[Frameworks] MIGRATING FORMS: Screening at BAM Mon., Oct. 25: Jury Selections -- 2011 call for entries now open!

From: Nellie Killian (email suppressed)
Date: Tue Oct 19 2010 - 13:23:04 PDT

Hi everyone,

Migrating Forms' call for entries is open and we're looking forward to
watching a lot of new work this winter. We've announced the 2010 jury
winners and are having a screening of some of the work at BAM this Monday.
 I hope some of the New Yorkers on the list can make it out.

Details below.


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From: Migrating Forms <email suppressed>
Date: Thu, Oct 14, 2010 at 6:47 AM
Subject: Screening at BAM – Mon., Oct. 25: Jury Selections -- 2011 call for
entries now open!
To: email suppressed


email suppressed

or call (646) 271-0833

2010 Jury Selections: Special Screening
BAMcinématek - Monday, October 25

2011 Call for Entries Now Open... and Thank You!


2010 Jury Selections

There are no cash prizes or predetermined awards at Migrating Forms.
Instead, a panel of artists or curators devises written distinctions
according to whatever criteria they feel most relevant to the program as a
whole, indicative of unique achievement, and/or beneficial to the

The 2010 jury was comprised of Rebecca Cleman, Ben Coonley and Thomas Zummer,
all of whom are based in Brooklyn, NY.

Highest Honor: The Inominatum Award
'Inominatum,’ a Latin term bearing the connotations of both ‘nameless’ and
‘disobedient,’ is the best representation of the festival's spirit of
migration, innovation and borderlessness, and the Inominatum Award
recognizes a distinguished work that both encompasses and eludes any common
distinctions, setting itself in motion, on edge, with excellence.

Andrew Lampert for Considerable Distance (Something Better) and The Golden
Mean (co-director Saul Levine)

Best Long Form Work
Kevin Jerome Everson, Erie

Best Program
Jean-Marie Straub, Le Genou d’Artemide; Le Streghe, femmes entre elles
Jean-Marie Straub & Daniélle Huillet, L’Itinériare de Jean Bricard

Best Short Form Work
Stanya Kahn, It’s Cool, I’m Good

Distinguished Recognition, Long Form
Harun Farocki, In Comparison
Zhao Liang, Petition

Distinguished Recognition, Short Form
Benj Gerdes & Jennifer Hayashida, Populus Tremula
Paul Abbott, Wolf’s Froth/Amongst Other Things
Deimantas Narkevičius, Into the Unknown
Peggy Ahwesh, Bethlehem
Leslie Thornton, ((((( )))))
eteam, Prim Limit
Dani Leventhal, 54 Days this Winter, 36 Days this Spring for 18 Minutes

Migrating Forms at BAM

On Monday, October 25, Migrating Forms will present two programs of jury
selections at BAMcinématek<http://c.eb13.emailsparkle.com/sendlink.asp?HitID=1287052492123&StID=75829&SID=1&NID=783473&EmID=111134045&Link=aHR0cDovL3d3dy5iYW0ub3JnL3ZpZXcuYXNweD9waWQ9MjY4NQ%3D%3D&token=97173eafcc3e2012086a52adbca64d26e9e15165>
. Tickets are on sale now and can be purchased online

81 min)
dir. Kevin Jerome Everson
Best Long Form Work

"Everson rejects the role of cultural explainer in his work, opting instead
to place the burden of understanding on the audience and its own labor. In
this way, he has carved a place for himself outside both the typical
expectations of documentary and the conventions of representational fiction,
attempting to work from the materials of the worlds he encounters to create
something else." —Ed Halter, Artforum

Erie consists of a series of single take shots in and around communities
near Lake Erie. The scenes relate to a Black migration in the USA,
contemporary conditions, folks concentrating on the task at hand, theater
and famous art objects. The subject matter is the gestures or tasks caused
by certain conditions in the lives of working class African Americans and
other people of African descent. The conditions are usually physical,
social-economic circumstances or weather. Instead of standard realism I
favor a strategy that abstracts everyday actions and statements into
theatrical gestures, in which archival footage is re-edited or re-staged,
real people perform fictional scenarios based on their own lives and
historical observations intermesh with contemporary narratives. The films
suggest the relentlessness of everyday life—along with its beauty—but also
present oblique metaphors for art-making. —Kevin Jerome Everson

Shorts Program<http://c.eb13.emailsparkle.com/sendlink.asp?HitID=1287052492123&StID=75829&SID=1&NID=783473&EmID=111134045&Link=aHR0cDovL3d3dy5iYW0ub3JnL3ZpZXcuYXNweD9waWQ9MjY4Nw%3D%3D&token=97173eafcc3e2012086a52adbca64d26e9e15165>
Jury selected shorts

Bethlehem (2009, 8 min)
Dir. Peggy Ahwesh
Working through my archive of accumulated video footage, I pretended it was
found footage from anonymous sources. What began as a tribute to Bruce
Conner of the period of Valse Triste and Take the 5:10 to Dreamland, with
their deliberate pace and bittersweet memory of home, ended as a dedication
to my father as I wound my way through miscellany with distance and another
aim. —Peggy Ahwesh

Prim Limit (2009, 32 min)
Dir. eteam
If second lives have grown into the landscape of social network space and
avatars engage a full range of human emotions and experience, it follows
that they would eventually encounter existential questions. Eteam's Prim
Limit traces this fascinating unexpected trajectory. A plot of land is
purchased in the online 3-D Second Life network and a simple question is
asked: Where do discarded 3D objects go and can we build a dumpster to
accommodate them? To find out eteam set aside a year to let this virtual
land use problem unfold and what is captured in Prim Limit is the lived
experience of avatars managing and recording this dumpster. This is a very
contemporary Existentialist tale that is more about Wasteland than Waste,
and all the very human emotions this terminal condition evokes. —Will

It's Cool, I'm Good (2010, 35 min)
Dir. Stanya Kahn
In It's Cool, I'm Good, Kahn resumes her familiar place in front of the
camera, this time bandaged and injured, a protagonist who is at once
selfless and narcissistic, verbose and elusive, vulnerable and manipulative.
Paralleling the way in which jokes compress and expand meaning, Kahn
organizes the narratives along the lines of a psycho-emotional unpacking,
creating small arcs in place of grand ones.

Caroline Golum As (2010, 9 min)
Dir. Andrew Lampert
Caroline Golum auditions to play the filmmaker’s great great great great
great aunt in late 1700s Siberia.

54 Days This Winter 36 Days This Spring For 18 Minutes (2009, 16 min)
Dir. Dani Leventhal
Dani gathered material for 9 minutes each day, then condensed it down to
this 16 minute video montage of impressions which has a cumulative effect,
accessed and read differently depending on the mental connections the viewer
makes. It is presented as short scenes: documentation of the quotidian,
on-camera monologues, and performative or expressive shots that are
constructed. The material, while mostly generated as a diary, is
heterogeneous enough to include just about any kind of footage. —Video Data

Call for Entries

The call for entries for Migrating Forms 2011 is now open!

Go to migratingforms.org<http://c.eb13.emailsparkle.com/sendlink.asp?HitID=1287052492123&StID=75829&SID=1&NID=783473&EmID=111134045&Link=aHR0cDovL3d3dy5taWdyYXRpbmdmb3Jtcy5vcmcv&token=97173eafcc3e2012086a52adbca64d26e9e15165>
for full guidelines and instructions on how to submit.

Early Deadline: December 1, 2010
Regular Deadline: January 17, 2011
Late Deadline: February 15, 2011

Festival: May 20–29, 2011 at Anthology Film Archives, New York

Thank You—Summer Kickstarter Drive!

Our 2010 Kickstarter drive was our first, and it was a success: thanks to
your generous support we were able to surpass our $5,000 goal. We owe all
of you (and our anonymous donors) a big thank you!

Mal Ahern, Nico Baumbach, Judd Blaise, Bodine Boling, Kate Brokaw, Karin
Chien, Ben Coonley, Erin Espelie & David Gatten, Loulie Fisher, Matthew
Flanagan, Isabel Fondevila, Sam Frank, John Gianvito, Leah Giblin, Michael
Gitlin, Leo Goldsmith, Jackie Goss, Andrew Grant, Sarah Halpern, Ed Halter,
Alex Hansen, James Hansen, Amy Herzog, Steve Holmgren, Francis Hwang, Laura
Kleger, Jason Klorfein, Anjuli Kolb, Shirley Laubscher, Michael Lieberman,
Ruby Lerner, Eli Liedman, Gabe Liedman, Jeanne Liotta, J. Makary, Tom
McCormack, John McDonald Productions Inc., Bleakley McDowell, Alice McGarry,
Ned Milligan, Alex Ross Perry, Hannah Pollin, Zachary Powell, Jed Rapfogel,
MaryBeth Maly Reeves, Michael Robinson, Cindi Rowell, Michael Rowin, Lynne
Sachs, Dan Sallitt, Dorothy Sanche, Manuel Santini, Nina Schwanse, Simona
Schneider, Adam Sekuler, Kelly Shindler, Shelly Silver, Jenny Slate, Raquel
Stern, Kyle Smith, J G Solondz, Ted Stern, Chris Stults, Andrew Suggs, Gina
Telaroli, Keith Uhlich, Rob Walker, C. Mason Wells, Christopher Wisniewski,
and Matt Wolf

 Follow Migrating Forms


Forms on Twitter @migratingforms

Migrating Forms Facebook group

the Migrating Forms mailing list

About Migrating Forms

An annual, ten-day festival dedicated to new film and video, Migrating Forms
developed from the New York Underground Film Festival (NYUFF), which ended
in April 2008. Led by the former directors and programmers of NYUFF,
Migrating Forms continues the tradition of presenting a program culled from
a broad spectrum of moving image practices each Spring at New York’s
historic Anthology Film Archives. Migrating Forms has featured work by
Stephanie Barber, Patty Chang, Phil Collins, Moyra Davey, Lav Diaz, Barry
Doupe, Redmond Entwistle, Bradley Eros, eteam, Kevin Jerome Everson, Harun
Farocki, Jim Finn, Luke Fowler, Nikolaus Geyrhalter, Michael Gitlin,
Jean-Pierre Gorin, Barbara Hammer, Susan Hiller, Owen Land, Oliver Laric,
Zhao Liang, Jeanne Liotta, Pavel Medvedev, Shana Moulton, Pat O’Neil, Lucy
Raven, Ben Rivers, Michael Robinson, Ed Ruscha, Amie Siegel, John Smith,
Jean-Marie Straub, Kerry Tribe, Naomi Uman, Erika Vogt, and many more.






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