This week [October 20 - 28, 2007] in avant garde cinema (part 1 of 2)

From: weekly listing (email suppressed)
Date: Sat Oct 20 2007 - 12:43:52 PDT

This week [October 20 - 28, 2007] in avant garde cinema

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"Magnificent Forest" by Eric Ostrowski

The Images Festival (Toronto, Ontario, CANADA; Deadline: November 09, 2007)
EMPAC (troy,ny,usa; Deadline: February 15, 2008)
LIFT (Toronto; Deadline: November 15, 2007)
Media City (Windsor ON Canada; Deadline: November 30, 2007)
Fargo Film Festival (Fargo, ND, USA; Deadline: December 01, 2007)
Studio 27 (San Francisco, CA USA; Deadline: December 15, 2007)
Portland Documentary & eXperimental Film Festival (PDX Fest) (Portland,
Oregon USA; Deadline: December 14, 2007)
Faux Film Festival (Portland, OR; Deadline: December 31, 2007)

Byron Bay Film Festival (Byron Bay, NSW, Australia; Deadline: October 31, 2007)
MONO NO AWARE Film Event (Brooklyn, NY USA; Deadline: November 09, 2007)
Signal & Noise (Vancouver, BC, Canada; Deadline: November 01, 2007)
Black Maria Film + Video Festival (Jersey City, New Jersey, USA; Deadline:
November 16, 2007)
San Francisco Ocean Film Festival (San Francisco, California, USA;
Deadline: October 31, 2007)
Nashville Film Festival (Nashville, TN, USA; Deadline: November 16, 2007)
The Images Festival (Toronto, Ontario, CANADA; Deadline: November 09, 2007)
LIFT (Toronto; Deadline: November 15, 2007)

Enter your event announcements by going to the Flicker Weekly Listing Form

Also available online at Flicker:

  * Still/Moving: Still Photography In the Moving Image. Part 2: Pictures
     Worth A Thousand Words [October 20, Atlanta, Georgia]
  * Ken Jacobs: Star Spangled To Death [October 20, Brussels]
  * Caroline Koebel: City Film Berlin [October 20, New York, New York]
  * Lynne Sachs’ I Am Not A War Photographer [October 20, San Francisco,
  * Ken Jacobs & Aki Onda: Nervous Magic Lantern Performance [October 21,
  * Filmforum Presents You Pick ‘Em! A Selection of Experimental Films From
     Canyon Cinema [October 21, Los Angeles, California]
  * Films By Stan Brakhage [October 21, New York, New York]
  * Belson / Baillie / Crockwell [October 21, New York, New York]
  * Experiments In High Definition [October 21, San Francisco, California]
  * An Evening With James Benning: One Way Boogie / 27 Years Later
[October 22, Seattle, Washington]
  * Visiting Artist James Benning: One Way Boogie Woogie 27 Years Later
[October 23, Portland, Oregon]
  * Sins of the Fleshapoids: Mike Kuchar In Person [October 23, Reading,
  * Hellzapoppin' [October 23, San Francisco, California]
  * Seasons of Macdowell (2007) [October 24, Columbus, Ohio]
  * Slow Space [October 24, Freiburg i. Br.]
  * Helen Hill Memorial [October 24, New York, New York]
  * At the Heart of A Sparrow: videos By Barry DoupÉ [October 25, Chicago,
  * David Gatten: the Image & the Word (Workshop) [October 25, London,
  * New Work Uk: Trust Yourself [October 25, London, England]
  * Open Screening [October 25, Reading, Pennsylvania]
  * Bruce Mcclure: Lit Cavities In the Face Open their Glassy Embrace To
     Receive You [October 25, San Francisco, California]
  * Up and Out [October 26, New York, New York]
  * Bruce Mcclure: Down the Photoslope In Synopanc Pulses [October 26, San
Francisco, California]
  * Joseph Cornell: Collaborations and Cinematic Influences [October 26,
San Francisco, California]
  * Urban/Rural Landscapes In Film and video [October 27, Greenbelt, Maryland]
  * Capitalism: Child Labor [October 27, London, England]
  * The ‘I’ and the ‘We’ [October 27, London, England]
  * Past Imperfect [October 27, London, England]
  * Carolee Schneemann [October 27, London, England]
  * Mysterious Emulsion [October 27, London, England]
  * 3 By Charles Burnett [October 27, Los Angeles, California]
  * Experiments In Terror ii [October 27, San Francisco, California]
  * The Anagogic Chamber [October 28, London, England]
  * Now Wait For Last Year [October 28, London, England]
  * Over Land and Sea [October 28, London, England]
  * The Percipient Image [October 28, London, England]
  * Seven Easy Pieces By Marina Abramovic [October 28, London, England]
  * Free Radical: the Films of Len Lye [October 28, Los Angeles, California]
  * The Films of Lech Majewski [October 28, Los Angeles, California]
  * Arabic Series 11-19 [October 28, New York, New York]

Events are sorted by CITY within each DATE.


Atlanta, Georgia: Eyedrum
8:00 PM, 290 Martin Luther King Jr Dr Suite 8

   "Pictures worth a thousand words" shows three films which tell their
   stories almost entirely with still photographs (but watch closely!). |
   Chris Marker's classic La Jetée ­ the inspiration for the Terry Gilliam
   film 12 Monkeys ­ is the story of a mysterious childhood memory in a
   dystopian future. Using still photos, a hot plate, and a poignant
   narration, Hollis Frampton's film (nostalgia) works an ingenious
   cognitive trick on the audience, while Morgan Fisher's Production Stills
   turns a Polaroid camera on a movie camera, then turns the movie camera
   back on the Polaroid photos and thus manages to document its own making!
   | Program: Production Stills (Morgan Fisher, 1970), 16mm, black & white,
   sound, 11 minutes | (nostalgia) (Hapax Legomena I) (Hollis Frampton,
   1971), 16mm, black & white, sound, 36 minutes; | La Jetée (Chris Marker,
   1962), 16mm, black & white, sound, 28 minutes

Brussels: ARGOS
14:00, ARGOS Brussels

   Sa 20.10.2007 // 14:00 ­ 23:00 Ken Jacobs Star Spangled To Death
   1957-2003, col./b&w, English spoken, 393' organised by ARGOS
   ( and BOZAR cinema ( 14:00 Mark Webber in
   conversation with Ken Jacobs 15:00 part 1+2 (with short break in
   between) 18:00 dinner 20:00 part 3+4 (with short break in between) This
   Magnum Opus by Ken Jacobs was in the making for almost half a century.
   Initiated in 1957 as one of his "urban-guerilla-cinema" projects with
   avant-garde legend Jack Smith, this film developed into a 6-hour-plus
   social criticism of the U.S. which, in his words, was "stolen and
   dangerously sold-out". Footage of his own is combined with fragments
   from documentaries, cartoons, musicals and educational films, as a
   reflection on such issues as race and religion, war addiction and the
   monopolisation of wealth. A splendid immersion in clownish euphoria and
   political despair. Mark Webber is an independent curator of avant-garde
   / experimental / artists' film and video. He has presented events and
   screenings as the Barbican Centre (Underground America, Cinema
   Auricular: Electronic Music and Film), ICA (Little Stabs at Happiness),
   Tate Modern (Like Seeing New York For The First Time, The Films of Andy
   Warhol), London Film Festival (Ken Jacobs' Nervous System, Peter
   Kubelka: What Is Film), Oberhausen Kurzfilmtage (Came the Loop Before
   The Sampler, Floating Through Time: The Films of Larry Jordan) and the
   Whitney Museum of American Art (The American Century Part 2: 1950s &
   1960s). He has been touring the world with Shoot Shoot Shoot, a major
   retrospective of the London Film-Makers' Co-operative & British
   Avant-Garde Film from 1966-76.

New York, New York: Millennium Film Workshop
8:00PM, 66 E. 4th St.

   Situated at a crossroads, City Film Berlin is a multidirectional program
   of new cinema by Caroline Koebel. The filmmaker shot the two featured
   titles Berlin Warszawa Express and Alex, Wait! while living as a
   pregnant artist in Berlin. These works traverse performance and film,
   documentation and intervention, seriality and narrative, rhythm and
   stillness, tourist snapshot and meditative portrait, the city film genre
   and conceptual art. They re-site the kino eye in the protruding belly,
   the filmmaker becoming a visible body and a body of vision. Inverse to
   Walter Ruttmann's Berlin: Symphony of A City in which the camera was
   hidden in order to capture the metropolis in its authenticity, in these
   films the spectacle of the filmmaker as public maternal body casts
   shadow enough on the camera in effect to conceal it. The program also
   includes a collaboration with Katherine Crockett of the Martha Graham
   Dance Company, a reenactment of a 1968 action by Valie Export and Peter
   Weibel starring Tony Conrad and Bernadette Wegenstein, and two 16mm

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

   OC is honored to host, in person, prodigal daughter Lynne Sachs. Both a
   screening and spoken-word event, in I Am Not a War Photographer Lynne
   discusses her decade-long artistic—rather than physical—immersion in
   war. From Vietnam to Bosnia to WWII-occupied Rome to the Middle East
   today, her experimental documentaries probe the borders between genres,
   discourses, radicalized identities, psychic states, and nations through
   the intertwining of abstract and reality-based imagery. Sachs is not
   avoiding graphic realism, but instead is unpeeling the outer, more
   familiar layers, hoping to reveal something new about perception and
   engagement in cinema.


Brussels: ARGOS
20:30, BOZAR Brussels

   Su 21.10.2007 // 20:30 Ken Jacobs & Aki Onda Nervous Magic Lantern
   Performance Paleis voor Schone Kunsten / Palais des Beaux-Arts entry
   fee: 9/7 euros organised by ARGOS ( and BOZAR cinema
   ( Ken Jacobs (US, 1933) is a key figure in the post-war
   experimental film world. After his university studies he found himself
   in the vivid artistic climate of New York of the 50s and 60s, where he
   made a name for himself as a committed filmmaker and activist. Together
   with his wife Flo he founded the Millennium Film Workshop, and was
   responsible for one of the first university cinema training courses.
   Jacobs' films and performances explore the subconscious of the cinematic
   experience, the regions where the construction of light, movement, speed
   and frame incite a purely sensorial shadowplay, beyond the borders of
   cinematographic time and space. In films such as Tom, Tom the Piper's
   Son (1969-1971) he dissects and manipulates existing film material,
   deconstructs each sequence and gesture, applies himself to texture and
   space, and choreographs, like a self-appointed "cine-puppeteer", a
   secondary discourse of forgotten and explored time. In his performances
   and recent video work he explores the phenomenon of "eternalisms",
   paradoxical appearances in which objects and figures seem to be captured
   in a spasm of infinite, slowly moving rotations. This is cinema which
   reverses the curve of human perception, and which takes its force from
   the mysteries of our own looking and thinking. The Nervous Magic
   Lantern, a film projector Jacobs made himself, unravels an unexpected
   film before our eyes, without actors, without a plot, without celluloid
   or video. Making use of pre-cinematographic techniques an illusory
   dreamworld is created, where the spectator is immersed in alienating,
   rotating landscapes suggesting the shape of volcanic glass, desolate
   craters or glacial gorges. The result is a hallucinatory
   three-dimensional watching experience, in which impossible phenomena and
   non-existing locations come to life in the projected dimension between
   the screen and the gaze of the spectator, like an innuendo of abstract
   shapes. Musician, composer and visual artist Aki Onda (JP, 1967) is
   always on the lookout, camera and sound recorder at hand, ready to
   document his travels and encounters. He looks for meaning in the
   accumulation of those memories, when the specific experiences fade out
   and the architecture and essence of the memory reveals itself. His
   ongoing project Cassette Memories consists of a series of performances,
   or rituals, where he lets memories, recorded on soundtape, wander and
   collide with the sounds of the site-specific memory. Onda has previously
   worked with such artists as Alan Licht, Loren Connors, Michael Snow and
   Otomo Yoshihide. This is his first collaboration with Ken Jacobs.

Los Angeles, California: Filmforum
7:00 pm, Echo Park Film Center, 1200 Alvarado Street (at Sunset)

   Rarely screened classics, curiosities, forgotten wonders including
   Runaway (Standish Lawder, 1969); Book of Dead (Victor Faccinto, 1978);
   Blutrausch ­ Bloodlust (Thorston Fleisch, 1999); 3/60: Baume im Herbst
   (Trees in Autumn) (Kurt Kren, 1960); Billabong (Will Hindle, 1969) and

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

   Dir: STAN BRAKHAGE. PASHT (1965, 5 minutes, 16mm). THE WONDER RING
   (1955, 4 minutes, 16mm). FLESH OF MORNING (1956, 25 minutes, 16mm). FIRE
   OF WATERS (1965, 10 minutes, 16mm, sound). WINDOW WATER BABY MOVING
   (1959, 12 minutes, 16mm). . Films made during the early period of one of
   modern cinema's greatest innovators, including one of his early
   experiments with sound.

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

   Jordan Belson . ALLURES (1961, 9 minutes, 16mm) . RE-ENTRY (1964, 6
   minutes, 16mm). PHENOMENA (1965, 6 minutes, 16mm). WORLD (1970, 7
   minutes, 16mm). "Our greatest abstract film poet: he has found how to
   combine the vision of the outer and the inner eye." -Gene Youngblood.
   Bruce Baillie . CASTRO STREET (1966, 10 minutes, 16mm). ALL MY LIFE
   (1966, 3 minutes, 16mm) . HERE I AM (1962, 11 minutes, 16mm). Songs and
   poems of everyday reality. Funding for the preservation and restoration
   of HERE I AM graciously provided by Sony Pictures Entertainment.
   Douglass Crockwell . GLEN FALLS SEQUENCE (1964, 8 minutes, 16mm).
   Preserved by Anthology Film Archives. "The basic idea was to paint
   continuing pictures on various layers with plastic paint, adding at
   times and removing at times, and to a certain extent these early
   attempts were successful." -D.C.

San Francisco, California: San Francisco Cinematheque
8:00pm, San Francisco Art Institute, 800 Chestnut Street (at Jones)

   From 2004 through 2006, Voom HD LAB, a project of Voom HD Networks,
   conducted a residency program which offered a wide range of filmmakers
   access to state of the art facilities and fostered a diverse body of
   works, imagining the televised signal as an ambient experience based on
   experimentation and free play. Screening: Aerodynamics of the Black Sun
   by Bradley Eros; The Tension Building by Ericka Beckmann; Newr
   Bloodpinkis by Theo Angell; Sahara Mojave by Leslie Thornton; May Mad
   Gab by Lili Chin; Walden by Jennifer Sullivan; Angie Eng's Schpilin
   Aqui; Landfill by Pawel Wojtasik; 16 Letters by Grahame Weinbren;
   Unperception Now by Ali Hossaini; My Person in the Water by Leighton
   Pierce; Light Work One by Jennifer Reeves and Sorry by Gail Vachon.


Seattle, Washington: Northwest Film Forum
7pm, 1515 12th Ave

   Tickets $8/members, $10/general (James Benning, USA, 2005, 16mm, 120
   min) In 1977, concerned about the decaying nature of his native
   Milwaukee, James Benning shot ONE WAY BOOGIE WOOGIE, an hour long film
   composed of 60 shots of industrial urban landscape: smokestacks,
   sidewalks, three Volkswagens, people and animals here and there. In
   characteristic fashion, Benning's apparently simple, static shots are
   exercises in meticulous artistic composition, and his careful sequencing
   ensures that the director's playful humor is given full expression.
   Twenty-seven years later, Benning returned to Milwaukee to shoot "the
   same film again."The shot-by-shot restaging uses very obviously
   different stock - the colors are brighter and there's a distinctly
   modern tone. Buildings are showing their age, or gone completely, and
   the same is true of the people. Seen together, these two films offer a
   cogent illustration of how America has changed in the intervening years,
   fraying in places and gentrified in others. Benning's method and his
   affinity with his subjects are extraordinary. He completely absorbs the
   landscape, imbues it with geo-political and cultural relevance, and
   re-presents it to us in a unique mix of formal rigor and mischievous
   invention. NWFF is honored to have Benning in attendance to discuss this


Portland, Oregon: Northwest Film Center
7pm, 1219 SW Park Ave

   NW Film Center & 40 frames present: ONE WAY BOOGIE WOOGIE 27 YEARS LATER
   US 1977 Director: JAMES BENNING Tue Oct 23 7:00 PM Whitsell Auditorium
   "In 1977, concerned about the decaying nature of his native Milwaukee,
   Benning shot ONE WAY BOOGIE WOOGIE, an hour-long film composed of 60
   shots of industrial urban landscape: smokestacks, sidewalks, three
   Volkswagens, people few and far between, an animal here and there. In
   characteristic fashion, Benning's apparently simple, static shots are
   exercises in meticulous painterly composition, and their careful
   sequencing ensures that the director's playful humour is given full
   expression. For 27 YEARS LATER, Benning returned to Milwaukee to shoot
   'the same film again'. The shot-by-shot re-staging uses very obviously
   different stock —the colours are brighter, there's a distinctly modern
   tone. Buildings are showing their age, or gone; people likewise. Seen
   together, these two films offer a cogent illustration of how America has
   changed in the intervening years, fraying in places, gentrified in
   others. Benning's method, and his affinity with his subjects is
   extraordinary—as if he completely absorbs the landscape, imbues it with
   geo-political and cultural relevance, and re-presents it to us in a
   unique mix of formal rigour and mischievous invention."—LONDON FILM
   FESTIVAL. (121 min) James Benning will introduce the film. Co-sponsored
   by Portland State University English Department, Film Studies Minor.

Reading, Pennsylvania: Berks Filmmakers, Inc
7:30 pm, Albright College

   Sins of the Fleshapoids (1965, 43 min.) by MIKE KUCHAR and recent
   mini-DV shorts. When reminded that this film was considered a "camp
   classic" and of Sontag's famous 1964 essay, Kuchar replied: "I've never
   read "Notes On Camp." My own definition of the word is this: you pitch
   your tent (camera and crew) in an established theme-park. In the case of
   Sins of the Fleshapoids we pitched our tent on sci-fi comic book
   territory and the Hollywood style of movie-making. Then you go on
   holiday with that established form, consciously accentuating the
   artificiality inherent in the styles and techniques they used to
   manipulate the audience. Thus the soundtrack music becomes loud and
   obvious, make-up is over-applied or blatantly mis-applied, and the
   actors are obviously "acting," or even better, they can't act at all!
   …its a sort of vandalism, a form of good natured sabotage."—Jack
   Stevenson interview. "George and Mike Kuchar's films were my first
   inspiration. George's Hold Me While I'm Naked, Mike's Sins of the
   Fleshapoids—these were the pivotal films of my youth, bigger influences
   than Warhol, Kenneth Anger, even The Wizard of Oz."—John Waters

San Francisco, California: SFAI Film Salon
7:30pm , SFAI Lecture Hall, 800 Chestnut Street

   Halloween comes a little early with this collection of over-the-top film
   fantasias. Tscherkassky's Outer Space creates wild Man-ray-o-grams from
   an old Barbara Hershey horror vehicle, Ilppo Pohjola and Merzbow join
   forces in Routemaster to portray the vehicular horror of the racetrack,
   and Peggy Ahewesh's Scary Movie reverses the Lacanian lack. Plus a few
   eye-popping treasures from the archives.


Columbus, Ohio: Wexner Center for the Arts
7 PM, 1871 N. High St.

   Founded in 1907 in New Hampshire, the MacDowell Colony is the country's
   first artist residency program. To commemorate its 100th anniversary,
   the colony commissioned four past residents to create short films to
   mark the four seasons. Each participant represents—and employs—a
   different style of filmmaking. They are Michael Almereyda (narrative),
   George Griffin (animation), Elisabeth Subrin (experimental), and David
   Petersen (documentary). (60 mins., video)

Freiburg i. Br.: Kommunales Kino Freiburg
9:30 pm, Im Alten Wiehre Bahnhof, Urachstr. 40, 79102 Freiburg, Germany

   Slow Space ­ Synopsis (English text) Slow Space takes the viewer on a
   visual trip through places of glass architecture in Chicago. Filmed
   entirely within the urban constructed environment that makes up this
   contemporary North American city, Slow Space is a visually arresting
   investigation into how space is described, defined and ultimately
   experienced. Berlin filmmaker Klaus W. Eisenlohr commutes this
   relationship with the outside 'world' via an array of constructed
   transparencies in the glass domes and atriums that formed so much of
   architecture's modernist preoccupation for a constructed inside/outside
   dialectic. Descriptions and ultimately opinions on the status of public
   space in Chicago form part of the film's identity via a series of
   interviews conducted from the participant's private domains. Street
   scenes with performers complement this film essay. With his project in
   Chicago, the artist Klaus W. Eisenlohr has investigated the relationship
   between the body and the urban architectural environment over the time
   period of three years. -/- Reading Architecture Series: Two film
   screenings and one exhibition of Klaus W. Eisenlohr are being presented
   in Freiburg, as part of the series at Alter Wiehre Bahnhof. Kommunales
   Kino Freiburg and Architecture Days of Alsace and Baden-Württemberg host
   these shows concerned with architecture and urban space.

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

   Dir: HELEN HILL. This program of newly-preserved short films made by New
   Orleans-based filmmaker Helen Hill includes animated and experimental
   works made between 1990 and 2006. Because she never used a distributor
   and because much of her creative work was damaged or lost in the
   post-Katrina floods of 2005, it's a small miracle that so much of her
   output is suddenly available, and in vivid new 16mm prints. When her
   tragic death made headlines at the beginning of this year, it quickly
   became clear how many people Helen Hill's work and life had affected.
   Among the outpourings of affection and tribute was the collective effort
   of many who came together to make this preservation and restoration work
   happen: Colorlab, Harvard Film Archive, BB Optics, New York University,
   the University of South Carolina, and the Center for Home Movies. .
   Helen Hill's films are hand-drawn, figurative pieces infused with humor
   and a loving spirit. Many blend live-action with pixilation, cut-out,
   and cell animation. Collectively they are a batch of utopian love
   letters, addressed to particular people, communities, and the world.


Chicago, Illinois: Conversations at the Edge
6:00 pm, 164 N. State St.

   Co-presented by the Video Data Bank Barry Doupé in person! The
   unnervingly seductive videos of Vancouver-based artist and animator
   Barry Doupé blend painterly skill with the look of early 3-D video games
   in gothic dreamscapes, at once familiar and forever out of reach. Pegged
   as one of Canada's rising stars, with screenings across North America
   and Europe, Doupé is also a member of The Lions, a collaborative drawing
   group gaining notoriety for their evocative "exquisite corpse"
   illustrations and watercolors. Tonight's program features a selection of
   Doupé's animation and a glimpse at his latest work-in-progress. In BOY
   ON A DOCK BLOWING HIS NOSE (2004), opaque figures drift in muggy pools
   of pastel watercolors; a deer-child is subjected to a series of
   increasingly cruel tests in AT THE HEART OF A SPARROW (2006); and the
   Oedipal drama is repeated ad infinitum in DISTRAUGHT MOTHER REUNITES
   WITH HER CHILDREN (2005). (2004­06, Canada, Beta SP video, ca 70 min)

London, England: London Film Festival
10am, BFI Southbank, Belvedere Road, SE1 8XT

   Throughout the history of cinema, images and text have been combined
   on-screen in a variety of ways and for a range of reasons. Silent-era
   comedy, mid-century newsreels, avant-garde films and home movies have
   used words to tell stories, convey facts and explore the enjoyments and
   anxieties of reading. In this day-long workshop, Brooklyn artist DAVID
   GATTEN will provide an overview of such practice, with particular
   attention to filmmakers who have deployed on-screen text to investigate
   the way text functions as both image and language, the border between
   the legible and illegible, and the limits of what can be known through
   words. David Gatten has made prominent use of the printed word in the
   ongoing series "The Secret History of the Dividing Line" (sections
   screened at the LFF in previous years) and his recent "Film for
   Invisible Ink, Case No: 71: Base-Plus-Fog" (showing in the Festival on
   28 October 2007). Following introductory screenings of relevant works,
   participants will make their own films using a variety of processes,
   including direct-on-film applications, ink-and-cellophane tape
   transfers, slide projections, close-up cinematography, in-camera contact
   printing and more. The workshop is suitable for both beginners and
   experienced practitioners. Presented in association with
   Places are extremely limited, so book early to avoid disappointment.

London, England: Whitechapel Gallery
7.30pm, Whitechapel Gallery, 80-82 Whitechapel High Street, London E1 7QX

   New Work UK: TRUST YOURSELF Curated by Lina Dzuverovic, director of the
   London based contemporary arts agency ELECTRA. Michelle Deignan, Chia-En
   Jao, Yaron Lapid, Flávia Müller Medeiros, Harold Offeh, Uriel Orlow, The
   programme comprises video work made between 2003 and 2007 by six UK
   based artists. It takes us on a geographically dispersed journey on
   which we encounter fictional and real characters whose stories and
   messages introduce a range of storytelling modes. Taking risks in their
   delivery, the works range from intimate accounts of personal
   experiences, pseudo reportages delivered by 'official' voices to oddly
   conveyed political messages and performative public actions. The works
   in the programme shake up our expectations of how narratives are
   communicated making us suspend our trust in the narrator and our
   immediate responses. These works cause the viewer to re-think assumed
   positions and examine how the delivery of information affects the
   reading of the content. Programme: Yaron Lapid ­ You Have Not Found His
   Riddle (2003), 12' 39'' Chia-En Jao ­ Father's Tongue (2007), 5' 33''
   Uriel Orlow ­ The Visitor (2007) 15' 58'' Flávia Müller Medeiros ­ Fight
   The Enemy Abroad So We Don't Have To Face Them at Home (2005), 1'20''
   Michelle Deignan ­ Red Cheeks (2006), 9' 26'' Harold Offeh ­ Haroldinho
   (2003), 12' Michelle Deignan- Il Cittadino (2007) 8' 46'' Total Running
   Time: 65 minutes followed by a discussion with artists and the curator.

Reading, Pennsylvania: Berks Filmmakers, Inc
7:30 pm, Albright College

   Bring your own films, tapes or discs; time permitting, all works will be

San Francisco, California: San Francisco Cinematheque
7:30pm, The Exploratorium, 3601 Lyon Street (at the Palace of Fine Arts)

   "STRUCTURE is derived through the division of a whole into parts. In my
   cinematic equation formal considerations are directed towards the
   projector where the convergence of light lines and sound evolve into an
   interactive play between ourselves and the character of this phenomenal
   apparatus. Film, meanwhile, is a cinematic server, carrying meaning by
   sheer presence." (Bruce McClure) Running custom-made film loops through
   a three-deep array of modified projectors, Brooklyn-based projectionist/
   performer Bruce McClure creates immersive sound/light experiences which
   reach far beyond the cinematic ecstasy, fusing sound and image in
   hallucinatory frenzy. Screening: Rack & Slide; Nethergate


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

   Dir: Christian Marclay. Image track: BLOW-UP (1966) by Michelangelo
   Antonioni. Sound track: BLOW OUT (1981) by Brian De Palma. "The creative
   premise of UP AND OUT is stupefyingly simple. Christian Marclay lifts
   the picture from Antonioni's BLOW-UP and the soundtrack from De Palma's
   BLOW OUT (two movies which are not unrelated, the former about
   photography and latent voyeurism, the latter about sound recording and
   latent eavesdropping) and thrusts these partial cinematic systems along
   unaccustomed courses of solitude. Each has been forcibly divorced from
   the sounds or images of a now-absent partner, towards which its
   structure and meaning were originally devised. In Marclay's video, they
   never quite conjoin but relentlessly, and independently, hurry ahead to
   their assigned ends. The clandestine liaisons which they occasionally
   seem to carry on, vertically across time, occur only as conjurations of
   the spectator's imagination.. "UP AND OUT is a Cage-ian gambit, a
   forcing together by chance of two readymade elements which do not
   necessarily belong in the same space. The thematic and rhythmic kinship
   of one film to another (De Palma was a terrific student of his
   predecessors) makes the coincidences all the more delectable and
   persuasive. Marclay reveals the formulization of cinema to stand outside
   our conventional notions of time. We are invited to introduce our
   memories - the experience of watching movies, perhaps the experience of
   watching these movies - complex temporal engagements which we habitually
   suspend in the cinema. With UP AND OUT, Marclay submits the vectors of
   time to perceptible scrutiny." -Ben Portis, Assistant Curator,
   Contemporary Art, Art Gallery of Ontario, Toronto. Published in
   CHRISTIAN MARCLAY: CINEMA, Oakville Galleries, Oakville (Ontario) 2000.

San Francisco, California: San Francisco Cinematheque
7:30pm, The Exploratorium, 3601 Lyon Street (at the Palace of Fine Arts)

   "STRUCTURE is derived through the division of a whole into parts. In my
   cinematic equation formal considerations are directed towards the
   projector where the convergence of light lines and sound evolve into an
   interactive play between ourselves and the character of this phenomenal
   apparatus. Film, meanwhile, is a cinematic server, carrying meaning by
   sheer presence." (Bruce McClure) Running custom-made film loops through
   a three-deep array of modified projectors, Brooklyn-based projectionist/
   performer Bruce McClure creates immersive sound/light experiences which
   reach far beyond the cinematic ecstasy, fusing sound and image in
   hallucinatory frenzy. Screening: Evertwo Circumflicksrent …page 298;
   Pierced But Not Punctured; Unnamed Complement

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

   While Cornell's best known films are collages of pre-existing material
   produced in relative privacy, Cornell briefly collaborated with
   filmmakers Stan Brakhage, Rudy Burckhardt and Lawrence Jordan, deeply
   influencing the work of each of these significant artists. This program
   presents a sampling of this collaborative work with a selection of
   recent works continuing Cornell's fascinations with film, the found
   object and the magic of the everyday. Screening: Two films by Lawrence
   Jordan: Cornell, 1965, a rare film portrait of the artist and Our Lady
   of the Sphere; Centuries of June and Wonder Ring by Stan Brakhage (and
   Cornell's response to the latter, GniR RednoW); What Mozart Saw on
   Mulberry Street by Rudy Burckhardt (assembled from footage shot for
   Cornell's Mulberry Street); The Secret Story by Janie Geiser; flower,
   the boy, the librarian by Stephanie Barber; What Makes Day and Night by
   Jeanne Liotta; Her Fragrant Emulsion by Lewis Klahr; Oona's Veil by
   Brian Frye; and Cornell's own Rose Hobart.

(continued in next email)

For info on FrameWorks, contact Pip Chodorov at <email suppressed>.