[Frameworks] Part 2 of 2: This week [March 26 - April 3, 2011] in avant garde cinema

From: Weekly Listing <weeklylisting_at_hi-beam.net>
Date: Sat, 26 Mar 2011 07:22:55 -0700 (PDT)

Part 2 of 2: This week [March 26 - April 3, 2011] in avant garde cinema


Ghent, Belgium: COURTisane
13:00, FILM PLATEAU, Paddenhoek 3

  Sylvain George (1968, Vaulx-en-Velin, France) studied philosophy and
  worked as a social worker until he turned to filmmaking in 2004. His
  work, influenced greatly by the thinking of Walter Benjamin, combines
  militant commitment with formal experiment. "The idea", he says, "is to
  make films that take a stand and assert a political position, and at the
  same time not to separate content from form; to be formally demanding
  and to manage to define an own view and grammar as a filmmaker." Far
  away from any form of didacticism or dogmatism, his films – from short
  "contrefeux" filmed with a mobile phone to elaborate feature-length
  documentaries – depict and allegorise the struggles of the "nouveaux
  damnés", trapped between the rule and the exception: the stateless, the
  clandestine, the precarious. His most recent work, the impressive Qu'ils
  reposent en révolte (des figures de guerre), gives an account of the
  living conditions of migrants in Calais over a period of three years
  (2007-2010). "Politically speaking, it is about standing up, contesting
  these grey zones, these spaces or cracks like Calais standing somewhere
  between the exception and the rule, beyond the scope of law, where law
  is suspended, where individuals are deprived, stripped off their most
  fundamental rights. And that while creating, through some dialectic
  reversal, the 'true' exceptional states. Space-time continuums where
  beings and things are fully restored to what they were, are, will be,
  could be or could have been". Rebellion and emancipation are at the
  heart of George's films, which find true politics in the gestures, cries
  and bodies of those who are within the dominant socio-economical order
  considered as "surplus": Included, but not belonging. 13:00 SHORT FILMS
  BY SYLVAIN GEORGE N'entre pas sans violence FR, 2007, video, b/w, French
  spoken, English subs, 20' No Border FR, 2007, Super 8 to video, b/w,
  French spoken, English subs, 23' Ils nous tueront tous… FR, 2009, video,
  b/w, French spoken, English subs, 11' 14:30 LES JOURS DE COLERE compiled
  by Sylvain George Afrique 50 René Vautier, FR, 1950, 16mm to video, b/w,
  French spoken, English subs, 17' A caça Manoel de Oliveira, PT, 1964,
  16mm, colour, Portugese spoken, French subs, 21' Prigionieri della
  guerra Angela Ricci-Lucchi & Yervant Gianikian, IT, 2004, colour & b/w,
  sound, 71' 16:45 L'IMPOSSIBLE L'Impossible - Pages arrachées FR, 2009,
  Super 8, DV, 17mm to video, b/w & colour, sound, French spoken, English
  subs, 135'

Ghent, Belgium: COURTisane
20:30, FILM PLATEAU, Paddenhoek 3

  Robert Fenz (1969, Ann Arbor, Michigan) is one of the most singular and
  committed filmmakers breathing new life to avant-garde film traditions
  today. Fenz's films, mostly shot in black and white 16mm, have a rare
  energy and restless beauty that recalls both the jazz-inspired imagery
  of New York School photographers such as Roy DeCarava, but also the
  landscape films of one of Fenz's former teachers, Peter Hutton, and the
  documentary work of Johan van der Keuken and Chantal Akerman, some of
  whose recent film works have actually been shot by Fenz himself. His
  films are personal and poetic portraits of people and places he
  encountered during his many travels in countries such as in Cuba,
  Mexico, Brazil and India. "Though they can be viewed as non-fiction
  works, objectivity is not one of their pretences. Images not words are
  central and the primary means by which their ideas are articulated. In
  each case, meaning is determined by three factors, 'intention,
  circumstance and chance' ingredients filmmaker Robert Gardner describes
  as central to the making of a non-fiction film." Fenz's attitude towards
  filmmaking has also been greatly influenced by jazz improvisation,
  especially by the work of trumpeter Wadada Leo Smith, under whom he
  studied. "Studying music with Leo reinforced my belief that I needed to
  go into the world with an idea – do research on a subject and arrive at
  a place where I would be prepared to adapt and change the film
  completely, in the moment". The most celebrated result of this approach
  is Meditations on Revolution, a series of five films made over seven
  years (1997-2003), exploring the basic theme of revolution in its purest
  qualities: the revolution inscribed in rural and urban spaces, steeped
  in hollowed and smiling faces, dancing on the rhythms of a world in
  constant transition. Robert Fenz has just completed one new film which
  will have its European premiere at the festival: The Sole of the Foot.
  20:30 ROBERT FENZ SELECTION PART 1 Meditations on Revolution, Part V:
  Foreign City Robert Fenz, US, 2003, 16mm, b/w, sound, 32' Perfect Film
  Ken Jacobs, US, 1986, 16mm, b/w, English spoken, 22' Vakantie van de
  Filmer (Filmmakers Holiday) Johan Van der Keuken, NL, 1974, 16mm,
  colour, Dutch spoken, English subs, 38' 22:30 ROBERT FENZ SELECTION PART
  2 Trop tôt, trop tard (Too Early, Too Late) Jean-Marie Straub & Danièle
  Huillet, FR, 1981, 16mm, colour, French spoken, English subs, 105'
  ++++++EXTRA++++++Robert Fenz & Wadada Leo Smith, Fri 01.04.2011, VOORUIT
  /// Robert Fenz and Sylvain George will give a masterclass together on
  Friday 01.04.2011, 10:00 at KASK Cinema.

New York: Anthology Film Archives
3:30 pm, 32 2nd Avenue

  Ron Rice CHUMLUM (1964, 23 minutes, 16mm) With Jack Smith, Mario Montez,
  Gerard Malanga. "One of the underground's best and most influential
  films." –Peter Gidal Hans Richter RHYTHMUS 21 (1921, 3 minutes, 16mm,
  b&w, silent) "Its content is essentially rhythm, the formal vocabulary
  is elemental geometry, and the structural principle is counterpoint of
  contrasting opposites." –Standish Lawder EVERYTHING REVOLVES, EVERYTHING
  TURNS / ALLES DREHT SICH, ALLES BEWEGT SICH (1929, 9 minutes, 16mm, b&w,
  silent) Paul Sharits N:O:T:H:I:N:G (1968, 36 minutes, 16mm) Preserved by
  Anthology Film Archives with support from the National Film Preservation
  Foundation. "Based in part on the Tibetan Mandala of the Five Dhyani
  Buddhas/a journey toward the center of pure consciousness (Dharma-Dhatu
  Wisdom)/space and motion generated rather than illustrated/time-color
  energy create virtual shape/in negative time, growth is inverse decay."
  –P.S. "In essence there are only three flicker films of importance,
  ARNULF RAINER, THE FLICKER, and N:O:T:H:I:N:G… In terms of the subject
  we have discussed here, it is Sharits' N:O:T:H:I:N:G that opens the
  field for the structural film with a flicker base." –P. Adams Sitney
  T,O,U,C,H,I,N,G (1969, 12 minutes, 16mm) Newly preserved print! Starring
  poet David Franks whose voice appears on the soundtrack/an uncutting and
  unscratching mandala. "Merges violence with purity." –P. Adams Sitney
  "Surrealist tour de force." –Parker Tyler Total running time: ca. 90
  minutes. Screening as part of the series ESSENTIAL CINEMA

New York: Anthology Film Archives
5:45 pm, 32 2nd Avenue

  See notes for April 1, 7:30 pm.

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

  YOU THE BETTER (1983, 35 minutes, 16mm) "[A] film based on games of
  chance, and as games such as roulette, or craps go, this one is closed –
  meaning that the player cannot really affect the outcome. A team of
  uniformed players, led by the artist Ashley Bickerton, performs the
  mechanics of a game servicing an off-camera betting entity, the 'House'.
  Although the game keeps changing and players are swapped out, one thing
  remains the same, the 'House' is hidden and controls the bets, the
  'chance' of winning is nil. The game, in fact, is not between the
  players, but rather between the 'House', and the 'Bettor'." –E.B.
  CINDERELLA (1986, 30 minutes, 16mm) "[O]wes as much to pinball as to
  Perrault. Although no less fraught with psychosexual tension than Walt
  Disney's version, Beckman drops the fairytale's sibling rivalry and
  Oedipal underpinnings, reworking the heroine's situation as an allegory
  of female socialization. Vintage Beckman, CINDERELLA exhibits the
  filmmaker's characteristic use of ambiguous interior space, stutter-stop
  development, incantatory songs, and dreamlike condensation." –J.
  Hoberman, VILLAGE VOICE HIATUS (1999, 20 minutes, 16mm-to-video) "An
  experimental narrative film about a young woman who plays HIATUS, an
  on-line interactive 'identity' game. Propelled through action by her
  Go-Go cowgirl construct Wanda, and powered by a computer corset that
  stores her programs in a garden interface, Maid meets Wang, a powerful
  take-over artist. She must learn how to use the power of her 'organic
  memory' to block his expansion and preserve her freedom." –E.B. SWITCH
  CENTER (2003, 12 minutes, 16mm) "I chose an abandoned water purification
  plant on the outskirts of Budapest as the setting for Switch Center. In
  conceiving of this film, I was inspired by Léger's early avant-garde
  picture BALLET MÉCANIQUE. In my film, the structure itself comes to life
  through the manipulations of the employees who work inside it. I wanted
  to make a tribute to the kind of futuristic pragmatism expressed by
  these buildings that are now being razed to allow space for shopping
  malls and corporate offices." –E.B. Total running time: ca. 100 minutes.

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

  The joke is that it's actually the day after, but we're carrying the
  prankster spirit of April Fool's to our gallery tonight. But seriously,
  we're celebrating two book launches: David Cox' Sign Wars and Brett
  Kashmere's Incite, both on counter-archival practices. Headlining is
  Gideon C. Kennedy and Marcus Rosentrater's Clandestine, a wholly
  appropriated concoction that narrates the fascinating tale of the Conet
  shortwave-radio broadcasts. These "Numbers Stations" anachronistically
  use human voices to encrypt classified intelligence in haunting,
  repeated cadences of simple numerals. ALSO Banksy in B-Movie, David
  (Wax) Blair's Telepathic Cinema of Manchuria, and Mark Amerika's
  Spectacle Remix. Come early to browse the books at our
  Negativland-enriched reception with toast and jam, Yes Men clips, and
  free TV Sheriff DVDs!


Ghent, Belgium: COURTisane
15:00, FILM PLATEAU, Paddenhoek 3

  Robert Beavers (1949, Brookline, Massachusetts) is one of the most
  influential avant-garde filmmakers of the second half of the 20th
  century. Although born and raised in the United States, he has been
  living and making films in Europe since 1967. His 16mm films, at the
  same time lyrical and rigorous, sensuous and complex, are inhabited by
  the landscapes, the architecture and the cultural traditions of the
  Mediterranean and Alpine cities and countryside where they are filmed,
  and yet reveal deeper personal and aesthetic themes. As he acknowledges
  himself, he strives "for the projected film image to have the same force
  of awakening sight as any other great image." He regards filming as part
  of a complex procedure, which begins in the eyes of the filmmaker and is
  shaped by his gestures in relation to the camera. Beavers's attention to
  the physicality of the film medium is evident also in the editing, a
  fully manual process that leads to a unique form of phrasing. Harry
  Tomicek calls it a form of "cinematic breathing": "an exchange of speech
  and silence, emergence and concealment. Robert Beavers might be the only
  filmmaker in the world whose works announce the mystery of this
  process." Until the late 1990s his films were very rarely shown, but
  recent retrospectives at the Tate Modern London, the Whitney Museum in
  New York, Berkeley Art Museum & Pacific Film Archive in Berkeley and the
  Austrian Film Museum in Vienna have finally brought to his work the
  attention it deserves. Courtisane and Cinematek will join forces to
  present his oeuvre in Ghent and Brussels, a city Beavers has a strong
  attachment to but where his work hasn't been screened in several
  decades. Brussels was not only the first European city where he settled
  together with his partner filmmaker Gregory Markopoulos (1928-1992)
  after leaving the United States but also where his film culture and
  cinephilia developed, thanks to Jacques Ledoux, the then curator of the
  Royal Belgian Film Archive. Ledoux also encouraged Beavers to continue
  making films, and is one of the protagonists of Plan of Brussels (1968).
  From his Early Monthly Segments to his most recent work The Suppliant
  (2010), this selective retrospective in Brussels and Ghent covers more
  than 40 years of work and represents for Beavers an occasion to return
  to the scene of his beginnings as a filmmaker, the Brussels
  Cinémathèque. On the last day of the festival, April 3, Robert Beavers
  will present a selection of films of his own as well as by other
  filmmakers in Ghent. The following week, four more screening programmes
  will follow in Cinematek, the film theatre of the Belgian Royal Film
  Archive. 15:00 ROBERT BEAVERS FILMS PART 1 Ruskin 1975/1997, 35mm, b/w &
  colour, sound, 45' Filmed in Italy (Venice), Switzerland (the Grisons)
  and England (London) The Suppliant 2010, 16mm, colour, sound, 5' Filmed
  in USA (New York) Pitcher of Colored Light 2007, 16mm, colour, sound,
  23' Filmed in USA (Falmouth, Massachusetts) 16:45 CARTE BLANCHE TO
  ROBERT BEAVERS Bagatelle for Willard Maas Marie Menken, US, 1958/1961,
  16mm, colour, silent, 5'30" India Ute Aurand, DE, 2005, 16mm, colour,
  sound, 57' ++++++PROGRAMMES 2,3,4 and 5 at the Brussels CINEMATEK
  between April 5th and April 9th++++++

Los Angeles, California: Filmforum
7:30pm, The Spielberg Theater at the Egyptian, 6712 Hollywood Blvd (at Las Palmas)

  Los Angeles premieres! Gary Kibbins in person! Expanding his ongoing
  work with new and found footage and his remarkable, dry, and witty
  texts, Kibbins's new films raise profound questions about the languages
  used to construct the world, while at the same time having that rare
  quality of being uniquely, laugh-out-loud funny. Films to be screened
  include: The Unlucky Sailor (9 Unread Chapters of Finnegans Wake)
  (2010), 7 Questions About Bicycles (2009), and How to Lose Consciousness

New York: Anthology Film Archives
4:15 pm, 32 2nd Avenue

  by Paul Sharits 1968-70, 41 minutes, 16mm Preserved by Anthology Film
  Archives with support from the National Film Preservation Foundation. "A
  conceptual lap dissolve from 'water currents' to 'film strip
  currents'/Dedicated to my son Christopher." –P.S. "Yes, S:S:S:S:S:S is
  beautiful. The successive scratchings of the stream-image film is very
  powerful vandalism. The film is a very complete organism with all the
  possible levels really recognized." –Michael Snow

New York: Anthology Film Archives
5:30 pm, 32 2nd Avenue

  SENSELESS 1962, 28 minutes, 16mm. "Consisting of a poetic stream of
  razor-sharp images, the overt content of SENSELESS portrays ecstatic
  travelers going to pot over the fantasies and pleasures of a trip to
  Mexico.... Highly effective cutting subtly interweaves the contrapuntal
  development of themes of love and hate, peace and violence, beauty and
  destruction." –David Brooks THE FLOWER THIEF 1960, 59 minutes, 16mm,
  b&w. Starring Taylor Mead. Preserved by Anthology Film Archives with
  support from the National Film Preservation Foundation. "In the old
  Hollywood movie days movie studios would keep a man on the set who, when
  all other sources of ideas failed (writers, directors), was called upon
  to 'cook up' something for filming. He was called The Wild Man. THE
  FLOWER THIEF has been put together in memory of all dead wild men who
  died unnoticed in the field of stunt." –R.R.

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

  by Ron Rice 1963/82, 109 minutes, 16mm "The film describes, poetically,
  a way of living. The film is a protest which is violent, childish, and
  sincere – a protest against an industrial world based on the cycle of
  production and consumption." –Alberto Moravia, L'ESPRESSO

Oakland, CA: Royal NoneSuch Gallery
8:30 pm – 9:30 pm, 4231 Telegraph Ave

  Sparse Gardens by Rick Bahto consists of a set of field recordings on
  tape lasting approximately 57 minutes. During the hour 36 Kodachrome
  slides, made in the same locations as the field recordings, will be
  projected. Two types of gardened spaces common in Phoenix, Arizona will
  be visually and sonically compared: the fussily landscaped strips and
  islands of parking lots and driveways, as well as vacant lots, bulldozed
  clear of buildings or natural desert, that have been re-inhabited by
  weeds or rogue/remnant landscaping plants. 21 Projects x 21 days x 21
  Hours is a community based social experiment. Drawing on the talents,
  interests, and knowledge of the community, 21 Projects was created with
  the intention of providing a platform for people to exchange resources,
  ideas, experiences, and fun in a dynamic, approachable gallery

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Received on Sat Mar 26 2011 - 07:23:22 CDT