Part 2 of 2: This week [October 6 - 14, 2007] in avant garde cinema

From: Weekly Listing (email suppressed)
Date: Sat Oct 06 2007 - 07:58:03 PDT

Part 2 of 2: This week [October 6 - 14, 2007] in avant garde cinema


Los Angeles, California: Redcat
8pm, 631 W. 2nd St

  Zhang Hanzi: Tang Tang China, 2004, 92 min., Betacam SP An alluring
  mixture of documentary and fiction about the fabulous nights, grey
  mornings and cross-gender love affairs of a drag queen—sorry, "reversed
  role actor"—in Beijing. Cui Zi'en: Withered in a Blooming Season
  (Shaonian Hua Cao Huang) China, 2005, 90 min. Betacam SP Cui, godfather
  of the queer underground, blends melodrama and sassiness to depict a
  post-socialist dysfunctional family in which love crosses the boundaries
  of gender and propriety. As part of four day screening series New
  Chinese Cinema: The Unofficial Stories of Tang Tang, Piggy, Little Moth
  and Others Pan-Chinese cinema is coming of age now, with an explosion of
  genres, formats, themes and talents. Exploring new and exhilarating
  artistic paths or alternative sexualities, the films bear witness to the
  tremendous changes experienced by Chinese society.

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

  Dir: LEN LYE. "Every film [I made], I tried to interest myself in it by
  doing something not previously done in film technique." -Len Lye. Len
  Lye (1901-1980) followed this experimental approach throughout his
  career. A highly innovative painter, photographer, and poet, and one of
  the most important figures in kinetic sculpture (another aspect of the
  'art of motion' to which he devoted his life), Lye was a pioneer of
  direct (camera-less) filmmaking, eventually expanding his direct
  techniques from painting images directly onto his films to scratching
  and stenciling them. In the words of Hilary Harris, "Lye's films are
  outstanding in terms of kinetic rhythm, integrity, and what I call
  aliveness." -Roger Horrocks. TUSALAVA (1929, 10 minutes, 16mm). "For two
  years, between 1926-28, Len Lye completed more than 9,500 drawings for
  this nine-minute animated film. The film was screened once in 1929.
  Until it was screened again in 1967, TUSALAVA had become a forgotten
  part of film history." -THE LEN LYE FOUNDATION. A COLOUR BOX (1935, 4
  minutes, 16mm). The world's first film made without a camera. Lye
  painted colorful designs onto celluloid, synchronizing them to dance
  music. Presented courtesy of The British Post Office. KALEIDOSCOPE
  (1935, 4 minutes, 16mm). A "direct" film, along the lines of A COLOUR
  BOX. Made to promote Churchman cigarettes. THE BIRTH OF THE ROBOT (1936,
  7 minutes, 16mm). An advertisement for Shell Motor Oil. Puppets and
  models are brought to life by stop-frame animation, combined with
  colorful backgrounds and visual effects. . RAINBOW DANCE (1936, 5
  minutes, 16mm). Lye transformed this original black-and-white footage
  into a film of complex color patterns by manipulating the three matrices
  of the Gasparcolor system. Presented courtesy of The British Post
  Office. TRADE TATTOO (1937, 5 minutes, 16mm). The original
  black-and-white footage for TRADE TATTOO consisted of outtakes from GPO
  Film Unit documentaries, which Lye transformed by color processing
  methods similar to those used in RAINBOW DANCE. Presented courtesy of
  The British Post Office. N. OR N.W. (1937, 7 minutes, 16mm). A
  live-action film about a quarrel between young lovers. Presented
  courtesy of The British Post Office. COLOUR FLIGHT (1938, 4 minutes,
  16mm). "This riot of color was a showcase for Lye's hand-painted and
  stenciled imagery." -Roger Horrocks. SWINGING THE LAMBETH WALK (1939, 4
  minutes, 16mm). Lye matched different styles of 'direct' film imagery
  with various versions of Lambeth Walk, a popular dance of the period.
  MUSICAL POSTER #1 (1940, 3 minutes, 16mm). During WWII, MUSICAL POSTER
  #1 was screened in cinemas, factories and village halls. It ends by
  cautioning against spies who listen to conversations. COLOUR CRY
  (1952-3, 3 minutes, 16mm). A new type of "direct" film, made by the
  'rayogram' or 'shadow cast' process. Patterns were created by placing
  stencils and coloured gels over the film. TAL FARLOW (1950s/revised
  1980, 2 minutes, 16mm). Lye created the geometric, scratched images for
  this direct film in the 1950s. He revisited the material in 1980 but was
  unable to finish his work before he died. His assistant Steven Jones
  completed TAL FARLOW under the supervision of Anne Lye. RHYTHM (1957, 1
  minute, 16mm). A publicity film for Chrysler condenses the assembly of a
  car from months to one minute. FREE RADICALS (1958/revised 1979, 4
  minutes, 16mm). Made without a camera by scratching designs onto black
  leader using a variety of tools ranging from Indian arrowheads to dental
  instruments. "An almost unbelievable, immense masterpiece." -Stan
  Brakhage. PARTICLES IN SPACE (1957/revised 1979, 4 minutes, 16mm). "All
  of a sudden it hit me - if there was such a thing as composing music,
  there could be such a thing as composing motion. After all, there are
  melodic figures, why can't there be figures of motion? ..I hadn't the
  foggiest idea what they were all about and simply called them particles
  in space." -Len Lye.

San Francisco, California: San Francisco Cinematheque
3:00pm, SFMOMA, 151 Third Street

  Shortly before his death in 1972, Cornell gifted his own films as well
  as his extensive film collection to Anthology Film Archives. Much of
  this work has been preserved by that institution and is exhibited
  regularly at that venue. These programs represent two of these recurring
  screenings."What Cornell's movies are is the essence of a home movie.
  They deal with things very close to us, every day and everywhere. Small
  things, not the big things. Not wars, not stormy emotions, dramatic
  clashes or situations. His images are much simpler. [...] The boxes, the
  collages, the home movies of Joseph Cornell are the invisible cathedrals
  of our age. That is, they are almost invisible, as are all the best
  things that man can still find today: They are almost invisible unless
  you look for them." (Jonas Mekas, 1970) Screening: Rose Hobart,
  Cotillion, The Midnight Party, The Children's Party, Aviary, Nymphlight,
  A Legend for Fountains, Angel and GniR RednoW.

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

  San Francisco, CA. Artists' Television Access' 2nd annual ATA Film and
  Video Festival celebrates experimental films and filmmakers with a party
  and the showcasing of 34 short, original, independent and underground
  films by local, national, and international artists. This year's 26
  short films include the surreal "Silly Boy Slap Party" by Guy Maddin,
  the wordless and miraculous "Paradise Drift" by Martin Hansen, the 4000
  hand-made collage animation "Phantom Canyon" by Stacy Steers, and "The
  Apollos", a student documentary about the 1981 Oakland Tech High School
  class that fought successfully to make Martin Luther King Day a holiday.
  In addition to the screenings, during the month of October the work of 8
  experimental video artists will be on display in the ATA store-front
  window. ATA, 992 Valencia and 21st Streets (SF, CA). Wed. October 10th,
  Thursday the 11th, and Friday the 12th doors open at 7.30pm every night.
  Screenings start at 8pm. Opening night party from 7.30pm to 10pm, film
  premiere at 8.30pm (aprox. duration 30 min). Tickets are $5 for the
  Opening Party and $7-$10 for the screenings. Friday, October 12, 2007:
  "Mnemonics" Photo-Synthesis (Lisa Danker); Window (Lukas Lukasik); 1,2,3
  Solution(Tommy Becker); Iceland (Fabienne Gautier); Candy Apple
  (K.Laitala's SFAI Optical Techniques for Film Class project (Spring
  2007)); Flight Home (Tadashi Moriyama); Traces (Hubert Sielecki); Echo
  Park (Paul Clipson). "States of Matter" Pursuant To The Subsection
  (Gordon Winiemko); Better To Kiss You With,My Dear (Dina Ropele); I, A
  Director (Rachel Manera); Sissy Boy Slap Party (Guy Maddin); Phantom
  Canyon (Stacey Steers); Bulb In The Head (Melika Bass); 5 Cents A Peek
  (Vanessa Woods).


Brussels: ARGOS
20:30, BOZAR Brussels

  Sa 13.10.2007 // 20:30 Tony Conrad & guest musicians: Forty-five Years
  on the Infinite Plain (1972-2007) Paleis voor Schone Kunsten / Palais
  des Beaux-Art entry fee: 9/7 euro organised by ARGOS (
  and BOZAR CINEMA ( The influence of violinist, composer,
  film and videomaker Tony Conrad (US, 1940) cannot be overestimated: he
  was one of the originators of the Minimalist music movement and a key
  figure in the experimental film scene in New York during the 1960s. He
  was co-founder of the 'Theatre of Eternal Music' collective (with John
  Cale, LaMonte Young and Angus MacLise), which developed a new musical
  language counter to any existing conventions of the time, and labeled as
  "dream music". Music was thus set free from the stronghold of musical
  'high' culture, by putting improvisation and participation above
  compositional authoritarianism, and by focusing on the aspect of
  listening itself through a new use of harmonic intervals. With his
  audiovisual Conrad also questions and undermines the laws of looking and
  listening. In his best-known film, The Flicker (1966), he searched for a
  visual equivalent of musical consonance, which resulted in a bombardment
  of stroboscopic flashes, producing optical color effects in their turn.
  After his collaboration with the Krautrock formation Faust during the
  1970s Conrad chose to lecture full time at the media faculty of Buffalo
  University. Since his work was brought back to attention in the 1990s he
  is more active than ever in a wide range of areas. Created in New York
  in 1972, the performance Ten Years Alive on the Infinite Plain seems to
  be the ideal synthesis of Tony Conrad's research: his structural
  approach to cinema unites with his minimal and open approach to music.
  Four projectors showing a hypnotic and flashing film loop are joined by
  musicians, producing continuous sound chords. The result is a suspended
  audiovisual environment, which is reflective and unravels very slowly;
  "very meditational and very terrific", as Conrad put it himself. This
  event creates a great opportunity to live this historic performance,
  never presented in Belgium, in a revised form : Forty-five Years on the
  Infinite Plain. As Conrad explains himself : "In revising "Ten" to
  "Forty-five", I am addressing a broader chronological perspective,
  relocating to a different social allegory, and accessing the plural
  tools that encompass a more contemporary "minimalism." The "subject"
  that is, the viewer—is still at the center of the work; but now the
  polyvalence of subjectivity is recognized in a figural usage of
  heterophony and antiphony. A solo cello challenges the lead instrument,
  and the audience area is divided in half. Musical figures invoke
  divisiveness, over the unitary ground of the drone. There are two
  distinct rhythms to follow, further dividing the subject's attention.
  These elements of what would have been seen in 1972 as "confusion"
  instead, i n today's heterotopia, reflect and invite access to a
  subjectivity that is more "true to life," more centered on the plain
  where we stand." "A work that relates to time but exists independent of
  points in time refers to the obverse side of time, beyond the
  possibility of measuring it with markings: duration. Yet unmeasured
  duration, in principle, is a kingdom entirely at the command of the
  recipient and his or her subjectivity." Diedrich Diedrichsen, Time and
  Dream: Tony Conrad's Yellow Movies Ten Years Alive on the Infinite Plain
  (1972), like some other works of the psychedelic era, commingles starkly
  formal abstraction with introspective romanticism. Its insistent
  conflation of quasi-religious spectacle with materialist minimalism
  follows a path marked out by Rothko, Cage, Andre, and many others. Today
  these elements have lost their radicalism; even the political conviction
  of that time, that such work could make contact, through its spiritual
  insistence, "with the political real behind the culture of commodity and
  spectacle" (as Diedrichsen puts it), seems problematic and thin. please
  contact Stoffel Debuysere - email suppressed for more info

Buffalo, New York: Hallwalls
7pm, 341 Delaware Ave.

  As part of Buffalo's regional biennial Beyond/In Western New York,
  Hallwalls Contemporary Arts Center is pleased to host an evening with
  media artist Michael Snow—our first-ever visiting filmmaker (January
  1975!). Snow, whose "SSHTOORRTY" (2005) is also installed at the
  Albright Knox Art Gallery, returns to Hallwalls on Saturday, October 13,
  2007 at 7pm to present a selection of recent works. The screening
  includes the digital short "The Living Room" (2000); "Triage" (16mm
  2004), a dual projection and collaboration with Canadian filmmaker Carl
  Brown and composer John Kamevaar; and "REVERBERLIN" (2006), his feature
  length work that integrates footage of CCMC, the free improvisation
  music ensemble co-founded by Snow in 1974. In addition to Snow,
  Hallwalls will also host presentations and performances by Beyond/In
  media artists Stephanie Rothenberg (Oct. 4 at 8pm), Jeremy Bailey (Oct.
  20 at 8pm), and Dorothea Braemer (Nov. 3 at 8pm). For more info please
  visit: Seating in our intimate cinema
  is limited. For advanced tickets, please call Hallwalls Media Arts
  Director Carolyn Tennant at 716-854-1694 or at carolyn [at]

Los Angeles, California: Redcat
2pm- Midnight, 631 W. 2nd St

  A quartet of award winners—from the Locarno, Tokyo, Vienna and Cannes
  festivals—are questioning gender and family relationships and the place
  of women in contemporary China. Each screening: $9 [students $7] Sat
  Marathon: $9 for one film, $13 for two, $17 for three and $20 for all
  four films 2 pm Screening Sheng Zhimin: Bliss (Fu Sheng) Hong
  Kong/China, 2006, 96 min., 35mm A man receives the ashes of his ex-wife;
  a young delinquent discovers love; a couple is in a crisis. In Sheng's
  sensitive, multilayered drama, bliss comes in subtle yet illuminating
  ways. 4:00 pm Screening Zhang Lu: Grain in Ear (Mang Zhong) China/South
  Korea, 2005, 110 min., 35mm A young Korean-Chinese woman lives with her
  little boy on the city outskirts, selling kimchi. Long takes and
  painterly compositions suggest her complex interior life—with a twist!
  7:45 pm Screening Li Yu: Dam Street (Hong Yan) China, 2005, 93 min.,
  35mm A major female voice in Chinese cinema, Li deciphers the troubled
  personal life of a young singer in a down-and-out Sichuan opera troupe.
  9:45 pm Screening Ying Liang and Peng Shan: The Other Half (Ling Yiban)
  China, 2006, 111 min., DVCAM Through frontal composition, fractured
  narration and a savvy mixture of documentary and fiction, the film shows
  how sexual impasse and industrial catastrophes intersect in a Sichuan

New York, New York: Anthology Film Archives
6:00, 32 Second Avenue (at Second Street)

  Dir: Bruce Baillie. MASS FOR THE DAKOTA SIOUX (1963-64, 21 minutes,
  16mm) . QUIXOTE (1964-65, 45 minutes, 16mm). Meditations on America by a
  filmmaker whom Willard van Dyke once called the most American of all
  contemporary filmmakers. Annette Michelson has referred to Bruce Baillie
  as one of the few American political filmmakers.

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

  In the early 1980s a generation of filmmakers emerged in New Zealand
  mixing art world sensibilities with cinema. Writing about his film MOUTH
  MUSIC, director Gregor Nicholas cited references "made in the spirit of
  affection and irony" to filmmakers including Carl Dreyer, Kenneth Anger
  and Andy Warhol. While EXPLOSIONS INTO COLOR demonstrates the influence
  of the 20th century avant-garde cinema in New Zealand, it also captures
  a group of filmmakers in tune with contemporary themes of race, politics
  and industrial culture. . Please note that all films are shown on video.
  Original formats are noted for each title. City Group MONKEY (1978, 9
  minutes, Super 8mm). City Group was an Auckland-based collective of
  artists and filmmakers that emerged in the early 80s with the production
  of a number of radical non-narrative films. . City Group SPRINGBOK
  (1981, 15 minutes, Super 8mm). Springbok combines dance, symbolic
  figures of fascism and a discordant soundtrack in an eerie and dark
  meditation on racial intolerance. . Richard Von Sturmer, Charlotte
  Wrightson, Derek Ward THE SEARCH FOR OTTO (1986, 16 minutes, Super 8mm).
  A woman develops an obsession with a masculine figure from her dreams
  who escapes into the imaginative world of an Egyptian landscape, leaving
  behind a series of objects, a punching bag, an ashtray, an open book..
  Gregor Nicholas MOUTH MUSIC (1981, 15 minutes, 16mm). MOUTH MUSIC opens
  with a series of brilliantly lit talking heads, accompanied by music,
  followed by an abstract series of images: a body builder, a woman, a
  painter at work, a couple arguing. Chris Knox TURNING BROWN AND TORN IN
  TWO (1983, 4 minutes, 16mm). Inspired by the strobe energy of Tony
  Conrad's THE FLICKER and the direct-to-film techniques of Len Lye, Knox
  mixes live-action, collage, stop-motion and animation to create films
  that double as music videos. Gregor Nicholas BODYSPEAK (1983, 10
  minutes, 16mm). BODYSPEAK juxtaposes elaborate dances from different
  cultures (a Samoan ceremonial dance, a drum dance from the Cook Islands,
  and a Tango). Fetus Productions FLICKER (1985, 4 minutes, 16mm).
  Emerging in the late 1970s, Fetus Productions traversed music, art,
  experimental film and fashion, and played a key role in the development
  of international Industrial Culture.

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

  We're hoisting our super-wide screen for—count 'em—FOUR
  double-projection performances in this ambitious celebration of cinema
  in real time. Katherin McInnis and Ben Furstenberg debut a stereoscopic
  psychogeographic tour of the Mission's legendary Woodward Gardens. Kerry
  Laitala and Stephen Parr juxtapose 16mm Sex-Ed films—male and female—in
  Human Sexual Response. Eliot Daughtry and Kriss De Jong of Killer
  Banshee engage in a live twin-image audio-visual dialogue, The Effort
  Was in Peril, whilst Thurston Graham conjures up sonic counterpoint.
  Melinda Stone and Sam Sharkey open the show with a new bouncing-ball
  sing-a-long. Come early to sip absinthe and interact with Craig
  Baldwin's Robo-strobo-scope! *$7.


Brussels: ARGOS
18:00, ARGOS Brussels

  Su 14.10.2007 // 18:00 A Sunday Afternoon with Tony Conrad organised by
  ARGOS ( and BOZAR Cinema ( During the
  last film festival in Rotterdam, Tony Conrad electrocuted a film reel,
  which produced light flashes and sparks. He then developed the images in
  a bucket and screened them before a baffled and highly amused audience.
  Apart from lecturing at Buffalo University, New York, this filmmaker,
  video maker and musician is also a brilliant pedagogue with an inspiring
  sense of humour. This lecture is the perfect introduction to Tony
  Conrad's work, a trajectory through over forty years of radical

Los Angeles, California: Filmforum
7:00 pm, Egyptian Theatre, 6712 Hollywood Blvd. at Las Palmas

  Ten Skies (2004, 16mm, color, sound, 109 minutes). Ten ten-minute static
  shots - ten different skies, as they are affected by the landscapes and
  the atmospheric/ environmental conditions below them.

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

  In the early 1970s the New Zealand art world began to blossom. During
  this time a post-object art movement was emerging, wherein artists
  turned their attention to performance activities. FILMS IN REAL TIME
  documents a range of activities from musical performance to the rigors
  of physical labor, sometimes completely raw and unedited, at other times
  crafted into records of time and place. Please note that all films are
  shown on video. Original formats are noted for each title. . Leon Narbey
  UNIVERSAL EBB AND FLOW (1971, 12 minutes, 16mm). Darcy Lange RUATORIA
  PART 2 / SHEARING PEKAMA (1974, 9 minutes, video). Gray Nicol DUCK
  CALLING (1978, 4 minutes, video). Andrew Drummond NGAURANGA SET. 20
  DIRECTIONS IN AN ENCLOSURE (1978, 6 minutes, video). Ted Nia [NEW
  (1979, 13 minutes, video). Bruce Barber WHATIPU BEACH PERFORMANCE (1973,
  9 minutes, Super 8mm).

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

  In 2007 Len Lye stands as the pioneer, inspiration and point of
  reference for animation in New Zealand. While the influence of Lye's
  film work remains undisputed, SCRATCHING THE SURFACE reveals a handful
  of New Zealand animators with independent visions. . All films are
  presented on Beta. Original formats are noted for each title. John Henry
  STRATUS (from IMAGES) (1976, 10 minutes, video). STRATUS is one-third of
  a three-part videotape of elaborate abstract patterns with a jazz fusion
  soundtrack by Billy Cobham. Lissa Mitchell / Pictorial Research Group
  BOWL ME OVER (1995, 6 minutes, 16mm). A mini-epic South Island
  travelogue/road movie and homage to artists Colin McCahon, Mina Arndt
  and Rita Angus, by Wellington film maker Lissa Mitchell. Chris Knox
  NOTHING'S GOING TO HAPPEN (1981, 4 minutes, 16mm). Alternative music
  icon Chris Knox creates a piece of stop-motion absurdism in this music
  video for his band Tall Dwarfs. Chris Knox PHIL'S DISEASE DAY 1 (1981, 2
  minutes, 16mm). "I've got these pains.." Here Knox animates a stream of
  consciousness for the song PHIL'S DISEASE DAY 1. Lisa Reihana WOG
  FEATURES (1990, 7 minutes, 16mm). "WOG FEATURES uses animation and live
  action to address racism in culture and gender.. This politicised look
  at culture is almost on the edge of profanity." -Lisa Reihana . Douglas
  Bagnall / Pictorial Research Group THE FIRST FILM (1992, 3 minutes,
  Super 8mm). A soundtrack of crashing noise, bells, and distortion
  provides the background for streams of mosaic patterns that form and
  decay in startling succession. Glenn Standring LENNY MINUTE ONE (1993,
  12 minutes, 16mm). "Private Eye Lenny Minute is drawn into a web of
  surreal intrigue after a series of murders, leading him to confront the
  woman of his dreams as the first swords are drawn in the war between the
  sexes." -Glenn Standring. May Trubuhovich FELINE (1997, 6 minutes,
  16mm). A remarkable piece of claymation, FELINE investigates the
  possibilities of changing oneself in a world where physicality and
  identity are fluid.

San Francisco, California: San Francisco Cinematheque
7:30pm, Yerba Buena Center for the Arts, 701 Mission Street (corner of Third)

  Tonight's program includes a sampling of new films recently placed into
  distribution with Canyon Cinema. All the works presented will be shown
  in 16mm or 35mm format to honor Canyon Cinema's devotion to promotion of
  the distribution and projection of motion picture film. Screening:
  Kosmos by Thorsten Fleisch, SSHTOORRTY by Michael Snow, Hot Leatherette
  by Robert Nelson, Bouquets 21-30 by Rose Lowder, Orchard by Julie
  Murray, Startle Pattern by Eric Patrick, You Be Mother by Sarah Pucill,
  Errata by Alexander Stewart, Ber-Lin 99/00 by Andre Lehmann.

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