Part 1 of 2: This week [May 17 - 26, 2008] in avant garde cinema

From: Weekly Listing (email suppressed)
Date: Sat May 17 2008 - 08:14:31 PDT

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Enter your announcements (calls for entries, new work, screenings,
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NEW FILM/VIDEO: NON-FEATURE:
===========================
"In Pursuit of Elvis (Elvis in Pieces)" by Kate Pelling
http://www.hi-beam.net/cgi-bin/ann.pl?type=newwork&readfile=341.ann

NEW FILM/VIDEO: FEATURE:
========================
"Gilbert's Way" by Nick Gilbert
http://www.hi-beam.net/cgi-bin/ann.pl?type=newworkf&readfile=107.ann

ITEM FOR SALE:
==============
these here separated to see how they standing alone or the soundtracks of six films by s. barber
http://www.hi-beam.net/cgi-bin/ann.pl?type=sale&readfile=7.ann

MISCELLANEOUS:
==============
voices wanted for short expmntl film project
http://www.hi-beam.net/cgi-bin/ann.pl?type=misc&readfile=97.ann

NEW CALLS FOR ENTRIES:
=====================
imagine art after (London, United Kingdom; Deadline: July 01, 2008)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=839.ann
CPH:DOX (Copenhagen, Denmark; Deadline: August 01, 2008)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=878.ann
The LAB (San Francisco; Deadline: May 21, 2008)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=879.ann
"Everyone will be famous for 150 kbytes." (Naples, Italy; Deadline: December 31, 2008)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=880.ann
Betting on Shorts (London; Deadline: August 15, 2008)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=881.ann
VolcanoFilmFest (Bologna, Italy; Deadline: June 15, 2008)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=882.ann
Takoma Park Film Festival (Takoma Park, MD, USA; Deadline: November 01, 2008)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=883.ann
Wavelengths Programme at the Toronto International Film Festival (Toronto, Ontario, Canada; Deadline: June 03, 2008)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=884.ann

DEADLINES APPROACHING:
======================
ZEBRA Poetry Film Festival (Berlin, Germany; Deadline: June 16, 2008)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=828.ann
HEART OF GOLD INTERNATIONAL FILM FESTIVAL (Gympie, Australia; Deadline: May 28, 2008)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=830.ann
Antimatter Underground Film Festival (Victoria, BC, Canada; Deadline: May 30, 2008)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=853.ann
Milwaukee LGBT Film/Video Festival (Milwaukee, WI, USA; Deadline: June 15, 2008)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=861.ann
Astronomical Unit (Buffalo, NY, USA; Deadline: May 30, 2008)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=868.ann
Arrivano i Corti (italy; Deadline: June 20, 2008)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=869.ann
Bearded Child Film Festival (Grand Rapids, Minnesota, USA; Deadline: June 06, 2008)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=872.ann
The LAB (San Francisco; Deadline: May 21, 2008)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=879.ann
VolcanoFilmFest (Bologna, Italy; Deadline: June 15, 2008)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=882.ann
Wavelengths Programme at the Toronto International Film Festival (Toronto, Ontario, Canada; Deadline: June 03, 2008)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=884.ann

Enter your event announcements by going to the Flicker Weekly Listing Form
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THIS WEEK'S PROGRAMS (SUMMARY):
==============================
* The Free Translators [May 17, Buffalo, New York]
* Chicago 360 V.3 [May 17, Chicago, Illinois]
* The Early Films of Bruce Nauman: Between Art History and Film Studies [May 17, Chicago, Illinois]
* The Museum of Modern Art Poprally Series Presents Pittsburgh's
Experimental Film Collective Jefferson Presents... [May 17, New York, New York]
* L'image MatièRe. Histoire Du CinéMa Par Lui-MêMe, Formes De La Critique
visuelle [May 17, Paris, France]
* Notendo + Potter-Belmar [May 17, San Francisco, California]
* Blues and Funk! Films By Mike Henderson and Robert Nelson [May 18, Chicago, Illinois]
* Tearoom - With Filmmaker William E. Jones In Person! [May 18, Chicago, Illinois]
* Play and Destruction [May 18, Dublin, Ireland]
* Play Ans Destruction [May 18, Dublin, Ireland]
* Filmforum Presents Noisy People: Film + Live Performance! [May 18, Los Angeles, California]
* Latent Images: Sfai Mfa Film & video Screening [May 18, San Francisco, California]
* The Free Translators [May 19, Brooklyn, New York]
* Films By Jennifer Reeves [May 20, Brooklyn, New York]
* What Is Live Cinema, and How Do We Do It? [May 20, Eugene OR]
* Fortune [May 20, Eugene OR]
* The Free Translators [May 20, Hudson, NY]
* Burden of Dreams [May 20, jacksonville]
* Tv Sheriff & the Trailbuddies [May 20, jacksonville]
* The Free Translators [May 21, Baltimore, MD]
* Vertrautes Terrain On Www.Tank.Tv [May 21, London, England]
* Fortune [May 21, Portland OR]
* Essential visual Music: Rare Classics From Cvm Archive [May 23, Philadelphia, Pennsylvania]
* "See, Reappear +Breathe" Interactive Screening At Oddball Films [May 23, San Francisco, California]
* Fortune [May 23, Seattle WA]
* Gerry Fialka's Pxl This Fest [May 24, San Francisco, California]
* Fortune [May 24, Seattle WA]
* The Free Translators [May 24, Silver Springs, MD]
* The Free Translators [May 25, Philadelphia, Pennsylvania]

Events are sorted by CITY within each DATE.

----------------------
SATURDAY, MAY 17, 2008
----------------------

5/17
Buffalo, New York: Squeaky Wheel
http://www.squeaky.org
8 pm, 712 Main Street

THE FREE TRANSLATORS
  Reminiscent of the do-it-yourself approach of the Riot Grrrl movement,
  this Spring two feminist provocateurs are taking their multimedia show
  on the road. Mary Billyou and Sabine Gruffat are hailing from Brooklyn,
  NY and Madison, WI to present "The Free Translators" touring east coast
  cities and towns with a program of radical videos and performances. As
  the title suggests, The Free Translators' video program is inspired by
  widely accessible texts. The artists perform in many of their own
  videos, sometimes enacting the news, dictating words written by the
  Marquis de Sade, or excerpting from Virginia Woolf's anti-war essays. By
  re-interpreting the texts for the audience, the videos explore notions
  of identity and communication, re-imagining issues raised by feminist
  consciousness, the quality of attention today in the midst of multiple
  authorial references, and the diminished space of citizenship around the
  monologue of mass media. In between video screenings, The Free
  Translators present two "Live Tactical Translations," or, live
  multimedia experiments inspired by 1970s feminist art and Soviet
  avant-garde news troupes. Culling from their library of text, sound, and
  image, alter egos Miss Reading and Miss Recognition communicate through
  matching headsets and manipulate analog recordings as they educate
  audiences in their unique methods of reading and comprehension.

5/17
Chicago, Illinois: Chicago Filmmakers
http://www.chicagofilmmakers.org/
8:00 pm, 5243 N. Clark St.

CHICAGO 360 V.3
  Co-presented by Split Pillow Split Pillow presents the third installment
  of its decade-long project chronicling early 21st century life and
  culture in the Windy City, Chicago 360. Five mini-documentaries
  centering around the theme "Work in the City" provide a glimpse into
  some of the jobs and workers that help define the Chicago landscape. The
  world's largest button-making operation, street-side peanut vendors, the
  changing image of Chicago's working class, the evolution of urban
  journalism, and the ultimate selfless job of parenting come under
  examination in this fascinating work. Split Pillow is a Chicago-based
  non-profit motion picture production and media literacy education
  company now in its sixth season of producing a full season of new works
  by Chicago filmmakers primarily for Chicago audiences.

5/17
Chicago, Illinois: University of Chicago Film Studies Center
http://filmstudiescenter.uchicago.edu
10am-5pm FREE, 5811 S. Ellis Ave, Cobb Hall 307

THE EARLY FILMS OF BRUCE NAUMAN: BETWEEN ART HISTORY AND FILM STUDIES
  In the late 1960s, when video was gaining ground as a new medium,
  American artist Bruce Nauman used 16mm film for his conceptual and
  philosophical exploration of the studio, the body, perception, and art
  making in general. Rarely screened outside of traditional art exhibition
  spaces, the symposium will feature nine short films Nauman made between
  1967 and 1969, as well as a keynote address and round-table discussion
  of his work. It is a rare opportunity to discuss the stakes of
  interdisciplinarity and to see Nauman's early films in their entirety.
  In an epoch of new media and digital art, Nauman's early films are of
  particular interest for the very fact that they are, specifically,
  films. By the mid-1960s, video, multi-media installation, and
  experimental television practice were the most promising, radical forms
  of moving image practice. Yet, beginning in 1966, Nauman used 16mm
  celluloid film for numerous projects that explore performativity, his
  body, dance, the creative process, and the conceptual, perceptual
  parameters of figuration and abstraction. The group of scholars and
  curators who have been invited possess an exceptional range of expertise
  in experimental film, video, and new media practice; mid-century modern
  and conceptual art; corporeal aesthetics and figuration; and
  technology's place in our cultural heritage. · 10:00am: "Making Up Art,"
  address by Constance Lewallen, adjunct curator at the UC Berkeley Art
  Museum & Pacific Film Archive; curator of the recent exhibition "A Rose
  Has No Teeth: Bruce Nauman in the 1960s." · Screening of nine of
  Nauman's films made between 1967-1969: Thighing (Blue) (1967); Bouncing
  Two Balls Between the Floor and Ceiling with Changing Rhythms (1967-68);
  Playing a Note on the Violin While I Walk Around the Studio (1967-68);
  Violin Film #1 (Playing the Violin as Fast as I Can) (1967-68); Walking
  in an Exaggerated Manner Around the Perimeter of a Square (1967-68),
  Black Balls (1969); Bouncing Balls (1969); Gauze (1969); Pulling Mouth
  (1969). · Roundtable discussion: Fred Camper (Chicago artist and critic
  at large); Gabrielle Gopinath (Ph.D., Yale University); Mark Hansen
  (Professor, Cinema and Media, English, University of Chicago), Christine
  Mehring (Professor, Art History, University of Chicago), and Jennifer
  Wild (moderator; Visiting Assistant Professor, Cinema and Media,
  University of Chicago).

5/17
New York, New York: Jefferson Presents...
http://www.moma.org/calendar/poprally/upcoming.php#2
8PM, The Museum of Modern Art, Theater 3 (Celeste Bartos Theater)

THE MUSEUM OF MODERN ART POPRALLY SERIES PRESENTS PITTSBURGH'S
EXPERIMENTAL FILM COLLECTIVE JEFFERSON PRESENTS...
  PopRally invites you to a screening of films by the experimental
  Pittsburgh film collective Jefferson Presents… The artists present
  all-new work in 16mm celluloid film using combinations of uncommon
  vintage "analyst" projectors. A number of these special one-of-a-kind
  projection performances will be accompanied by live sound by several
  Pittsburgh based musicians. Appearances by established filmmakers and
  newer artists—including Adam Abrams, Tony Balko, Mike Bonello, Olivia
  Ciummo, tENTATIVELY, a cONVENIENCE, Tara Merenda, Caleb Morgan, Gordon
  Nelson, Ross Nugent, Greg Pierce, Brian Dean Richmond and Rebbyro,
  showcase the best of Pittsburgh's experimental film scene. Steven X.
  Boyle, Nick Falwell, Samuel Gangwish, and Jim Lingo contribute sound
  works.

5/17
Paris, France: Auditorium du Louvre
17-18 Mai 2008, Auditorium du Louvre

L'IMAGE MATIèRE. HISTOIRE DU CINéMA PAR LUI-MêME, FORMES DE LA CRITIQUE
VISUELLE
  Auditorium du Louvre L'Image Matière Histoire du Cinéma par lui-même,
  formes de la critique visuelle Mai 2008 Proposition de Nicole Brenez Ce
  cycle se propose, en huit séances de projections de films rares,
  jalonnées d'interventions d'artistes et de spécialistes, de montrer, en
  posant les repères historiques de la notion de remploi au cinéma, les
  différentes techniques utilisées, la diversité des iconographies,
  substrats et matériaux remployés, de rendre compte des trajets
  matériologiques, d'indiquer l'étendue des formes inventées et des fins
  visées. Samedi 17 14-19h : PUISSANCES CRITIQUES DES IMAGES 14h : Séance
  présentée par Michael Witt Forme institutionnelle du remploi, la
  bande-annonce voit son statut d'accessoire renversé par les initiatives
  de Jean-Luc Godard, qui transforme le petit appât commercial en autant
  de poèmes, traités, pamphlets parfois autonomisés des longs métrages. De
  tels exercices de recyclage, à ce jour jamais projetés en série,
  préludent en pratique à la notion godardienne de « Véritable histoire du
  cinéma ». Le principe de cet art « véritable, c'est-à-dire fait d'images
  et de sons » puise à un idéal de poésie critique qui remonte au
  romantisme allemand ; il trouve son apogée dans les Moments choisis des
  Histoire(s) du cinéma où, à la manière d'un père accueillant sa fille
  prodigue, le 35mm argentique recueille, concentre et magnifie la
  plasticité vidéographique élaborée par Godard depuis quatre décennies.
  Bande-annonce de Une femme est une femme de Jean-Luc Godard, 1961,
  France, 1 min 50, couleur, 35 mm Bande-annonce de Masculin féminin de
  Jean-Luc Godard, 1966, France, 1 min 58, 35 mm, n&b Bande-annonce de
  Made in USA de Jean-Luc Godard, 1966, France, 1 min 30, couleur, 35 mm
  Bande-annonce de Deux ou trois choses que je sais d'elle de Jean-Luc
  Godard, 1966, France, 1 min 30, couleur, 35 mm Bande-annonce de
  Mouchette de Robert Bresson de Jean-Luc Godard, 1967, France, 3 min, 35
  mm, n&b Bande-annonce de La Chinoise de Jean-Luc Godard, 1967, France, 2
  min 40, couleur, 35 mm Bande-annonce de Week-End de Jean-Luc Godard,
  1967, France, 48 secondes, couleur, 35 mm Bande-annonce de Tout va bien
  de Jean-Luc Godard, 1972, France, 5 min, couleur, 35 mm (co-réalisateur
  Jean-Pierre Gorin) Moments choisis des Histoire(s) du cinéma de Jean-Luc
  Godard, 2004, France, 84 min, n&b et couleur, 35 mm Scénario : Jean-Luc
  Godard Montage : Jean-Luc Godard Production : Gaumont/Périphéria
  Interprétation : Alain Cuny, Juliette Binoche, Julie Delpy, voix de
  Jean-Luc Godard Total : 100 min 26 16h30 : Histoires visuelles de
  l'injustice et de la falsification « Le film a réalisé si intégralement
  la transformation des sujets en fonction sociale que les victimes, ne se
  souvenant même plus d'aucun conflit, jouissent de leur propre
  déshumanisation comme de quelque chose d'humain, comme d'un bonheur qui
  réchauffe », écrivait Theodor Adorno (Minima Moralia, 1946). Dans
  l'océan des archétypes falsificateurs, certains cinéastes et vidéastes
  ont plongé et ramené des histoires polémiques, implacables et
  brillantes. Séance présentée par Hamé et Ekoué du groupe La Rumeur Fade
  to Black de Tony Cokes, É.-U., 1990, 32 min, n&b et couleur, vidéo
  Matériau remployé : Films 35 mm, textes de Louis Althusser, Guy Debord
  Geste : Mise en page et linéarisation Enjeu : Histoire poétique de la
  représentation des Afro-américains dans le cinéma hollywoodien
  Introduction to the End of An Argument : Speaking for Oneself/Speaking
  for Others de Jayce Salloum et Elia Suleimann, Liban, 1990, 43', vidéo,
  couleur Matériau remployé : Films reproduits sur VHS, images
  télévisuelles Geste : Montage, exégèse Enjeu : Histoire de la
  représentation des Arabes dans le système médiatique occidental (As if)
  Beauty Never Ends de Jayce Salloum, Canada, 2003, 11 min, vidéo, couleur
  Matériau remployé : Reportage vidéo sur le massacre de Chatila Geste :
  Mise en relations multiples, subjectivation du support Enjeu : Invention
  d'une déploration critique Operation Double Trouble de Keith Sanborn,
  É.-U., 2003, 10 min, coul, vidéo Matériau remployé : Enduring Freedom:
  The Opening Chapter Geste : Redoublement Enjeu : Critique du matériau
  par lui-même Total : 96 min 18h Retour sur la scène du Crime Return to
  the Scene of the Crime constitue le prolongement vidéographique, par Ken
  Jacobs, de son propre film Tom, Tom, the Piper's Son, monument
  cinématographique du remploi (É.-U., 1969-2008, 92 min) Film présenté en
  avant-première 20h Erotique du remploi L'œuvre de Toshio Matsumoto offre
  un éventail passionnant d'initiatives en matière de remploi. For the
  Damaged Right Eye, film en triple écran, dresse un portrait frénétique
  des années 60 grâce au recyclage d'images exogènes d'actualités, de
  posters et de magazines. Puis le triptyque Extasis, Funérailles des
  roses et Expansion développe la réutilisation par l'artiste de ses
  propres images, témoignant d'une obsession fertile pour le motif de la
  jouissance. Les mêmes plans d'extase migrent d'un support à l'autre,
  16mm, 35mm puis vidéo, frappant et défonçant les portes de la sensualité
  et de la tactilité. En présence de Toshio Matsumuto For the Damaged
  Right Eye de Toshio Matsumoto, Japon, 1969, 12 min, n&b et couleur, 16
  mm Ecstasis de Toshio Matsumoto, Japon, 1969, 11 min, n&b, 16 mm
  Funérailles des roses de Toshio Matsumoto, Japon, 1969, 107 min, n&b, 35
  mm Avec Peter, Osamu Ogasawara, Shotari Akiyama, Kiyoshi Awazu, Emiko
  Azuma, Toshiya Fujita Expansion de Toshio Matsumoto, Japon, 1974, 14
  min, n&b et couleur, vidéo Total : 144 min Dimanche 18 14-19h :
  L'ARGENTIQUE, EMPREINTE ASSIÉGÉE PAR LA DISPARITION « Photographie,
  télégraphe et radio ont changé le lointain en proche. La misère de la
  terre entière se déroule devant les habitants des villes. On pourrait
  penser que cela les inciterait aujourd'hui à les supprimer ; mais en
  même temps, le proche s'est transformé en lointain, car désormais
  l'épouvantable de nos propres villes se perd dans la souffrance
  universelle, et l'on est occupé par les affaires matrimoniales des stars
  de cinéma. Le passé est battu par le présent, à tous points de vue. »
  (Max Horkheimer, Crépuscule, 1926). Très vite on a su que le cinéma
  fabriquait en masse des images-écran, et que son histoire serait aussi
  tissée des images absentes, perdues, abîmées, censurées, oubliées et
  non-faites. Le remploi souvent invite l'absence à insister. 14h :
  Éclipses, blessures et symptômes. Pour une histoire des images
  manquantes Great Society de Masahori Ôe, Japon, 1967, 17 min, n&b, 16 mm
  Matériau remployé : Films 16mm de télévision Geste : Mise en parallèle
  par split-screen Enjeu : Coupe dans l'histoire à partir de l'assassinat
  de J. F. Kennedy L'Ayant-droit de Maurice Lemaître, France, 1991, 21
  min, n&b, 16 mm Avec Isidore Isou et Maurice Lemaître Matériau remployé
  : Images télévisuelles, photographie de presse Geste : Répétitions,
  recherche de détail, exégèse verbale Enjeu : Chercher une image occultée
  par les médias The Fall Of Communism As Seen In Gay Pornography de
  William E. Jones, É.-U., 1998, 19 minutes, vidéo, color, Matériau
  remployé : Films vidéo d'Europe de l'Est Geste : Suppression des plans
  pornographiques, mise en série et analyse de détails Enjeu :
  Compte-rendu de la mercantilisation foudroyante des comportements après
  1989 Portrait != 1 de Hervé Pichard, France, 2001, 3 min, vidéo Matériau
  remployé : quelques photogrammes abîmés en 35 mm Geste : ralentir le
  défilement pour observer que les formes de dégradation du nitrate
  diffèrent d'un photogramme à l'autre Enjeu : Readystroyed National
  Archive, V.1 de Travis Wilkerson, É-U., 2001, 15 min, couleur, vidéo
  Matériau remployé : Archives militaires déclassifiées Geste : Montage
  bout à bout, création musicale Enjeu : Readymade arrangé Les Ciseaux de
  Mounir Fatmi, Maroc, 2003, 10 min 20, 35 mm Matériau remployé : Les
  scènes d'amour censurées du film Une minute de soleil en moins, réalisé
  par Nabil Ayouch Geste : Bout à bout, accompagnement graphique Enjeu :
  Sauvegarde des scènes censurées et transformation du censeur en créateur
  malgré lui Le bombardement la porte des perles de Richard Kerr, Canada,
  2004, 8 min, couleur, vidéo Matériau remployé : Films de fiction 35 mm
  repris sur DVD Geste : Fragmentation, retraitement des vitesses et des
  couleurs, organisation en split-screen Enjeu : La violence du cinéma
  multiplie-t-elle celle de l'histoire ? Chant Sauvage : le Ménestrel.
  Préambule à toute histoire possible du cinéma de Chaab Mahmoud, France,
  2007, 9 min, n&b et couleur, vidéo ou 35 mm Matériau remployé : Films 16
  mm avec remploi direct et utilisation de DVD Geste : Prélèvements de
  plans, enchaînements, accompagnement graphique Enjeu : En réponse aux
  Histoire(s) du cinéma de Jean-Luc Godard, appel à établir le corpus des
  films qui ont accompagné les luttes de résistance et de libération,
  depuis la guerre d'Espagne jusqu'à l'Irak. Total : 98 min 16h : Carte
  Blanche à Peter Tscherkassky « Le dadaïste allemand Kurt Schwitters a
  dit qu'on pouvait faire de l'art de tout. Mon approche du found footage
  s'apparente à la sienne, je pense que de n'importe quel bout de film
  l'on peut faire un autre film. En travaillant avec du found footage,
  j'ai d'une certaine manière l'impression d'être un petit enfant qui veut
  comprendre les mécanismes d'un jouet qu'il aime beaucoup et qui
  fonctionne parfaitement. Alors, il commence à démonter ce jouet. La
  seule différence, c'est que l'enfant casse le jouet et moi, je construis
  autre chose. Derrière le sens de ces images fabriquées industriellement
  se cache toujours encore un autre sens, une autre image. Mon travail
  ressemble à celui d'un archéologue, j'essaie d'approcher le matériau de
  manière archéologique, d'écarter la surface du sens qui se présente au
  premier abord, de pénétrer dans le matériau et de découvrir les couches
  de sens celées dans le celluloïd. » Peter Tscherkassky. En présence de
  Peter Tscherkassky et Eve Heller Conférence de Peter Tscherkassky sur le
  Remploi Mirror Mechanics de Siegfried Fruhauf, Autriche, 2005, 7 min 30,
  n&b, 35mm Last Lost de Eve Heller, É.-U., 1996, 14 min, couleur, 16 mm
  Her Glacial Speed de Eve Heller, É.-U., 2001, 4 min, couleur, 16 mm Take
  the 5:10 to Dreamland de Bruce Conner, É.-U., 1976, 5 min, nb et
  couleur, 16 mm Parallel Space: Inter-View de Peter Tscherkassky,
  Autriche, 1992, 18', n&b, 35 mm (nouvelle copie), n&b Dream Work de
  Peter Tscherkassky, Autriche, 2001, 11', n&b, 35 mm/CinemaScope
  Instructions for a Light and Sound Machine de Peter Tscherkassky,
  Autriche, 2005, 17', n&b, 35 mm/CinemaScope 18h : Je suis l'histoire de
  mes images (destitution et constitution du Sujet) « Le cinéma nous
  assassine de reflets », déclara Antonin Artaud. Mais pourrions-nous
  vivre désormais autrement qu'immergés dans les images ? Nous ne savons
  plus démêler avec certitude les reflets extérieurs de nos élaborations
  psychiques les plus intimes, et l'intimité n'est sans doute que
  l'illusion ultime choyée par la culture audiovisuelle. Sur un mode
  polémique (Robert Kramer, Peter Kubelka), ironique (Simon Kansara),
  empathique (Ange Leccia), cinéastes et vidéastes prennent à bras le
  corps nos reflets assassins mais si désirables. On trouvera dans Perfect
  Day, sélection dans presque quatre décennies de recherches passionnelles
  sur les affinités électives entre image, musique et portrait, le plus
  subtil nuancier contemporain des générations multiples de remplois,
  hybridations et textures plastiques. Depuis Girl,
  autoportrait-performance de 1970, jusqu'à l'Endless Dance de 2007, en
  passant par les films pour Alain Bashung ou Elli Medeiros, les
  sculptures temporelles sur Maria Callas ou John Travolta, et tous les
  portraits d'adolescents anonymes, Ange Leccia a composé une récollection
  enchantée. En présence de Ange Leccia The Ghosts of Electricity de
  Robert Kramer, Suisse, 1997, 19 min, couleur, vidéo, sonore Matériau
  remployé : images télévisuelles Geste : Accumulation Enjeu : Méditation
  anthropologique sur la transformation du corps en banques de données
  Poésie et vérité (Dichtung une Wharheit) de Peter Kubelka, Autriche,
  1996-2003, 13 min, couleur, 35 mm Matériau remployé : Films
  publicitaires Geste : Mise en série Enjeu : « Témoigner de nos propres
  rituels occidentaux d'illusion, d'incitation et de conditionnement
  consommatoires. » (Alexandre Horwath). I Wanna Be Your Dog de Simon
  Kansara, France, 2007, 3 min, couleur et n&b, vidéo, sonore Matériau
  remployé : Blogs d'adolescents Geste : Mise en série Enjeu : Portrait à
  l'acide de l'adolescence consumériste contemporaine Perfect Day de Ange
  Leccia, France, 2007, 67 min, couleur et n&b, vidéo, sonore Total : 102
  min 20h : Remplois sauvages Très loin des remplois savants, s'est
  développée la poésie sauvage des films de stock-shots, souvent utilisés
  dans le cinéma de séries B et Z pour pallier toutes sortes
  d'insuffisances plus ou moins avouables. Stéphane Chavanas, Clément
  Rauger et Chaab Mahmoud proposent une sélection des remplois les plus
  extravagants, systématiques et hilarants dans ce champ où tout est
  permis. Avec un hommage particulier à Çetin Inanç, empereur du
  stock-shot, auteur du film-culte Dünyayi Kurtaran Adam, plus connu sous
  le nom de « Turkish Star Wars » (1982) et interprété par le célèbre
  Alain Delon turc, Cüneyt Arkin. Séance présentée par Stéphane Chavanas
  et Clément Rauger Remerciements : Sébastien Bondetti, Stéphane Chavanas,
  Pierre d'Amerval, André Habib, Go Hirasawa, Ange Leccia, Guillaume
  Massart, Clément Rauger, Jean-François Rauger, Peter Tscherkassky, Shoko
  Takahashi, Michael Witt.

5/17
San Francisco, California: Other Cinema
http://www.othercinema.com/
8:30, 992 Valencia Street

NOTENDO + POTTER-BELMAR
  In Carl Diehl's paranormal polemic on Metaphortean Phenomena, circuit-
  bending, globsters, and glitches are advanced as missing links in
  techno- cultural evolution. The perceived obsolescence of blurry Bigfoot
  pics is reclaimed as an adaptive strategy to short-circuit saturated
  surveillance- a counter-narrative of radical ambiguity! Featuring Jason
  Jones' Son of Sasquatch performance, noteNdo's (also in person) live
  Nintendo hacking, Jesse England's VCR-wrangling, and Gijs Gieskes, Phil
  Stearns, and LoVid's electro-anomalies. The evening rounds out with the
  vidsonic trips of San Antonio's Potter-Belmar Labs, improvising
  cine-miasmic trajectories thru Fortean space! Come early for Leonard
  Nimoy, Lori Surfer, Sam Green's plaster Bigfoot, and Jefree Anderson's
  UFO update. *$8.

--------------------
SUNDAY, MAY 18, 2008
--------------------

5/18
Chicago, Illinois: Cinema Borealis
8:30pm, 1550 North Milwaukee, 4fl

BLUES AND FUNK! FILMS BY MIKE HENDERSON AND ROBERT NELSON
  All films 16mm with sound, and not necessarily shown in this order:
  Henderson: DUFUS (1970, b/w, 8m) MOTHER'S DAY (1970, b/w, 15m) DOWN HEAR
  (1973, b/w, 12m) PITCHFORK AND THE DEVIL (1979, b/w & color, 15m)
  Nelson: HOT LEATHERETTE (1967, b/w, 5m) DEEP WESTURN (1974, b/w & color,
  6m) SPECIAL WARNING (1976/98, b/w & color, 8m) Henderson and Nelson:
  KING DAVID (1970/2003, color, 9m) WORLDLY WOMAN (1973, b/w & color, 8m)
  Mike Henderson (b. 1944) A Bay Area painter and Blues musician,
  Henderson also made about 2 dozen films, most of which have been seen by
  almost nobody. Though he's known more for his non-film work, Mike's 16mm
  shorts, inspired quite a bit by his early encounters (and long
  friendship) with Nelson, are gloriously original and full of incredible
  wit, artistry, and a funky elegance, cutting to the bone from many
  unexpected directions. Robert Nelson (b. 1930) Since the appearance of
  his 1965 underground classic, Oh Dem Watermelons, Nelson has produced a
  substantial body of work, loaded with humor and satire, cinematic non
  sequiturs, genuine epiphanies and surprises, skirting the edge of
  unhinged, but always holding artfully together. It's Nelson's ride, but
  he always leaves room for the audience in the passenger seat, especially
  when he's plunging off a cliff. (show programmed and introduced by Mark
  Toscano, thanks much to James Bond and Michelle Puetz, and of course to
  Mike Henderson and Robert Nelson)

5/18
Chicago, Illinois: White Light Cinema
http://www.whitelightcinema.com
6:30pm & 9:00pm, The Nightingale (1084 N. Milwaukee Ave.)

TEAROOM - WITH FILMMAKER WILLIAM E. JONES IN PERSON!
  White Light Cinema and The Nightingale are pleased to co-present an
  evening with the acclaimed Los Angeles-based filmmaker William E. Jones,
  who will screen his controversial new work Tearoom (1962/2007, 56 mins.,
  video), which was selected for the 2008 Whitney Biennial. A provocative
  act of appropriation, Jones presents original 1962 police surveillance
  footage of a men's bathroom with only very minor intervention. The
  images are raw and powerful and the film invites exploration from a
  number of perspectives: portraiture, queer history, anthropology,
  sociology, documentary, voyeurism, structural film, and ever
  kinesthetics. It is a rich work, both fascinating and disturbing. Jones
  writes: "Tearoom consists of footage shot by the police in the course of
  a crackdown on public sex in the American Midwest. In the summer of
  1962, the Mansfield, Ohio Police Department photographed men in a
  restroom under the main square of the city. The cameramen hid in a
  closet and watched the clandestine activities through a two-way mirror.
  The film they shot was used in court as evidence against the defendants,
  all of whom were found guilty of sodomy, which at that time carried a
  mandatory minimum sentence of one year in the state penitentiary. The
  original surveillance footage shot by the police came into the
  possession of director William E. Jones while he was researching this
  case for a documentary project. The unedited scenes of ordinary men of
  various races and classes meeting to have sex were so powerful that the
  director decided to present the footage with a minimum of intervention.
  Tearoom is a radical example of film presented 'as found' for the
  purpose of circulating historical images that have otherwise been
  suppressed." Jones has published a companion book Tearoom (2nd Cannons
  Publications), which contains many historical texts relating to the
  Mansfield cases, as well as over 100 frame enlargements from the video.
  Limited copies of the book will be available for sale at the screenings.
  Showing with Tearoom is a short experimental video Jones made from the
  original footage: Mansfield 1962 (2006, 9 mins., video). Additional
  information on Tearoom, including reviews, interviews with Jones, and
  historical texts relating to the case, can be found at Jones' website:
  www.williamejones.com. William E. Jones has been making work for nearly
  twenty years. His films Massillon (1991) and Finished (1997) were both
  highly acclaimed documentary-essay works and his recent video v.o.
  (2006) has had great success on the film festival circuit and at film
  venues around the world. His films and videos were the subject of a
  retrospective at the Tate Modern in London in 2005. He works in the
  adult video industry under the name Hudson Wilcox and teaches film
  history at Art Center College of Design under his own name. Admission:
  $7.00-10.00, sliding scale.

5/18
Dublin, Ireland: Experimental Film Club
http://experimentalfilmclub@blogspot.com
4pm, upstairs lounge at The Ha'penny Bridge Inn

PLAY AND DESTRUCTION
  This month's programme of films looks at an aspect of experimental
  cinema that is not always brought to the fore. Particularly now that
  experimental film is seen as more and more connected to the fine art
  scene and its conceptual and formal concerns, the fact sometimes gets
  neglected that performance, fantasy, theatricality, genre—and, last but
  not least, fun—have all been important tools in avant-garde film. The
  three filmmakers who's work we are presenting this Sunday —Adolfo
  Arrieta, Jack Smith and Vivienne Dick—are powerful examples of this. In
  their work, each filmmaker draws on elements of genre and narrative that
  will be familiar to any viewer from commercial cinema. What makes it
  impossible to confuse these films for anything that might come out of
  Hollywood is the radical way in which these elements are twisted and
  reinvented. One of the key ways this is done is by bringing them back
  into an intimate and earthly context. While these filmmakers are
  emphatically not realists, all of them work in a low-budget, DIY
  context, often shooting handheld, using real locations or makeshift sets
  and unprofessional actors that contrasts starkly with the pristine
  fantasy of Hollywood cinema. Their stories may be otherworldly, but they
  exist in the imperfection of this one. Costumes have holes in them;
  special effects and camera tricks are less than seamless; the
  performer's own existence outside the roles they are playing are more
  evident than usual. (...) VIVIENNE DICK'S "SHE HAD HER GUN ALL READY"
  (1978, 16mm, color, 27mins., New York) (...)She Had Her Gun All Ready
  shares preoccupations with other films by Dick: 'transgressive
  behavior', female sexuality, and the difficulty of relationships which
  can become empowering. Presented in a visually anarchic hand-held Super8
  camera style and set within domestic environments and iconic New York
  sites, She Had Her Gun All Ready plays with notions of gender and
  changing identities, with the boundaries between artistic practices and
  life, between public and private space, theatre and its double. ADOLFO
  ARRIETA'S "LA IMITACIóN DEL ANGEL" (1966, 16mm, 20mins., Madrid) Adolfo
  Arrieta / Alfo Arrieta / Adholfo Arrieta / Udolfo Arrieta is one of the
  most revolutionary characters of the Spanish characters of the late
  1960s who continually changes his name and dislikes the number 13. Made
  a few months before he moved to Paris -where Cahiers du Cinema had
  published an article about his work-, and with precarious technical
  conditions, La Imitación del Ángel is a lyrical film that "combines an
  almost innocent love for adventurous narrative and cinematic illusion
  with a raggedly offbeat handmade style of filming" (Donal Foreman,
  2007).(...) JACK SMITH'S "FLAMING CREATURES" (1963, 16mm, b&w, 43 mins.,
  New York) Flaming Creatures is the most notorious film by American
  radical photographer, queer film and performance artist Jack Smith. The
  film was banned almost everywhere it was shown, and Jonas Mekas was
  arrested in 1964 for screening it in New York. In its graphic depiction
  of sexuality, it compellingly broke a number of taboos, while narrative,
  performance/behavior and heterosexuality become subjects of play and
  destruction in the film.(...) FOR FUTHER INFORMATION VISIT OUR BLOG AT
  http://www.experimentalfilmclub.blogspot.com/

5/18
Dublin, Ireland: Experimental Film Club
http://experimentalfilmclub.blogspot.com/
4pm, Ha´penny Bridge Inn

PLAY ANS DESTRUCTION
  E X P E R I M E N T A L F I L M C L U B presents PLAY AND DESTRUCTION
  WITH IRISH UNDERGROUND FILMMAKER VIVIENNE DICK /// SUNDAY 18th MAY /
  Ha'penny Bridge Inn (upstairs) / 4pm This month's programme of films
  looks at an aspect of experimental cinema that is not always brought to
  the fore. Particularly now that experimental film is seen as more and
  more connected to the fine art scene and its conceptual and formal
  concerns, the fact sometimes gets neglected that performance, fantasy,
  theatricality, genre—and, last but not least, fun—have all been
  important tools in avant-garde film. The three filmmakers who's work we
  are presenting this Sunday —Adolfo Arrieta, Jack Smith and Vivienne
  Dick—are powerful examples of this. In their work, each filmmaker draws
  on elements of genre and narrative that will be familiar to any viewer
  from commercial cinema. What makes it impossible to confuse these films
  for anything that might come out of Hollywood is the radical way in
  which these elements are twisted and reinvented. One of the key ways
  this is done is by bringing them back into an intimate and earthly
  context. While these filmmakers are emphatically not realists, all of
  them work in a low-budget, DIY context, often shooting handheld, using
  real locations or makeshift sets and unprofessional actors that
  contrasts starkly with the pristine fantasy of Hollywood cinema. Their
  stories may be otherworldly, but they exist in the imperfection of this
  one. Costumes have holes in them; special effects and camera tricks are
  less than seamless; the performer's own existence outside the roles they
  are playing are more evident than usual. (...) VIVIENNE DICK'S "SHE HAD
  HER GUN ALL READY" (1978, 16mm, color, 27mins., New York) (...)She Had
  Her Gun All Ready shares preoccupations with other films by Dick:
  'transgressive behavior', female sexuality, and the difficulty of
  relationships which can become empowering. Presented in a visually
  anarchic hand-held Super8 camera style and set within domestic
  environments and iconic New York sites, She Had Her Gun All Ready plays
  with notions of gender and changing identities, with the boundaries
  between artistic practices and life, between public and private space,
  theatre and its double. ADOLFO ARRIETA'S "LA IMITACIóN DEL ANGEL" (1966,
  16mm, 20mins., Madrid) Adolfo Arrieta / Alfo Arrieta / Adholfo Arrieta /
  Udolfo Arrieta is one of the most revolutionary characters of the
  Spanish late 1960s, who continually changes his name and dislikes the
  number 13. Made a few months before he moved to Paris -where Cahiers du
  Cinema had published an article about his film El Crimen de la Pistola-,
  and with precarious technical conditions, La Imitación del Ángel is a
  lyrical film that "combines an almost innocent love for adventurous
  narrative and cinematic illusion with a raggedly offbeat handmade style
  of filming" (Donal Foreman, 2007).(...) JACK SMITH'S "FLAMING CREATURES"
  (1963, 16mm, b&w, 43 mins., New York) Flaming Creatures is the most
  notorious film by American radical photographer, queer film and
  performance artist Jack Smith. The film was banned almost everywhere it
  was shown, and Jonas Mekas was arrested in 1964 for screening it in New
  York. In its graphic depiction of sexuality, it compellingly broke a
  number of taboos, while narrative, performance/behavior and
  heterosexuality become subjects of play and destruction in the
  film.(...) FOR FUTHER INFORMATION VISIT OUR BLOG AT
  http://www.experimentalfilmclub.blogspot.com/

5/18
Los Angeles, California: Filmforum
http://www.lafilmforum.org/
7:00 pm, Silent Movie Theatre, 611 N. Fairfax Ave.

FILMFORUM PRESENTS NOISY PEOPLE: FILM + LIVE PERFORMANCE!
  Noisy People (2006, 76 minutes, video) is a feature length video
  documentary by musician Tim Perkis following the tightly-knit group of
  unusual sound artists and musicians from the San Francisco
  improvisational music community. After the screening will be a LIVE
  PERFORMANCE by a quartet of the subjects of the film -- Tom Dill, Gino
  Robair, Phillip Greenlief, and Tim Perkis. Los Angeles Filmforum,
  copresented with Cinefamily and NewTown, at the Silent Movie Theatre,
  611 N. Fairfax Ave (South of Melrose) Park at Fairfax High School across
  the street. General admission $15; $12 for Filmforum and Cinefamily
  members. www.lafilmforum.org or www.silentmovietheatre.com

5/18
San Francisco, California: SFAI
3pm, SFMOMA, 151 Third Street

LATENT IMAGES: SFAI MFA FILM & VIDEO SCREENING
  Part of a long history within SFAI's Film department of working beyond
  the boundaries of traditional narrative and treating film and video as
  fine arts, Latent Images presents the best of an exciting body of work
  from eleven emerging film and video artists: Rodney O'Neal Austin
  (Albert), Matthew Bonner (A Film about Idealism), Chris Kennedy (Lay
  Claim to an Island), Ryota Mori (Electric Lights), Alex Musto (En
  Passant and Generation's End), Vanessa O'Neill (Sanctuary), Jonathan
  Sajda (Arcadia and Isabelle, Oceans Be Damned), SEO Won-Tae
  (Sugar-coated Film), Rosario Sotelo (Recámara), Michiko Takahashi
  (Sugar-coated Film), and Laura Zaylea (Flower Fall). Though
  participating artists work from within their own perspectives and
  sensibilities, they are all committed to exploring and expanding the
  expressive potential of the moving image. From the lighthearted to the
  sublime, from the political to the personal, these works eschew easy
  categorization and, in turn, reconfigure both the ways in which meaning
  is found and the ways in which we come to see.

--------------------
MONDAY, MAY 19, 2008
--------------------

5/19
Brooklyn, New York: UnionDocs
http://www.uniondocs.org
7pm, 322 Union Avenue

---------------------
TUESDAY, MAY 20, 2008
---------------------

5/20
Brooklyn, New York: Light Industry
http://www.lightindustry.org
8 PM, 55 33rd Street, 3rd Floor

FILMS BY JENNIFER REEVES
  Presented by Jennifer Reeves Elations in Negative, 16mm, 1990, 5 mins A
  bloody adaptation of a William Carlos Williams poem. The film begins
  with William's question "What are these elations I have at my own
  underwear?" and Reeves answers with a not so elated, transgressive
  statement. The Girl's Nervy, 16mm, 1995, 5 mins Exuberant rhythms are
  created for the eyes in this nostalgic study of the single film frame,
  through cutting, pasting, and painting clear and photographed film
  images. Fleeting shapes in lush, spattered color flicker and dance to
  big band beats. We Are Going Home, 16mm, 1998, 10 mins Solarized,
  tinted, and optically-printed, this is a surreal portrait of desire,
  ghosts and pursuit of the sensual. Rhythmic color shifts in the emulsion
  bring life to the rural landscape, which seems to embody the terrain of
  the subconscious. Three women seek pleasure and the beyond in parallel
  universes, which never quite intersect. When one finds another, she is
  either buried in the sand or asleep under a tree. Consciousness is
  always singular. Trains Are for Dreaming, Super-8/16mm, 2008, 8 mins (in
  progress) 8 super-8 years compressed into 8 eye-popping minutes. A
  dreamer moves through landscapes to far seas—over tracks, winding roads,
  through skies and waters—on a journey of flight and fancy. The animals
  are watching and the chicks are chasing sunsets and dancing with sharks.
  Life goes on. He Walked Away, 16mm double projection, 2003-2006, 17 mins
  Performed at Rotterdam Film Festival, Dundee Contemporary Arts Festival:
  Kill Your Timid Notion, and Tonic, with composer Anthony Burr. Performed
  at Toronto International Film Festival 2003 with musicians Erik
  Hoversten and Dave Cerf. Also performed at Tonic in NYC and at the City
  Theater in Reykjavik, Iceland with musicians Skuli Sverrisson and Hilmar
  Jensson. And performed at UCSD with musicians Anthony Burr and Eliza
  Slavet. (Live film and music performance, two 16mm projectors
  overlapping color and black and white film images by Reeves.) Cuba
  Diary: A Film, Super-8, 1996, 15 mins Never shown publicly, a diary film
  with a guest appearance by Fidel Castro.

5/20
Eugene OR: Potter-Belmar Labs
http://potterbelmar.org/now
3pm, DIVA

WHAT IS LIVE CINEMA, AND HOW DO WE DO IT?
  Live cinema is a contemporary term for a performance in which the
  artists edit sound and moving-image, live before an audience.
  Potter-Belmar Labs presents an overview of their research on historical
  and contemporary live cinema, with an emphasis on those artists who have
  influenced and inspired them. A show-and-tell about the processes and
  equipment PBL uses to perform their own live cinema will be a part of
  this presentation.

5/20
Eugene OR: Potter-Belmar Labs
http://potterbelmar.org/now
8pm, DIVA

FORTUNE
  What does the future hold? What follows us from the past? What do we
  need to know about the present? Live cinema performers, Potter-Belmar
  Labs, will answer these questions and more, on tour stops throughout the
  U.S. Southwest and West Coast in May 2008. Traveling by train, this pair
  of itinerant fortune-tellers will probe the collective subconscious of
  audiences from Albuquerque to Seattle, and on many stops in between.
  Potter-Belmar Labs brings the ancient tradition of the magic lantern
  show to the 21st Century, inviting the audience to participate in a
  collective fortune-telling experience, and presenting the results in
  music, sound and moving image. The Fortune tour is made possible in part
  through Meet the Composer's MetLife Creative Connections program.

5/20
Hudson, NY: Time and Space Limited
http://www.timeandspace.org/
7:30 pm, 424 Columbia Street

5/20
jacksonville: THE LAST HURRAH PICTURE SHOW
http://thelasthurrahpictureshow.wordpress.com
8:00p.m., 406 chelsea st

BURDEN OF DREAMS
  BURDEN OF DREAMS is a chilling but finely balanced account of what might
  ordinarily be considered artistic folly: German filmmaker Werner
  Herzog's obsession to complete the painfully plagued jungle shooting of
  Fitzcarraldo. Disaster after disaster befalls Herzog's tale of a
  penniless, opera-mad dreamer (Klaus Kinski) who risks everything to
  build a grand opera house in the jungle river port of Iquitos. Blank's
  film grows into a fascinating (and highly controversial) record of an
  obsessed genius and his battle to finish his project in the face of
  plane crashes, torrential rains, attacks by armed, hostile Indians, the
  loss of several leading actors, and the eruption of a full-fledged
  border war around him. The obvious irony running through BURDEN OF
  DREAMS is that creating the movie Fitzcarraldo proved just as dubious
  and perilous an enterprise as the one on which it was based. "Remarkable
  … one of the most candid, most fascinating portraits ever made of a
  motion picture director at work. … There's never been anything else like
  it." - Vincent Canby, The New York Time 1982 16mm 94mi

5/20
jacksonville: THE LAST HURRAH PICTURE SHOW
http://thelasthurrahpictureshow.wordpress.com
8:00p.m., 406 chelsea st

TV SHERIFF & THE TRAILBUDDIES
  Emerging from the LA underground in year 2000, a self-proclaimed "video
  band" called TV SHERIFF & THE TRAILBUDDIES hit the scene with their
  twisted take on performance art and VJ remixing. They have since taken
  their unique act to venues worldwide, providing animated commentary on
  the state of mind control in the USA. THE TRAILBUDDIES focus on the
  banality of television, creating rhythmic collages from appropriated
  clips of the most absurd broadcast moments. And besides their virtuoso
  sampling, the madcap ensemble creates original – and hilarious! –
  karaoke-style melodies on mass-media manipulation. NOT 4 $ALE is the
  culmination of years of shredded/edited video-music compositions and
  live performances that lampoon as well as pay tribute to the world of TV
  commercials, game shows, televangelists, and network news. "The
  inimitable manic media dementia dished out by the TV Sheriff and his
  crazy crew is part radical Dadaist subversion, part spot-on media
  critique and all parts totally hilarious, outrageous remix mayhem." -
  Holly Willis, LA Weekly "If TV Sheriff was an aroma, it would require
  all three nostrils to fully intake the exotic coagulation titled, 'Not
  For Sale'" - Mark Mothersbaugh, DEVO

-----------------------
WEDNESDAY, MAY 21, 2008
-----------------------

5/21
Baltimore, MD: Creative Alliance
http://www.creative alliance.org
8 pm, 3134 Eastern Avenue

5/21
London, England: tank.tv
http://www.tank.tv/
All, http://www.tank.tv

VERTRAUTES TERRAIN ON WWW.TANK.TV
  www.tank.tv Vertrautes Terrain A collaboration between www.tank.tv and
  ZKM 21st May 2008 – 30th June 2008 / 14th September - 30th September
  2008 Artists Include: Bankleer, Com&Com, Danica Cakic, Sven Johne, Dias
  & Riedweg, Alexandra Gerbaulet, Laura Horelli, Korpys/Löffler, Macellvs
  L., Antje Majewski, Sascha Pohle, Özlem Sulak and Florian Thalhofer.
  tank.tv is pleased to collaborate with ZKM (Karlsruhe, Germany) to
  exhibit film and video work from their forthcoming exhibition 'Vetrautes
  Terrain'. tank.tv will open its show simultaneously with ZKM, on May
  21st, to become part of the 'resonance space' of the exhibition.
  Bringing video work out of the gallery space and making it available to
  an international audience we hope to widen the scope of this timely
  focus on national identity. "German Art" or "Art from Germany", a label
  that has exhibition tradition, is a fiction – owing to the fact that, in
  most cases, national political determinations have little or anything to
  do with artistic practice. In spite of this, country-specific questions
  relating to the search for history, genealogies or tendencies represent
  a constant factor in art history and the art business: the general
  exhibition is its most common format. Local backgrounds and national
  events are beginning to be seen as essential and identity defining
  whilst national identities appear to be levelling out. The place of the
  'national' is becoming confused and fraught with tensions in
  contemporary culture, not least because no formal, measured
  thematic-cultural analysis of the idea of 'Germany' has taken place. It
  is against this background that the project 'Vertrautes Terrain –
  Contemporary Art in/about Germany' conceives itself, namely, as a
  resonance space within which the differentiated examination of works by
  international artists, who reflect on Germany in distinctly different
  ways as a historical, art, and social sphere can be carried out. The
  focus on the German context refers to an "imaginary cartography", which
  seeks to trace those concerns dealing with form and content, the
  symptoms and the virulent features in art as set against the backdrop of
  their socio-political presence. 'The exhibition is characterized by
  shared and changing images of what the concept "Germany" signifies.
  Vetrautes Terrain is curated by Gregor Jansen and Thomas Thiel.

5/21
Portland OR: Potter-Belmar Labs
http://potterbelmar.org/now
doors at 8pm, Rotture

(continued in next email)

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

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