This week [February 17 - 25, 2007] in avant garde cinema (part 2 of 2)

From: weekly listing (email suppressed)
Date: Sat Feb 17 2007 - 09:21:40 PST

This week [February 17 - 25, 2007] in avant garde cinema (part 2 of 2)


Chicago, Illinois: Conversations at the Edge
6 pm, 164 N. State St.

   SALLA TYKKÄ IN PERSON! Disquieting and seductive, the work of Finnish
   photographer and filmmaker Salla Tykkä mines the edges of experience
   with the language of our personal and collective dreams. Tykkä..s dense
   symbolic landscapes reimagine Hollywood conventions as dreamlike rites
   of passage fraught with danger and possibility--a shirtless young woman
   boxes a much larger man in POWER (1999); a Tippi Hedren look-a-like is
   pulled underwater in ZOO (2006); and a woman travels into a mysterious
   cavern in CAVE (2003). Also on the program: THRILLER (2001); LASSO
   (1996); among others. Co-presented by CATE and SAIC..s Photographic
   Graduate Committee on Visiting Artists. (1996-2006, Salla Tykkä,
   Finland, various formats, ca. 100 min.).

New York, New York: Anthology Film Archives
7:00 & 9:30, 32 Second Avenue (at Second Street)

   Dir: Peter Fischli and David Weiss. Swiss artists Peter Fischli and
   David Weiss have, since the late 1970s, collaborated in producing
   cunning, devious and very funny works that play with our expectations of
   the everyday. In a wide variety of formats, including photography,
   video, film, installation, and sculpture, Fischli and Weiss have found a
   way to consistently amuse and surprise viewers with their dedication to
   the banal and mundane aspects of life. In their work - which has
   included sculptures constructed from cocktail sausages, installations
   painstakingly refabricating left-over construction materials, and the
   hysterically never-ending film, THE WAY THINGS GO, which follows a
   perpetual-motion machine made up of the contents of their studio -
   everyday objects take on an unexpectedly lifelike quality: they balance
   on each other, play off each other and collide into one another with a
   witty intelligence. Tonight's program presents a selection of their
   WIDERSTAND. 1981, 30 minutes, Super-8 transferred to video, color. A
   bear and a rat are out to make a lot of money - with art. They find a
   corpse in a gallery and, hoping it will prove to be a means of access to
   the worlds of culture, action and finance, they take it along with them.
   However the desired effect is not forthcoming and they become involved
   in questions and observations on the subject of art and crime. "Mining
   both art and artlessness, THE LEAST RESISTENCE [and its companion-piece,
   THE RIGHT WAY] are key moments in the early work of the artists, from
   which many of the themes that recur in their practice begin to unfold.
   The artists, disguised as animals, parody both the art world -
   specifically 1980s Los Angeles - and the wilderness." -Tate Modern. THE
   RIGHT WAY / DER RECHTE WEG. 1983, 55 minutes, 16mm transferred to video,
   sound. In THE RIGHT WAY a bear and a rat - the artists reusing the
   costumes from their film THE POINT OF LEAST RESISTANCE - explore dark
   forests, treacherous ravines and snow-swept glaciers. With no real aim
   in mind, the bear and the rat bungle along in a folk tale of their own
   devising, wondering what they should do and where they should go,
   enjoying nature together, foraging for sustenance, getting lost,
   squabbling, joking and making music along the way. Both monumental and
   intimate, serious and hilarious, THE RIGHT WAY suggests how any way -
   whether straight, crooked or both - may be made into the right one. THE
   WAY THINGS GO / DER LAUF DER DINGE. 1987, 30 minutes, 16mm, color.
   Distributed by First Run/Icarus Films. Inside a warehouse, a precarious
   70-100 foot-long structure has been constructed using various items.
   When set in motion, a chain reaction ensues. Fire, water, and the laws
   of gravity and of chemistry determine the life-cycle of objects - of
   things. The film enacts a story concerning cause and effect, mechanism
   and art, improbability and precision.

New York, New York: Anthology Film Archives
8:00, 32 Second Avenue (at Second Street)

   Dir: Clive Holden. This calendar continues the 8-month screening series
   of Canadian artists' film and video organized by Anthology and The
   Images Festival, Toronto. Many of the works to be screened will be New
   York City and U.S. premieres, while others have rarely screened in New
   York since they were first produced. To celebrate the occasion, a
   monograph featuring essays, stills, descriptions and interviews has been
   published and will be freely available. In addition, many of the artists
   will be with us to present their programs. . Following our successful
   spotlights on Philip Hoffman, Leslie Peters, Robert Lee and Barbara
   Sternberg, this season focuses on three stellar artists: the activist
   Richard Fung, the poet Clive Holden, and Super-8 stalwart John Porter.
   Richard Fung will be paired with a program of shorts while Clive Holden
   and John Porter will each have two evenings devoted to their own work.
   The shorts program in January features pieces by artists reflecting on
   the U.S.A. including Arthur Lipsett, Joyce Wieland, Richard Kerr, Gilles
   Groulx and John Price. Look for our final two shorts programs in April
   2007. The Images Festival is Canada's largest annual event devoted
   exclusively to independent and experimental film, video, installation,
   live performance and new media. The 20th edition of the Images Festival
   runs April 5-14, 2007 in Toronto, Canada. For more information please
   visit: Organized by Scott Berry, Chris Kennedy
   and Jeremy Rigsby (The Images Festival) and Andrew Lampert (Anthology
   Film Archives). This series generously supported by the Canada Council
   for the Arts, Media Arts Section and the Canadian Consulate General of
   New York City. NYC PREMIERE - CLIVE HOLDEN IN PERSON!. Clive Holden.
   TRAINS OF WINNIPEG - 14 FILM POEMS. 2004, 90 minutes, 35mm. Music by
   John K. Samson, Jason Tait & Christine Fellows. Clive Holden's haunting
   short films and texts are set to music in this exquisite feature-length
   film-cycle, which explores feelings of transience, loss and longing for
   a place to call home…The overall effect is of a mystery-shrouded journey
   that accumulates emotional impact with locomotive force. Holden's ideas
   are infused with a deep sense of place, and explore distance and
   remoteness as both a physical and an emotional experience…As a
   first-generation Canadian born of Irish immigrants, Holden's past is
   full of memories of traveling across the country. "Without even trying
   to do it I ended up living all over the country. A sense of place is
   important to everyone, but for an immigrant the search for place is
   really important. I think that's why the trains work so well. It's
   powerful, searching." Notes by Chris Gehman.

San Francisco, California: Artists Television Access
8pm, 992 Valencia St.

   Hugo Ball Room Labs has taken the crisp new DVD version of the French
   film and dubbed in Ken Knabb's translation as read by Dore Bowen, making
   it possible for you, as a mono-lingual American, to attend to the
   complex interaction of text and montage. Guy Debord (1931-­1994) was the
   most influential figure in the Situationist International, the small
   experimental group that played a key role in provoking the May 1968
   revolt in France. The Society of the Spectacle (1973) is Debord's film
   adaptation of his own 1967 book of the same name. As passages from the
   book are read in voiceover the text is illuminated, via direct
   illustration or various types of ironic contrast, by clips from Russian
   and Hollywood features (including Potemkin, Ten Days That Shook the
   World, Johnny Guitar, Mr. Arkadin, etc.), TV commercials, softcore porn,
   and news and documentary footage, including glimpses of Spain 1936,
   Hungary '56, Watts '65, France '68 and other revolts of the past.
   Intertitle quotes from Marx, Machiavelli, Clausewitz or Tocqueville
   occasionally break the flow. Presented in association with Kino21 and
   the Bureau of Public Secrets


Berlin, Germany: NewYorkRioToyko
8PM, NewYorkRioToyko e.V., Eberswalderstr. 4, 10437 Berlin

   Film Screening curated by Diana Arce. Premiere: in NewYorkRioToyko.
   Other Screenings: March 7 and 8, 2007, 10PM. Ex'N'Pop, Potsdamerstr.
   157, 10783 Berlin-Shoeneberg. The average westerner requires 70
   centimeters of personal space in front of them. NewYorkRioTokyo e.V. and
   Ex'N'Pop are proud to present films exploring the domain of
   psychological personal space. 70cm includes works from internationally
   renown as well as up and coming artists: Diana Arce (USA), Bill Brand
   (USA), Sari Carel (Israel), Joel Devalcourt (USA), Joseph Dwyer (USA),
   Anne Haydock (USA), Jennifer Myers (USA), Corinna Schnitt (Germany), and
   Vanessa Woods (USA). Website:

Kansas City, Missouri: Nelson-Atkins Museum of Art
7:00 p.m., 4525 Oak Street

   Pop Music and Consumer Culture, Although the dialog between contemporary
   art, mass media and popular culture does initiate revitalizing processes
   within different forms of cultural expression, recent technological,
   socio-economic and political developments are impacting all aspects of
   contemporary life, and human behavior and experience are becoming less
   diversified as culture becomes increasingly corporate, totalized and
   reductive. Independent experimental production by artists that address
   these issues and new forms of communication between individuals and
   groups are emerging as an alternative creative economy whose critical
   discourses and projects contribute to the diversity of contemporary
   global life. –Patrick Clancy, CHAIN, Jem Cohen (USA), 2004, 99 min.,
   16mm film shown on video.

London, England: Tate Modern
7pm, Bankside, SE1

   Robert Beavers' 18-film cycle "My Hand Outstretched to the Winged
   Distance and Sightless Measure" will be shown in its entirety over three
   days. EARLY MONTHLY SEGMENTS (1968-70/2002, 33 min) Early Monthly
   Segments, filmed when Beavers was 18 and 19 years old, now forms the
   opening to his film cycle, "My Hand Outstretched to the Winged Distance
   and Sightless Measure." It is a highly stylized work of
   self-portraiture, depicting filmmaker and companion Gregory J.
   Markopoulos in their Swiss apartment. The film functions as a diary,
   capturing aspects of home life with precise attention to detail,
   documenting the familiar with great love and transforming objects and
   ordinary personal effects into a highly-charged work of homoeroticism.
   (Susan Oxtoby, Toronto International Film Festival) WINGED DIALOGUE
   (1967/2000) and PLAN OF BRUSSELS (1968/2000, 21 min) Winged Dialogue
   details with growing clarity the desperate beauty and sexuality of the
   body animated by its soul, essence blindly reaching out, touching, in
   brilliant patterns through and beyond those of the vanishing images,
   expressed vividly in the after-image on the mind, on the soul's eye.
   (Tom Chomont, a note on Winged Dialogue) Shedding all traces of
   narrative, Beavers filmed himself in a hotel room, both at his work desk
   and lying naked on the bed, while in rapid rhythmic cutting, and
   sometimes in superimposition, the phantasmagoria of people he met in
   Brussels and images from the streets flood his mind. (P. Adams Sitney,
   Film Comment)

London, England: Tate Modern
9pm, Bankside, SE1

   THE COUNT OF DAYS (1969/2001, 21 min) The film is seen as though upon
   and through the structure of its spiritual partitions. One might say
   that there are three elements or levels to the images: narrative,
   descriptive or analytic, and abstract. The Count of Days is not an
   account so much as an accounting of the essence of the days in which
   three separate persons are related at points … a penetration through the
   masks and habits of these days to reveal the nature of the charade and
   the arena in which it is enacted. (Tom Chomont, Film Culture) PALINODE
   (1970/2001, 21 min) In Palinode a disk-shaped matte continually shifting
   in and out of focus alternately blocks part of the image or contains it.
   Its respiratory rhythm matches operatic fragments of Wladimir Vogel's
   'Wagadu', as the camera studies a middle-aged male singer in Zurich,
   singing, eating, window shopping, meeting a young girl. The filmmaker
   told himself, "Don't let yourself know what that film is about while you
   are making it." (P. Adams Sitney, Film Comment)

Ottawa, Ontario: Club SAW
7:30pm, 67 Nicholas Street (at Daly Avenue)

   Presented by the Available Light Screening Collective. "Hockey is part
   of life in Canada. Thousands play it, millions follow it, and millions
   more surely try their best to avoid it altogether. But if they do, their
   disregard must be purposeful, one of conscious escape, for hockey's
   evidences are everywhere... in Canada, hockey is one of winter's
   expectations" (Ken Dryden and Roy MacGregor, HOME GAME). Hockey has
   often been employed as a symbol of national unity, an indicator of
   Canadian values, and an instrument of foreign policy. To question or
   renounce our common assumptions is one way to become conscious of what
   might have been automatically and habitually accepted before. Such is
   the case with hockey, as the power of the sport's imagery in the
   national imagination is difficult to deny. WINTERS OF DISCONTENT brings
   together two revisionist video-essays about the undercurrents of
   Canada's national game. Curator and artist Brett Kashmere will be in
   attendance to introduce and discuss the program. Works include: (1)
   VALERY'S ANKLE by Brett Kashmere (33 minutes, DV, 2006). "Valery's
   Ankle" explodes the spectacle of hockey violence and its representation
   in North American media -- from Eddie Shore's vicious, career-ending hit
   on Ace Bailey, to Bobby Clarke's pre-emptive smashing of Valery
   Kharlamov's ankle, to Todd Bertuzzi's revenge assault on Steve Moore,
   the film uncovers a disturbing history of unforetold and abject Canadian
   l'Atelier National du Manitoba (61 minutes, DV, 2006). Peppered with
   action-packed cameos by Winnipeg All-Stars Dale Hawerchuk, Burton
   Cummings, Teemu Selanne, Billy Van, and a recent interview with the man
   who sent the Jets straight into the jaws of death by throwing a
   cataclysmic box of popcorn onto the ice in Game 6 of the 1990 Stanley
   Cup playoffs, "Death by Popcorn" follows the ill-fated Jets through
   their many travails with "arch-enemies" Wayne Gretzky and the Edmonton
   Oilers, NHL Commissioner Gary Bettman, and many other agents of Winnipeg
   annihiliation. Sadness on ice!" The program will also include COLONEL
   CANUCK by Jake Kennedy (2:25 minutes, DV, 2003). Admission: $5 or $3
   students & unwaged. For further info please contact Phil Rose at
   email suppressed

Prague, Czech Republic: Skolska 28 Gallery
7pm, at ul. Skolská 28, P-1

   16mm films and more by U.S. film/video artist Scott Stark. Progam to
   include: I'll Walk with God (1994, color/sound, 8:00); Chromesthetic
   Response (1987, color/sound, 5:00); The Sound of His Face (1988,
   color/sound, 5:00); Hotel Cartograph (1983, color/sound, 11:00); Air
   (1986, color/silent, 9:00); Back in the Saddle Again (1997,
   black/white/sound, 8:00); Satrapy (1989, color/sound, 13:00); Angel
   Beach (2001, color/silent, 18:00). Plus additional digital and/or
   super-8 films. Series of presentations by American film artists in the
   Czech Republic. Curated by Henry Hills.

Providence, RI: Magic Lantern
MIDNIGHT!, 204 South Main Street

   artists' collective, brew your own absinthe, attend an
   anti-gentrification community board meeting, wheatpaste signs protesting
   the war(s), and then lose yourself in what may very well be the Last
   Refuge for the Senses. A new breed of noise/post-psychedelia has sprung
   up as the only rational response to an increasingly alienating form of
   global capitalism, in an increasingly violent-and-joyless politicized
   existence – this new media responds with a Chaos of Sound and Light that
   seeks to overwhelm you but stops before you're lost, its Kind Hippie
   Heart beating out a space for you to occupy and own. From your favorite
   Rhode Island filmmakers, we've got Group Trance Rituals, Direct
   Dumpster-Dive Animation, History Seen Through the Eyes of Bats, Live
   Soundtracks, Cut-Up Eyeballs, Single Frame Collectives, Puppet Chaos,
   Analog Transcendence, and So Much More. Featuring music by Lighting
   Bolt, Mystery Brinkman, Carly Ptak (Nautical Almanac), the Shirelles vs
   the Suicidal Tendencies, Joe Grimm (the Wind-Up Bird), and Dave Lifrieri
   (Manbeard). These nine films represent the true cinema of deliverance,
   the theater of Psychic Hearts and Radical Love. FEATURING: Black and
   White Trypps Number Three by Ben Russell (11:30, 35mm, 2007), Paranoia
   Trilogy Part One: The Chemical Bath by Xander Marro (6:00, 16mm, 2001),
   Scream Tone by Jo Dery (3:00, 16mm, 2002), Echoes of Bats and Men by Jo
   Dery (7:00, 16mm, 2005), The Red and the Blue Gods by Ben Russell (8:00,
   16mm, live sound, 2005), 01/06 by Mat Brinkman and Xander Marro (13:00,
   16mm, 2006), The Great Exodus by Jo Dery (6:30, 16mm, 2005), L'Eye by
   Xander Marro (2:00, 16mm, 2004), Third Annual Roggabogga by Leif
   Goldberg and Ara Peterson (6:30, 16mm, 2002), TRT 63:30, $5

San Francisco, California: Studio 27
9 p.m., 689 Bryant Street (at 5th Street)

   Studio 27 presents an evening of avant-garde films and videos that focus
   on orality. Many of these works expand our everyday understanding of
   orality through an exploration of: speaking/singing, the spoken/the
   written, consumption/expulsion, the mouth as liminal zone between
   outside and inside, aurality/orality, the relation of the mouth to other
   parts of the body, fetishes and fantasies, oral antics, and the mouth as
   an organ of eating, communication, expressive performance, and erogenous
   zone of pleasure. Some of the work points to the utopian potential of
   becoming orally active, expanding our understanding of communication and
   connectivity. Films and videos by: Michelle Beck, David Blatherwick,
   Asil Bothun, Jorge Calvo, Andreas Gedin, Melissa Grey, Anne Haydock,
   Guri Guri Henriksen, Kerri Kieser, Ane Lan, Isabelle Mairiaux, Markuz
   Saito, Tom Sherman, Gruppo Sinestetico. Admission is free! Total running
   time: 1 hour, 11 minutes


Chicago, Illinois: Chicago Filmmakers
8:00pm, Chicago Filmmakers (5243 N. Clark St.)

   Select Filmmakers in Person! Cousin Kasyte (2006) by Stashu Kybartas. In
   a journey to post-Soviet Lithuania, the filmmaker discovers his father's
   cousin, Kasyte Pukeviciene, living a life little changed from the time
   when his grandfather immigrated to America. This emotional reunion is
   refracted through recollections of childhood memories of the Cold War
   and the effect of history on time, space, and memory. Glass House
   (2005), by Chi-Jang Yin, is an experimental documentary that examines
   the creative process of a modern architect building a home from glass
   and concrete for his own family. Adele Friedman's Christian and Michael
   (2006) and Marietta (2006) were filmed in the apartments of longtime
   friends in Vienna, Austria. Friedman's portrait films are as much about
   the places people inhabit as they are about the people themselves. Here,
   Christian and Michael's modern decor, in color, contrasts with the older
   style of Marietta, Christian's mother, shot in black and white. Random
   Sampling #3 (2006) by Paul Lloyd Sargent. Sargent combines fleeting,
   inconspicuous moments shot in the Humboldt Park neighborhood with sound
   clips from the more than 600 audio cassette tape fragments he's found in
   the area to create a very personal and idiosyncratic "portrait" of a
   Chicago community. surface/sound (2006), by Milan Bobysud, is an
   abstract study attempting to map the structure of memory.

Houston, Texas: Aurora Picture Show
8pm, 800 Aurora St.

   Steve Seid, of the Pacific Film Archive describes the work of media
   artist Jordan Biren as, "subtle works combining a naturalistic pictorial
   sense and text, either inscribed in the image or recited." "The now
   brittle, now effusive language often operates as a direct challenge to
   the droll moving images." For his first program, Biren will present
   three videos of his own work, combining his imagery—subtle filmic homage
   to the likes of Chris Marker, David Lynch and Thomas Kinkade—with his
   texts, in a pastiche of colliding remembrances. Films include My
   Mother's Family, From Here Home and My Mother's House. On Sunday, Biren
   will present works from William Jones and Janie Geiser, in addition to
   his own piece Stellbar.

London, England: Tate Modern
12pm, Bankside, SE1

   DIMINISHED FRAME (1970/2001, 24 min) There is in Diminished Frame a
   balance between a sense of the past seen in the views of West Berlin,
   filmed in black & white and a sense of the present in which I film
   myself showing how the colour is being created by placing filters in the
   camera's aperture. It is the space of the city and of the filmmaker. I
   searched for signs of war's aftermath and a few moments of ordinary
   existence. (Robert Beavers) STILL LIGHT (1970/2001, 25 min) The first
   half of the film explores delicate nuances of lighting, colour and depth
   as Beavers shoots the face of a young man in various locales on the
   Greek island of Hydra, using a variety of customized masks and filters.
   The man's face remains constant throughout, surrounded by iconic
   elements in the landscape, like a pulsating Renaissance portrait. Still
   Light's second half was shot in the London flat of art critic Nigel
   Gosling. The two halves of Still Light bring to mind any number of
   structuralist binarisms: youth and age, creation and criticism, action
   and reflection, living landscape and mummified text. (Ed Halter, New
   York Press)

London, England: Tate Modern
2pm, Bankside, SE1

   FROM THE NOTEBOOK OF ... (1971/1998, 48 min) From the Notebook of … was
   shot in Florence and takes as its point of departure Leonardo da Vinci's
   notebooks and Paul Valéry's essay on da Vinci's process. These two
   elements suggest an implicit comparison between the treatment of space
   in Renaissance art and the moving image. The film marks a critical
   development in the artist's work in that he repeatedly employs a series
   of rapid pans and upward tilts along the city's buildings or facades,
   often integrating glimpses of his own face. As Beavers notes in his
   writing on the film, the camera movements are tied to the filmmakers'
   presence and suggest his investigating gaze. (Henriette Huldisch,
   Whitney Museum of American Art) THE PAINTING (1972/1999, 13 min) The
   Painting intercuts shots of traffic navigating the old-world remnants of
   downtown Bern, Switzerland, with details from a 15th-century altarpiece,
   The Martyrdom of St. Hippolytus. The painting shows the calm, near-naked
   saint in a peaceful landscape, a frozen moment before four horses tear
   his body to pieces while an audience of soigné nobles looks on; in the
   movie's revised version, Beavers gives it a comparably rarefied
   psychodramatic jolt, juxtaposing shots of Gregory Markopoulos, bisected
   by shafts of light, with a torn photo of himself and the recurring image
   of a shattered windowpane. (J. Hoberman, The Village Voice)

London, England: Tate Modern
5pm, Bankside, SE1

   WORK DONE (1972/1999, 22 min) Bracing in its simplicity, Work Done was
   shot in Florence and the Alps, and celebrates an archaic Europe.
   Contemplating a stone vault cooled by blocks of ice or the hand
   stitching of a massive tome or the frying of a local delicacy, Beavers
   considers human activities without dwelling on human protagonists. Like
   many of Beavers' films, Work Done is based on a series of textural or
   transformative equivalences: the workshop and the field, the book and
   the forest, the mound of cobblestones and a distant mountain. (J.
   Hoberman, The Village Voice) RUSKIN (1975/1997, 45 min) Ruskin visits
   the sites of John Ruskin's work: London, the Alps and, above all,
   Venice, where the camera's attention to masonry and the interaction of
   architecture and water mimics the author's descriptive analysis of the
   "stones" of the city. The sound of pages turning and the image of a
   book, Ruskin's 'Unto This Last', forcibly remind us that a poet's
   perceptions, and in this case his political economy, are preserved and
   reawakened through acts of reading and writing. (P. Adams Sitney, Film
   Comment) Ruskin will be shown in a brand new print. The preservation of
   this film has been made possible by the generosity of Cineric Inc. and
   The Guild of St. George.

New York, New York: Anthology Film Archives
5:00, 32 Second Avenue (at Second Street)

   Dir: Robert Huot. "Some painters and sculptors approach our art with a
   kind of chauvinistic arrogance. Their use of film…is fundamentally
   exploitative. Robert Huot has been one of the most inventive and
   rigorous of the younger generation of radical painters. He brings the
   same attributes to film, along with an inquisitiveness that is by no
   means cautious. He tries, not to exploit film, but to find out what film
   is. Huot's films will seem 'simple' to many. In fact he is doing basic
   work that we filmmakers ought to have done for ourselves decades ago,
   work that is both an addition and a reproach to film art." -Hollis
   Frampton. Robert Huot is part of that long tradition of visual artists
   who have explored cinema as an extension of their accomplishments in
   other media. By the mid-1960s, Huot had become a recognized painter in
   New York and was moving from abstract-expressionist work into minimal
   and conceptual art-making (see Huot's website - - for
   reproductions of his paintings). He was also being drawn toward film;
   indeed, some of his "Spring Line" paintings (1966) were organized into
   long strips arranged in modules. His friendship with Hollis Frampton,
   whom he had met through Carl Andre during the winter of 1964, was
   contributing to this new interest. The first result was a series of
   films made by working directly on the filmstrip (SCRATCH was made by
   scratching black leader; SPRAY, by spray painting clear leader). Then
   came several minimal/conceptual films that worked with photographed
   imagery. By the end of the sixties, Huot was fed up with art-world
   politics, and decided to move to a farm in central New York State. He
   began documenting his new life in what became a remarkable series of
   diary paintings and diary films, which continued into the mid-1980s. In
   recent years, Huot has focused on painting, though he has continued to
   make short films, including a series of sometimes amusing, sometimes
   creepy erotic films. . PROGRAM 1. FROM LOOPS (1967, 6 minutes, 16mm,
   b&w, silent). A two-projector work in which two filmstrips with holes
   punched in them are superimposed but projected at different speeds. RED
   STOCKINGS (1969, 3 minutes, 16mm, color, silent). A single frame of
   photographed imagery (you'll need to stay alert to see it) embedded
   within eye-bending red. &. ROLLS: 1971. 1972, 100 minutes, 16mm,
   b&w/color, silent. Huot's second diary film can be understood as a
   response to Frampton's ZORNS LEMMA (in the final section of Frampton's
   film, Huot is the man we see walking across the field - part of Huot's
   farm - with a woman and a dog). ROLLS: 1971 is rigorously organized so
   that thirteen 100-foot, single-take images are regularly intercut with
   heavily edited montages in which one-second bits of each of the
   single-takes is seen in juxtaposition with one-second moments from each
   of the others. ROLLS: 1971 is at once a record of Huot's exploration of
   film composition and editing, and of his new life on the farm (and of
   the final year of his marriage with Twyla Tharp, which included the
   arrival of their son, Jesse).

New York, New York: Anthology Film Archives
8:00, 32 Second Avenue (at Second Street)

   Dir: Robert Huot. THIRD ONE-YEAR MOVIE - 1972. 1973, 70 minutes, 16mm,
   b&w/color, silent. Huot's third diary is a self-portrait of a man
   beginning a new phase of his life, working to balance his work as an
   artist and filmmaker, as a college professor, as a farmer confronting
   the basics (one of the motifs of the film is Huot and Hollis Frampton
   slaughtering and butchering a bull), and as a father, a friend, and a
   lover. Organized so as to evoke the daily round of life and the seasonal
   cycle, the film suggests both the pleasures of life and the struggle to
   responsibly fulfill a range of personal and ideological commitments.
   With: BLACK AND WHITE FILM (1969, 12.5 minutes, 16mm, b&w, silent).
   Camera: Hollis Frampton. Performer: Sheila Raj. "A nude woman is
   revealed, and then obliterates herself entirely, in extreme slow-motion.
   This film is 'about' painting. Outside of painting itself, it is the
   only really intense criticism I have ever seen." -Hollis Frampton.
   EROTIC TRILOGY (1980, 11 minutes, Super-8mm, b&w/color, sound). Three
   erotic vignettes, two of them involving Huot and artist Carol Kinne, all
   of which originally appeared in the early Super-8 diaries.

New York, New York: Millennium Film Workshop
8pm- Saturday evening, 66 East 4th Street (Between Bowery and Second Ave.)

   ART/new york, a video series on contemporary art, was begun in 1979.
   PAUL TSCHINKEL is the creator, producer and director of ART/new york.
   NAN GOLDIN- In My Life (28 min.-1997) This program features work of the
   one of the major photographers of the latter part of the 20th century.
   Seen in Goldin's compelling mid-career retrospective at the Whitney
   Museum of American Art which featured work culled from a period spanning
   more than 25 years of taking pictures. Organized by Whitney curator
   ELIZABETH SUSSMAN and selected byt Nan Goldin and her life-long friend
   and colleague DAVID ARMSTRONG, the exhibition tells the moving tale of
   Nan Goldin's life. Included are interviews with Nan Goldin and MARVIN
   HOFFMAN, curator and a director of LOOKOUT in New York. CINDY SHERMAN
   (28 min.-2002) CINDY SHERMAN creates innovative work that explores the
   place of women in society. With photographs she takes of herself, in
   which she inpersonates various fictitious characters, she shows us the
   numerous roles women play in our world. She depicts women as housewife,
   sex symbol, lover, seductress, victim, monster and more and makes us
   wonder about our perceptions. Over the past 25 years, she has produced a
   body of work that depicts the female persona as seen through the filter
   of the media. Her work has received much aclaim and has been exhibited
   and collected widely. This program covers Sherman's first show of color
   photographs at Metro Pictures in 1981 and a 2000 show, also at Metro
   Pictures. Included is a rare 1981 interview with Sherman and recent
   interviews with HELENE WINTER, he dealer and PETER SCHJELDAHL, art
   critic for the NEW YORKER magazine,

San Francisco, California: Other Cinema
8:30pm, 992 Valencia Street

   Our season kicks off with an extraordinary event: a in-person appearance
   by the legendary small-gauge master, Mr. Jem Cohen. Based in NYC, Jem
   comes out to the Coast for a very rare visit and personal exchange with
   enthusiasts of his first-person camerawork, "thriving on the collision
   between documentary, narrative, and experimental approaches." In the
   show's opening half, he will share a selection of his poetic works -
   several on celluloid! - that rhapsodize on the lives and musics of
   Elliot Smith, Sparklehorse, Godspeed You! Black Emperor, and others. The
   anchor of the show is Jem's exquisite Super 8-shot meditation on history
   and memory in Eastern Europe, Buried in Light. Special admission: $7.


Houston, Texas: Aurora Picture Show
3pm, 800 Aurora St.

   Steve Seid, of the Pacific Film Archive describes the work of media
   artist Jordan Biren as, "subtle works combining a naturalistic pictorial
   sense and text, either inscribed in the image or recited." "The now
   brittle, now effusive language often operates as a direct challenge to
   the droll moving images." For his first program, Biren will present
   three videos of his own work, combining his imagery—subtle filmic homage
   to the likes of Chris Marker, David Lynch and Thomas Kinkade—with his
   texts, in a pastiche of colliding remembrances. Films include My
   Mother's Family, From Here Home and My Mother's House. On Sunday, Biren
   will present works from William Jones and Janie Geiser, in addition to
   his own piece Stellbar.

London, England: Tate Modern
12pm, Bankside, SE1

   SOTIROS (1976-78/1996, 25 min) In Sotiros, there is an unspoken dialogue
   and a seen dialogue. The first is held between the intertitles and the
   images; the second is moved by the tripod and by the emotions of the
   filmmaker. Both dialogues are interwoven with the sunlight's movement as
   it circles the room, touching each wall and corner, detached and
   intimate. (Robert Beavers) AMOR (1980, 15 min) Amor is an exquisite
   lyric, shot in Rome and at the natural theatre of Salzburg. The
   recurring sounds of cutting cloth, hands clapping, hammering, and
   tapping underline the associations of the montage of short camera
   movements, which bring together the making of a suit, the restoration of
   a building, and details of a figure, presumably Beavers himself,
   standing in the natural theatre in a new suit, making a series of hand
   movements and gestures. A handsomely designed Italian banknote suggests
   the aesthetic economy of the film: the tailoring, trimming, and
   chiselling point to the editing of the film itself. (P. Adams Sitney,
   Film Comment)

London, England: Tate Modern
2pm, Bankside, SE1

   ?????? (Efpsychi) (1983/1996, 20 min) The details of the young actor's
   face – his eyes, eyebrows, earlobe, chin, etc. – are set opposite the
   old buildings in the market quarter of Athens, where every street is
   named after a classic ancient Greek playwright. In this setting of
   intense stillness, sometimes interrupted by sudden sounds and movements
   in the streets, he speaks a single word, "teleftea", meaning the last
   (one), and as he repeats this word, it moves differently each time
   across his face and gains another sense from one scene to the next,
   suggesting the uncanny proximity of eroticism, the sacred and chance.
   (Robert Beavers) WINGSEED (1985, 15 min) A seed which floats in the air,
   a whirligig, a love charm. This magnificent landscape, both hot and dry,
   is far from sterile; rather, the heat and dryness produce a distinct
   type of life, seen in the perfect forms of the wild grass and seed pods,
   the herds of goats as well as in the naked figure. The torso, in itself,
   and more, the image which it creates in this light. The sounds of the
   shepherd's signals and the flute's phrase are heard. And the goats'
   bells. Imagine the bell's clapper moving from side to side with the
   goat's movements like the quick side-to-side camera movements, which
   increase in pace and reach a vibrant ostinato. (Robert Beavers) THE
   HEDGE THEATRE (1986-90/2002, 19 min) Beavers shot The Hedge Theatre in
   Rome in the 1980s. It is an intimate film inspired by the Baroque
   architecture and stone carvings of Francesco Borromini and "St. Martin
   and the Beggar," a painting by the Sienese painter Il Sassetta. Beavers'
   montage contrasts the sensuous softness of winter light with the lush
   green growth brought by spring rains. Each shot and each source of sound
   is steeped in meaning and placed within the film's structure with
   exacting skill to build a poetic relationship between image and sound.
   (Susan Oxtoby, Toronto International Film Festival)

London, England: Tate Modern
5pm, Bankside, SE1

   THE STOAS (1991-97, 22 min) The title refers to the colonnades that led
   to the shady groves of the ancient Lyceum, here remembered in shots of
   industrial arcades, bathed in golden morning light, as quietly empty of
   human figures as Atget's survey photos. The rest of the film presents
   luscious shots of a wooded stream and hazy glen, portrayed with the
   careful composition of 19th century landscape painting. An ineffable,
   unnameable immanence flows through the images of The Stoas, a kind of
   presence of the human soul expressed through the sympathetic absence of
   the human figure. (Ed Halter, New York Press) THE GROUND (1993-2001, 20
   min) What lives in the space between the stones, in the space cupped
   between my hand and my chest? Filmmaker/stonemason. A tower or ruin of
   remembrance. With each swing of the hammer I cut into the image and the
   sound rises from the chisel. A rhythm, marked by repetition, and
   animated by variation; strokes of hammer and fist, resounding in
   dialogue. In this space which the film creates, emptiness gains a
   contour strong enough for the spectator to see more than the image – a
   space permitting vision in addition to sight. (Robert Beavers)

New York, New York: Anthology Film Archives
8:00, 32 Second Avenue (at Second Street)

   Dir: Robert Huot. FADES AND CLOSE-UPS (1978, 7 minutes, Super-8mm, b&w,
   sound). An intimate, collaborative portrait of two lovers, Huot and
   artist Carol Kinne. SUPER-8 DIARY 1979. 1980, 60-minute excerpt of
   200-minute film, Super-8mm, color, sound. Huot's first Super-8 diary
   film continues many of the motifs of the earlier diaries, but with the
   high-spiritedness of a man now entirely at home in his world and with a
   newfound exuberance about Super-8 filmmaking: "Convenience, Lower Cost,
   Good Sound Quality, and Demystified Image: or, Why I Like Super-8" was
   the title of a piece Huot contributed to THE CINEMANEWS (no. 81: 2-6),
   soon after he finished SUPER-8 DIARY 1979. The film is segmented into
   half-hour modules. HOLLIS FRAMPTON 1936-84 (1984, 9 minutes, Super-8mm,
   color, sound). An elegy to Frampton, filmed at Frampton's funeral in
   Buffalo in 1984. SOUND MOVIE (1972/2005, 10 minutes, DVD, color, sound).
   Returning to a roll of film of Twyla Tharp walking through the woods,
   shot in 1972 (and included in THIRD ONE-YEAR MOVIE), Huot finished a
   project that was conceived in the early 1970s, but put on hold because
   of his complicated feelings about Tharp at the time of their divorce.

San Francisco, California: San Francisco Cinematheque
7:30 pm, Yerba Buena Center for the Arts 701 Mission st. at 3rd st.

   Our city is widely recognized as a significant pad from which flights of
   artistic discovery have long been launched. These works by recent San
   Francisco Art Institute graduates demonstrate ongoing pursuits of
   exploration and excellence, showing clearly the broad range of
   investigation and viewpoint Bay Area creativity represents. Taeko
   Horigome's Facing the Dragon explores personal intimacy, plus both tough
   control—and radical loosening—of her processes. Minyong Jang's newest
   work, The Breath, looks inventively at quiet beauties of the natural
   world. Joshua Kanies' Zen of John Muir and Scar lyrically focus on our
   planet, but are concerned with man's relationship to it. In Rue
   Vaugirard, L'Amour Physique, Matthew Swiezynski patiently expands time
   in his observations of quotidian minutiae mediated by technology.
   Finally, Christina Battle explores filmic tactility in her 35mm works
   Hysteria, Traveling With Eyes Closed Tight, The Distance Between Here
   and There, and Migration. (Charles Boone)

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