. Digital. Restored by the
Academy Film Archive.
*Crocus* 1971. 7 min. USA. Color. 16mm. Restored by the Academy Film
Archive.
*Joy Street* 1995. 24 min. USA. Color. 35mm. Restored by the Academy Film
Archive.
*Asparagus* 1979. 19 min. USA. Color. 35mm. Restored by the Academy Film
Archive.
Academy Museum film programming generously funded by the Richard Roth
Foundation. Explore our current quarterly print Film Calendar and browse
the archive. Theater accessibility accommodations available upon request.
Learn more about our accessibility initiatives.
*___________________________________________________________________*
Venue type: *Live, physical event*
Thomas Edison Film Festival
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7:30pm EST,
Anthology Film Archives, Maya Deren Theater, 32 Second Ave., corner of East
2nd St., NY, NY
*New American Experimental Film*
The Thomas Edison Film Festival (TEFF) presents 8 selected experimental
shorts from the festival’s 2024 touring collection - a showcase of
cutting-edge films from accomplished and emerging experimental filmmakers.
The eight featured films include *Flora* by John Hawk, Agua Dulce, CA; *A
World in the Evening* by Dan Boord and Luis Valdovino, Boulder, CO;
*Reversal* by Diane Nerwen, Brooklyn, NY; *Flutz* by Ryan McCown, Brooklyn,
NY; *Fleshwork* by Lydia Cornett, Brooklyn, NY; *Island* by Jack Cronin,
Canton, MI; *Our Bodies Like Dams* by Sarah Finn, Brooklyn, NY; and *Mirror
Mirror Double Vision* by Johannes DeYoung and Natalie Westbrook,
Pittsburgh, PA.
Q&A with featured filmmakers, curator Nicole Pometti, programmer Rolando
Nieves, and festival director Jane Steuerwald will follow the screening.
Seating is limited, and advance tickets are highly recommended. Ticketing
through EventBrite:
https://www.eventbrite.com/e/thomas-edison-film-festival-presents-new-american-experimental-film-tickets-887635570887
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*___________________________________________________________________*
Venue type: *Live, physical event*
SF Cinematheque + Microscope Gallery
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7:30pm PT, The Lab, 2948 16th Street San Francisco, CA 94103
*Avant-Barb(ie)*
Microscope Gallery Curators Elle Burchill & Andrea Monti and filmmaker
Lucretia Knapp in person
For tonight’s screening, Cinematheque is thrilled to welcome Microscope’s
founders Elle Burchill and Andrea Monti to present Avant-Barb(ie). Curated
in response to and dialog with Greta Gerwig’s *Barbie* (2023),
Avant-Barb(ie) features 14 film/video works—spanning nearly 60 years—which
address the perpetually renewing cultural impact of the iconic doll, works
which interrogate, subvert and/or dismantle associated cultural stereotypes
while presenting discourse on sexuality, gender and American culture at
large, even while considering the act of playing with dolls as an
enjoyable, social or empathic tool. Avant-Barb(ie) also asks: “Will
Gerwig’s movie spur further Barbie-related investigations, or will it be
more of a deterrent, for film and video art of the future?”
*Shut Up Barbie* (1974) by Vincent Grenier; 16mm, 13 minutes
*Barbie Dream House* (2018) by Susan Kouguell; digital video, 5 minutes
*I’ve Never Had an Asian Barbie* (2020) by Jessy Jiao; digital video, 2
minutes
*Meryl Fuckin Streep* (2017) by Ava Bogle; digital video, color, sound, 5
minutes
*Barbiemageddon* (2023) by Penumbra Carter; digital video, 55 seconds
*Invasion* (2021) by Penumbra Carter; digital video, 35 seconds
*Out and about with Barbie* (2021) by Penumbra Carter; digital video, 48
seconds
*Big Gurl* (2006) by Lauren Kelley; digital video, 7 minutes
*Barbie’s Audition* (1995) by Joe Gibbons; pixelvision video screened as
digital video, 9 minutes
*Erotica* (1989) by Lucretia Knapp; VHS screened as digital video, 3 minutes
*Sally Cheesey Raffelyell* (1992) by Lucretia Knapp; Hi-8 video screened as
digital video, 5 minutes
*PRISM Break Barbie* (2013) by Addie Wagenknecht; digital video, 1 minute
*Hello Barbie: The First Dispatch* (2020) by Faith Holland; digital video,
8 minutes
*Black Moses Barbie* (Harriet Tubman Commercial) (2011) by Pierre Bennu;
digital video, 1 minute
*Burka Barbie* (2014) by Narcissister; digital video, 5 minutes
*23 Barbiepuppen kippen um (23 Barbie Dolls Tip Over)* (1988) by Dagie
Brundert & Gesine Jochems, Super-8mm screened as digital video, 3 minutes
*FRIDAY, MAY 17, 2024* *May 17 - 19*
Venue type: *Live, physical event*
Anthology Film Archives
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times vary, see below,
32 Second Avenue, New York, NY
*ILLUMINATED HOURS: THREE EVENINGS WITH NATHANIEL DORSKY AND JEROME HILER*
In conjunction with a major retrospective at the Museum of Modern Art
devoted to the work of both Nathaniel Dorsky and Jerome Hiler, Anthology
will welcome the two filmmakers back to the Maya Deren theater – where
we’ve presented several memorable programs of their work over the years –
for a weekend of rare screenings encompassing Hiler’s 1995 film *GLADLY
GIVEN*, two of Dorsky’s most inspiring works (*VARIATIONS* and *AUGUST AND
AFTER*), and very special projections of Dorsky’s intimate Kodachrome
originals and dailies. These are unique personal prints and spliced camera
reversal footage from 1995 through 2006, some of it unedited (the *KODACHROME
DAILIES*) or revisited more than a decade later. Travelogues, portraits of
friends, a document of Stan Brakhage a month before his death, and a
montage of eleven years of footage – these are unassuming, heartfelt films
originally intended for the privacy of the filmmakers’ apartment rather
than a public cinema. The blissful warmth of the original Kodachrome stock
and Dorsky and Hiler’s delicately precise editing combine to make this an
unmissable event!
These screenings coincide with the American release of “Illuminated Hours.
The Early Cinema of Nathaniel Dorsky and Jerome Hiler”, a publication that
brings together texts and images on each filmmaker’s life and work from
childhood to the early 2000s, telling the story of half a century of
self-discovery and personal and artistic relationships. The book’s editors,
Francisco Algarín Navarro and Carlos Saldaña, have guest-curated both this
series and the one taking place at the Museum of Modern Art.
“Illuminated Hours” is presented with generous support from NYU KJCC, NYU’s
Martin Scorsese Department of Cinema Studies, and the Consulate General of
Spain in New York.
Nathaniel Dorsky and Jerome Hiler will be here in person for all three
screenings!
The Museum of Modern Art’s film series, “Illuminated Hours: The Cinema of
Nathaniel Dorsky and Jerome Hiler”, will take place from May 9-16; for more
info visit: https://www.moma.org/calendar/film
Dorsky’s work will also be showcased at Peter Blum Gallery (176 Grand St,
New York), which will present the exhibition “Arboretum Cycle” from May
1-18. The exhibition features the Arboretum portfolio, which extracts
intimate moments of observation from his ARBORETUM CYCLE films, shot
between February and December of 2017. For more info visit:
https://www.peterblumgallery.com/
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NATHANIEL DORSKY & JEROME HILER, PROG. 1 - SOLD OUT!
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May 17 at 7:00 PM
NATHANIEL DORSKY & JEROME HILER, PROG. 2: FIVE KODACHROME ORIGINALS, PART 1
- SOLD OUT!
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May 18 at 7:30 PM
NATHANIEL DORSKY & JEROME HILER, PROG. 3: FIVE KODACHROME ORIGINALS, PART 2
- SOLD OUT!
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May 19 at 7:30 PM
*SATURDAY, MAY 18, 2024* Venue type: *Live, physical event*
Other Cinema
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8pm PT,
ATA Gallery, 992 Valencia (@ 21st), San Francisco, CA
*ARCHIVE FEVER*
BILL MORRISON's INCIDENT + CALONICO/ELSHEIMER's SUDDEN BIRTH +
Bill Morrison, thee Archival Film Artiste of our moment, happens to be a
beloved friend of the Other Cinema family, and tonight he's sharing
thee West Coast premiere of his masterful half-hour re-working of rather
recent and problematic Chicago Police body-cam footage...with Bill's
personal video intro shot in the *Cursed Collector Cave* right under our
floor! Co-billed is Scott Calonico/Skip Elsheimer's (A/V Geeks)
incredible educational-film de-construction *Everything You Always Wanted
to Know* *about Sudden Birth*. Port Costa's Ian Saroka kicks in a hefty
excerpt about his discovery of a hidden Slovenian Film Archive, *Greetings
from Free Forests*, while media magician Caspar Stracke's *Zuse Strip* anchors
an amazing set of four media-archeological anomalies that also boasts IBM's
'53 mainframe promo *Piercing the Unknown* and Walter Cronkite's
mid-60s internet prototypes. Our curiosity also leads us to the famous
lost-and-found S8 reel shot on the Altamont stage, a
disco-fuelled Oscar Mayer weiner industrial, and Justin Rhody's massively
collaborative *Potemkin* exquisite corpse! PLUS a Bruce
Conner rarity, Standish Lawder's legendary *Dangling Participle**,* and free
cookies!!
*___________________________________________________________________*
Venue type: *Live, physical event*
No Name Cinema
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7pm MST,
No Name Cinema, 2013 Pinon Street, Santa Fe, NM
*COURTNEY STEPHENS*
*Terra Femme* (hour long live archival film performance)
"...an essay film comprised of amateur travelogues filmed by women in the
1920s-1950s. The piece weaves between geographical essay, personal inquiry,
and historical speculation, examining these films as both private documents
and accidental ethnographies. The films present a new type of traveler: no
longer a male seeker of conquests, she might be a divorcee on a tour of
biblical gardens, or a widow on a cruise to the North Pole. Representing
the world through women’s eyes, the films raise questions about female
representation in the archive, the role of amateurism in early non-fiction
filmmaking, and the politics of the Western gaze. At once a film about
longing for past worlds through cinematic excavation, this force flows in
both directions: as women from the past search for self-making in the act
of looking." -LightDox
with opening short (filmed in New Mexico) *Ida Western Exile* (2014, color
and b/w, sound, 9 min)
"Using the framework of O’Keeffe’s iconic sojourn to Ghost Ranch, New
Mexico, where she lived alone in the latter part of her life and created
desert-inspired masterworks, Stephens explores what this sort of elective
isolation might look like for a woman living in today’s world of
information overload.... Familiar images of O’Keeffe on the ranch are
accompanied by an anonymous woman’s tightly-wound phone calls with customer
service representatives from places like Expedia and Starkist as she plans
a trip alone out west, wondering about everything from mercury levels in
tuna to weapons she’ll need for self-defense.... Ghost Ranch was itself the
site of several late Westerns, including Silverado and Cowboys vs. Aliens.
Here, the American West’s reputation for masculine adventure and
reinvention is re-envisioned through Stephens’s eyes as space for female
exploration and escape. There’s a tension, however, between this pull
toward oblivion, and the knowledge of the inherent risk involved in
traveling alone as a woman. These phone calls reveal one woman’s
conflicting hopes and fears as she prepares to embark on a journey. It’s
unclear whether it’s real, or simply a fantasy of finding one’s own agency
in the vast expanses of unfamiliar territory." -Le Cinema Club
*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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