This week [April 9 - 17, 2011] in avant garde cinema
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NEW CALLS FOR ENTRIES:
=====================
Punto y Raya Festival (Barcelona, Spain; Deadline: July 04, 2011)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1293.ann
DEADLINES APPROACHING:
======================
CologneOFF 2011 (Cologne, Germany; Deadline: May 01, 2011)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1237.ann
Festival International Film Merveilleux (Paris FRANCE; Deadline: May 09, 2011)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1255.ann
LIFT (Toronto, Ontario, Canada; Deadline: April 11, 2011)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1267.ann
Onion City Experimental Film and Video Festival (Chicago, IL, USA; Deadline: April 15, 2011)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1268.ann
Silver Salt Animation Festival (Mumbai, Maharashtra, India; Deadline: April 30, 2011)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1274.ann
The Indie Fest (La Jolla, Ca USA; Deadline: April 29, 2011)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1278.ann
EYE AM: Women Behind The Lens (Troy; Deadline: May 01, 2011)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1284.ann
Wimbledon SHORTS (UK; Deadline: April 19, 2011)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1285.ann
13th ANNUAL ARTSFEST FILM FESTIVAL (harrisburg, PA, USA; Deadline: April 30, 2011)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1287.ann
Synthetic Zero Event / {S0NiK}Fest (Bronx, NY, USA; Deadline: April 15, 2011)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1289.ann
The Short Film Project (London, UK; Deadline: April 09, 2011)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1290.ann
Museum of Pocket Art and Grand Detour Present: How Micro Can You Go? (Portland, OR; Deadline: April 21, 2011)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1291.ann
Museum of Pocket Art Spring Video Show (Portland, OR, USA; Deadline: April 21, 2011)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1292.ann
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THIS WEEK'S PROGRAMS (SUMMARY):
==============================
* Morgan Fisher Presents, Pt. 2 [April 9, Cambridge, Massachusetts]
* Hao Jie: Single Man (Guangyun) [April 9, Los Angeles, California]
* Huang Weikai: Disorder (Xian Zai Shi Guo Qu De Wei Lai) [April 9, Los Angeles, California]
* Jia Zhangke: I Wish I Knew (Hai Shang Chuan Qi) [April 9, Los Angeles, California]
* Essential Cinema: Flowers of St. Francis [April 9, New York]
* Underground Usa [April 9, New York]
* Kidnapped [April 9, New York]
* Sat. 4/9: All 16mm, All Retro Music-On-Film Party! [April 9, San Francisco, California]
* Morgan Fisher Presents 'under Capricorn' [April 10, Cambridge, Massachusetts]
* Treating (Zhi Liao) [April 10, Los Angeles, California]
* Essential Cinema: Flowers of St. Francis [April 10, New York]
* Kidnapped [April 10, New York]
* Underground Usa [April 10, New York]
* The Weightless Body: Films By Lynne Sachs (April 12 & 13) [April 12, Brooklyn, New York]
* Tuesday Borrowed Light : the Films of Steve Cossman (& Friends) In
Person [April 12, Reading, Pennsylvania]
* The Double vision Show [April 13, Providence, RI]
* Jenny Graf Sheppard Screening and Artist's Talk [April 14, Amherst, MA]
* Aberration of Light: Dark Chamber Disclosure [April 14, Chicago, Illinois]
* Bette Gordon Program 1 [April 14, New York]
* Bette Gordon Program 2 [April 14, New York]
* Radical Light: That Little Red Dot [April 14, San Francisco, California]
* Time Based Corrections : Moving Image Work From David Kidman. [April 14, Seoul, Korea]
* The Delicate Landscape of Crises - Christina Mcphee - Directors Lounge
Screening [April 15, Berlin, Germany]
* Nam June Paik and the Conservation of video Sculpture-Symposium and
Exhibition [April 15, Cincinnati, Ohio]
* Variety [April 15, New York]
* Bette Gordon Program 1 [April 15, New York]
* Warhol On Film: Hedy and the Velvet Underground In Boston [April 16, Boston, Massachusetts]
* Essential Cinema: Kino-Eye [April 16, New York]
* Bette Gordon Program 2 [April 16, New York]
* Luminous Motion [April 16, New York]
* Bette Gordon Program 1 [April 16, New York]
* Sat. 4/16: Jesse & Glenda Drew: Big Country + [April 16, San Francisco, California]
* The Intensity of the World: An Evening With Tomonari Nishikawa [April 17, Los Angeles, California]
* Essential Cinema: Forward, Soviet! [April 17, New York]
* Handsome Harry [April 17, New York]
Events are sorted by CITY within each DATE.
-----------------------
SATURDAY, APRIL 9, 2011
-----------------------
4/9
Cambridge, Massachusetts: Harvard Film Archive
http://hcl.harvard.edu/hfa
7pm, 24 Quincy St.
MORGAN FISHER PRESENTS, PT. 2
Director Morgan Fisher in Person Special Event Tickets $12 April 9 at
7pm Projection Instructions USA 1976, 16mm, b/w, 4 min. Picture and
Sound Rushes USA 1973, 16mm, b/w, 11 min. Production Footage USA 1971,
16mm, color, 10 min. The Wilkinson Household Fire Alarm USA 1973, 16mm,
color, 1.5min. Turning Over USA 1975, video, b/w, 15 min. Protective
Coloration USA 1979, video, color, 13 min. Standard Guage USA 1984,
16mm, color, 35 min. Detour - The final shot only. Directed by Edgar
Ulmer. USA 1945, 35mm, color TRT: 92 min.
4/9
Los Angeles, California: Redcat
http://www.redcat.org/
3:00 pm, 631 W. 2nd St., Los Angeles, CA 90012
HAO JIE: SINGLE MAN (GUANGYUN)
U.S. premiere | 2010, 95 min., HDCAM "This is a strange and delightful
thing from China: a sex comedy, bawdy and a little raunchy, about four
elderly farmers… all non-professional actors playing fictionalized
versions of themselves. New director Hao Jie, with a bit of Boccaccio
and a dollop of Rabelais, reveals a side of rural China you've probably
never seen before… Chinese indie cinema at its most wryly entertaining."
–Vancouver International Film Festival. As part of the screening series
Disorder and Unexpected Pleasures: Tales from the New Chinese Cinema
running April 6th-9th.Jack H. Skirball Series $9 [students $7, CalArts
$5]
4/9
Los Angeles, California: Redcat
http://www.redcat.org/
7:00 pm, 631 W. 2nd St., Los Angeles, CA 90012
HUANG WEIKAI: DISORDER (XIAN ZAI SHI GUO QU DE WEI LAI)
Los Angeles premiere | 2009, 58 min., DVCAM A splendid, original
experiment on how to translate urban texture on the screen. Huang Weikai
collected more than 1,000 hours of footage shot by amateurs and
journalists in the streets of Guangzhou. He then selected 20-odd
incidents, reworked the images into quasi-surreal grainy black-and-white
and montaged them to create a kaleidoscopic view of the great southern
metropolis, in all her vibrant, loud and mean chaos. As part of the
screening series Disorder and Unexpected Pleasures: Tales from the New
Chinese Cinema running April 6th-9th.Jack H. Skirball Series $9
[students $7, CalArts $5]
4/9
Los Angeles, California: Redcat
http://www.redcat.org/
9:30 pm, 631 W. 2nd St., Los Angeles, CA 90012
JIA ZHANGKE: I WISH I KNEW (HAI SHANG CHUAN QI)
Los Angeles premiere | 2010, 138 min., HDCAM China's most significant
filmmaker of the decade has done it again, with another alluring hybrid
of documentary and fiction. Here Jia weaves a dense texture between
amorously shot footage of contemporary Shanghai and the films the city
created or inspired. Peeking through the gaps of an architecture menaced
by permanent urban renewal, he finds the traces of a romantic or brutal
past, and echoes the voices of survivors or those who went into exile.
As part of the screening series Disorder and Unexpected Pleasures: Tales
from the New Chinese Cinema running April 6th-9th.Jack H. Skirball
Series $9 [students $7, CalArts $5]
4/9
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
5:00 pm, 32 2nd Avenue
ESSENTIAL CINEMA: FLOWERS OF ST. FRANCIS
by Roberto Rossellini In Italian with English subtitles, 1949, 85
minutes, 35mm Share + Film Notes Francesco (St. Francis of Assisi) comes
back to Santa Maria degli Angeli from Rome, journeying with his friars
through the rain. When they are driven out of a hut, he begs the
brothers' forgiveness for abusing their obedience. While the monks are
finishing the chapel, Brother Ginepro arrives naked again and confesses
that the previous night he was tempted by the Devil. Later, he cuts the
foot off a pig to feed a sick brother. That evening, Francesco meets a
leper and kisses him. Brother Ginepro receives Francesco's permission to
preach and arrives at the camp of Nicolaio, the tyrant of Viterbo, whose
cruelty he overcomes with his perfect humility. Francesco teaches
Brother Leone that bearing injuries and blows is an example of perfect
joy. Francesco sends his brothers out to preach far and wide.
4/9
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:00 pm, 32 2nd Avenue
UNDERGROUND USA
by Eric Mitchell 1980, 85 minutes, 16mm-to-video FILMMAKER IN PERSON! In
conjunction with the forthcoming release of Céline Danhier's BLANK CITY,
a feature-length documentary on the No Wave movement that defined
underground culture in NYC in the 70s & 80s, sweeping through the worlds
of filmmaking, music, art, and writing, we devote a weekend to two of
the seminal works of No Wave cinema: Eric Mitchell's UNDERGROUND U.S.A.
and its even more uncompromising and provocative predecessor, KIDNAPPED.
Special thanks to Eric Mitchell. "A satire of contemporary New York
'scenemaking' in the form of an update of SUNSET BLVD., UNDERGROUND
U.S.A. is both a personal triumph for its creator, actor-director Eric
Mitchell, and a further indication of the importance of New York's New
Wave film movement. … "As played by Patti Astor, Vicky is clearly meant
to represent Edie Sedgwick, the superstar of Warhol's legendary
cinematic psychodramas. Like Norma Desmond, she lives with her butler
(Rene Ricard as an effete Erich von Stroheim) in high style, half-mad
and lost in drug-induced dreams of a comeback. But instead of William
Holden's disillusioned writer-turned-gigolo, a completely spent and
soulless Joe Dallesandro-styled hustler, played by Mitchell himself, is
offered. … "There's a rich, multi-layered texture at work here.
Characters exist less for themselves than as iconographical anchoring
devices – points of reference in a hall of mirrors crossing space and
time. The time is now, but it is also the then of the '60s and the '50s
and (remembered) '20s of the Billy Wilder melodrama. As these spent
sophisticates move through Mitchell's carefully designed decor trapped
in their narcissistic fantasies, going through the motions of rituals
that have lost all meaning for them, we may giggle but at the same time
be touched by their lives of noisy desperation." –David Ehrenstein, BOMB
4/9
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
9:15 pm, 32 2nd Avenue
KIDNAPPED
by Eric Mitchell 1978, 60 minutes, Super-8mm-to-video FILMMAKER IN
PERSON! In conjunction with the forthcoming release of Céline Danhier's
BLANK CITY, a feature-length documentary on the No Wave movement that
defined underground culture in NYC in the 70s & 80s, sweeping through
the worlds of filmmaking, music, art, and writing, we devote a weekend
to two of the seminal works of No Wave cinema: Eric Mitchell's
UNDERGROUND U.S.A. and its even more uncompromising and provocative
predecessor, KIDNAPPED. Special thanks to Eric Mitchell. "KIDNAPPED – 15
raw rolls of Super-8 spliced together for video projection – showcases
the 'no wave' upper-crust. … [A] number of KIDNAPPED's principles seem
wrested from the [Amos Poe film THE FOREIGNER], including Patti Astor, a
buxom blonde in crewcut and cocktail dress, and Anya Phillips, a
wise-cracking Eurasian with a starlet's radar for keeping in frame. Her
intuition is truly impressive in KIDNAPPED: for most of its 60 minutes
the camera pans around a barren Avenue B tub-in-kit[chen] remorselessly
chopping off torsos at the neck. … "KIDNAPPED seems almost an homage to
VINYL – one of the few vintage Warhols that's screened these days – but
Mitchell's random compositions, on-screen direction, and impoverished
location shake the mothballs off the Factory aesthetic. It's actually
witty when he stages a violently autistic dance number to Devo's
'Satisfaction'…." –J. Hoberman, VILLAGE VOICE Preceded by: MASS HOMICIDE
(1977, 7 minutes, video)
4/9
San Francisco, California: Other Cinema
http://www.othercinema.com/
8:30PM, 992 Valencia Street
SAT. 4/9: ALL 16MM, ALL RETRO MUSIC-ON-FILM PARTY!
Gleefully gleaned from an extremely generous bequest from archivist
extraordinaire Rick Prelinger, this eye-popping program of 16mm musical
anomalies mostly features "Soundies," performances on film produced for
visual jukeboxes of the '40s and '50s. More than just kitsch, these oft
transcendent artifacts reveal a post-war pop-cultural world of naive
charm and irrepressible surrealist imagination. Among this jazz/R&B/pop
bonanza are: Steve Lawrence's Mine and Mine Alone; Vanita Symthe's Low,
Shorty, and Squatty; Buddy Clark's Moonlight Cocktail; Mousie Powell's
Crazy Things; Ving Merlin's Enchanted Violins; a ten-year-old Michael
Jackson (with the other four); and a man-killing Judo femme fatale! Oh,
and did we mention free beer at the bar?
----------------------
SUNDAY, APRIL 10, 2011
----------------------
4/10
Cambridge, Massachusetts: Harvard Film Archive
http://hcl.harvard.edu/hfa
3pm, 24 Quincy St.
MORGAN FISHER PRESENTS 'UNDER CAPRICORN'
Under Capricorn April 10 at 3pm It is well known that some of
Hitchcock's films take place all but entirely in a single confined
space: Rope, Rear Window, Lifeboat. By working within this self-imposed
limit Hitchcock showed that shifts from one space to another, all too
easy in film and on which almost all narrative films depend, are hardly
a necessity. Another limit in film is a material one, the length of a
roll of film. There can be no shot longer than eleven minutes. It is
clear that the staging of many of the scenes in Under Capricorn was
conceived of in relation to this limit, in fact working backwards from
it. The action in these scenes—the dialogue and how it is delivered, the
movements of the actors, the rhythms they all create—was composed to
accord with a length of time close to the maximum that a roll of film
allowed. This procedure inverts the way scenes in almost all films are
shot, where they are built up piece by piece from the elements of
classical decoupage—the establishing shot, two-shot, close-ups—to move
the story forward without regard for how long each shots lasts. In a
scene shot in a continuous take, everything necessary has to happen but
nothing beyond. And the execution of the scene is as exacting as its
composition. Everything must happen perfectly: how the actors deliver
their lines, their expressions, their gestures, how and where they move,
how the camera moves. One mistake in the least detail, and there is no
alternative but to start over again. You can't cut around mistakes, you
can't get rid of lines you don't need or add lines that you do, you
can't go back and shoot pick-ups. The longer the take and the more
complicated the movements of the actors and the movements of the camera,
the more opportunities for things to go wrong. Not only does everything
has to happen perfectly, it has to happen without apparent effort, when
in fact the shot is the result of a large number of people making
extraordinary efforts, the work of each exactly coordinated with the
work of everyone else. For me the sustained perfection of the long takes
in Under Capricorn inspires awe. - Morgan Fisher Directed by Alfred
Hitchcock. With Ingrid Bergman, Joseph Cotton, Michael Wilding. USA
1949, 35mm, color, 117 min.
4/10
Los Angeles, California: Filmforum
http://www.lafilmforum.org/
7:30pm, The Spielberg Theater at the Egyptian, 6712 Hollywood Blvd (at Las Palmas)
TREATING (ZHI LIAO)
US premiere! "The film was triggered by my desire to explore the deep
emotions caused by my mother's death in 2007. The focus shifted as was I
was sorting through the 12 years of footage I had collected, seeing
subtleties I had previously overlooked, or reliving past experiences…
Then I realized this film is not just about remembering my mother—it's
also an experiment to bring her back to life." - Wu Wenguang (2010, 80
min. DVD, in Mandarin with English subtitles). Preceded by: Sun Xun:
Beyond-ism (Zhuyi zhiwai) (Animation, 2010, 8.8 min., DVD).
4/10
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
5:00 pm, 32 2nd Avenue
ESSENTIAL CINEMA: FLOWERS OF ST. FRANCIS
See notes for April 9, 5 pm.
4/10
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:00 pm, 32 2nd Avenue
KIDNAPPED
See notes for April 9, 9:15 pm.
4/10
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
8:45 pm, 32 2nd Avenue
UNDERGROUND USA
See notes for April 9, 7 pm.
-----------------------
TUESDAY, APRIL 12, 2011
-----------------------
4/12
Brooklyn, New York: ReRun Gastropub Theater
http://www.reruntheater.com
7 pm, 147 Front Street, DUMBO
THE WEIGHTLESS BODY: FILMS BY LYNNE SACHS (APRIL 12 & 13)
Two Evenings Only, FREE Admission! Praised by the New York Times as "one
of the leading New York independent filmmakers," Brooklyn-based artist
Lynne Sachs has—in a career spanning over twenty years—woven together
poetry, collage, painting, politics, layered sound design, and a myriad
of cinematic formats to explore the intricate relationship between her
personal observations and broader historical experiences. From
installations and web projects to essay films that have taken her to the
far reaches of the globe, Sachs' work is strongly committed to a
progressive dialogue between film theory, the past and her subjective
self. reRun Gastropub Theater is proud to present two evenings with
Lynne Sachs in person to discuss an eclectic, thought-provoking taste of
her work to date. "THE WEIGHTLESS BODY: Films by Lynne Sachs" runs April
12 (7pm) and April 13 (10pm). "The films of Lynne Sachs travel to exotic
places, but find themselves concerned primarily with the universal
qualities of the everyday. They revisit war zones but refuse to
foreground the idea of War as humanity's most fascinating pursuit. They
are experimental in nature yet can offer straightforward and earnest
approaches to literal problems. They defy expectations for radical art."
- Susan Gerhard, SAN FRANCISCO CINEMATHEQUE
4/12
Reading, Pennsylvania: Berks Filmmakers, Inc
http://www. berksfilmmakers.org
7:30, Albright College Center for the Arts
TUESDAY BORROWED LIGHT : THE FILMS OF STEVE COSSMAN (& FRIENDS) IN
PERSON
A collection of time based work by STEVE COSSMAN (Brooklyn) & friends -
"The world, on both the micro and macro level, is constantly moving
within a framework of units this irrepressible flux of time is the nexus
of human experience and perception. Investigating the quantification of
this motion through a reordering of various elements, I employ
universally recognizable imagery within a patterned visual language.
Often using time as a structure, the 'natural' rhythm of life is altered
to create a resonating interval. This visual discord allows the viewer
to reconsider established perceptual relationships." -S.C. As part of
this evenings program Cossman will screen his work on film,
TUSSLEMUSCLE, a piece made over the course of 3 years by hand-splicing
over seven thousand view-master reel cells of flowers together into a
linear film strip (presently part of and the touring program of Ann
Arbor Film Festival ). Cossman had his start as a Sculptor & Painter in
Reading (at Albright College) when he was first introduced to
experimental film through Berks. Eager to explore the medium he went on
to study cinema at FAMU in the Czech Republic then came back to set up a
base in New York. There he is founder/director of an annually occurring
expanded cinema exhibition entitled MONO NO AWARE, a curator of
local/touring film programs including the recent OPTICAL BOUNDARIES
(with Ross Nugent & Fern Silva), teaches filmmaking at UNIONDOCS and
continues to make/show work both nationally and internationally
(Angelika Film Center Dallas, LA Film Forum, VideoEx-Zurich, ICA
Boston). Cossman's work can be found in the collections of the
University of Seattle, WA, University of Hartford Art School, and The
Len Lye Foundation, New Zealand. The screening will include a variety of
Cossman's work alongside a small selection of films/video by Eirik
Svensson, Fern Silva, Jennifer Sullivan, Matthais Muller, and Sean
Hanley.
-------------------------
WEDNESDAY, APRIL 13, 2011
-------------------------
4/13
Providence, RI: Magic Lantern
http://magiclanterncinema.com/
9:30PM, Cable Car Cinema and Cafe, 204 S. Main St.
THE DOUBLE VISION SHOW
Magic Lantern Cinema Presents: THE DOUBLE VISION SHOW - Wednesday,
April 13th _at_ 9:30 PM - Cable Car Cinema & Cafe, 204 S. Main St.,
Providence, RI - Admission $5 /////////// Split screens! Double
exposure! Repetition! Superimposition! Witness the diplopia-inducing
splendor of these forays into cinematic double vision! From
spectacularly fused landscapes to fractured relations, repeat
projections to experiments in closed-eye vision, and diptychular
juxtapositions to avant-garde revisions, this show is really two shows
running side-by-side, back-to-back, one atop the other. Join us for a
night of reflections, revelations, disjunctions, and duplications. Twins
admitted for the price of one! \\\\\\\\\\\ FEATURING: Ken Jacobs,
"Georgetown Loop" (1997), Matthias Müller and Christoph Girardet,
"Mirror" (2003), Peter Tscherkassky, "Instructions for a Light and Sound
Machine" (2005), Michael Snow, "Sshtoorrty" (2005), Leslie Thronton,
Excerpts from the "Binocular" Series (2011), Nicole Koschmann, "Fishing
for Brad" (1998), Peter Kubelka, "Schwechater" (1958), Peter Kubelka,
"Arnulf Rainer" (1960) ---- TRT: 91 MIN.
------------------------
THURSDAY, APRIL 14, 2011
------------------------
4/14
Amherst, MA: The Hampshire College Film Society/ "NecroCinema"
7pm, Hampshire College Film and Photo Building
JENNY GRAF SHEPPARD SCREENING AND ARTIST'S TALK
************************************************************************
********************** Video artist and musician Jenny Graf Sheppard
presents her film, "Proud Flesh". The film, an experimental Western,
challenges notions of gender and narrative. A wounded aging outlaw seeks
redemption, but is transformed through a series of encounters and events
that question agency and individuality as represented through the
Western film form. Original soundscore by Jenny Graf and Chiara
Giovando.
4/14
Chicago, Illinois: Conversations at the Edge
http://www.saic.edu/cateblog
6:00 pm, Gene Siskel Film Center (164 N. State / 312-846-2600)
ABERRATION OF LIGHT: DARK CHAMBER DISCLOSURE
Live performance! Sandra Gibson, Luis Recoder, and Olivia Block in
person! "Sandra Gibson and Luis Recoder are creating some of the most
innovative and engaging light works of the present time." – Mark Webber,
London Film Festival. Since 2001, New York-based artists Sandra Gibson
and Luis Recoder have collaborated on a series of performances and
installations that transform the mundane mechanics of film projection
into sublime experiences of light and space. The duo uses a system of
film loops, crystals, and hand gestures to bend, reflect, and refract
the projector's beam, recasting the theatrical space of the cinema into
a unique medium for sculpting light. This evening, in their first-ever
Chicago appearance together, Gibson and Recoder present their latest
projector performance, developed with noted Chicago-based composer and
sound artist, Olivia Block. Block, who mixes field recordings and live
instrumentation, has been likened to "a good cinematographer who happens
to use sounds instead of images" (Peter Margasak, Chicago Reader). This
is the second piece the three have created together; the first, Untitled
(2008) premiered at the Sundance Film Festival and screened at the Tate
Modern, London, and Redcat, Los Angeles. 2010-11, Sandra Gibson/Luis
Recoder/Olivia Block, USA, multiple formats, ca. 60 mins plus
discussion.
4/14
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:00 pm, 32 2nd Avenue
BETTE GORDON PROGRAM 1
Bette Gordon & James Benning MICHIGAN AVENUE (1973, 7 minutes, 16mm)
Preserved with support from The Andy Warhol Foundation for the Visual
Arts and The Women's Film Preservation Fund. A narrative film concerning
an investigation of two women in time and space, to the point where the
investigation becomes the narrative. Bette Gordon & James Benning i-94
(1974, 3 minutes, 16mm) Preserved with support from The Andy Warhol
Foundation for the Visual Arts and The Women's Film Preservation Fund.
Intercourse between two people who never appear on the screen at the
same time. An exploration of sex and male/female identities. Bette
Gordon & James Benning THE UNITED STATES OF AMERICA (1975, 27 minutes,
16mm) Preserved with support from The National Film Preservation
Foundation. A true masterpiece of 70s cinema, more remarkable today then
ever before. A conceptual bicentennial film dealing with spatial and
temporal relationships between two travelers, their car, and the
geographic, political, and social changes from New York to Los Angeles.
The space within each frame is at the same time continuous and
elliptical. Bette Gordon STILL LIFE (1972, 3 minutes, 16mm) Preserved
with support from The Andy Warhol Foundation for the Visual Arts and The
Women's Film Preservation Fund. A meditation on the American rustic
where various objects within the composition are re-presented in
unnatural colors and unusual spatial arrangements, emphasizing the
illusion of movement while exploring film grain and its graphic nature.
Bette Gordon AN EROTIC FILM (1975, 3 minutes, 16mm) Preserved with
support from The Andy Warhol Foundation for the Visual Arts and The
Women's Film Preservation Fund. The moment before and the moment after…
Bette Gordon AN ALGORITHM (1977, 10 minutes, 16mm) Preserved with
support from The Andy Warhol Foundation for the Visual Arts and The
Women's Film Preservation Fund. A visually stunning kinetic rhythm
produced by looped footage (mathematical curves) in and out of phase
with each other. Total running time: ca. 55 minutes.
4/14
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
8:45 pm, 32 2nd Avenue
BETTE GORDON PROGRAM 2
Bette Gordon EMPTY SUITCASES 1981, 55 minutes, 16mm-to-video. A
narrative derived from film's own material and an exploration of issues
relating to representation and identification in cinema. The film
presents fragments of a woman's life – her work (as a photographer), her
friendships and relationships – in short, her economic, sexual, and
artistic struggles. By deconstructing the fragments of text, speech,
music, and picture, the film problematizes the way in which cinematic
language structures point of view. Preceded by: NOYES (1976, 3 minutes,
16mm) "A single action seen from alternative left and right
perspectives, accentuating reversals, repetitions, and persistence of
vision." –Karyn Kay, CAMERA OBSCURA & EXCHANGES (1979, 18 minutes,
16mm-to-video) "The elliptical printing-editing style confronts the
problem of the imaging of the body, by posing a kind of striptease of
cinema. … The film's construction attempts to re-position the erotic
elements: the technology employed becomes more seductive than the actual
image of the stripping, displacing the striptease rather than serving it
invisibly, thus establishing a tension between the image of the woman
and the sensuality of the filmic process." –Karyn Kay, CAMERA OBSCURA
Total running time: ca. 80 minutes.
4/14
San Francisco, California: San Francisco Cinematheque
http://www.sfcinematheque.org
7:30PM, Artists' Television Access (992 Valencia St., at 21st st.)
RADICAL LIGHT: THAT LITTLE RED DOT
During its 30+ years of existence, the San Francisco Art Institute's New
Genres (formerly Performance/Video) department has produced innumerable
high-caliber artists and has influenced performance and conceptual art
on a global scale. Simultaneously, the department's commitment to
maintaining state-of-the-art production facilities has contributed to an
equally impressive output from myriad film- and video makers. Tonight's
program presents a survey of this important work. While as aggressive
and sophisticated as their performance counterpart, the work of these
artists displays an equally ingenious and ground-breaking visual
language and deals with such varied issues as formalism, feminism,
abstract narrative, transgressive sexuality, personal biography and body
politics. And, drawn from three decades of activity, the program
comprises an historical microcosm of video technology, beginning with
industrial and broadcast cameras and behemoth Portapaks through the Hi-8
video revolution, "cuts-only" editing, the Amiga Toaster and Avid
systems, up to DV's utopian technological plateau. Join us for an
evening of the early works and rarities of some of the field's major
artists, including Jordan Biren, Nao Bustamante, Monet Clark, Torsten
Zenas Burns, Cecilia Dougherty, Didi Dunphy, Dale Hoyt, Andrew Huestis,
Tony Labat, Jennifer Locke, Anne McGuire, Guy Overfelt and Emjay Wilson.
4/14
Seoul, Korea: Work in Progress
4p.m. on, Media+Space, Screenings in the Auditorium, Graduate School of Communication and Art, Yonsei University, Seoul, South Korea
TIME BASED CORRECTIONS : MOVING IMAGE WORK FROM DAVID KIDMAN.
Time Based Corrections : Moving image work from David Kidman.
Media+Space April 14-20, screenings in the auditorium until the 27 April
Graduate School of Communication and Art, Yonsei University, Seoul,
South Korea
************************************************************************
******* Time Based Corrections in which the pieces visible to the
visiting public change regularily and in which there are several events
that can be programmed so that the public can come and watch something
which takes the form of a performative rendez-vous. These rendez-vous
last between twenty and forty minutes, according to the event, and are a
means of drawing attention to a new configuration of the pieces in the
show.
************************************************************************
****** Stochastics Hamiltonian, Installation, screening box. As a child,
you learn how to walk. You don't necessarily analyse your movements at
the time, even though it is a painful learning curve. For a lot of boys,
as well as a small minority of girls in this world, there will be a
second period of apprenticeship as a professional walker; military
service, when you must forget to walk and learn to march. This is partly
about the way in which I learn to walk, the way in which cinema learned
to walk and partly how to aim at the right targets. The sequences are in
phase such that the walker in the film leaves the screen from which he
starts and walks completely around the cube before disappearing. There
being no off screen space, the hors champ is only above and below the
screen, spaces that are usually elided in our conception of filmic
space.******************************************************************
******* Dumbphone, 16mm/video projection This is a projected film that
tends to self-destruct, which is what I would expect of it in the end.
Dumbphone is interactive. To be able to see the real film, you have to
aim at the (badly drawn) datamatrix code that appears in an accelerating
and decelerating loop on the screen. If your Internet connection is fast
enough, if you are fast enough and if the autofocus and autocapture on
your smartphone is quick enough, you will see a looped film of a
skateboarder. Other films are available in this series, all sports that
Muybridge, Marey, Edison and the Lumière brothers curiously forgot to
document back in the day.
************************************************************************
****** Original unflipbooks These are flipbooks made from 16mm film
cycles, each one produces a genuine cycle, the same one that is visible
in the Dumbphone skateboarder film, you can see as much when looking at
the images individually with a back light. It is the right length and
handy enough to hold and flip with your thumb, it is, however,
impossible to really see it as an animation, as the transparency of the
stock is attenuated with each successive layer and the movement
disappears before we have time to perceive it. It is, of course,
possible to break it down into its component parts, scan them then watch
them. Be aware before doing this, that the warranty is void if the seal
is broken on these
objects.****************************************************************
************** Like a record, baby This is a film that people can make
themselves, by going for a walk around Yonsei University Campus. There
are twelve 2D Datamatrix codes made using Post-its stuck up around the
campus. Each one will get the curious visitor an image from my website.
Once all twelve have been collected, they can be put in sequence to form
a primitive film. For the lazy, the film will be revealed at
www.davidkidman.com/ephemera.html from the 21 April
on.*********************************************************************
*********** Screenings SUNDAY 17 AT 6P.M. Fully Flipped Screen This is a
performed projection, which takes a little while, for which I use three
16mm or video projectors facing the audience, three tables, under which
the projectors are placed, some flour, some caster sugar, some milk and
eggs. I also need a square pancake pan and a hob to heat it. I place the
flour, then the sugar and the milk etc. on the tables and slowly push
the fine powders then the milk over the edge of the table. As the powder
falls, the image of the projection is visible on the falling powder or
milk. I then use these same ingredients to make a pancake mix (along
with some patter) and make a large rectangular pancake (very thin),
which I drape over the edge of the middle table and render visible the
projection of a third looped film, which changes from event to
event.******************************************************************
*********** TUESDAY 19 AT 6P.M. Train/Frame This piece is a performed
screening. The original piece was shot on video showing a runner,
myself, running in and out of the screen in an interlace which follows
the lines of the television screen on which it was conceived to be
shown. I eventually manage to cover the totality of the lines of the
television image with this movement, aided by the movement of the
camera. The screening consists of an attempt to show the film version at
the same time as the video version so that the two come together in two
moments of synchrony, at the beginning and the end of the projections.
Throughout the rest of the projection, the two are out of synch. With
one appearing to run across into the other screen before being pulled
back by the edit. I made the film version as part of an ongoing idea of
never leaving old pieces to die, but reactivating them as the
referential framework is displaced (this is also a key to the idea of
this show).
************************************************************************
******* SUNDAY 24 AT 6P.M. Hot Society Hot Society revisits the history
of the United States in both an oral and visual form, crossing the
country from coast to coast on the 36th parallel. Driving at the maximum
permitted speed (55 mph) we take in one degree of longitude per hour and
therefore 1 minute per minute. It turns out that at this latitude we
manage to find a shortened, perhaps selective but certainly
representative history, starting from the first (lost) English colony
and ending up at Hearst Castle, model for Xanadu in Citizen Kane. This
essay tries to find a form for the organisation and disorganisation of
societies through the generic visual codes which these places produced
or reflect in popular media. The degree of longitude determines (more or
less) the hour at which we live our lives and its distance depends on
its latitude, a degree of latitude is always of the same distance. This
flexibility allows a certain amount of play to come into calculations of
time distance and speed, without involving quantum physics, and this
play seemed to be an appropriate manner in which to construct the film,
insofar as it concerns travel and the relativity of the definition of
reality which is at the heart of the meaning of images and of the
representation of reality. A great number of aspects of American history
are linked to movement and to routes, such as Route 66, and trails such
as the Santa Fe trail, corridors of movement which, for he most part,
are striking due to their lack of permanence. The other aspect of the
film concerns the constraints and the manipulation of generic codes in
the cinema, which play an essential role in the fabrication of the
mythology that so heavily contributes to the American psyche and our
image of the United States. Those who speak in the film give an idea of
the flexibility of the historical, and therefore political, truth of
which the are the
guardians.**************************************************************
**************** WEDNESDAY 27 AT 6P.M. Studio Work Studio Work, HD 2010
Studio Work is an examination of space, using the traditional tools of
the artist, an overgenerous studio space, a giant easel, smaller ones,
plinths and cameras, "natural" light and some extra dimensions. It
becomes a slapstick, structural comedy which occasionally lapses into 3D
(without glasses due to the Pulrich effect at the start and the end of
each movement). The spectator is invited to consider the space, the
almost Sisyphean efforts made to describe it and the means by which it
can only come together as a three dimensional space in the most fleeting
manner, almost out of the corner of the eye.
----------------------
FRIDAY, APRIL 15, 2011
----------------------
4/15
Berlin, Germany: Directors Lounge
http://www.richfilm.de/currentUpload/
21:00, Freies Museum, Remise, Potsdamer Str. 91, 10785 Berlin-Schöneberg
THE DELICATE LANDSCAPE OF CRISES - CHRISTINA MCPHEE - DIRECTORS LOUNGE
SCREENING
A premier survey of California-based McPhee's experimental films from
2002-2011 will screen at 21:00 , 15 April , 2011 at Freies Museum,
Potsdamer Strasse 91 Berlin --°*°-- Curated by Klaus W. Eisenlohr of
Director's Lounge, Berlin. --°*°-- --°*°-- "Delicate structures arise in
the transport of trauma": Christina McPhee traces landscapes of crisis,
performing video montage like drawings in a data-field. From earthquake
landscapes in the California desert, to Ground Zero in New York, to the
oil spill in the Gulf of Mexico, McPhee tracks the intimate topographies
of environmental crisis in America. McPhee (b. 1954 Los Angeles) is a
visual and media artist whose films have shown most recently at Art
Cologne OpenSpace with Vernissage.tv; Director's Lounge, Berlin;
Cinéphèmère at the Tuileries for FIAC, Paris; San Francisco
Cinematheque, and ISEA, Belfast. Christina McPhee is represented by
Silverman Gallery, San Francisco. --°*°-- "Ch. McPhee … imbues
documentary realism with subjective evocation to such an extent that the
project effectively displaces the importance of the documentary imag°òs
indexicality… Still photographs, composited images and video clips of
the landscape, environment and vernacular shrines allow the viewer to
piece together the relationship between geological instability and
psychological trauma…. " Sharon LIn Tay, film critic, London (Studies in
Documentary Film 2008) --°*°-- --°*°--
http://www.directorslounge.net
--°*°--
http://www.freies-museum.com/ --°*°--
http://www.richfilm.de/currentUpload/index.html --°*°-- --°*°-- with
support from Walden
http://www.galerie-walden.de/ and Galerie Suomesta
http://www.suomestagalleria.net/
4/15
Cincinnati, Ohio: School of Art, University of Cincinnati
9:00 am, 5401 Aronoff Center, College of Design, Architecture, Art and Planning, University of Cincinnati
NAM JUNE PAIK AND THE CONSERVATION OF VIDEO SCULPTURE-SYMPOSIUM AND
EXHIBITION
This two-day symposium entitled Nam June Paik and the Conservation of
Video Sculpture is hosted by the School of Art in the College of Design,
Architecture, Art, and Planning at the University of Cincinnati, and is
funded by a grant from the Getty Foundation, Los Angeles. The main goal
of this symposium is to support research into the restoration and
reconstruction of a Paik video wall, titled Cinci-Mix, that the
University of Cincinnati acquired in1996. Because vital components of
the equipment making up the video sculpture have broken down over time,
this impressive work of Paik's has fallen into disrepair and cannot
presently be exhibited. In order to establish the best method for
restoration of this work, the symposium aims to initiate an
interdisciplinary research inquiry into the issues surrounding
preservation of Paik's video art. Using this artwork as a starting
point, the symposium will address broader issues in the conservation and
restoration of time-based media in contemporary art collections. The
symposium will bring together the diverse perspectives and experiences
of twelve experts, curators, conservators, and artists to reflect on
current trends in media conservation. The panel discussions will center
on the question of how to best maintain artworks that are tied to
technologies guaranteed to change, and how to quantify the relationship
between the visual content of video art and the method of its display.
For example, what are the responsibilities of curators and conservators
in determining new technology as old machines break down? What are the
equipment options facing an institution at the time of their acquisition
of an artwork? What do registrars and conservators believe is the ideal
type of conditioning protocol for time-based media that are likely to
migrate across different display platforms and media players? We are
particularly interested in locating this investigation within the field
of existing symposia and research institute findings. We expect the
results of the symposium to add to knowledge of best practice options
for video art conservation and restoration and to have wide applications
across different research disciplines, including New Media Studies,
Museum and Curatorial Studies, Art History, and Fine Art practice. The
symposium is open to art professionals, faculty, students, and the
public. In addition, there will be an extensive video sculpture
exhibition in the university's Reed Gallery and a one-person exhibition
by New York based video artist Tommy Hartung in the Meyers Gallery, also
on campus, to coincide with the conference. Moderators and Panel
Speakers: Moderators: Bruce Jenkins, Professor, School of the Art
Institution, Chicago Paola Morsiani, Curator of Contemporary Art,
Cleveland Art Museum Raphaela Platow, Director and Head Curator,
Contemporary Art Center, Cincinnati Panel speakers: Laura Barreca,
External Curator, MAXXI-Museo Nazionale delle Arti del XXI secolo, Rome
Tobias Berger, Curator, M+ Museum for Visual Culture, Hong Kong Glenn
Wharton, Conservator, MoMA, and Professor of Museum Studies, New York
University Chrissie Iles, Anne and Joel Ehrankranz Curator, Whitney
Museum of American Art Joanna Phillips, Associate Conservator of
Contemporary Art, Guggenheim Museum Lisa Dorin, Assistant Curator, Dept
of Contemporary Art, Chicago Art Institute Jay Chatterjee, Dean
Emeritus, DAAP Anton Harfmann, Associate Dean for Facilities, DAAP
Patrick Mills, SOA alumnus, DAAP installer of Cinci-Mix Mark Patsfall,
Artist, Gallery Director, Fabricator of Nam June Paik sculpture Mary
Lucier, Artist, New York, NY Alan Rath, Artist, Oakland, CA Julia Scher,
Artist, New York, NY Carl Solway, Director of Carl Solway Gallery
Registration fee $30
https://webapps.uc.edu/conferencing/Details.aspx?ConferenceID=390
Location and Contact Kaplan Auditorium, Room 5401 Aronoff College of
Design, Architecture, Art and Planning University of Cincinnati Clifton
Avenue and Martin Luther King Drive East Cincinnati, OH 45221 Contact:
Mark Harris mark.harris_at_uc.edu Charles Woodman charles.woodman_at_uc.edu
Url:
http://www.daap.uc.edu/art/eart/paik/index.html
4/15
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:00 pm, 32 2nd Avenue
VARIETY
VARIETY 1984, 100 minutes, 35mm. Written by Kathy Acker; with Sandy
McLeod, Will Patton, Nan Goldin, and Cookie Mueller. A desperately
unemployed Manhattan woman lands a job as a cashier in an X-rated cinema
where she finds herself drawn towards events on-screen and compelled by
the mysterious activities of a shady businessman. Gordon's striking and
gritty pseudo-thriller was filmed on NYC locations years before the
Times Square clean-up, and remains a haunting study of sexual identity
and the silent, invisible walls existing between men and women. Preceded
by: ANYBODY'S WOMAN (1981, 25 minutes, Super-8mm-to-video) "I asked my
friend Nancy Reilly to talk about her porn fantasies in front of the
[Variety Theater]. And I asked my friend Spalding Gray to do the same. …
I wanted to hear women talk dirty and to see what kind of power that
might yield. I wanted women to look back instead of being looked at. I
turned this Super-8 film into the treatment for my film VARIETY." –B.G.
Total running time: ca. 130 minutes.
4/15
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
9:30 pm, 32 2nd Avenue
BETTE GORDON PROGRAM 1
See notes for April 14, 7 pm.
------------------------
SATURDAY, APRIL 16, 2011
------------------------
4/16
Boston, Massachusetts: ArtsEmerson
http://ArtsEmerson.org
8pm, Paramount Center: Bright Family Screening Room 559 Washington St
WARHOL ON FILM: HEDY AND THE VELVET UNDERGROUND IN BOSTON
This program features the recently unearthed and restored The Velvet
Underground in Boston, a rare cinematic portrait—not seen in forty
years—of the VU performing live at the Boston Tea Party, the film's
single-framing and sudden zooms described by Callie Angell as mirroring
"the kinesthetic experience of the Exploding Plastic Inevitable… with
its liberal use of amphetamines, and overpowering sound." Followed by
Hedy, Warhol's Superstar-studded melodrama wherein legendary drag queen
Mario Montez receives a face lift, is arrested for shoplifting and goes
on trial to face the accusations of her five former husbands (who
include Gerard Melanga and scenarist Ronald Tavel).
4/16
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
4:00 pm, 32 2nd Avenue
ESSENTIAL CINEMA: KINO-EYE
by Dziga Vertov 1925, 70 minutes, 16mm, b&w, silent.
4/16
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
6:00 pm, 32 2nd Avenue
BETTE GORDON PROGRAM 2
See notes for April 14, 8:45 pm.
4/16
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
8:00 pm, 32 2nd Avenue
LUMINOUS MOTION
LUMINOUS MOTION 1998, 94 minutes, 35mm. With Eric Lloyd, Deborah Kara
Unger, Terry Kinney, and Jamey Sheridan. Based on the genre-bending
novel THE HISTORY OF LUMINOUS MOTION, Gordon's hypnotic and disturbing
road movie centers around the darkly comic adventures of Phillip Davis,
a ten-year-old boy living on the California highways with his carefree
and highly seductive mother (Unger). Phillip's love for his mother,
however, is strained by her frequent forays into larceny, promiscuity,
and drunkenness.
4/16
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
8:15 pm, 32 2nd Avenue
BETTE GORDON PROGRAM 1
See notes for April 14, 7 pm.
4/16
San Francisco, California: Other Cinema
http://www.othercinema.com/
8:30PM, 992 Valencia Street
SAT. 4/16: JESSE & GLENDA DREW: BIG COUNTRY +
We welcome back the Drews to their old Mission stomping grounds; they
bring more than a few surprises after years of music-doc research. This
work-in-progress glimpse makes for a marvelous opportunity to apprehend
the roiling controversies around the legacy of Country music. We've
witnessed the gradual co-optation of folk music's grass-roots
authenticity by increasingly corporatized commercial interests, with the
politics perversely rightward-leaning. Jesse and Glenda demo and discuss
the hijacking of this proletarian tradition. Highlights include rare
hell-raisin' performances and clips from interviews with Pete Seeger,
Billy Bragg, Utah Phillips, Hazel Dickens and many more! Come early for
live pickin', strummin', and croonin'; 16mm recordings of Johnny Cash,
Wanda Jackson, Deuce Spruggins, Tex Ritter; and free moonshine in Mason
jars!
----------------------
SUNDAY, APRIL 17, 2011
----------------------
4/17
Los Angeles, California: Filmforum
http://www.lafilmforum.org/
7:30pm, The Spielberg Theater at the Egyptian, 6712 Hollywood Blvd (at Las Palmas)
THE INTENSITY OF THE WORLD: AN EVENING WITH TOMONARI NISHIKAWA
Tomonari Nishikawa in person! Every film tonight except Market Street is
a Los Angeles premiere! Tomonari Nishikawa is one of the leading
practitioners of hand-crafted films (usually with celluloid, but
sometimes with digital means). The precision of his craft, combined with
his consistently roving eye and masterful use of light, tone, and
movement leads to works that never cease to marvel with their beauty and
intensity. A short show in duration, but these films may overwhelm you
with their creativity. Films to be screened include: Apollo (2003),
Shake 'n Bake - work in progress (2006), Sketch Film #1 (2005), Sketch
Film #2 (2005), Market Street (2005), Sketch Film #3 (2006), Sketch Film
#4 (2007), Sketch Film #5 (2007), Lumphini 2552 (2009), 16 – 18 – 4
(2008), Clear Blue Sky (2006), Building 945 (2007), Tokyo – Ebisu
(2010), and Shibuya – Tokyo (2010).
4/17
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
4:00 pm, 32 2nd Avenue
ESSENTIAL CINEMA: FORWARD, SOVIET!
by Dziga Vertov With Russian intertitles, English synopsis available;,
1925-26, 73 minutes, 35mm, b&w, silent
4/17
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
6:00 pm, 32 2nd Avenue
HANDSOME HARRY
by Bette Gordon 2009, 94 minutes, video With Jamey Sheridan, Steve
Buscemi, Aidan Quinn, and John Savage. "Harry, a well-liked,
long-divorced middle-ager…takes off suddenly for Philadelphia to visit
Tom (Buscemi), a dying Navy buddy. 'We became men together', Tom
reminisces in his hospital bed – rites of passage that torment Harry,
who continues to seek out friends from the service to assuage his guilt
over a heinous act of betrayal and cruelty. Each visit serves as a set
piece for the pathologies of white midlife manhood: entitlement,
repression, rage, self-pity. Gordon films every encounter…with a
hesitant empathy, maintaining just the right tone before Harry's lushly
romantic final reunion." –Melissa Anderson, VILLAGE VOICE
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