From: Caroline Koebel (email suppressed)
Date: Sat Dec 01 2007 - 10:43:06 PST
Sending out a last sec reminder to those in NYC about 2 must-see
filmmaker-in-person screenings today! Caroline
SATURDAY DECEMBER 1 NEW YORK CITY
JUD YALKUT "Films 1965-1972: Favorites and Lesser Known Treasures"
4 P.M. PS1/MOMA in Long Island City, Free admission
PS1/MOMA and the New York Filmmakers Cooperative present a one-man screening
Jud Yalkut of "Films 1965-1972: Favorites and Lesser Known Treasures" as the
program of their collaborative series "The Cinema of the Unusual" on
1, 2007 at 4 P.M. PS1/MOMA is located at 22-25 Jackson Avenue at 46th Avenue
Long Island City, New York. The program, all projected on 16mm film, will
include "Turn Turn Turn"
and "Us Down By the Riverside) (made with USCO, and recently featured in the
2007 "The Summer
of Love" exhibition at the Whitney Museum); "D.M.T." with Jackie Cassen;
with Aldo Tambellini; "Le Parc"; "Clarence"; "P+A-I(K)" with Nam June Paik
and Robot K-456;
"China Cat Sunflower" with the Grateful Dead"; and "Planes," a film made
with Trisha Brown and Simone Forti. The filmmaker will be present. For more
informatioon call (718) 784-2084 or visit www.ps1.org <http://www.ps1.org> .
Millennium Film Workshop, 66 E. 4th Street
Starting Time: 8PM, Admission: $8 / $6 for members
Sarah Pucill, who lives and works in London, England, returns to the
Millennium with a program of short films, including the premiere of her
newest work, BLIND LIGHT.
YOU BE THE MOTHER (7 min.-1990), MIRRORED MEASURE (10 min.-1993), STAGES OF
MOURNING (17 min.-2004), TAKING MY SKIN (35 min.-2006), BLIND LIGHT (20
Sarah Pucill's 16mm films and photographs explore the mirroring and merging
we seek in the Other: a sense of self which is transformative and fluid. Her
work is concerned with the idea that as subjects we are not separate.
Pucill's individual cinematic language emerged in the 1990's in the context
of experimental film. Focusing on the materiality of film and the body, she
creates a vivid and unsettling psychic world that sets up the imaginary as a
potential site of resistance. From a process based approach in filmmaking,
Pucill produces, directs, edits and often performs in her films, which
ranges from 5 to 35 minutes.
BLIND LIGHT is filmed in the artist's London loft studio. From within this
space the artists produces images by controlling the light she allows into
the frame. She lifts the blinds or pulls them shut, applies filters to the
lens or removes them, opens the aperture wide or closes it. Each
performance, each action threatens the images as it shifts in and out of
"proper" exposure until it disappears completely. The camera throughout is
set to face a window, focusing either on it or on the sky. The artists
narrates her camera operation while referencing a state of being or
describing what it is like to see what she and the viewer are seeing. "I
can't look," she says, "the clouds are coming in," "there's been no rain for
weeks," "the eye burns, swells, loses focus and disappears in a stream."
BLIND LIGHT brings voice into the fold of exploration of the materiality of
film and the body.
For info on FrameWorks, contact Pip Chodorov at <email suppressed>.