This week [January 2 - 10, 2010] in avant garde cinema

From: Weekly Listing (email suppressed)
Date: Sat Jan 02 2010 - 16:20:39 PST

This week [January 2 - 10, 2010] in avant garde cinema

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"De Luce 1: Vegetare" by Janis Crystal Lipzin

Australian International Experimental Film Festival (Melbourne, Vic, Australia; Deadline: February 15, 2010)
Courtisane festival (Ghent, Belgium; Deadline: December 31, 2009)
Crossroads (San Francisco, CA USA; Deadline: February 10, 2010)
7th film sharing Low & No Budget Filmfestival Tour 2010 (Stuttgart and tour in Germany; Deadline: April 01, 2010)
Directors Lounge (Berlin, Berlin, Germany; Deadline: January 10, 2010)
Urban Research at Directors Lounge (Berlin, Berlin, Germany; Deadline: January 10, 2010)
ARTErra (Location: Tondela,Portugal; No entry deadline)

Map Open Space at FLEFF 2010 (Ithaca (New York), USA; Deadline: January 15, 2010)
Magmart | video under volcano (Naples, Italy; Deadline: January 31, 2010)
The Journal of Short Film Vol. 19 (Columbus, OH, United States; Deadline: February 01, 2010)
Directors Lounge (Berlin, Berlin, Germany; Deadline: January 10, 2010)
Urban Research at Directors Lounge (Berlin, Berlin, Germany; Deadline: January 10, 2010)

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Also available online at Flicker:

 * Process In Time: Shorts By Richard Serra [January 2, Washington, DC]
 * Five Films By Joyce Wieland, "Presented In Collaboration With
    X-Initiative" [January 6, Brooklyn, New York]
 * The Experiment: the Politics of the Image [January 9, New York, New York]
 * Luminous Triptych: Angelina Krahn, Karen Johannesen, Rick Bahto [January 9, Phoenix, Arizona]

Events are sorted by CITY within each DATE.


Washington, DC: National Gallery of Art
2pm, 4th & Constitution Avenue NW

  A collection of silent shorts by Serra, including his first work in
  film, Hand Catching Lead (1968), points out the artist's interest in
  steel as a medium and in 16 mm film as a means of expressive analysis.
  Hands Scraping (1968), Frame (1969), Railroad Turnbridge (1976), and
  Steelmill/Stahlwerke (1979) are also on the program. (Total running time
  40 minutes


Brooklyn, New York: Light Industry
7:30pm, 220 36th Street, 5th Floo

  Introduced by Emily Roysdon When she came to the US from Toronto in the
  early 1960s, Joyce Wieland was already known in Canada as a painter who
  explored themes of female existence in ways that were often
  controversially explicit, but once in New York she also began working in
  Super-8 and 16mm. Along with Hollis Frampton, Paul Sharits, and her
  husband Michael Snow, Wieland became one of the circle of artists who
  defined the first generation of structural film (she held the
  distinction of being the only woman mentioned in P. Adams Sitney's
  seminal essay that described that movement). Though as equally attuned
  as her peers to an advanced, expanded notion of how space and time might
  function in cinema, Wieland's work also evinces a sharp wit and
  inventive narrative sense that foreshadows the small-gauge cinema of the
  1980s and 90s. Handtinting, 16mm, 1967, 6 mins Handtinting is the apt
  title of a film made from outtakes from a Job Corps documentary which
  features hand-tinted sections. The film is full of small movements and
  actions, gestures begun and never completed. Repeated images, sometimes
  in colour, sometimes not. A beautifully realized type of chamber-music
  film whose sum-total feeling is ritualistic. - Bob Cowan Rat Life and
  Diet in North America, 16mm, 1968, 16 mins I can tell you that Wieland's
  film holds. It may be about the best (or richest) political movie
  around. It's all about rebels (enacted by real rats) and police (enacted
  by real cats). After long suffering under the cats, the rats break out
  of prison and escape to Canada. There they take up organic gardening,
  with no DDT in the grass. It is a parable, a satire, an adventure movie,
  or you can call it pop art or any art you want - I find it one of the
  most original films made recently. - Jonas Mekas The film is witty,
  articulate, and a far cry from all the other cute animal humanism the
  cinema has sickened us with in the past. Nevertheless it is a vital
  extension of the aspect of her films that runs counter to the structural
  principle: ironic symbolism. - P. Adams Sitney Pierre Vallieres, 16mm,
  1972, 30 mins He delivered three essays, without stopping, except for
  reel change and camera breakdown: 1) Mont Laurier; 2) Quebec history and
  race; 3) women's liberation. Everything which happened is recorded on
  film. It was a one-shot affair, I either got him on film or I missed.
  What we see on film is the mouth of a revolutionary, extremely close,
  his lips, his teeth, his spittle, his tongue which rolls so beautifully
  through his French, and finally the reflections in his teeth of the
  window behind me. - JW Solidarity, 16mm, 1973, 10 mins A film on the
  Dare strike of the early 1970s. Hundreds of feet and legs, milling,
  marching and picketing with the word "solidarity" superimposed on the
  screen. The soundtrack is an organizer's speech on the labour situation.
  Like her films Rat Life and Diet in North America, Pierre Vallieres and
  Reason Over Passion, Solidarity combines a political awareness, an
  aesthetic viewpoint and a sense of humour unique in Wieland's work. -
  CFMDC A & B in Ontario, made with Hollis Frampton, 16mm, 1984, 16 mins
  Hollis and I came back to Toronto on holiday in the summer of '67. We
  were staying at a friend's house. We worked our way through the city and
  eventually made it to the island. We followed each other around. We
  enjoyed ourselves. We said we were going to make a film about each other
  - and we did. - JW


New York, New York: Maysles Cinema
7:30, 343 Lenox Avenue @ 127th Street

  Please join us once again at Maysles Cinema for the first of our
  quarterly screenings! Energized by the success of our New York(er)
  Shorts exhibitions, we have worked with the folks at Maysles Cinema to
  develop a four part series which explores the relationship between the
  documentary and the experimental film. Each screening will focus on a
  traditional genre of documentary cinema and exhibit examples of
  experimental films which relate to those genres. This first evening will
  feature some of our favorite shorts which we find to have political
  significance or messaging. We look forward to seeing familiar faces at
  the premiere event of our new screening series! This screening embraces
  the totality of interrelationships in particular locales of privacy and
  publicity involving power, authority, or influence, and capable of
  manipulation. The works presented contemplate false securities and
  fragile liberties through confrontation with popular, habitual, and
  cultural trends, often detrimental and of national concern. The
  suspension of resolution within the surveillance of aftermaths resolves,
  through non-traditional documentation and assemblage, contrasting states
  of mind, tranquility and unease, lived by both the inhabitants and the
  viewers. Restless yet lyrical, the processions of mood, rhythm, and
  performance envelop each realm of existence, appropriated and affected,
  as the artists orchestrate alternative, revitalizing determinations of
  propaganda, of misinformation established by the spectacles of
  authoritarian conviction. Contrasting impacts of intimacy and infection
  evoke ulterior reactions to the facades of complacency exposed as these
  social criticisms ultimately broadcast displaced forewarning, vestiges,
  and actualities of historical abuse, imminent threat, and the attempt to
  apprehend criminal activities. Films: Deborah Stratman, In Order Not To
  Be Here, 2002, 16mm, 33m Jem Cohen, Little Flags, 2000, video, 6.5m Jem
  Cohen, NYC Weights and Measures, 2005, video, 5.5m Leslie Thornton,
  Peggy and Fred in Hell: The Prologue, 1985, video, 20m Leslie Thornton,
  Peggy and Fred in Kansas, 1987, video, 11m TRT: 76m, with drinks and
  informal discussion to follow!

Phoenix, Arizona: No Festival Required
8 PM, Deus Ex Machina, 1023 NW Grand Avenue Phoenix AZ 85007

  Working from different aesthetic and conceptual backgrounds, the films
  of these three artists share an ethos of handmade, personal cinema.
  Angelina Krahn utilizes a wide palette of alternative techniques in her
  films, perhaps most poignantly in Stigmata Sampler, in which she sewed
  into the surface of the film to cover up and obscure images of her own
  body. Karen Johannesen's masterful editing and single-framing techniques
  serve to embody studies into quantum mechanics, bringing to vision in
  delicate landscapes a world "teeming with billions of unrealized
  possibilities". Rick Bahto's in-camera edited works use the people and
  places of his everyday life as the basis of studies in movement, rhythm
  and duration, creating a tension between pre-determined structures and a
  freedom of improvisation. Presented by No Festival Required, this is the
  first time any of these films have been seen in Phoenix. The screening
  will be followed by a Q&A with filmmaker and curator Rick Bahto. $6
  general / $5 students + NFR Support Card Members. LIMITED SEATING, doors
  open at 7:45

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