Part 2 of 2: This week [March 28 - April 5, 2009] in avant garde cinema

From: Weekly Listing (email suppressed)
Date: Sat Mar 28 2009 - 23:14:22 PDT

Part 2 of 2: This week [March 28 - April 5, 2009] in avant garde cinema


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

  Ear to the Ground: Art, Politics and Life. The works of the artists
  included in Ear to the Ground extend documentary conventions through
  performative and experimental forms of restaging, using non-actors to
  play their own professional roles and presenting stories within stories.
  These processes generate a bottom-up picture paralleling the practices
  of gleaning, performance and market place debate that metaphorically and
  actually function quite differently from the way events are framed by
  global mass media. Their films and video works create an alternative
  space that is more in keeping with oral and visual forms of literacy and
  knowledge production that are becoming accessible across multiple
  cultures and language groups. Their work represents another phase of
  electronic media directed to a new global audience for art and
  socio-political content outside the frame of reference provided by
  electronic mass media. They also function as a critique of the methods
  of communication and information dispersal of mainstream media that
  tends to propagate a top-down master narrative point of view similar to
  the globalized forces that these forms of media report on and from which
  they are produced. This text-based model of literacy has distanced us
  and places us in the midst of a special type of alienation that is
  becoming inadequate for the kind of social intercourse that can respond
  to the questions of "Where is the future?" and "Whose future is it?"
  –Patrick Clancy. "Bamako," Abderrahmane Sissako (Mali), 2006, 118 min.,
  35mm film shown on DVD, Bambara and French with English subtitles.
  Program continues Apr. 10 with Agnes Varda's "The Gleaners and I." Shown
  Mar. 27 were Cao Fei's "Whose Utopia" and Ou Ning and Cao Fei's "Meishi

San Francisco, California: San Francisco Cinematheque
5:00pm, San Francisco Art Institute, 800 Chestnut Street

  Window, Perspective, Shadows. Presented in association with SFAI's
  Spheres of Interest Lecture Series While his work frequently bucks
  against the confines of linguistic restrictions, Tony Conrad is a
  prolific theorist, a stunningly witty ideologue and a captivating
  lecturer. Commencing the FLICKERING JEWEL series, Conrad will present
  ON CINEMA SPACE AND THE RENAISSANCE, a discussion of his recent
  installation work and his continued engagement with the entrenched
  assumptions of Western art history. This presentation includes
  documentation of his pieces WINDOW ENACTMENT, LAUGHING AT LEONARDO and

Toronto, Ontario, Canada: Images Festival
1700, Harbourfront Centre, 235 Queens Quay West

  Talk to the Pie 1: Join the filmmakers and the composers from our
  opening night program for an open conversation on the process of
  collaborating across mediums. A respondent from the Guild of Canadian
  Film Composers will open the program moderated by Images' Director Scott
  Miller Berry.

Toronto, Ontario, Canada: Images Festival
2000, Harbourfront Centre, 235 Queens Quay West

  "I have been collecting worthless material for almost ten years now,
  taking good care arranging it, documenting it, indexing it, and
  preserving it from any possible damage… Today I possess what resembles
  an archive, or let's say I possess a real archive that relates only to
  me: a kind of added memory that occupies different corners of my
  domestic space, despite the fact that I do not actually need it. It is
  an invented memory that is exhausting me, and which I cannot liberate
  myself from. For this reason, I will uncover some parts of my archive,
  hoping that by making it public I can get rid of its weight. This will
  be my attempt to destroy a memory that doesn't know how to erase
  itself." - Rabih Mroué Merging modes of documentary practice within the
  context of theatre, Make Me Stop Smoking continues Rabih Mroué's ongoing
  investigation and exploration of Lebanon, largely through the wars and
  political strife that has plagued the country for much of the past few
  decades. Challenging both the definitions of theatre as well as video
  and performance art, Mroué's work is a simple monologue accompanied by
  projected photographs, images and video works. Though broadly political
  in their scope, Mroué's works use the personal as a grounding point for
  their narratives. Make Me Stop Smoking is constructed from material
  drawn out of the artist's own personal archive of interviews,
  photographs, videos and various other materials. Jumping from the
  assassination of Rafik Hariri to the citizens who went missing during
  the Lebanese Civil Wars to photographs of manholes and street lamps,
  Mroué's performance investigates how we remember and understand events
  and occurrences from the past through the lens of the present and
  future. Rabih Mroué is an actor, director and playwright born in Beirut
  in 1967. He studied drama at the Université Libanaise and began writing,
  directing and performing in his own plays, performances and videos in
  1990. His works have been shown in Beirut, Cairo, Paris, Vienna, Tunis,
  Amman, Basel, Barcelona, Brussels and Berlin, and include: How Nancy
  Wished That Everything Was an April Fool's Joke, 2007; Who's Afraid of
  Representation, 2005; Biokhraphia, 2002; Face A/Face B, 2001; Three
  Posters, 2000; Come in Sir, we will Wait for you Outside, 1998; and
  Extension 19, 1997. Since 1995, he has been writing and directing short
  animated films and documentaries for Future TV in Beirut.

Toronto, Ontario, Canada: Images Festival
2130, Harbourfront Centre, 235 Queens Quay West

  Incorporating electronic music, performance, drawing, and both live and
  pre-recorded video, In the Room 3 weaves in and out of a dream-like
  state of memory and imagination, operating in a world that subscribes to
  its own internal rhythm and logic. Here seemingly simple actions take on
  magical qualities: a man draws on a glass vase, fills it with ping pong
  balls and milk, and stirs until the drawing disappears; a wall of
  coloured tissue paper rustles with the wind from a body walking past; a
  man draws faces with marker and spit as his intimate images are
  simultaneously projected into the center of a room; he tells a strange
  story: I see a girl's profile, and from far away, it looks like she is
  wearing a beautiful pearl tiara. So I go up to her and ask her, and ask
  her, "Where'd you get that tiara?" And I realize that it is not a tiara,
  but her eyes, all connected, all around her head; and when she's sad she
  cries from one of her eyes, and when she's very sad she cries from all
  of her eyes, making herself very wet. The visual, textual and sonic
  storytelling that makes up In the Room 3 grows out of an ongoing
  exchange between Sung Hwan Kim and David Michael DiGregorio, whose
  collaborative practice moves across disciplines to create its unique
  form and structure. Korean artist Sung Hwan Kim is currently based in
  New York. Previously, he lived and worked in the Netherlands over a
  period of four years, during which time he was fellow at the
  Rijksakademie. His In the Room series was developed in the Netherlands
  and has been exhibited and performed at STEIM and Witte de With. In 2007
  he was awarded the 2nd prize of the prestigious Prix de Rome for
  contemporary Dutch artists and the Korean award Hermes Korea Missulsang
  (Hermes Korea Prize for Contemporary Art). dogr (aka David Michael
  DiGregorio) was born in Boston in 1979 and is now based in New York.
  With a background in Baroque, choral gospel and electro-acoustic music,
  as well as experimental 16mm filmmaking, dogr is a performing musician
  and composer who sings layered and spatial songs. His upcoming album, In
  Korean Wilds and Villages, is due for release on Sonig Records, Germany,
  April 2009. Recent performances include Établissement d'en face
  projects, Brussel, 2009; Insa Art Space, Seoul, 2007; Gallery 27,
  Uiwang, Korea, 2007; De Appel, Amsterdam, 2007; STEIM, Amsterdam, 2006;
  BAK, Utrecht, 2006. More at: or or Byungjun
  Kwon started his musical career in early the 90s as a singer/songwriter
  and has released seven albums ranging from alternative rock to minimal
  house. He creates music for records, sound tracks, fashion collections,
  contemporary dance, theatre plays and interdisciplinary events. Recent
  works and performances have been presented in many international venues.
  He lives and works in Amsterdam. In the Room 3 is presented in
  conjunction with Sung Hwan Kim's exhibition In the Room which will be on
  view at Gallery TPW from April 7 to May 2.


Chicago, Illinois: The NIghtingale
7:00pm (doors)/8:00pm (screening), 1084 N. Milwaukee Ave.

  The Nightingale Presents: Nightingale First Anniversary Show and Party &
  Rent-Screening for PF ***** Plus – premiere of the new Nightingale
  trailer! ***** A special double-duty program: celebrating the first
  anniversary of The Nightingale and a rent-screening for me (okay, we
  know it's lame, but jobs are few and money is tight). This show features
  several personal favorites from the many hundreds (thousands?) of works
  I've been able to share with Chicago audiences over the past thirteen
  years. Most of these have only shown once in town, so here is a rare
  opportunity to catch up with or re-see an eclectic selection of some
  strange and wonderful films and videos made over the last twenty years
  or so. There may even be a few surprise bonus works! - Patrick Friel
  ***** Module 1: Nature Vanquished: The Kiss (1999 , 5 mins., video, UK)
  John Smith and Ian Bourn. A fragile blossom.; GT Granturismo (2001, 5
  mins., video, Austria) Günther and Loredana Selichar. The ultimate
  splatter film transforms into Abstract Expressionism.; Naked (2005, 11
  mins., video) Pawel Wojtasik. Some animals are just plain creepy. *****
  Module 2: Seeing Is Believing: Clut (2007, 5 mins., video, UK) Joe
  Gilmore and Paul Emery. Hard-edged abstraction for the digital age.;
  Tabula Rasa (2004, 8 mins., video) Vincent Grenier. The past revealed.;
  man.road.river (2004, 10 mins., video, Brazil) Marcellvs L. The journey
  has just begun. ***** Module 3: Dis-Ease: letters, notes (2000, 4 mins.,
  16mm) Stephanie Barber. Epistolary miniatures.; Anatomy of Melancholy
  (1999, 11 mins., 16mm) Brian Frye. All the world's a stage.; I'll Walk
  with God (1994, 8 mins, 16mm) Scott Stark. The stars my destination.
  ***** Module 4: The State of Things: The World Is All That Is the Case
  (2003, 2 mins., video, Germany) Eva Teppe. Hanging in the balance.;
  National Archive v. 1 (2001, 15 mins., video) Travis Wilkerson. Death
  from above. ***** Module 5: The Kids Are Alright: My Name Is Paulo
  Leminski (2004, 5 mins. , video, Brazil) Cezar Migliorin. Children
  should be heard and not seen.; Peggy and Fred in Kansas (1987, 11 mins.,
  video) Leslie Thornton. Future imperfect. ***** Admission: $10.00 (worth
  every penny; and, as we said, it's a rent-screening). Very Special
  Thanks to all of the artists screening!

Los Angeles, California: Filmforum
8:00 pm, Echo Park Film Center, 1200 Alvarado Street (at Sunset)

  Note change in day, time, and location! The Echo Park Film Center and
  Los Angeles Filmforum present Journey From Darkness into Light: Some
  Films By Kerry Laitala This "spooktacular" program includes nine short
  16mm films from visiting Bay-area filmmaker Kerry Laitala, including
  Orbit (2006), Out of the Ether (2003), Awake, But Dreaming (2000),
  Retrospectroscope (1997) and more. Los Angeles Filmforum and the Echo
  Park Film Center, (213) 484-8846, General admission $5 -------------------------------------

Providence, RI: Magic Lantern
9:30 pm, Cable Car Cinema, 204 South Main Street

  Magic Lantern Cinema presents THE INAPPROPRIATE COVERS SHOW Curated by
  Braxton Soderman and Justin Katko Wednesday April 8, 2009 9:30 p.m.
  Cable Car Cinema 204 S. Main St. Providence, RI Admission $5 

  There is a curious repertoire of cinematic engagements made possible by
  formal economies of finding and obscuring, discovering and covering. The
  films and videos of the Inappropriate Covers Show share no precise modus
  operandi, but there is a lurching energy which unites them as they
  variously splice, puncture, slice, morph, mangle, blur, clarify, invect,
  interrogate, inject, and otherwise inflect the images and sounds which
  they (in)appropriate. While popular rock-and-roll covers play on the
  surface of our recognition, these Inappropriate Covers disfigure the
  recognizable, transforming original (or stock) materials into
  regenerated appendages which grope new bodies of signification. The
  Inappropriate Covers Show is a roll of political negation, formal
  reconfiguration, and glimpses into the beautiful—all capable of
  re-ordinating the particles of thought as they fall. Its momentum is the
  stuff of scattering and accretion, just as its historical frame is
  severely asymmetrical (the dates are 1951, 1962, 1999, and beyond). The
  Inappropriate Covers Show complements a multi-media exhibition of the
  same name at Brown University's David Winton Bell Gallery
  (, opening 5:30pm Friday April 10 and running
  through Friday May 29, 2009. FEATURING: Isidore Isou, Excerpt from
  "Traité de bave et d'eternité" (1951); Takahiko Iimura, "On Eye Rape"
  (1962); Diane Nerwen, "FUH2" (2006); Matthew Suib, "COCKED" (2003);
  Rebecca Baron & Doug Goodwin, "Lossless Series" (2008); Christopher
  Robbins, "The Cinema Works Again! Ponovo Radi Bioskop!" (2008); Robert
  Arnold, "The Morphology of Desire" (1999); Radical Software Group,
  "RSG-Black-1 (Black Hawk Down)" (2005). TRT: 78 minutes * * * * * *
  Isidore Isou, Excerpt from "Traité de bave et d'eternité," 1951, b/w DVD
  (originally 35mm), sound, 2:00 This sequence from Isou's 78-minute film
  ("Treatise of Venom and Eternity") is a recital of the Lettriste poem
  "J'Interroge et j'invective" by François Dufrêne. The result is
  historically unprecedented, a pure realization of hybrid film-poetry.
  Dufrêne's recital is the exemplary peak of Isou's film: its syncopation
  of surging elements of the purely visceral visual and sonic is
  impeccably violent. Its aural and kinetic choreography is brilliantly
  chaotic and truly unable to contain that which it brings into the world.
  Not only is this film's influence upon the work of Stan Brakhage
  severely under-acknowledged: the intensity of its poetic experimentation
  has gone largely unchallenged (or noticed) in the sixty-plus years since
  it first aired at the Cannes Film Festival in 1951. "J'interroge et
  j'invective" poème à hurler (Sept. 49) A la mémoire d'Antonin Artaud
  Piètres pitres, / Totre botra botra titre ? / Totre batri ! batri ! /
  Totre boutre (bis) / Totre ? butre / Vutre Katre voutre bôtre, bôtre… /
  Têtre, do : Tête-Kssêtre nat doussêtre, / Kssètre nat dongsètre nat
  têtre ? / Pouhkre (bis) / Empil surjoux empalex, empalex / Hogorax
  pempre / yogogrex ollüngb ? / Somble règre, Kssamble Kssègre / Pohkre !
  (bis) / Tègre empil jarssoux humpârux / Hugurix pïmpre yigüngrux ollüngb
  ? / (comme en a parte) / Kssulve nimvolve parèveulve / Krilva sèsrilve
  nimvolve parèveulve / (à nouveau hurlant) / Sèsrilve pulve ? / Pêhkre
  (bis) / Empil surjoux omparix pampre yungégrix ollüngb ? / Tètre, do :
  tètre-Kssètre nat dongssètre / Kssètre nat / dongssètre nat tètre ? /
  (comme en a parte) / Peuyple pekpe, pekpe, pekpe ! virlokff / Irtounx
  velch hetchle topelfe / Yoktre lyogembounx / Bilche rlô ptyuvènrlô
  pulche ! / (à nouveau hurlant) / Ptyuvènrlô vetchle / Peuyple pekpe,
  pekpe, pekpe / Gluvlovs grolve (bis) / Meuvlimve ! vrümvurlimgue !
  virlokff ! / Glohach ! (bis) / Glantche vampich !... / Hektre, vektre,
  vektre bohrum, / Nektre cuhborm ! / Tektre jektre plektre bôrm, /
  Plektre borm ! / (comme en a parte) / Mrohodohomigle miglimrov /
  Vrovmigle vigle mogle, mogle vigle (bis) / Bvrohonnbohonigle / Glohach !
  (bis) / (très vite) / Glantche vampich tekchtazle tropme / Kzinn tropme
  / Bogue vhabourwam bôh / Tropme, tropme hôntôn dopme / Kzounssiz ukssinn
  soum drik sih (bis) / Dzriv grid dribme vivuld povribme / Hubme
  paflodgue, paflodgue / Tropme, tropme hôntôndopme / Ksounssiz ukzinn
  soundruk suh / Tssérap rome tnadoum vigloskobre / Tnadoum vugloskobre !
  / Tssrap nom / (comme en a parte) / Vuouvouvilx / Viuvulk vuouvulk
  églamve / (à nouveau hurlant) / Puhkre ! (bis) / Glech ! Glamve ! pâhkre
  ! pahkre ! / Tnadoum vagliygukre ! / Glantche vampich tekchtazle /
  Glohach !... (ter) François Dufrêne (First published in Ur #1, Editor
  Maurice Lemaître, Paris: 1950) Takahiko Iimura, "On Eye Rape," 1962, b/w
  16mm, sound, 10:00 The story goes that Iimura found an American sex-ed
  film in the trash and decided to use it to protest the Japanese
  censorship of sexual acts on film, particularly the covering of pubic
  hair with black censoring bars. Iimura and the artist Natsuyuki
  Nakanishi poked holes into the film, creating negations of their own.
  The white circles thereby obscuring the footage are a figurative (and
  penetrating) opposition to the black bars of official governmental
  denial. Peppered throughout are frames of pornographic footage, acts of
  resistance spliced into the viewer's subliminal re-education. Diane
  Nerwen, "FUH2," 2006, b/w video, sound, 0:40 Hummers, the bird, and
  extreme negation drive this off-road tribute to the participatory
  website ("Fuck You and Your H2"). Nerwen uses images submitted
  to the website and footage from official Hummer commercials to create
  her own anti-commercial, a "cathartic rant against the (sub)urban
  assault vehicle," as she puts it. In this short short, "birds" flood a
  sky of sick consumption. Matthew Suib, "COCKED," 2003, color video,
  sound, 10:00 "Produced during the peak of international debate regarding
  the United States' initiative to invade Iraq, 'COCKED' is an anti-war
  statement in the guise of a minimalist Western, borrowing dozens of
  short segments from several cinema classics of the genre. 'COCKED'
  expands and sustains what is usually a brief, tense, cinematic
  moment—the showdown—and implodes the quintessential American mythology
  of the Western by denying the redemption of its protagonists through
  acts of violence." – Matthew Suib Rebecca Baron & Doug Goodwin,
  "Lossless #5," 2008, color video, sound, 3:00 In Baron and Goodwin's
  Lossless series the "materiality" of the digital becomes the source-code
  for experimental execution. The artists' renditions of appropriated
  films are certainly not "lossless" (i.e. a copy of the original in which
  nothing is lost), but rather gainful: through various techniques of
  digital disruption – compression, file-sharing, the removal of essential
  digital information – the artists reveal the gain of a "new" media, full
  of material forms ripe for aesthetic sleuthing. In "Lossless #5," a
  water ballet crafted by the famed Bubsy Berkley is compressed into an
  organic mitosis, within which we detect the spirit of a "buggy" Brakhage
  ghosting about the integrated circuit. Rebecca Baron & Doug Goodwin,
  "Lossless #3," 2008, color video, sound, 10:20 Removing key frames from
  a digital version of John Ford's The Searchers, Baron and Goodwin attack
  the film's temporal structuring to render a kinetic "painted desert" of
  the West. The dust kicked up by the movement in the film is pure pixel,
  unanchored from the photographic realism that used to constrain it.
  "Truth, 24 frames a second!" is rewritten according to the odd
  clock-times of digital processing, splaying movement and transition into
  the void of machine temporality. In the Lossless series, the artists
  themselves are the searchers, seeking to uncover differences between the
  bitstream and the celluloid strip. These differences might be blurry at
  our historical juncture, but Baron and Goodwin's work leads us closer to
  the over-coded heart of the digital video image, dissecting its anatomy
  to expose its entrancing mechanisms. Christopher Robbins, "The Cinema
  Works Again! Ponovo Radi Bioskop!," 2008, color video, sound, 4:46 The
  setting is Vranje, Serbia; the public cinema is broken; the films are
  Bring it on, Rocky IV, and Star Wars II; the actors are Vranje's own
  silver screen hopefuls. Excerpts of the films are paired against their
  real-time Serbian reenactments, each denying the pure legibility of
  their counterpart. A cinema of relations (social and formal) is
  developed, of which this work is perhaps a preliminary demonstration.
  One is left wondering not only about the obscured social realities in
  which the actors are no doubt dramatically wrapped-up off-screen, but
  about the status, for instance, of the montage sequences newly derived
  as analogues of those in the originals. "The Cinema Works Again! Ponovo
  Radi Bioskop!" is a strange and pleasurable document, refreshingly crude
  and conceptually pure. Robert Arnold, "The Morphology of Desire," 1999,
  color video, sound, 5:45 "The Morphology of Desire" choreographs a
  winding passage through a veritable archive of romance novel covers.
  Emotive storms of longing, uncertainty, and passion are swept into a
  lazy tornado of color, which, as it morphs from cover to cover, even
  emits weird exclamations, the sounds deforming a basic sign of living
  pathos. Somewhere between the subtitles and the second, third, and
  fourth dimensions, each image is bequeathed a brief dynamism, mingling
  meta-fictive strangers in a vibrant plumage of narrative singularity.
  Radical Software Group, "RSG-Black-1 (Black Hawk Down)," 2005, color
  video, sound, 22:04 What might it look like if the only people with guns
  in Mogadishu on 3 October 1993 were black? RSG-Black-1, using a
  Hollywood depiction of the US raid known as Operation Gothic Serpent,
  programmatically removes from the original film all sequences containing
  white people. A blockbuster rendition of what Somalians refer to as "The
  Day of the Rangers" becomes a day without Rangers, as the Battle of the
  Black Sea is transmuted into a visceral masterpiece of Machiavellian
  non-intervention. * * * * * * Magic Lantern Cinema is graciously funded
  by the Malcolm S. Forbes Center for Modern Culture and Media at Brown

San Francisco, California: Other Cinema
8:30 PM, 992 Valencia St.

  Come one, come all to a down-home hootenanny of movies, tastings, song,
  and dance. provides the films and fixin's to start
  the benefit night right, and before all seats are cleared for The Goat
  Family, dishing up foot stomping dance tunes and joyous sing-alongs.
  Melinda debuts new DIY shorts, including Spinning Out of Control, Wheat
  for the People (with live music by Didimao), Maya Donelson's Graze the
  Roof, Mariana Lopez' How to Make a Milk-Crate Container Bed, and more
  surprises. The Goat Family, a nuevo-traditional jug band whose
  influences range from Leadbelly to Nirvana to The Pogues, then rolls out
  their barrel of old-timey exuberance and infectious butt-shaking. $10.

San Francisco, California: San Francisco Cinematheque
8:00pm, San Francisco Art Institute, 800 Chestnut Street

  TONY CONRAD IN PERFORMANCE. Presented in association with Activating the
  Medium. Elemental to Tony Conrad's oeuvre is his work as a violinist, in
  which primal, enveloping drones create an oscillating ritual theater. In
  1962 he co-founded the groundbreaking ensemble known as the Dream
  Syndicate. Wielding a drone both aggressively confrontational and subtly
  mesmerizing, he and his collaborators – including La Monte Young and
  future Velvet Underground co-founders John Cale and Angus MacLise –
  created some of the most revolutionary music of that (or any) decade.
  Utilizing long durations, precise pitch and blistering volume, Conrad
  and company forged a "Dream Music" that articulated the Big Bang of
  "minimalism." With his return in the 1990s to recording, publishing and
  touring, Conrad engaged an entirely new generation of listeners with his
  unique and uncompromisingly antisocial, raging music. Presented as part
  of the Twelfth Annual Activating the Medium Festival, Tony Conrad's
  performance will be preceded by a collaborative piece by drone composer
  Brendan Murray and local filmmaker/projectionist Paul Clipson.

Toronto, Ontario, Canada: Images Festival
1400, Harbourfront Centre, 235 Queens Quay West

  See listing for Friday April 3 @ 2000

Toronto, Ontario, Canada: Images Festival
1600, InterAccess Electronic Media Arts Centre, 9 Ossington

  Artists Larissa Fassler and Richard Schütz will be joined by curator
  Stephanie Rogerson to discuss the deconstruction and reconstruction of
  public space in their exhibition And Then There Were None.

Toronto, Ontario, Canada: Images Festival
1800, Harbourfront Centre, 235 Queens Quay West

  Ben Coonley is a Brooklyn-based video, performance and new media artist
  who uses pedagogical modes of address and direct audience confrontation
  to explore aspects of media culture and film history. For this event,
  Coonley presents Remapping the Apparatus: Cinematographic Specificity
  and Hybrid Media, a PowerPoint presentation that dissects and
  re-contextualizes the film theory of Jean-Louis Baudry. Accompanying his
  lecture will be a selection of short videos and internet curiosities.
  Coonley's videos employ a unique approach to deconstructing the canons
  and conventions of the avant-garde and are characterized by their use of
  humour and pop culture references - from talking toy ponies to Jar Jar
  Binks at Christo's Gates. Ben Coonley studied Art Semiotics at Brown
  University and received an MFA from Bard College in 2002. His works have
  been screened extensively at international festivals including the
  International Film Festival Rotterdam, New York Underground Film
  Festival, Cinematexas, Pacific Film Archive, and the Robert Flaherty
  Film Seminar. He has taught video and media production at Princeton and
  The New School.

Toronto, Ontario, Canada: Images Festival
2000, Harbourfront Centre, 235 Queens Quay West

  See listing for Friday April 3, 2000.

Toronto, Ontario, Canada: Images Festival
2000, Museum of Contemporary Canadian Art, 952 Queen St. West

  8 p.m. Screening of Total War by Jubal Brown 9 p.m. Video Battle
  featuring Bad Credit, Infinity Dose, Istvan Kantor, Jubal Brown, Rko
  (v-atak), Ryan Stec, Skeeter, Smearballs, Tzii (v-atak), Nohista
  (v-atak), Nwodtlem,Ouananiche, Pete OHearn, David Matton The Museum of
  Contemporary Canadian Art is pleased to present VIDEODROME, a one-night
  extravaganza of contemporary vanguard culture, an exercise in video
  screening as party. The event features a program of video work from
  prominent local and international producers with a strong audio-visual
  link, experimental video works which function as dance music, a/v
  mash-up, visual musics with an emphasis on aggression and intensity. The
  video battle is based on the hip hop style DJ battle where each of the
  producers throw down a clip which is then followed up by the others who
  must try to up the ante and out do the previous presentation. This
  battle will be lead by an MC who will encourage the audience to express
  their response to the videos, the cheers and jeers of the audience will
  eventually decide the winner of the battle.

Toronto, Ontario, Canada: Images Festival
2130, Gallery TPW, 56 Ossington Street

  See listing for Friday April 3, 2130


Bretigny Sur Orgne, France: CAC Bretigny
3.00pm., Espace Jules Verne, Rue Henri Douard,

  Presented as part of the exhibition, Cornelius Cardew: The Freedom of
  Listening. 5th April - 27th June. Ex- member of the Scratch Orchestra
  and free improvisation group AMM, Keith rowe will perform an improvised
  solo for prepared guitar and artists Luke Fower and Peter Todd will
  present 16mm film work. This is the second presentation of an ongoing
  series of collaborations under the working title The Room, by Fowler,
  Rowe, and Todd and follows on from a presentation, as a part of Expanded
  Cinema for Rothko weekend at Tate Modern, on 28.11.2008 during the
  Rothko show at Tate Modern. Luke Fowler is a Scottish artist, has become
  know for his elaborate and poetic portryals of past radical social
  experiments. Keith Rowe is an English guitarist and artist widely
  considered as godfather of electro-acoustic improvisation. Peter Todd is
  an English artist known for his personal short films, and curated film
  programmes and exhibitions.

Los Angeles, California: Filmforum
7:00 pm, Egyptian Theatre, 6712 Hollywood Blvd. at Las Palmas, , Los Angeles CA 90028.

  Tonight we look at the range of possibilities of portraits –
  biographical moments, short profiles, and pointed interviews. Going
  beyond the filmmaker (we'll look at autobiographical films later), these
  play with external representations to bring out key aspects of the
  personalities of the subjects. Including Talking About Amy by Yurico
  Murakami, McLaren's Negatives by Marie-Josee Saint Pierre (2006),
  Backseat Bingo by Liz Blazer (2003), Repetition Compulsion by Ellie Lee
  (1997), Conversation with Haris by Sheila Sofian (2001), The Beloved
  Ones by Samantha Moore (2007), Mouseholes by Helen Hill (1999) –
  portrait of grandfather, Uncle Ma'an by Sahar Alsawaf (2007), The Even
  More Fun Trip by Bob Sabiston (2007) General admission $10,
  students/seniors $6, free for Filmforum members. The Egyptian Theatre has a validation
  stamp for the Hollywood & Highland complex. Park 4 hours for $2 with

San Francisco, California: San Francisco Cinematheque
7:30pm, San Francisco Art Institute, 800 Chestnut Street

  Flicker and Process Films/Works on Video. Known widely as the creator of
  THE FLICKER (and thus, in 1966, a harbinger of the "structural film"
  genre), Tony Conrad's 16mm films are perhaps more meaningfully
  appreciated in the context of his musical explorations of duration and
  the indulgences of subjective experience: "I was devoted to the
  experiential excess that flickering light made accessible to 'abstract'
  film." This quick, single-evening survey takes this seminal film as a
  point of departure to a presentation of Conrad's later works. Following
  further refinement of modulated flicker phenomena (including
  NARROW, created with Beverly Conrad), Conrad produced a series of
  process-based films and performances, which involved such treatments as
  electrocution and cooking, CURRIED 7302, 7302 CREOLE and 4-X ATTACK
  among them. Later video works—at times created for public access cable
  in Buffalo, New York—appropriate and critique the televisual language,
  explore the reflexive nature of video and attempt to short-circuit the
  authoritarian power structures inherent in contemporary corporate media.
  Video works to screen include REDRESSING DOWN and TONY'S OSCULAR PETS.

Toronto, Ontario, Canada: Images Festival
1400, Workman Theatre @ Centre for Addiction & Mental Health, 1001 Queen St. W.

  Crossing Over (Under Your Skin) Curated by Arjon Dunnewind, Director,
  Impakt Festival (Utrecht) Crossing Over (Under Your Skin)Fascinated by
  the other, we want to crawl under his skin. To be just like him, feel
  like him and look like him. Breathe his breath, taste his sperm, live
  his life. Crossing Over (Under Your Skin) is a follow up to Neighbours,
  which was presented as a part of the SHIFT Festival in Amsterdam and
  Toronto earlier this year. That selection of work focused more
  specifically on the ways in which immigration, integration and the
  position of new cultural and religious values are changing Dutch
  society. Features videos by Thierry Geoffroy, Heidrun Holzfeind, Julika
  Rudelius and Joanna Rytel

Toronto, Ontario, Canada: Images Festival
1600, Gladstone Hotel, 1214 Queen Street West

  Talk to the Pie 3: Artists Sung Hwan Kim and dogr (aka David Michael
  DiGregorio) will discuss the performative impulses in their
  multi-disciplinary practices. Moderated by Joe Gibbons WITH FREE PIE!

Toronto, Ontario, Canada: Images Festival
1800, Workman Theatre @ Centre for Addiction & Mental Health, 1001 Queen St. W.

  New works from: Jim Trainor, Mary Billyou, Julika Rudelius, Karø Goldt,
  Mika Kiburz, Neïl Beloufa

Toronto, Ontario, Canada: Images Festival
2030, Workman Theatre @ Centre for Addiction & Mental Health, 1001 Queen St. W.

  Survey of films by Louise Bourque including the World Premiere of her
  latest film "a little prayer (H-E-L-P). PROGRAM: Just Words (1991, 10
  min, 16mm, Canada) Fissures (1999, 3 min, 16mm, Canada) Imprint (1997,
  14 min, 16mm, Canada) Self Portrait Post Mortem (2002, 3 min, 35mm,
  Canada) Jours en fleurs(2003, 4 min, 35mm, Canada) L'eclat du mal / The
  Bleeding Heart of It(2005, 8 min, 35mm, Canada) Going Back Home (2000, 1
  min, 35mm, Canada) a little prayer (H-E-L-P),(2009, 8 min, 35mm, Canada)

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