This week [February 6 - 14, 2010] in avant garde cinema

From: Weekly Listing (email suppressed)
Date: Sat Feb 06 2010 - 09:47:40 PST

This week [February 6 - 14, 2010] in avant garde cinema

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"Memory Game" by Wilfried Agricola de Cologne
"STEVEN" by Ankur Mittal

ARTSFEST Film Festival, 12th Annual (Harrisburg, PA, USA; Deadline: February 26, 2010)
Fargo-Moorhead LGBT FIlm Festival (Fargo, ND, USA; Deadline: April 21, 2010)
Margaret Mead Film & Video Festival (New York, NY; Deadline: March 31, 2010)
Coney Island Film Festival (Brooklyn, NY, USA; Deadline: July 02, 2010)
Videoex festival (Zürich , Switzerland; Deadline: February 15, 2010)
6th Renderyard Short Film Festival (London; Deadline: July 31, 2010)
Odds and Ends (Portland, Oregon. USA; Deadline: April 01, 2010)
Im:mobil Art (italy; Deadline: February 28, 2010)
Magmart | video under volcano, international videoart festival, extend its deadline (Naples, Italy; Deadline: February 28, 2010)
International Talent Workshop - Zagreb Jewish Film Festival (Zagreb, Croatia; Deadline: April 01, 2010)

Media City (Windsor ON Canada; Deadline: February 19, 2010)
Bicycle Film Festival (New York, NY, United States; Deadline: February 17, 2010)
Around the Coyote (Chicago, IL; Deadline: February 28, 2010)
Australian International Experimental Film Festival (Melbourne, Vic, Australia; Deadline: February 15, 2010)
Crossroads (San Francisco, CA USA; Deadline: February 10, 2010)
IC Docs (Iowa City, IA, USA; Deadline: March 06, 2010)
DotFest - International Online Short Film Festival (Switzerland; Deadline: March 01, 2010)
The International Surrealist Film Festival (Los Angeles, CA, USA; Deadline: February 13, 2010)
ARTSFEST Film Festival, 12th Annual (Harrisburg, PA, USA; Deadline: February 26, 2010)
Videoex festival (Zürich , Switzerland; Deadline: February 15, 2010)
Im:mobil Art (italy; Deadline: February 28, 2010)
Magmart | video under volcano, international videoart festival, extend its deadline (Naples, Italy; Deadline: February 28, 2010)

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

Also available online at Flicker:

 * Essential Cinema: Man of Aran [February 6, New York]
 * Essential Cinema: Hollis Frampton [February 6, New York]
 * Circles of Confusion: A Hollis Frampton Film Retrospective Part 5 [February 7, Los Angeles, California]
 * Essential Cinema: Genet/Robert Frank & Alfred Leslie [February 7, New York]
 * Essential Cinema: Grant/Jacobs & Fleischner [February 7, New York]
 * Man Ray On Film [February 10, New York]
 * When It Was Blue [February 10, Seattle, Washington]
 * An Evening With Dara Birnbaum [February 11, Chicago, Illinois]
 * Nmc: Live Cinema Summit [February 11, Chicago, Illinois]
 * Gdr Underground Films [February 11, New York]
 * 75 Years In the Dark: A Partial History of Film At Sfmoma [February 11, San Francisco, California]
 * Electromediascope [February 12, Kansas City, Missouri]
 * Banned Broken Sky / Bene Brocani Schifano [February 12, New York, New York]
 * Personal Cinema Series - David Baker [February 13, New York, New York]
 * Essential Cinema: Une Simple Histoire [February 13, New York]
 * Los Angeles Filmforum Presents Kristina Talking Pictures By Yvonne
    Rainer [February 14, Los Angeles, California]

Events are sorted by CITY within each DATE.


New York: Anthology Film Archives
6:15 pm, 32 2nd Avenue

  by Robert Flaherty 1934, 76 minutes, 35mm, b&w. Flaherty's third major
  film portrays the lives of a family of fisher folk on the Aran Islands
  off the coast of Galway, Ireland. Flaherty selected this location and
  subjects because of their isolation as the westernmost outpost of
  European civilization. In addition, the daily struggle between the
  islanders and the sea perfectly suited his interests and concerns. The
  scenes at sea are breathtaking. "His passionate devotion to the
  portrayal of human gesture and of a man's fight for his family makes the
  film an incomparable account of human dignity. Better than anyone,
  Flaherty knew how to show the true face of Man." �Georges Sadoul

New York: Anthology Film Archives
8:00 pm, 32 2nd Avenue

  ZORNS LEMMA 1970, 60 minutes, 16mm, color. "A major poetic work. Created
  and put together by a very clear eye-head, this original and complex
  abstract work moves beyond the letters of the alphabet, beyond words and
  beyond Freud. If you don't understand it the first time you see it,
  don't despair, see it again! When you finally 'get it,' a small light,
  possibly a candle, will light itself inside your forehead." �Ernie Gehr
  & HAPAX LEGOMENA I: (nostalgia) 1971, 36 minutes, 16mm, b&w. "Nostalgia,
  beginning as an ironic look upon a personal past, creates its own filmic
  time, a past and future generated by the expectations elicited by its
  basic disjunctive strategy." �Annette Michelson "In nostalgia the time
  it takes for a photograph to burn (and thus confirm its
  two-dimensionality) becomes the clock within the film, while Frampton
  plays the critic, asynchronously glossing, explicating, narrating,
  mythologizing his earlier art, and his earlier life, as he commits them
  both to the fire of a labyrinthine structure; for Borges too was one of
  his earlier masters, and he grins behind the facades of logic,
  mathematics, and physical demonstrations which are the formal metaphors
  for most of Frampton's films." �P. Adams Sitney


Los Angeles, California: Filmforum
7:30 pm, Egyptian Theatre, 6712 Hollywood Blvd. at Las Palmas

  Los Angeles Filmforum and Khastoo Gallery are delighted to present
  CIRCLES OF CONFUSION, a five-screening series of films by Hollis
  Frampton, from January 21 to February 7, 2010, with guest scholars and
  artists at each program to discuss his works and their influence on
  later artists. email suppressed; Tickets: Introduction by David James
  (USC) Gloria, 1979, 9.5 min., sound Zorns Lemma, 1970, 60 min., sound

New York: Anthology Film Archives
6:00 pm, 32 2nd Avenue

  Jean Genet UN CHANT D'AMOUR 1950, 26 minutes, 16mm, b&w, silent. Jean
  Genet's poetic expression of male eroticism pitted against the confines
  of prison cells and a homophobic state�a powerfully resonant work that
  explores individual freedom and the laws of desire. Robert Frank &
  Alfred Leslie PULL MY DAISY 1959, 28 minutes, 35mm, b&w. A largely
  spontaneous experiment, arranged in 1959 by Robert Frank along with
  Alfred Leslie. They enlisted the participation of Jack Kerouac, who
  offered in place of an original screenplay a stage play he'd never
  finished writing, "The Beat Generation." The plot is based on an
  incident in the life of Neal Cassady and his wife Carolyn. They're
  raising a family and trying to fit in with their suburban neighbors, and
  one night they invite a respectable neighborhood bishop over for dinner.
  But Neal's Beat friends crash the party, and that Marx Brothers-like
  scenario is the closest thing the film has to a storyline.

New York: Anthology Film Archives
7:30 pm, 32 2nd Avenue

  Dwinell Grant COMPOSITION #2 CONTRATHEMIS 1941, 5 minutes, 16mm, color,
  silent. "An attempt to develop visual abstract themes and to
  counterpoint them in a planned, formal composition." �D.G. "Austere and
  chaste combinations, with subtle manipulation of structure, density and
  rhythm."�William Moritz STOP MOTION TESTS 1942, 3 minutes, 16mm, color,
  silent. A self-portrait. COLOR SEQUENCE 1943, 3 minutes, 16mm, color,
  silent. "Pure solid-color frames which fade, mutate and flicker. A
  research into color rhythms and perceptual phenomena." �William Moritz
  Ken Jacobs LITTLE STABS AT HAPPINESS 1959-63, 18 minutes, 16mm, color.
  Featuring Jack Smith. "Material was cut in as it came out of the camera,
  embarrassing moments intact. 100' rolls timed well with music on old
  78s. I was interested in immediacy, a sense of ease, and an art where
  suffering was acknowledged but not trivialized with dramatics. Whimsy
  was our achievement as well as breaking out of step." �K.J. Ken Jacobs &
  Bob Fleischner BLONDE COBRA 1959-63, 35 minutes, 16-to-35mm blow-up,
  b&w/color. Featuring Jack Smith. Preserved by Anthology, with the
  generous support of The Film Foundation, The National Film Preservation
  Foundation, Simon Lund and Cineric, Inc. "BLONDE COBRA is an erratic
  narrative � no, not really a narrative, it's only stretched out in time
  for convenience of delivery. It's a look in on an exploding life, on a
  man of imagination suffering pre-fashionable Lower East Side deprivation
  and consumed with American 1950s, 40s, 30s disgust. Silly, self-pitying,
  guilt-strictured and yet triumphing � on one level � over the situation
  with style� enticing us into an absurd moral posture the better to
  dismiss us with a regal 'screw off.'" �K.J. Total running time: ca. 70


New York: Anthology Film Archives
7:30 pm, 32 2nd Avenue

  In conjunction with the exhibition ALIAS MAN RAY: THE ART OF REINVENTION
  at The Jewish Museum, Anthology will be screening a program of the films
  Man Ray created or worked on during the course of his career. A
  trailblazing figure in 20th-century art, Man Ray (1890-1976) revealed
  multiple artistic identities over the course of his career � Dadaist,
  Parisian Surrealist, international portrait and fashion photographer �
  and produced many important and enduring works as a photographer,
  painter, filmmaker, writer, sculptor, and object maker. Best known as a
  photographer, Man Ray in fact moved from one medium to another as he
  defied aesthetic boundaries. Like his fellow Dadaist and close friend
  Marcel Duchamp, Man Ray took delight in playing games and confounding
  expectations. With his steadfast independence and his need to explore
  every artistic avenue, Man Ray forged a vision that changed the very way
  art was conceived. ALIAS MAN RAY: THE ART OF REINVENTION will be on
  display through March 14, 2010 at The Jewish Museum, located at 5th
  Avenue at 92nd Street. For more information, please visit: Very special thanks to Andrew Ingall & Jennifer
  Mock (The Jewish Museum). Man Ray LE RETOUR ? LA RAISON (1923, 2
  minutes, 16mm) ?TOILE DE MER (1927, 13 minutes, 16mm) EMAK BAKIA (1927,
  18 minutes, 35mm) LES MYST?RES DE CH?TEAU DE D? (1929, 27 minutes, 35mm,
  with French intertitles) Fernand L?ger with Dudley Murphy BALLET
  M?CANIQUE? (1924, 19 minutes, 35mm. Preserved by Anthology Film
  Archives.) Ren? Clair & Francis Picabia ENTR'ACTE (1924, 22 minutes,
  35mm) Marcel Duchamp with Man Ray ANEMIC CINEMA (1926, 7 minutes, 35mm)
  Total running time: ca. 115 minutes.

Seattle, Washington: Northwest Film Forum
8pm, 1515 12th Ave (at Pike)

  (Jennifer Reeves, 2008, USA, DigiBeta, 60 min) Jennifer Reeves's epic,
  years-in-the-making When It Was Blue presents an experience of a world
  that is both visceral and fleeting. Photographed in 16mm over many years
  in various waters and terrains, an elaborate montage connects diverse
  ecosystems spanning from the northeastern USA, to Iceland, Canada's
  Pacific coast, New Zealand and Central America.


Chicago, Illinois: Conversations at the Edge
6p.m., 164 N. State St.

  Dara Birnbaum in person! Thirty years before the ubiquitous YouTube
  mashup, artist Dara Birnbaum hijacked television imagery in a series of
  coolly ironic videos that recontextualized pop cultural icons (Wonder
  Woman, Kojak, Laverne and Shirley), TV grammar (inserts, two-shots,
  wipes), and genres (soap operas, sitcoms, game shows) to reveal their
  ideological subtexts. Birnbaum described her videos as late-20th-century
  "ready-mades"--works that "manipulate a medium which is itself highly
  manipulative." Now renowned as a pioneer in televisual appropriation,
  she is currently the subject of a major retrospective that began at
  S.M.A.K. in Ghent, Belgium, and will tour to Museu Funda��o Serralves in
  Porto, Portugal, later in the spring. This evening, Birnbaum will
  present an overview of her practice, with examples from her seminal
  early videos (Technology/Transformation: Wonder Woman, 1978-79; Pop Pop
  Video: General Hospital/Olympic Speed Skating, 1980), music videos and
  commercial spots (Airbreak for MTV Inc., 1987), gallery installations
  (Tiananmen Square: Break-In Transmission, 1989-90), large-scale,
  interactive outdoor pieces (Rio Videowall, 1989), as well as her latest
  works. Dara Birnbaum, 1978-2010, USA, multiple formats, ca. 90 min (plus

Chicago, Illinois: New Media Caucus
5 PM - 10:30 PM, Columbia College Chicago, Conway Center - 1104 S Wabash Ave, 1st floor

  The Live Cinema Summit is a one-night-only showcase of ten national and
  international artists/artist collectives working in the emerging field
  of real-time audio-visual performance, and will feature performances by:
  Noisefold, Barbara Lattanzi, Sabine Gruffat & Bill Brown, Robert Martin,
  Jon Satrom, Potter-Belmar Labs, DataIRJ, Black and Jones, jonCates, and
  Alessandro Imperato as well as several Columbia College students. The
  event begins at 5pm, and features a full line-up of back-to-back live
  cinema performance-demonstrations with break-out discussions and plenty
  of room for dialogue. Note: This evening only, trolleys complimentary
  Columbia College Chicago (CCC) will be continually transporting to/from
  the Hyatt starting at 5:30-9pm | makes stops at all CCC galleries and
  the Conaway Center.

New York: Anthology Film Archives
7:30 pm, 32 2nd Avenue

  1983-89/1997, 97 minutes, video. In German with English subtitles.
  Includes films by Helge Leiberg, Gino Hahnemann, Cornelia Schleime,
  Cornelia Klauss, Via Lewandowsky, Thomas Frydetzki, Claus L�ser, Tohm di
  Roes, Thomas Werner, and Ramona K�ppel-Welsh. Though the State had a
  monopoly on film production in East Germany (the German Democratic
  Republic, or GDR), it was not absolute. An underground film scene made
  up of painters, poets, musicians, and performance artists flourished
  from the 1970s-80s outside official channels. This program features a
  selection of ten Super-8mm films from this fascinating and provocative
  movement, many of whose members � including Helge Leiberg, Via
  Lewandowsky, and Cornelia Schleime � are now leading figures in the
  international art world. "It's amazing (and gratifying) to realize that
  such 'subversive' films were made in the GDR." �Amos Vogel, FILM AS A

San Francisco, California: San Francisco Museum of Modern Art
7 p.m., Phyllis Wattis Theater, SFMOMA, 151 3rd St., San Francisco, CA 94103

  In 1937, Grace McCann Morley set up a screen and some chairs in the
  rotunda of the War Memorial Veterans Building (SFMOMA's first home) and
  showed films: D. W. Griffith, Walt Disney, The Jazz Singer, All Quiet on
  the Western Front, and the first ever Movietone newsreel featuring
  George Bernard Shaw. She believed that film, the 20th century's very own
  visual art form, should have a place in a museum of modern art. From the
  beginning, it's been an eclectic and inclusive mix: high- and lowbrow;
  shorts and features; fiction and documentary; studio, independent, and
  artists' films; video and digital media. For our anniversary, we invited
  three guest curators to explore film in the context of the history of
  modern visual arts and assemble programs from three successiveeras. In
  Programs 1, 2, and 3, Scott MacDonald, one of the country's foremost
  film historians, looks at 1937 through 1960. Steve Anker, dean of the
  School of Film/Video at the California Institute of the Arts, covers
  1960 to 1985 in Programs 4 through 6 (screening in March and April).
  Former SFMOMA Curator of Media Arts Benjamin Weil selects from 1985 to
  the present in Programs 7 through 9 (May). The Europeans: Creating a
  Context The Smiling Madame Beudet, Germaine Dulac, 1922, 35 min.; Study
  No. 7,Oskar Fischinger, 1931, 3 min.; Rain, Joris Ivens, 1929, 15 min.;
  Composition in Blue, Oskar Fischinger, 1935, 4 min.; Carmen, Lotte
  Reiniger, 1932, 11 min.; A Colour Box, Len Lye, 1935, 5 min.; The
  Vampire, Jean Painlev�, 1945, 9 min.;Swinging the Lambeth Walk, Len Lye,
  1940, 3 min. For more information:


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

  "The film and videos in 'Shifting Frames of Reference' navigate new
  narrative pathways and inventive cinematic experiences without relying
  on text or dialog. Instead, framing, cinematography and editing are used
  by these artists to emphasize more liminal and connotative forms of
  observation and empathetic awareness at the thresholds of perception. Lu
  Chunsheng and Seoungho Cho's video works examine and call into question
  local experiences that ultimately have to do with how we know and
  re-imagine the world, and how our bodies know and respond to both inner
  and outer space. Ken Kobland and Ernie Gehr explore beauty and the
  pleasure of shifting visual perceptions of places that have been
  constructed and inhabited over time." �Patrick Clancy. "Ideas of Order
  in Cinque Terre," Ken Kobland (USA), 2005, 32 min., digital video.
  "Horizontal Silence," Seoungho Cho (South Korea), 2003, 8:31 min.,
  digital video. "ws.2," Seoungho Cho (South Korea), 2004, 8:06 min.,
  digital video. "I Left My Silent House," Seoungho Cho (South Korea),
  2007, 8:51 min., digital video. "Before the Appearance of the First
  Steam Engine," Lu Chunsheng (China), 2003, 35 min., digital video shown
  on DVD. Program continues on February 19 and 26.

New York, New York: Lucca Film Festival
7.15pm, Anthology Film Archives, 32 Second Avenue, New York, NY 10003

  B a n n e d B r o k e n S k y B e n e B r o c a n i S c h i f a n o a t
  A n t h o l o g y F i l m A r c h i v e s , F e b 1 2 t h t o 1 4 t h -
  - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
  curated by Andrea Monti and Alessandro De Francesco (press conference
  and reception: Thursday Feb 11th 6pm at Italian Cultural Insitute of New
  York) This series is a triple homage to three of Italian cinema's most
  important independent filmmakers � Carmelo Bene, Franco Brocani, and
  Mario Schifano � whose long-lasting friendships and collaborations with
  each other were interrupted only by the early deaths of Schifano (1998)
  and Bene (2002). Though their artistic sensibilities were very different
  � Bene for instance was far better known as a playwright and theater
  director than as a filmmaker, while Schifano was a renowned painter �
  they all lived and worked in Rome in the 1960s and 70s, a period of
  remarkably rich artistic and cultural activity. Though all three sought
  to achieve a profoundly personal form of cinema, they resisted
  identifying with the Italian underground scene, preferring to make
  narrative films (albeit strikingly experimental ones) in order to effect
  a revolution in cinema that would reach audiences beyond the confines of
  the avant-garde. This series offers a rare opportunity to see a
  selection of their work, featuring five films (several recently
  restored) that are rarely, if ever, screened in the U.S., and that are
  as interrelated as they are impossible to categorize. F I L M S I N P R
  O G R A M : FEB 12 7:15 PM NECROPOLIS Franco Brocani 1970, 92 minutes,
  35mm. In English, German, French, and Italian with English subtitles.
  Photography: Ivan Stoynov. Starring Viva, Pierre Cl�menti, Tina Aumont,
  Louis Waldon, Carmelo Bene and Paul Jabara. FEB 12 9:30 PM
  SCHIFANOSAURUS REX Franco Brocani 2008, 65 minutes, video. Tribute to
  Mario Schifano, Pop italian painter. In Italian with projected English
  subtitles. Music by Andrea Monti. FEB 13 6:30 PM OUR LADY OF THE TURKS /
  NOSTRA SIGNORA DEI TURCHI Carmelo Bene 1968, 125 minutes, 16mm-to-35mm
  blow-up. In Italian with projected English subtitles. FEB 13 9:15 PM
  SALOM� Carmelo Bene 1972, 80 minutes, 35mm. In Italian with projected
  English subtitles. FEB 14 6:30 PM UMANO NON UMANO Mario Schifano 1969,
  95 minutes, 35mm. In Italian with projected English subtitles. With
  Adriano Apr�, Carmelo Bene, Franco Brocani, Mick Jagger, Alberto
  Moravia, Anita Pallenberg, and Keith Richards. For further info, email
  email suppressed


New York, New York: Millennium Film Workshop
8pm, 66 East 4th Street

  In his second one-person program at Millennium, NYC artist David Baker
  will give a magic lantern presentation with an accompanying reading from
  related surrealist texts (15 min.). He will screen four digital film
  works: FOLK FORMS (Iwerks Analytic) (11:42 min.-2009), SOTTO VOCE (6:00
  min.-2009), EGYPT 8MM (Grisaille) (20:27 min.-2009), AB OVO (10:41
  min.-2009). "The sorcery of an "inverted anthropomorphism" as it
  reverberates in analogous forms will be the subject of this evening's
  presentation. In prelude, a magic lantern demonstratio�n will be given �
  opals, agates, gemstones and minerals (to discern aleatoric
  calligraphies played out patiently over thousands of years), then
  optical illusions, anamorphosi�s through the prism of a dissident branch
  of 1930's surrealism. With The Writing of Stones by Roger Caillois as
  Baedeker-resemblances, hidden recurrences, impossible scribblings in
  nature will be set next to digital film works." - D.B.

New York: Anthology Film Archives
4:30 pm, 32 2nd Avenue

  by Marcel Hanoun 1958, 68 minutes, 16mm, b&w. In French with no
  subtitles; English synopsis available. "Based on a true incident, the
  film chronicles the wanderings of a woman and child looking for work and
  lodging in Paris. This is the only plot, and Hanoun has little interest
  in embellishing it with background and motivation: he never even makes
  it clear, for example, whether the woman is the child's mother, guardian
  or companion. UNE SIMPLE HISTOIRE is, more than a narrative, a formal
  stylistic exercise so rigorously disciplined and understated that it
  makes the visual asceticism of Robert Bresson seem almost Fellini-esque
  by comparison." �TIME


Los Angeles, California: Filmforum
7:30 pm, Egyptian Theatre, 6712 Hollywood Blvd. at Las Palmas

  Los Angeles Filmforum presents KRISTINA TALKING PICTURES Part 5 (of 8)
  of Bodies, Objects, Films: An Yvonne Rainer Retrospective At the
  Egyptian Theatre, 6712 Hollywood Blvd. at Las Palmas, Los Angeles Over
  the course of our 2009-2010 seasons, Filmforum is proud to present a
  full retrospective of the media works of Yvonne Rainer. One of the most
  significant artists in dance and film of the last fifty years, this is
  the first full retrospective of her films in Los Angeles. Please note
  that Rainer will not be present at this screening Admission $10 general,
  $6 students/seniors, free for Filmforum members Advance ticket purchase
  available through Brown Paper Tickets: KRISTINA TALKING PICTURES
  (1976, 90 min., 16mm, color) Rainer continued her preoccupation with the
  contradictions between public and private personas with this story of a
  female lion tamer from Budapest who comes to New York to become a

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