[Frameworks] This Week in Avant Garde Cinema: September 14 - 22, 2024
This Week
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Mon Sep 16 13:04:01 CDT 2024
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*This Week [September 14 - 22, 2024] in Avant Garde Cinema*
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*DEADLINES APPROACHING*
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*sorted by submission deadline*
09.16.2024 Slamdance Film Festival
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(Late Deadline)
09.20.2024 21st accordi @ DISACCORDI
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10.01.2024 San Diego Underground Film Festival
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(Regular Deadline)
10.01.2024 Single Frame
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(Early Deadline)
10.01.2024 International Short Film Festival Oberhausen
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(Early Deadline)
10.01.2024 Berwick Film & Media Arts Festival
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(Final Deadline)
10.31.2024 MONO NO AWARE Festival
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11.01.2024 Wide Open Experimental Film Festival (Regular Deadline)
11.08.2024 Coney Island Film Festival
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(Regular Deadline)
11.15.2024 Cosmic Rays Film Festival
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11.30.2024 Interbay Cinema Society Lightpress Grant
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12.15.2024 Strangloscope Experimental International Festival
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(Extended Deadline)
*EVENTS*
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*complicated sorting but a true attempt, enjoy!*
This week's programs (summary):
- Nothing Is Perfect And Everything Is Perfect
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[September
13-14, Atlanta, GA]
- Body Prop by M Woods w/Coin Celleil at Peripheries 2024
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=7fb9080fd6&e=857b71a9cb>
[September 13-29, Chicago, IL]
- EC: Joseph Cornell
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[September
14, New York, NY]
- Earth, Air, Fire, Water
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[September
14, San Francisco, CA]
- Experimentations: Imag(In)Ing Knowledge In Film PGM 1
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[September
15, Los Angeles, CA]
- Experimentations: Imag(In)Ing Knowledge In Film, PGM 2
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[September
15, Los Angeles, CA]
- EC: Conner / Conrad
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[September
15, New York, NY]
- Of Memory And Association: The Films of Philip Hoffman
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[September
17, Vancouver, BC, Canada]
- 16mm Dada/Surreal Cinema of Hans Richer, Dimitri Kirshoff
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[September
18, San Francisco, CA]
- Rick Prelinger Presents
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[September
18, San Francisco, CA]
- Experimentations: Imag(In)Ing Knowledge In Film PGM 3
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[September
19, Los Angeles, CA]
- Connectivity Through Cinema Presents: The Films of Derrick Schultz
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[September
20, Brooklyn, NY]
- Decoys: The Films of Alee Peoples
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[September
20, New York, NY]
- Speaking In Camouflage: Christopher Harris
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[September
20, New York, NY]
- A Salon With Philip Hoffman
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[September
20, San Francisco, CA]
- Made by Hand: Phil Hoffman's Film Farm 30th Anniversary
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[September
21, San Francisco, CA]
- Bricks Laid By Hand: The Films of Christopher Harris
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[September
21-27, New York, NY]
- Phil Hoffman Shorts: of Memory & Association
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[September
22, Oakland, CA]
- The Long Conversation
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[ongoing, online]
- 6x6 Project: Artists' Moving Image Works
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[ongoing,
online]
*STARTING BEFORE SATURDAY, SEPTEMBER 14, 2024* *September 13 - 14*
Venue type: *Live, physical event*
Off the Wall
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8pm ET both nights,
Off the Wall, 725 Ponce de Leon Ave NE on the Atlanta Beltline, Atlanta, GA
*Nothing is perfect and everything is perfect*
This program takes its name from novelist, activist, and Georgia native
Alice Walker’s quote, “In nature, nothing is perfect and everything is
perfect. Trees can be contorted, bent in weird ways, and they’re still
beautiful.”
The all star lineup of film and video artists includes work by Kate
Balsley, Cecelia Condit, Ufuoma Essi, Jodie Mack, Rachel Parish, Sabrina
Ratté, Deanna Sirlin, Cauleen Smith, Deborah Stratman, Malena Szlam, Masha
Vlasova, Jennifer West.
This program takes these words to heart, contorting and bending to explore
stunning visions of nature by contemporary women artists. Addressing the
human impact on our world and exploring environmental beauty in equal
measure, these films take viewers from psychedelic South American
landscapes to cosmos-spanning ecocriticism, and from the earliest
photographic techniques to meditations on today’s AI and digital
technologies. Themes of care, dissent, critique, awe, and self-preservation
all dovetail in this kaleidoscopic collection of cinematic perspectives
questioning what it means to see and hear the “natural” world today.
Off the Wall is the largest movie screen in the Southeast, illuminating
Atlanta's Beltline Trail with film and video art from around the world.
Curated by Gregory Zinman.
IG + X: @offthewall725
*___________________________________________________________________*
*September 13 - 29*
Venue type: *Live, physical event*
Peripheries Experimental Film and Video Festival
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6:30PM CT,
Sweet Void Cinema, 3036 W Chicago Ave 1W, Chicago IL, 60622
*BODY PROP by M Woods w/ COIN CELLEIL at Peripheries 2024 | Hosted at Sweet
Void*
Sweet Void Cinema will be screening a radical double feature with the cult
omnibus film *COIN CELLEIL* opening for the world premiere of M. Woods' 3rd
feature film *BODY PROP*.
6:30PM - *COIN CELLEIL* by Various Artists (2023), an omnibus remake of
Chris Marker's *Sans Soleil*. It was originally shared as a series of reels
on the instagram account @coincellpro7 Follow @coincelhoe
8:30PM - *BODY PROP* by M. Woods (2024) 75’, an avant-garde essay film and
attack against the ontology of white imperialism. Made of mostly
hand-processed super 8mm film, 16mm, and archival video. The piece, in five
movements, takes on the subject of the Body as a prop, as a body politic,
as a simulation, and as a necropolitical expense, creating a “Cadaver
Decomposition Island” of discarded scraps of Super 8 and archival material
to reveal the shadow of US nihilism within the advanced stage of
hyperreality.
Combining original manifestoes (in the style of Situationism) with excerpts
of Jean Baudrillard’s *A System of Objects*, Sartre’s *Being and
Nothingness* and other treatises on phenomenological existentialism,
Biblical passages from Genesis and Ecclesiastes, impeachment transcripts,
*Beloved* by Toni Morrison, the speeches of Malcolm X, YouTube news
archives, and dozens of other texts in conversation in a tumult of signs,
oscillating in a trance between attempting to situate within and
disassociate from the Body Prop. The cinema itself is a Body Prop -
simultaneously full and devoid of feeling and senses. Featuring an original
score composed of Hip-Hop beats and soundscapes created by director M Woods.
Select movements from *Body Prop* have been screened internationally
including at the Oberhausen International Short Film Festival, VideoEx,
Peripheries Experimental Film & Video Festival, the Ann Arbor Film
Festival, and the Athens International Film and Video Festival. WARNING: *Body
Prop* contains accounts and representations of racism, violence, sex, and
nudity. Parts of this work are based on actual events. Some parts contain
fast edits and strobing imagery and that may negatively impact those
viewers with epilepsy and other light-sensitive disorders.
*SATURDAY, SEPTEMBER 14, 2024* Venue type: *Live, physical event*
Anthology Film Archives
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3:45pm ET,
32 Second Avenue, New York, NY
*EC: JOSEPH CORNELL*
Unless otherwise noted, all the films in this program are silent. With the
exception of *GNIR REDNOW*, all films have been preserved by Anthology Film
Archives.
*ROSE HOBART* (ca. 1936/68, 20 min, 16mm, sound)
*CENTURIES OF JUNE* (1955, 10 min, 16mm. Photographed by Stan Brakhage.)
*THE AVIARY* (1954, 11 min, 16mm. Photographed by Rudy Burckhardt.)
*GNIR REDNOW* (1955, 5 min, 16mm. Photographed by Stan Brakhage.)
*NYMPHLIGHT* (1957, 8 min, 16mm. Photographed by Rudy Burckhardt.)
*A LEGEND FOR FOUNTAINS* (1957/65, 17 min, 16mm. Photographed by Rudy
Burckhardt; completed by Lawrence Jordan.)
*ANGEL* (1957, 3 min, 16mm. Photographed by Rudy Burckhardt.)
“[*ROSE HOBART*] is a breathtaking example of the potential for
surrealistic imagery within a conventional Hollywood film once it is
liberated from its narrative causality. […] In Cornell’s later films – both
those photographed by Rudy Burckhardt, Stan Brakhage, and Larry Jordan and
the collage films which Jordan completed – Joseph Cornell describes the
marginal area where the conscious and the unconscious meet. These are films
which affirm a sustained present moment in which a quality of reminiscence
is implicated.” –P. Adams Sitney, VISIONARY FILM
Total running time: ca. 80 min
*___________________________________________________________________*
Venue type: *Live, physical event*
Other Cinema
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8pm PT,
ATA Gallery, 992 Valencia (@ 21st), San Francisco, CA
*EARTH, AIR, FIRE, WATER*
KORNELIA's INTERAKTIVE ECO-KINO!
Exquisitely curated by that canny Polish critic—now almost a regular figure
in the Bay Area film family that she’s chosen to adopt—here’s a living,
breathing, oh-so-fresh program of small-gauge moving-image artworks that
specifically focus on the Natural World. Selecting titles of tangible
sensory power that provide a boldly physical, almost immersive viewing
experience, Ms. Boczkowska--in a triumphant return from last season’s *Road
Movie* tour–now promises a panoply of new pieces from world-renown masters
such as Laura Kraning, Julie Murray, Tomonari Nishikawa, Emily Richardson,
and Melissa Faivre, mixed in with our own in-the-flesh local heroes Dominic
Angerame, Scott Stark, and Toney Merritt (world premiere)! Thematically
organized within elemental sub-sets, the unprecedented accessing of
contemporary international artists brings very many previously unseen
perspectives to a community voraciously hungry for a revelatory visual
poetics of the environment.
*SUNDAY, SEPTEMBER 15, 2024* Venue type: *Live, physical event*
LA Filmforum
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3pm PT,
2220 Arts + Archives, 2220 Beverly Blvd., Los Angeles, CA 90057
*Experimentations: Imag(In)ing Knowledge in Film PGM 1: Feminist Film
Experiments with Science*
Curated by Jennifer Lynn Peterson
*Pwdre Ser, the rot of stars*, by Charlotte Pryce, 2018, 16mm film to
digital, sound, 7min
*The Jollies*, by Rachel Mayeri, 2016, digital, color, sound, 12min
*We Rule*, by Catherine Chalmers, 2014, digital, color, sound, 4min
*Wolf Release*, by Bill Basquin, 2018, digital, color, sound, 10min
*Wasteland No. 2: Hardy, Hearty*, by Jodie Mack, 2019, 16mm, color, silent,
7min
*...These Blazeing Starrs!*, by Deborah Stratman, 2011, 16mm, color, sound,
14min
*the air we breathe*, by Christina Battle, 2023, digital, color, sound, 9min
*How a Sprig of Fir Would Replace a Feather*, by Anna Kipervaser, 2019,
digtal, color, silent, 8min
*in ocula oculorum*, by Anna Kipervaser, 2021, digital, color, sound, 12min
*Wasteland No. 3: Moons, Sons*, by Jodie Mack, 2021, 16mm, color, silent,
5min
This screening presents a sample of contemporary experimental films that
explore science from feminist perspectives. To the extent that one can
generalize about feminist experimental film, we might say it is known for
its critique of gender, sexuality, and representations of the body. But in
the past quarter-century, feminist experimental filmmaking has been
transformed by new contexts, new ideas, and new points of departure. Rather
than a unitary singular subject, much recent experimental film is more
interested in hybrids, networks, collectivities, and blurred boundaries.
Not only has the status of the personal shifted, but a new set of
generational concerns has emerged such as intersectionality, trans and
nonbinary gender identities, decolonization, environmentalism, and
human-nonhuman entanglements, to name just a few. In many recent
experimental films we can detect a skepticism about personal
self-expression, replaced by an ambitious critical interrogation of the act
of representation and knowledge-making itself, often deployed with
strategies of convolution or play. This shift marks as a turn away from the
singular, fixed, psychological self of modernity and a turn toward the
manifold, fluid, material self of the Anthropocene.
Some of the films in this screening play with the tradition of the natural
history film, visualizing the life cycles of animals and plants using
microscopy, time lapse, and other forms of cinema-specific manipulation.
Other films explore the limits of cinema’s ability to represent natural
phenomena, displaying affinities with scientific observation but diverging
from science in their goals. Some of these filmmakers use “laboratory”
methods, balancing the rigors of artmaking against the repetitive and
sometimes wild practices of experimentation. Many of these films visualize
subjects in the natural sciences such as biology, zoology, botany, or
geology. Questioning scientific objectivity, deconstructing traditions of
scientific visualization, and deploying an array of cinematic techniques,
these feminist artists demonstrate experimental film’s ongoing, provocative
engagement with science.
Screening followed by a panel: *Thinking about Scientific Imagery in
Experimental Films* with Jennifer Lynn Peterson, Charlotte Pryce, Rachel
Mayeri, Cherlyn Hsing-Hsin Liu, moderated by Jheanelle Brown. 4:45 – 6:00pm.
Experimentations: Imag(In)ing Knowledge in Film is Filmforum’s expansive
film series and upcoming publication that investigates the ways that
experimental and scientific films produce and question the visualization of
the world. Combining artist films utilizing scientific imagery, science and
natural history films, and films of indigenous and traditional knowledge,
the series examines how science, nature, and technology films shape our
understanding of humans, nature, gender, knowledge, and progress. The
multi-venue public screening series presents analog and digital time-based
media incorporating diverse scientific and experimental film traditions
from across the globe. The series will include eighteen screenings between
September 2024 and February 2025, with films and digital works from 1874 to
today from around the world, multiple guests, panels and wonderful
collaborations that will reveal the possibilities and circumstances of
cinema in this realm.
Experimentations: Imag(in)ing Knowledge in Film is among more than 70
exhibitions and programs presented as part of PST ART. Returning in
September 2024 with its latest edition, PST ART: Art & Science Collide,
this landmark regional event explores the intersections of art and science,
both past and present. PST ART is presented by Getty. For more information
about PST ART: Art & Science Collide, please visit: pst.art
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*___________________________________________________________________*
Venue type: *Live, physical event*
LA Filmforum
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7:30pm PT,
2220 Arts + Archives, 2220 Beverly Blvd., Los Angeles, CA 90057
*Experimentations: Imag(in)ing Knowledge in Film PGM 2: Rethinking Bodies,
Rethinking Gender: Biology’s Expansive Otherworlds*
Curated by Jheanelle Brown
*Our Body is a Planet*, by Léonie Hampton, 2022, digital, color, sound,
11min
*Yummy Body Truck*, by Noam Youngrak Son, 2021, digital, color, sound, 7min
*How Old Are You? How Old Were You? 入世*, by Cherlyn Hsing-Hsin Liu, 2017,
16mm, color, sound, 16min
*The Posthuman Hospital*, by Junha Kim, 2023, 5min
*Mother is a Woman*, by Jes Fan, 2018, 4min
*Xenophoria*, by Jes Fan, 2018-2020, 7min
*Autodidact*, by Jeamin Cha, 2014, South Korea, HD digital, color, sound,
9min
*Bodies and Places are Contiguous*, by Maria Fernandez Pello, 2021, 10min
Bodies in flight, bodies in stasis. Our bodies are bound by both the
current reality and aspirational future of science, but expand even further
in the search for an otherwise. This program takes as its jumping-off point
questions, experiments, and memories of the body, wrestling with history,
memory, gender, social institutions. Junha Kim and Noam Youngrak Son
approach deconstructions of humanism and socially-encoded bodies with
whimsy and sardonic humor. Léonie Hampton, Maria Fernandez Pello, and
Cherlyn Hsing-Hsin Liu hone in on the atmospheric intimacy of human bodies
and the memories they hold. Jeamin Cha and Jes Fan present the expansive
potential of scientific practices that inform race, history, violence, and
personhood.
Experimentations: Imag(In)ing Knowledge in Film is Filmforum’s expansive
film series and upcoming publication that investigates the ways that
experimental and scientific films produce and question the visualization of
the world. Combining artist films utilizing scientific imagery, science and
natural history films, and films of indigenous and traditional knowledge,
the series examines how science, nature, and technology films shape our
understanding of humans, nature, gender, knowledge, and progress. The
multi-venue public screening series presents analog and digital time-based
media incorporating diverse scientific and experimental film traditions
from across the globe. The series will include eighteen screenings between
September 2024 and February 2025, with films and digital works from 1874 to
today from around the world, multiple guests, panels and wonderful
collaborations that will reveal the possibilities and circumstances of
cinema in this realm.
Experimentations: Imag(in)ing Knowledge in Film is among more than 70
exhibitions and programs presented as part of PST ART. Returning in
September 2024 with its latest edition, PST ART: Art & Science Collide,
this landmark regional event explores the intersections of art and science,
both past and present. PST ART is presented by Getty. For more information
about PST ART: Art & Science Collide, please visit: pst.art
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=ea6aab437e&e=857b71a9cb>
*___________________________________________________________________*
Venue type: *Live, physical event*
Anthology Film Archives
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4pm ET,
32 Second Avenue, New York, NY
*EC: CONNER / CONRAD*
Bruce Conner
*A MOVIE* (1958, 12 min, 16mm)
*COSMIC RAY* (1961, 4 min, 16mm)
*REPORT* (1965, 13 min, 16mm)
“Conner stands as a kind of twentieth century Peter Breughel. For like the
great Flemish master he distorts the visible world in order to penetrate a
reality of being rather than appearances; his vision is cosmic in breadth;
he deals with some of the most provocative issues, both artistic and
otherwise, of his time; and finally, with an evocative ambiguity and
painful irony he touches something which we sometimes call the human
experience.” –Carl I. Belz, FILM CULTURE
*COSMIC RAY* and *REPORT* have been preserved by Anthology through the
National Film Preservation Foundation’s Avant-Garde Masters Grant program
funded by The Film Foundation.
Tony Conrad
*THE FLICKER*
(1966, 30 min, 16mm. Preserved by Anthology with funding provided by the
National Film Preservation Foundation.)
“*THE FLICKER* is a tremendous harnessing of the raw power, the elemental
material of the cinematic medium – light itself – to transport the
spectator slowly at first, hardly perceptibly, then accelerating, through a
non-objective non-abstract world of sheer energy. Time becomes the
compelling pulse of white into black and back, space becomes the unbounded
expansion and contraction of force; the screen becomes a new sun, the
audience its creatures.” –Ken Kelman
Total running time: ca. 65 min
*TUESDAY, SEPTEMBER 17, 2024* Venue type: *Live, physical event*
Simon Fraser University
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6pm PDT,
Djavad Mowafaghian Cinema, SFU School for the Contemporary Arts, 149 W.
Hastings St., Vancouver, BC, Canada
*Of Memory and Association: THE FILMS OF PHILIP HOFFMAN*
Philip Hoffman, Canada's pre-eminent diary filmmaker and founder of the
analog summer Film Farm Retreat, will be making a rare visit to Vancouver
to screen his films along with a special live performance with
Toronto-based poet Gerry Shikatani. Hoffman will be in attendance for the
event, and a discussion with filmmaker Terra Long will follow the screening.
*Chimera* (15 min., orig s8 to 16mm optical printed to HDV, Sd., 1995)
*By The Time We Got To Expo* (9 min., orig S8/16mm to HDV, Sd., 2015. With
Eva Kolcze)
*Kokoro is for Heart* (7 min., orig 16mm optical printed, Sd., 1999. With
Gerry Shikatani)
*endings* (9:30 min., orig 16mm, Sil.&Sd., 2024. With Isiah Medina)
*Flowers #3 (Kissed by the Sun)* (10 min., orig 35mm photogram to HDV,
Sil., 2024)
*Deep 1* (15 min, orig 16mm flower processed (hyacinth & lichen), Sd &
Sil., 2023)
*Please be advised: Strobe Lighting effects will be present in some of
these films.*
The SCA acknowledges the occupied and unceded Traditional Coast Salish
Lands including the Squamish (Sḵwx̱wú7mesh Úxwumixw), Tsleil-Waututh
(səl̓ilw̓ətaʔɬ) and Musqueam (xʷməθkʷəy̓əm) Nations.
*WEDNESDAY, SEPTEMBER 18, 2024* Venue type: *Live, physical event*
Renegard Cinema (aka Films with Friends)
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6pm PT,
Beat Museum, 540 Broadway, San Francisco, CA
*16mm DADA/SURREAL CINEMA OF HANS RICHER, DIMITRI KIRSHOFF*
16 mm of many short films of Hans Richter from 1921-1927:
*Rhythmus 21* 16mm (1921)
*Rhythmus 23* 16mm (1923)
*Symphony Diagonale* - with Viking Eggling 16mm (1924)
*Filmstudie* 16mm (1926)
*Inflation* 16mm (1928)
*Race Symphony* 16mm (1928)
*Ghosts Before Breakfast *16mm (1929)
*Menilmontant* by Dimitri Kersanoff 16mm (1926)
*___________________________________________________________________*
Venue type: *Live, physical event*
Renegard Cinema (aka Films with Friends)
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7:30PM PT,
Savoy Tivoli, 1434 Grant Ave, San Francisco, CA
*Rick Prelinger Presents*
Rick Prelinger Presents “San Francisco Lost Landscapes: Found Home Movies"
*THURSDAY, SEPTEMBER 19, 2024* Venue type: *Live, physical event*
LA Filmforum
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7:30pm PT,
Eagle Theatre at Vidiots, 4884 Eagle Rock Blvd, Los Angeles, CA 90041
*Experimentations: Imag(In)ing Knowledge in Film PGM 3: Between Land and
Sky, Accounting for the In-Between*
Curated by Jane de Almeida and Jheanelle Brown.
*Solar Eclipse*, by Nevil Maskelyne, 1900, digital version, b&w, silent, 1
min
*Brilliant Noise*, by Semiconductor, 2006, digital, b&w, sound, 5:47
*Nostalgia for the Light*, by Patricio Guzmán, 2010, digital, color, sound,
90 min.
This program takes Césaire and Wynter’s call for a science of the word as a
point of reference. Chile’s Atacama Desert is a natural environment where
the heat of the sun keeps human remains intact (such as those of
Pre-Columbian mummies; 19th century explorers and miners; and the remains
of political prisoners, "disappeared" by the Chilean army after the
military coup of September, 1973). Astronomers also flock to the food of
the mountains to study space while the surviving relatives of the
disappeared search for their bodies nearby. Guzman, a stalwart and champion
of third cinema, the anti-capitalist, socialist cinema movement of Latin
America, Africa, and Asia, uses the Atacama Desert as a stand-in for the
expanse of the human condition, undergirded by the scientific wonder that
the desert propagates. His feature film *Nostalgia for the Light* will be
preceded by *Solar Eclipse*, the first known moving image captured of space
as a way to orient the audience towards the wonders of our solar system
before challenging the way it is romanticized in popular media and *Brilliant
Noise*, a granular and intimate look at the Sun.
Experimentations: Imag(In)ing Knowledge in Film is Filmforum’s expansive
film series and upcoming publication that investigates the ways that
experimental and scientific films produce and question the visualization of
the world. Combining artist films utilizing scientific imagery, science and
natural history films, and films of indigenous and traditional knowledge,
the series examines how science, nature, and technology films shape our
understanding of humans, nature, gender, knowledge, and progress. The
multi-venue public screening series presents analog and digital time-based
media incorporating diverse scientific and experimental film traditions
from across the globe. The series will include eighteen screenings between
September 2024 and February 2025, with films and digital works from 1874 to
today from around the world, multiple guests, panels and wonderful
collaborations that will reveal the possibilities and circumstances of
cinema in this realm.
Experimentations: Imag(in)ing Knowledge in Film is among more than 70
exhibitions and programs presented as part of PST ART. Returning in
September 2024 with its latest edition, PST ART: Art & Science Collide,
this landmark regional event explores the intersections of art and science,
both past and present. PST ART is presented by Getty. For more information
about PST ART: Art & Science Collide, please visit: pst.art
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*FRIDAY, SEPTEMBER 20, 2024* Venue type: *Live, physical event*
MONO NO AWARE
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7pm ET,
33 FLATBUSH AVENUE, BROOKLYN, NY
*CONNECTIVITY THROUGH CINEMA PRESENTS: THE FILMS OF DERRICK SCHULTZ*
*Derrick Schultz in person!*
Modern Technology is a collection of films by Derrick Schultz exploring the
blurred boundaries between "modern" technologies (machine learning,
algorithmic systems, printers and scanners) with "old" technologies
(photochemical and light sensitive film and materials). In contrast to the
tribalism of filmmaking today, Modern Technology celebrates the strengths
and weaknesses of these tools, and questions why we define technology as
old or new.
*Fright Night (Scream Scenes Day 24)* (2022, 2min, digital)
*Cellular Reconstruction* (2023, 2min, 16mm)
*Floral Zombification via Attention Node Networks* (2024, 5min, digital)
*• *(2024, 10min, 16mm)
*Electro Static Black Sun* (2024, 4min, digital)
*Selfie Song (Mono JK Edit)* (2023, 2min, 16mm)
*Selfie Song (Mixed Reality Edit)* (2024, 6min, digital)
*Barkelona* (2024, 2min, 16mm)
*B.K.S.O.M.* (2022–2024, 10min, digital)
TRT: 45 minutes
Derrick Schultz is a post-AI artist and filmmaker. His practice encompasses
media art, computational and photochemical filmmaking, and generative art.
His work draws a connection between technologies of the past with
technologies of the future, using it to critically assess modern culture
and its lineage. His work has been shown at workshops such as CVPR and
NeurIPS and for clients such as the New York Times, HP, and The New Yorker.
In addition to his art practice, Derrick teaches generative media courses
at NYU’s ITP, Aprender, and private courses and workshops for individuals
and companies. He lives in Brooklyn, NY with his wife and two cats.
The CONNECTIVITY THROUGH CINEMA series will present the work of artists,
film-makers and curators who are traveling or presenting special
interactive programs in-person. Our hope is to engage the community by
showing work with a focus on post-screening discussion. This series is made
possible by support from the New York State Council on the Arts (NYSCA).
LIMITED ATTENDANCE TO 30 - MASKS AVAILABLE
*___________________________________________________________________*
Venue type: *Live, physical event*
Whitney Museum of American Art
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7pm ET,
Floor 3, Theater, Whitney Museum of American Art, 99 Gansevoort Street, New
York, NY 10014
*Speaking in Camouflage: Christopher Harris*
As part of *Whitney Biennial 2024: Even Better Than the Real Thing*, this
film program organized by guest curator Greg de Cuir Jr. explores a body of
work by Christopher Harris, one of the most important Black film artists to
emerge since the year 2000. Harris’s work expresses a fidelity to the
materiality of analog film and a structuring concern for Black peoples and
culture, while functioning under the influence of free jazz and other
avant-garde musical forms. This program features the global premiere of two
new films, *b/w* and *Speaking in Tongues: Take One*, as well as the
premiere of a newly restored print of Harris’s early masterwork *still/here*
.
The screening will be followed by a conversation between Christopher
Harris; editor, writer, and curator Dessane Lopez Cassell; and Michael B.
Gillespie, Associate Professor in the Martin Scorsese Department of Cinema
Studies at New York University. Conversation participants are subject to
change.
*b/w*, 2023, 16mm film, black-and-white, silent; 3 min.
*Speaking in Tongues: Take One*, 2024. 16mm film to digital,
black-and-white, sound; 15 min.
*still/here*, 2000–1. 16mm film, black-and-white, sound; 60 min.
*___________________________________________________________________*
Venue type: *Live, physical event*
Anthology Film Archives
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7:30pm ET,
32 Second Avenue, New York, NY
*DECOYS: THE FILMS OF ALEE PEOPLES*
FILMMAKER IN PERSON!
Over the last fifteen years, Alee Peoples has developed a varied artistic
practice that involves screen-printing, sewing, sculpture, and film. The
diversity of her interests and concerns, and her investment in the
handmade, are unmistakably reflected in her Super-8 and 16mm works, which
are some of the most distinctive and striking experimental films in recent
memory. Her moving-image work incongruously combines a conceptually
rigorous concern with the interplay of language and image, signal and
sound, with a distinctly West Coast, pop-influenced sense of humor and
range of references. On one level, her films are united by their
near-constant play with displacements and disjunctions. Her works are full
of “decoys” (to quote one of her films, of things “pretending to be
something else”): objects becoming confused with symbols, letters doubling
as physical objects, abstractions blurring into the figurative and vice
versa, lip-synced recordings, mechanical figures that become human, and so
on. And yet all this categorical slippage and semiotic play is fused with a
series of vibrant and inspired conceits: an exploration of grief via
reenacted passages from THE *NEVERENDING STORY*, a slapstick pas de deux
involving a standup comic and a spotlight, the definitive filmic study of
the motorized sign-waving mannequin, etc. The result is a group of films
that are as inventive and unpredictable as they are formally and
thematically rich.
“Peoples is a beacon of understatement, her films welcoming the wackiest
elements (skydancers, mall fountains, noisemakers) only to mute them to the
point of bone-dry comedy. She can make cypress trees dance in the sky,
produce a perfectly sculpted shot of a railroad crossing sign coming down
in front of a mediocre town mural, and still bulldoze through a canyon with
a pair of red and blue punch-balloons. All the clichés of Greater L.A. are
putty in Alee Peoples’s hands.” –Michael Sicinski
*THEM ORACLES* (2012, 7.5 min, 16mm)
A skeptic investigation of what an oracle can be and what it would sound
like. Human desire and blind faith allow, and maybe even will, these mystic
soothsayers to exist.
*NON-STOP BEAUTIFUL LADIES* (2015, 9 min, 16mm)
A Los Angeles street film starring empty signs, radio from passing cars,
and human sign spinners, some with a pulse and some without.
*SPOTLIGHT ON A BRICK WALL* (2016, 8 min, 16mm. Made in collaboration with
Mike Stoltz.)
A performance film that navigates expectations of both the audience and the
makers. A series of false starts. Dub treatment on the laugh track.
*CROWNING GLORY* (2008, 5 min, Super-8mm-to-digital)
Highlighting parallel feelings of pride and ownership versus skepticism and
rebellion. A collection of American symbols that adorn the head, this film
resuscitates them with psychic-punk aesthetics.
*DECOY* (2017, 10.5 min, 16mm)
The film sees bridges and walls as binary opposites and relates them to
impostors in this world. Humans strive for accuracy. You don’t always get
what you wish for.
*STANDING FORWARD FULL* (2020, 5.5 min, 16mm)
A helter skelter is an amusement ride with a spiral slide built around a
tower. Like this film, an exorcism attempt of an unrequited desire, it’s
either moving too fast or at a complete standstill. Disorienting but
exciting.
*HEY SWEET PEA* (2023, 11 min, 16mm)
Parental aging and an existential wave collide together in funny ways. *HEY
SWEET PEA* borrows scenes from the 1984 children’s sci-fi movie *THE
NEVERENDING STORY* to process our collective grief.
TRT: 60 min
*___________________________________________________________________*
Venue type: *Live, physical event*
Canyon Cinema
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7pm PT,
16 Sherman Street, San Francisco, CA
*A Salon with Philip Hoffman*
Philip Hoffman in person!
Kicking off a whirlwind weekend of Bay Area events, Canyon Cinema is
pleased to welcome Canadian film experimentalist and longtime artist member
Philip Hoffman to 16 Sherman for a screening of his 2019 feature, *vulture*.
The film follows winged and four-legged animals, both wild and domestic, as
they traverse the frame marked by a hand-made practice. Like all of
Hoffman’s recent work, *vulture* makes use of several processing methods,
including flower/plant hand-processing and decay. Minute inter-species
exchanges surface throughout the film, which received the Kodak Cinematic
Award at the 2019 Ann Arbor Film Festival, the Fugas International Jury
Prize for Best Film Award at Documenta Madrid in 2020, and the
Environmental Certificate for Eco-Sensitivity, at Docpoint in Helsinki in
2020.
*vulture* is preceded by two films made at the Independent Imaging Retreat
(Film Farm), which takes place annually on Hoffman’s farm in rural
Ontario: *Sans
Titre* by former Canyon Cinema Director Maïa Cybelle Carpenter and *Into
the Wild* by Austrian filmmaker Markus Maicher.
As always, this Canyon Cinema Salon event is free and open to the public,
with refreshments served beginning at 7pm and the doors closed for the
start of the show at 7:30. Please note that well-fitting masks (N95 or
KN95) are strongly encouraged, and that the theater’s seating capacity is
extremely limited. An informal conversation with the filmmaker will follow
the screening.
*Sans Titre* (Maïa Cybelle Carpenter, 2001, 8 minutes, 16mm)
*Into the Wild* (Markus Maicher, 2020, 4 minutes, digital file)
*vulture* (Philip Hoffman, 2019, 57 minutes, digital file)
TRT: 70 minutes
A film artist of memory and association, Philip Hoffman has long been
recognized as Canada’s pre-eminent diary filmmaker. He apprenticed in
Europe with Peter Greenaway in 1985, where he made ?O,Zoo! (The Making of a
Fiction Film) (1985), which was nominated for a Canadian Genie Award. On
passing through/torn formations (1988), Stan Brakhage recognized how
“Hoffman’s editing throughout is true to thought process, tracks visual
theme as the mind tracks shape, makes melody of noise and words as the mind
recalls sound.” Hoffman has been honored with more than 25 retrospectives
of his work. Among them was the centrepiece series at the 2001 Images
Festival in Toronto, coupled with the launch of a book titled Landscape
with Shipwreck: First Person Cinema and the Films of Philip Hoffman,
comprising some 25 essays by academics and artists. In 2002, he received
the Golden Gate Award from the San Francisco International Film Festival
and the Gus Van Sant Award from the Ann Arbor Film Festival for What These
Ashes Wanted, a diaristic meditation on loss and grief. In 2009, he
premiered his feature-length experimental documentary, All Fall Down, at
the Berlin International Film Festival. The film is a reflection on
childhood, property, ecology, and love. Hoffman completed three works in
2014: Slaughterhouse (based on his installation for LandSlide, at the
Markham Museum) and Aged, which won awards at the Black Maria Festival in
New Jersey and Onion City Film Festival in Chicago, respectively. In 2016,
Docpoint Documentary Film Festival in Helsinki mounted an “Introspective,”
gathering together five programs of Hoffman’s works, along with works of
students and artists he was involved with during the 1990’s in Finland. In
2016, Hoffman received the Governor General’s Award in Visual and Media
Arts.
Since 1994, Hoffman has been the artistic director of the Independent
Imaging Retreat (Film Farm), a 1-week workshop in artisanal filmmaking in
Mount Forest, Ontario. In 2019 Film Farm celebrated its 25th anniversary
with screenings and a gallery installation at TIFF Bell Lightbox, in
Toronto. In 2024 the workshop is celebrating its 30th Anniversary with
screenings at CamLab in Boston, the S8 Festival in A Coruña, Spain, and
Other Cinema in San Francisco.
*SATURDAY, SEPTEMBER 21, 2024* Venue type: *Live, physical event*
Other Cinema
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8pm PT,
ATA Gallery - 992 Valencia ST, San Francisco, CA
*MADE BY HAND*
Phil Hoffman's Film Farm 30th Anniversary
Rightfully praised as the godfather
of hand-processing workshops, Hoffman has always stood as a lightning-rod
of hope and creative agency through the 30 years of his summer retreats
in Ontario, Canada. He finally blesses the Bay Area with three visits this
week, with this OC program offering the best opportunity to revel at the
most extraordinary 16mm exemplars from his three decades of enlightened
instruction on photochemical experimentation. AND along with Phil himself,
we have five of his graduates here in the flesh, each with their respective
work: Alfonso Alvarez (*Down on the Farm*), Brett Kashmere (*Ghosts of
Empire*), Deirdre Logue (*Scratches*), Rob Butterworth (*Chicken Farm*),
and Annapurna Kumar (*Something to Treasure*)--a veritable 30-year reunion
right here in San Fran*!* ALSO screening are Helen Hills’ *Your New Pig Is
Down the Road**, *David Gatten’s *Hardwood Process*, Jennifer Reeves’ *We
Are Going Home*, Nazli Dincel’s *How to Make a Film*, Clint Enns’ *A Day in
the Shint*, Maia Cybelle Carpenter’s *T**he Shape of the Gaze*, Karel
Doing’s *Dandelion*, Chris Chong’s *Minus*, Janet Cole’s *Gathering*, Francisca
Duran’s *It Matters What*, and Adrian Kahgee’s *Everything Is Right Here*.
PLUS Gilbert with Shapeshifters Beer!
*___________________________________________________________________*
*September 21 - 27*
Venue type: *Live, physical event*
Anthology Film Archives
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times vary, see below,
32 Second Avenue, New York, NY
*BRICKS LAID BY HAND: THE FILMS OF CHRISTOPHER HARRIS*
FILMMAKER IN PERSON!
Anthology is honored to present the first comprehensive retrospective
devoted to the award-winning film artist Christopher Harris. Showcasing his
uncompromising oeuvre – including films on 16mm, new restorations, and
works that are premiering shortly beforehand at the Whitney Biennial 2024 –
the retrospective demonstrates that Harris has created a succinct yet
standout body of work over the past 25 years.
Harris is in a rare class of Black film artists who came of age at a shared
moment and are now at the forefront of moving images in the 21st century.
This includes such resounding names as Kevin Jerome Everson, Arthur Jafa,
and Cauleen Smith, among others. Harris is the consummate slow chef among
this cohort, with each work prepared on a precise and measured schedule,
served up deftly on select occasions. With ten films and one moving image
installation to his credit since the year 2000, Harris’s productivity is
reserved – but if you know, you know: the oeuvre is sublime. Now,
newly-minted as a full professor at Princeton University, his impact and
influence are poised to spread exponentially. After more than two decades
of dedicated activity in film, one gets the feeling that he is just getting
started. Consider this tribute then not an act of looking back, but rather
a forecast of the superlative things to come.
Organized by Greg de Cuir Jr., co-founder + artistic director of Kinopravda
Institute in Belgrade, and curator of film programs for the Whitney
Biennial 2024.
For more info about the screening taking place at the Whitney Biennial on
Friday, September 20, visit:
https://whitney.org/events/speaking-in-camouflage-harris
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Upcoming Screenings
CHRISTOPHER HARRIS: SHORT FILM PROGRAM 1
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September 21 at 6PM
Christopher Harris *still/here* (16mm)
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September 21 at 8PM
September 22 at 6PM
CHRISTOPHER HARRIS: SHORT FILM PROGRAM 2
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September 22 at 8PM
Christopher Harris *still/here* (DCP)
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September 23-27 at 7:15PM & 9PM
*SUNDAY, SEPTEMBER 22, 2024* Venue type: *Live, physical event*
Shapeshifters Cinema
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=97dae82d8f&e=857b71a9cb>
8pm PST,
567 5th St, Oakland, CA
*Phil Hoffman Shorts: Of Memory & Association*
Canadian filmmaker Phil Hoffman (proprietor of the famed Film Farm) will be
joining us to share a program of short films that reflect a mix of formal
experiments and collaborations spanning his 45 year film practice. The
program includes mid-career works which experiment with techniques of
fragmentation through shooting, editing and photo-chemical processes, as
well as more recent works, where the worlds of plants and animals work in
tangent with film chemistry to create unique, process-based documents of
natural ecosystems.
*Kokoro is for Heart *(1999, 16mm shown in DV)
*Chimera* (1995, S8/16mm shown in DV)
*By the Time We Got to Expo* (2015, S8/16mm shown in DV)
*endings *(2024, 16mm shown in DV)
*Flowers #3 (Kissed by the Sun) *(2024, 35mm shown in DV)
*Deep 1* (16mm/35mm shown in DV)
RELATED WORKSHOP: Phil will also be leading the *Botanical Conversations
Workshop* earlier in the day on phyto and photo-gram making.
*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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