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This week [September 17 - 24, 2017] in avant garde cinema

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  • , September 17, 2017
  • , September 18, 2017
  • , September 19, 2017
  • , September 20, 2017
  • , September 21, 2017
  • , September 22, 2017
  • , September 23, 2017
  • Sunday, September 24, 2017
  • This week's programs (summary):

    Sunday, September 17, 2017
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    Los Angeles, California: Filmforum
    7:30 pm, Spielberg Theatre at the Egyptian, 6712 Hollywood Blvd.
    Resistance Isn’t Futile
    Resistance takes many forms, riotous and quiet, political and economic, through education and through engagement. In our program this week, we look at some forms of resistance – by people and groups and filmmakers, by seeing some of the ways that films have found dynamic ways and unheralded people to face dark times and make better futures. We’ll also take a look at a few of the issues of the day, to remember the troubles of the past that people have resisted, and how some of them have never left us. Featuring films by Straub-Huillet, Kelly Gallagher, Danny Lyon, Kevin Jerome Everson, Penelope Spheeris, Marco Braunschweiler, Robert Fenz, and more. Curated by Adam Hyman. Rescheduled from January 22.

    New York, NY: Anthology Film Archives
    5:00 PM, 32 Second Avenue
    EC: HOLLIS FRAMPTON
    ZORNS LEMMA (1970, 60 min, 16mm. Preserved by Anthology Film Archives.) "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 min, 16mm, b&w. Preserved by Anthology Film Archives.) "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 Total running time: ca. 100 min.

    New York, NY: Anthology Film Archives
    5:15 PM, 32 Second Avenue
    SHORT FILMS BY STEVEN ARNOLD
    THE LIBERATION OF THE MANNIQUE MECHANIQUE (1967, 15 min, 16mm, b&w) "Each gesture, movement, position, as well as all of the costuming, make-up and props work in a harmony for this under-dream-world of Eastern magicians. Arnold has made a beautiful and powerful film poem that is saturated with style." -Robert Nelson MESSAGES, MESSAGES (1968, 24 min, 16mm, b&w. Co-directed by Michael Wiese.) A journey of the psyche into the world of the unconscious. Made when Arnold and Wiese were students at the San Francisco Art Institute, this surrealistic film is influenced by Dalí, Buñuel, and the German expressionists. THE ELEMENTS (1968, 8 min, 16mm, b&w) "THE ELEMENTS depicts personifications of Earth, Air, Fire and Water, in metaphor. The bodies of each blending in movement." -Lenny Lipton, BERKELEY BARB VARIOUS INCANTATIONS OF A TIBETAN SEAMSTRESS (1969, 10 min, 16mm) "Originally, it was to be a serious look at Westerners influenced by Eastern trends. As it developed, however it became much more humorous with characters in yoga positions with high heels and smoking cigarettes at the same time." -Stephanie Farago Total running time: ca. 60 min. Played alongside the screening of Steven Arnold's LUMINOUS PROCURESS. Click here for more details.

    , September 18, 2017
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    New York, New York: Spectacle Theater
    10PM, Spectacle Theater
    GX Jupitter-Larsen - Three early shorts
    A rare public screening of three early shorts by GX Jupitter-Larsen from the 1990s. FREQUENCY (1992) in which two skiers stop to build an empty hole in the snow and to count the dirt within. FACTS ON THE POLYWAVE (1992) which is a biker movie about the polywave. HOLES ON THE NECK (1994) in which the vampire-movie motif is incorporated to deal with the issue of entropy as fetish. The narrative is of a group of lesbian vampires who work and play on their garlic farm. Their human lovers desire to become vampires themselves, and so lure these garlic farmers into initiating them into the fold.

    , September 19, 2017
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    Barcelona: Cineinfinito
    21.30, Zumzeig Cinema. Carrer de Béjar, 53.
    Through a Different Lens / Film Work by Joanna Margaret Paul.
    Cineinfinito #28. Through a Different Lens / Film Work by Joanna Margaret Paul. "All my films, poems, paintings play more or less between inner and outer events" - Joanna Margaret Paul Joanna Margaret Paul (1955-2003) was a New Zealand artist who pioneered interdisciplinary practice, working prolifically across the mediums of film, poetry and painting. Often shot and edited in camera, her film work chronicled motherhood and domestic life (Task, Napkins), the worn traces of urban settlement (Port Chalmers Cycle) and the persistent presence of the natural world. Other works such as Sisterhood portrayed the life of other female artists identified with the 1970s womens movement in New Zealand. Curated by Peter Todd, Through a Different Lens/Film Work by Joanna Margaret Paul is the first collection of Joanna Margaret Paul’s moving image work to make Paul’s work available to an international audience. In Todd’s accompanying essay he places her work in the lineage of film-makers Margaret Tait and Robert Bresson, and painter Frances Hodgkins. Through a Different Lens/Film Work by Joanna Margaret Paul contains 13 works shot in the 1970s that have been transferred from 8mm and 16mm film to high definition video. With thanks to CIRCUIT Artist Film and Video Aotearoa New Zealand.

    , September 20, 2017
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    Boston, Massachusetts: MassArt Film Society
    8:00pm, Massachusetts College of Art Film Department in screening room 1. 621 Huntington Ave. Boston MA 02115
    EVENTS IN SHADOW: Films by Paul Clipson
    This evening of experimental 16mm works, projected by the filmmaker on film, showcases a variety of dynamic sound and celluloid image collaborations with musician/artists such as Grouper, Jefre Cantu-Ledesma, Sarah Davachi, Lawrence English and King Midas Sound / Fennesz. Program includes: UNION (2010) Super 8mm (16mm), color/B&W, 14.5 minutes, music by Jefre Cantu-Ledesma ANOTHER VOID (2012) Super 8mm (16mm), color, 11 minutes, music by Jefre Cantu-Ledesma THE LIQUID CASKET/WILDERNESS OF MIRRORS (2014) 16mm, color/B&W, 9.5 minutes, music by Lawrence English MADE OF AIR (2015) 16mm, color/B&W,11.5 minutes, music by Grouper LIGHTHOUSE (2015) 16mm, color/B&W, 5 minutes, music by King Midas Sound & Fennesz FEELER (2016) 16mm, color/B&W, 7 minutes, music by Sarah Davachi Program running time: 58 minutes (Conversation/Q&A to follow film program)

    New York, NY: Anthology Film Archives
    6:00 PM, 32 Second Avenue
    NEWFILMMAKERS
    For full program listings, visit www.newfilmmakers.com.

    New York, NY: Anthology Film Archives
    7:30 PM, 32 Second Avenue
    JOAN JONAS: PROGRAM 1
    JOAN JONAS IN PERSON! A pioneer of video and performance art, Joan Jonas is internationally recognized as one of the most accomplished figures in contemporary art. Her diverse art practice encompasses video, film, multi-media, performance, dance, installation, sound, text, and drawing. Jonas's work focuses, as she describes it, on "issues of space - ways of dislocating it, attenuating it, flattening it, turning it inside out, always attempting to explore it without ever giving to myself or to others the permission to penetrate it." Initially trained as a sculptor, by the late 1960s she had fully immersed herself in performance art. During this period Jonas completed her first film work, WIND (1968), in which a group of performers in mirrored costumes battle strong gusts of wind on a snow-covered beach. By 1970, Jonas had begun staging her performances outdoors, incorporating distance and sound into her works to draw attention to how perception is altered by space, and eventually translating the ideas of these performances into her second and most celebrated film work, SONGDELAY (1973). Since the mid-1970s, Jonas has continued to create formally innovative and wholly unique video works, some of them in collaboration with figures such as Spalding Gray, Jill Kroesen, Tilda Swinton, Ron Vawter, and others. These two programs showcase Anthology's brand-new preservations of WIND and SONGDELAY, which have long been unavailable in their original 16mm format. They will be presented alongside Jonas's other 16mm films (two of them made in collaboration with Richard Serra), as well as an additional program selected from among Jonas's later video works. Both programs will be presented by Joan Jonas! These programs are co-presented by Electronic Arts Intermix (EAI). Special thanks to Joan Jonas; Jin Jung; Richard Serra; and Rebecca Cleman, Jon Dieringer & Karl McCool (Electronic Arts Intermix). PROGRAM 1: WIND and SONGDELAY have been preserved by Anthology Film Archives through the National Film Preservation Foundation's Avant-Garde Masters Grant program and The Film Foundation. Funding provided by the George Lucas Family Foundation. WIND (1968, 5.5 min, 16mm, b&w, silent) Cutting between snowy fields and a raw seashore, Jonas focuses on a group of performers moving through a windswept landscape. Shot at silent speed but projected "fast" at 24 fps, the film evokes early cinema, while the stark landscape, the use of long takes, and the invisible subject matter - the wind - situates it squarely within Minimalist Art of the late 1960s. PAUL REVERE (1971, 9 min, 16mm, b&w. Made with Richard Serra.) A didactic work inspired by the structure of the educational film, PAUL REVERE deals with the nature and limits of communications systems. VEIL (1971, 6 min, 16mm, b&w, silent. Made with Richard Serra.) Inspired by Kenneth Anger's PUCE MOMENT, VEIL is a performance work in which Jonas refers to the cinematic device of the "wipe." Jonas suggests this effect not with technology, but through her performance. In a six-minute loop, Jonas slowly unveils layer upon layer of richly patterned fabrics - silk, velvet, fur. Ultimately, she reveals her face underneath. SONGDELAY (1973, 18.5 min, 16mm, b&w) Performing with a 'cast' that includes artist Gordon Matta-Clark and dancer/choreographer Steve Paxton, Jonas utilizes a language of gestures, sounds, and edits in a highly original film work that evokes a fragmented view of a NYC urban landscape that is never fully revealed. MIRAGE (1976, 31 min, 16mm, b&w, silent) "For MIRAGE I made a film of drawing, again and again, images on a blackboard, and then erasing them. Reading the essays collected in Spiritual Disciplines, I got another idea to use drawings, also in MIRAGE, which I called 'Endless Drawings' after those described in the Melukean Book of the Dead, the tribal ritual book of New Guinea. There it says that in order to go from one world to the next you must finish a drawing in sand which an old lady, the devouring witch, begins at the boundary between life and death." -Joan Jonas Total running time: ca. 75 min.

    , September 21, 2017
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    Keene, New Hampshire: Keene State College
    7:00pm, Putnam Theatre, 229 Main Street, Keene, New Hampshire 03431
    EVENTS IN SHADOW: Films by Paul Clipson
    This evening of experimental 16mm works, projected by the filmmaker on film includes: SPHINX ON THE SEINE (2009), UNION (2010), ANOTHER VOID (2012), LIGHT YEAR (2013), THE LIQUID CASKET/WILDERNESS OF MIRRORS (2014), DISPORTING WITH A SHADOW (2015), MADE OF AIR (2015), LIGHTHOUSE (2015) and FEELER (2016). Program running time: 80 minutes (Conversation/Q&A to follow film program)

    New York, NY: Anthology Film Archives
    7:30 PM, 32 Second Avenue
    JOAN JONAS: PROGRAM 2
    JOAN JONAS IN PERSON! A pioneer of video and performance art, Joan Jonas is internationally recognized as one of the most accomplished figures in contemporary art. Her diverse art practice encompasses video, film, multi-media, performance, dance, installation, sound, text, and drawing. Jonas's work focuses, as she describes it, on "issues of space - ways of dislocating it, attenuating it, flattening it, turning it inside out, always attempting to explore it without ever giving to myself or to others the permission to penetrate it." Initially trained as a sculptor, by the late 1960s she had fully immersed herself in performance art. During this period Jonas completed her first film work, WIND (1968), in which a group of performers in mirrored costumes battle strong gusts of wind on a snow-covered beach. By 1970, Jonas had begun staging her performances outdoors, incorporating distance and sound into her works to draw attention to how perception is altered by space, and eventually translating the ideas of these performances into her second and most celebrated film work, SONGDELAY (1973). Since the mid-1970s, Jonas has continued to create formally innovative and wholly unique video works, some of them in collaboration with figures such as Spalding Gray, Jill Kroesen, Tilda Swinton, Ron Vawter, and others. These two programs showcase Anthology's brand-new preservations of WIND and SONGDELAY, which have long been unavailable in their original 16mm format. They will be presented alongside Jonas's other 16mm films (two of them made in collaboration with Richard Serra), as well as an additional program selected from among Jonas's later video works. Both programs will be presented by Joan Jonas! These programs are co-presented by Electronic Arts Intermix (EAI). Special thanks to Joan Jonas; Jin Jung; Richard Serra; and Rebecca Cleman, Jon Dieringer & Karl McCool (Electronic Arts Intermix). PROGRAM 2: DUET (1972, 4.5 min, b&w) In this seminal exploration of the phenomenology of video as a mirror and as 'reality,' Jonas, face-to-face with her own recorded image, performs a duet with herself. ORGANIC HONEY'S VISUAL TELEPATHY (1972, 17.5 min, b&w) Based on her 1972 performance of the same name, this video finds Jonas performing as herself and as her masked double, Organic Honey. Dressed in a feathered headdress and costumes, Organic Honey is the embodiment of artifice, masquerade, and narcissism - a female alter-ego whose guise is a frozen doll's face. DOUBLE LUNAR DOGS (1984, 24 min, video. With Spalding Gray, Joan Jonas, Jill Kroesen, John Malloy, and David Warrilow.) Inspired by the science fiction story "Universe" by Robert Heinlein, DOUBLE LUNAR DOGS is an Orwellian vision of post-apocalyptic survival aboard a drifting spaceship whose timeless travellers have forgotten the purpose of their mission. To recapture memory and create a continuum between their unknown origin and uncertain destination, the characters in this disjunctive, philosophical narrative play metaphorical games with words and archetypal objects. VOLCANO SAGA (1989, 28 min, video. With Tilda Swinton, Ron Vawter, and Joan Jonas.) Based on the thirteenth-century Icelandic Laxdeala Saga, this narrative reverie is a televisual retelling of a medieval myth about a young woman (Tilda Swinton) whose dreams foretell the future. Shot in the dramatic natural landscapes of Iceland and in NYC, this performance-based work uses ancient dream analysis as a starting point for a densely textured tale, in which the young woman's interpreter (Ron Vawter) hears her dreams and sees their meaning. Total running time: ca. 80 min.

    San Francisco, California: Analogica
    8PM, 992 Valencia Street
    ANALOGICA SELECTION 6 screening
    Analogica Selection 6 /// screening tour Artists' Television Access // San Francisco /// screening program 58' /// exp / doc / animation / ANALOGICA is a festival and a platform for the investigation and dissemination of analog practices in visual and sonic experiments, based in Bolzano, Italy. ANALOGICA SELECTION is the annual short film program promoted by Analogica.

    , September 22, 2017
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    Los Angeles, California: Redcat
    7pm, 631 W 2nd St
    ISM ISM ISM: Dreams of Suitcases and a Blue Lobster
    In person: Colombian curator Marta Lucia Velez Historical short films influenced by surrealism, including Álvaro Cepeda Zamudio’s and Gabriel García Márquez’s renowned La langosta azul (The Blue Lobster, 1954, 29’), Raul Ruiz’s previously lost La Maleta (The Suitcase, 1963, 20’), and Argentinian photographer Horacio Coppola’s landmark Traum (Sueño, 1933, 2’).

    Los Angeles, California: Redcat
    9pm, 631 W 2nd St
    ISM ISM ISM: Crossing Paths: Latina and Latin American Women Filmmakers in Los Angeles
    This group of films and videos was created by Latina and Latin American women working in Los Angeles. Heroic male figures and fantasies often define Latino identity, and women artists, especially filmmakers, are challenging this through radically different subjects and by exploring their own artistic voices. In bringing together Chicana and Latin American women filmmakers, this program considers gender, race, queerness and ehnicity as strategic sites to consider images of the everyday, the intimate and the overlooked.

    New York, NY: Anthology Film Archives
    7:00 PM, 32 Second Avenue
    MA VIE EN ROSE
    by Alain Berliner. 20TH ANNIVERSARY SCREENING! While not every trans or gender nonconforming person discovers their gender identity at an early age, MA VIE EN ROSE presents a delightful view into the secret world of a transgender child, with no shortage of glitter and flower petals. Now twenty years old, this film continues to be recognized as one of the first to attempt to present the struggles of transgender children and their families from the child's perspective, with sensitivity and charm. Warning: the world outside of the fantastical frame is rather heartbreaking.

    New York, NY: Anthology Film Archives
    7:30 PM, 32 Second Avenue
    SHOW & TELL: MML COLLECTIVE (GILLES LEPORE, MACIEJ M?DRACKI, AND MICHA? M?DRACKI)
    Since 2008 Gilles Lepore and Maciej & Micha? M?dracki have worked together under the moniker MML collective, creating experimental films and video installations. In their recent films, MML focuses on the ideologies or collective fantasies that have shaped and influenced the destinies of specific communities. In its practice MML develops an immersive cinema, interacting with the inhabitants of each community to elaborate a narrative in which reality and the imaginary are inextricably intertwined. For their "Show & Tell" program, we'll be screening THE WORK OF MACHINES, in which they collaborated with the residents of a typical industrial city in Poland to compare the town's idealized past with its troubled present, and THE BETRAYED SQUARE, an experiment in counterpointing sound and image that was constructed from found footage shot in and around Tahrir Square during the 2011 revolution in Egypt. Though radically different in form and approach, both works demonstrate MML's fascination with ideas of utopia and revolution, and their commitment to chronicling communities in the midst of transformation. THE WORK OF MACHINES / PRACA MASZYN (2010, 38 min, digital. In Polish with English subtitles.) This is a multi-media project that aims to establish a link between past and present in a typical communist 'model town' in Poland. In 1968, a dance was created to celebrate the factory and represent an idealized metaphor for the relationship between man and machine. In the midst of what today is a surreal urban landscape, almost resembling a ghost town, the filmmakers decide to recreate this dance, in collaboration with the town's residents. This reconstruction serves as a leitmotif through which to explore the contemporary town's relationship to the factory that initially defined it. Functioning as a kind of time machine, the film evokes a so-called 'golden age' in which production was supposed to lead inevitably to a happy life. THE BETRAYED SQUARE (2017, 45 min, digital. In Arabic with English subtitles.) Based on the field recordings he made in Tahrir Square in Cairo on March 9, 2011, poet and sound-artist Stéphane Montavon composed an "audio script" for a documentary film about and from the heart of the Egyptian revolution. Using these sound recordings as the starting point for their film, MML further took advantage of the wealth of visual documentation generated - via mobile phones and other devices - by the participants in the revolution. Experimenting with the discrepancy between sound and picture, they have constructed a "silent film" to accompany Montavon's independently composed soundtrack.

    New York, New York: Spectacle Theater
    10PM, Spectacle Theater
    GX Jupitter-Larsen - A Noisy Delivery
    A Noisy Delivery by GX Jupitter-Larsen... A couple were going to get together after the girlfriend had dropped off her package, but the boyfriend will have to keep waiting. The whole day turned out to be an attempt in crossing the distance between nothing and something. Everyone, it seems, was at the post office for philosophy instead of postage. The soundtrack is a composition of broken toy pianos and amplified erosion. As the ideas in the movie get more difficult, the soundtrack gets denser.

    Northampton, MA : A GOOD NIGHT'S SLEEP SCREENING SERIES
    7:00pm, Studio 4: 25 Main Street, 4th floor, Northampton MA 01060
    EVENTS IN SHADOW: Films by Paul Clipson
    This evening of experimental 16mm works, projected by the filmmaker on film will include: SPHINX ON THE SEINE (2009), UNION (2010), ANOTHER VOID (2012), LIGHT YEAR (2013), THE LIQUID CASKET/WILDERNESS OF MIRRORS (2014), DISPORTING WITH A SHADOW (2015), MADE OF AIR (2015), LIGHTHOUSE (2015) and FEELER (2016) Program running time: 80 minutes (Conversation/Q&A to follow film program)

    Oakland: Dark Sea Cinema
    Reception from 7-8 PM, Show at 8:00 PM , Mosswood Chapel at the former mortuary at 3630 Telegraph Ave, Oakland, CA 94609
    Autumn Equinox — A Celebration of Darkness and Light
      The Autumn Equinox approaches. Marking the time when night is equal, but then night overtakes day. Join us for a celebration of darkness and light play with an assemblage of luminary Bay Area artists as they activate the Mosswood Chapel, located in a former mortuary built in 1932 in Oakland. Three live performances will draw from 16mm films, found footage, and video mashups combined with sound art and experimental music. Featuring work by Kerry Laitala + Voicehandler (Danishta Rivero and Jacob Huele) John Davis + Joshua Churchill Zen Cōhen + Wayne Grim Admission: $10 advance, $15 day of the show Buy tickets online at Eventbrite Proceeds benefit Artists’ Television Access (ATA). ATA is a local all-volunteer artist-run non-profit that has been in operation for 33 years in San Francisco. In these dark times of fake news, revisionist history, emboldened hate groups influencing the media, we must support community-based media, culturally aware artwork, and promote media literacy. http://www.atasite.org + Beer sponsored by Ghost Town Brewing + Wood fired pizza by Fist of Flour + Screenprinted posters by Bojana Rankovic + Many thanks to the former mortuary for donating use of their space. ++++++ More about the artists... +++ Kerry Laitala + Voicehandler +++ + Kerry LaitalaKerry Laitala is an award-winning moving-image artist who uses analog, digital, and hybrid forms to investigate the ways in which media influences past and present culture. She considers this type of approach to making art a type of media archeology. Laitala's work resides at the crossroads of science, history, and technology, and her uncanny approach to evolving systems of belief manifests through an array of media including films, videos, installations, photographic works, performances and kinetic sculpture. She studied Photography and Film at Massachusetts College of Art and received her Masters degree in Film from the San Francisco Art Institute.https://vimeo.com/user1326576 + Voicehandler (Danishta Rivero and Jacob Huele)Voicehandler plays intuitive, incantatory music grounded in the most primitive and somatic instruments -- the voice and percussion -- juxtaposed with contemporary, disembodied electronics. We situate ourselves in our physical and social environment through our music. Our improvisations are shaped by their setting and context, and we use site-specific installations to more deeply experience spaces. We deconstruct song forms in relation to mythology and literature to explore our humanity and the shifting discourse surrounding it. http://www.heule.us/voicehandler/ +++ John Davis + Joshua Churchill +++ Joshua Churchill and John Davis are a performance duo that operate organically to create densely-layered atmospheric works with sound and film, immersing viewers in meditative and abstract environments. "Distortions, ghostly reverberations, and ambient notes hang in the air and ethereal chords plunge into darkness before the moving images on screen, adding drama to frames that appear on fire. Fleeting sun shadows move across the film. The two elements together create a simply captivating experience, completely immersing the audience into a land of airy projector light with sounds that fill the space like a weather pattern." –KQED Arts Joshua Churchill and John Davis' collaborative work have been featured in the Crossroads festival at SFMOMA, MONO NO AWARE festival at LightSpace Studio (Brooklyn, NY), and the San Francisco Electronic Music Festival at the Brava Theater (San Francisco, CA). + Joshua Churchill Joshua Churchill is a San Francisco-based cross-disciplinary artist whose immersive site-specific sound and light work takes the form of both installation and performance, often blurring the line between the two. In performance, Churchill utilizes guitar, various wind and percussive instruments, field recordings, and a myriad of electronics to create waves of resonant drones and pulsing feedback that rise and fall like a dark tide. Churchill currently performs in collaboration with filmmakers such as John Davis and Paul Clipson, as well as under the moniker Plumes, and has previously performed in experimental drone/metal projects including Sutekh Hexen, Riqis, and Tecumseh. He has been a resident at AIR Krems in Krems an der Donau, Austria, and Djerassi Resident Artists Program in California, and has performed and exhibited extensively throughout the United States and abroad. https://vimeo.com/joshuachurchill + John DavisExpanding the relationship between moving image and sound through live performance and studio-based projects, John's work elicits sensory response through familiar and unexpected uses of traditional media. Often incorporating live performance and collaboration, John alternates as both musician and filmmaker, encouraging improvisation, spontaneity and chance to guide the work. John has performed and exhibited in the US and internationally, most recently at the Mono No Aware Festival, The San Francisco Cinematheque, The Pacific Film Archive, The San Francisco Electronic Music Festival, The Los Angeles County Museum of Art, The San Francisco Museum of Modern Art, The Antimatter Media Art Festival, The Optica Festival, Instants Vidéo Numériques et Poétiques, The Milan Film Festival, The Swedenborg Film Festival, The Alchemy Film And Moving Image Festival, Transmediale, Impakt and Videoex. http://www.noiseforlight.com/ +++ Zen Cōhen + Wayne Grim +++ + Zen CōhenZen Cohen is a video artist, photographer and art director based in San Francisco, CA. She received her MFA in Art Studio at the University of California at Davis and her BFA in Media Arts from the California College of the Arts in Oakland, CA. Drawing from multiple influences such as theater, ritual, media theory and mysticism; her projects are imbued with a strong foundation in a feminine perspective and seek to mirror the diversity found in her collaborators. Her work has been presented in venues such as the Yerba Buena Center for the Arts, SFMOMA, deYoung Museum, The Montalvo Center, Centro Atlántico Arte Moderno, ARTSpace New Haven, Vanity Projects, The Center for New Music & Audio Technologies at UC Berkeley, Recombinant Media Lab, SOMArts, and Artists Television Access (ATA). http://zencohenprojects.com + Wayne Grim Born in Baltimore, Wayne Grim studied music at The University of Maryland and Mills College in Oakland California. He currently curates and produces sound works for the Exploratorium in San Francisco. Grim is a sound artist, musician, composer, and improviser. His work with acoustic and electronic instruments, computers and sound objects explores worlds between beauty and failure. His work spans a variety of areas, generative music, spontaneous composition, non-western musical techniques, improvisation, durational works, minimalism, noise, conceptual art, and the sonification of scientific phenomena. Most recently he created a musical Sonification for the August 21st, 2017 Total Solar Eclipse featuring the Kronos Quartet. http://waynegrim.com | http://theeobscurantist.blogspot.com ++++++ Hosted by Dark Sea Cinema. ++++++

    , September 23, 2017
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    Kingston, New York: PSYCHIC TROUBLES TAPES PRESENTS
    8:00pm, The Beverly, 224 Foxhall, Kingston, NY 12401
    PAUL CLIPSON 16MM FILMS
    This evening of experimental 16mm works, projected by the filmmaker on film will include: SPHINX ON THE SEINE (2009), UNION (2010), ANOTHER VOID (2012), LIGHT YEAR (2013), THE LIQUID CASKET/WILDERNESS OF MIRRORS (2014), DISPORTING WITH A SHADOW (2015), MADE OF AIR (2015), LIGHTHOUSE (2015) and FEELER (2016) Program running time: 80 minutes

    Los Angeles, California: Redcat
    3pm, 631 W 2nd St
    ISM ISM ISM: Crossing Paths: Panel: Latin American Experimental Film
    Colombian scholar Marta Lucía Vélez, Cuban film scholar and curator Luisa Marisy, researcher and filmmaker Antoni Pinent, Jesse Lerner, Luciano Piazza and others will discuss the research which led to the Ismo, Ismo, Ismo publication (University of California Press).

    Los Angeles, California: Redcat
    7pm, 631 W 2nd St
    ISM ISM ISM: Sin Cámara / Cameraless
    In Person: Curator Antoni Pinent Surveying an extraordinary body of works produced since the 1950s, this program maps South American “Camera-Less” or “Direct” filmmaking. In "Direct animation or 'camera-less' filmmaking, figures are painted, scratched, or inked directly onto film leader. Highly tactile, textured and abstract, these films dramatize the essential properties of the medium of film itself. It's also a technique favored by many key figures of the avant-garde, from the Scottish-Canadian Norman McLaren to New Zealand's Len Lye and the legendary New Yorker Harry Smith. Less well known is the extensive filmography of the numerous Latin American practitioners. Based on extensive interviews, travels, and archival research by curator Antoni Pinent, this program introduces a handful of these shorts, from Argentine, Uruguayan, Brazilian, Peruvian, Colombian, Venezuelan, Mexican, and Chicana filmmakers who have chosen this most rudimentary (yet powerful) of film techniques. The program will comprise 22 short films, including Abecedario / B by Colectivo Los Ingrávidos (2013. México. 4’55”), Prueba by Rosario Sotelo (2014. México. 1’), Breathe by Leonardo Zito (2014. Argentina. 7’), Begin by Sameer Makarius (1953. Argentina. 1’), O Átomo Brincalhão by Roberto Miller (1981. Brasil. 4’), Cocktail de Rayas by Eduardo Darino (1964. Uruguay. 1’41”), TM by Pablo Marín (2008. Argentina. 2’10”), Abismo by Sebastian Wiedemann (2012. Argentina / Colombia. 3’35”), Ideítas by Víctor Iturralde Rúa (1952. Argentina. 1’05”), Kimono by José Castillo (1992. Venezuela. 3’56”), Al trance by Guillermo Zabaleta (2013. Uruguay. 1’30”), Tourist Hitchcock by Marco Pando (2003. Países Bajos / Perú. 4’39”), On the Road by Jack Kerouac by Jorge Lorenzo (2013. México / Colombia. 14’), and more.

    Los Angeles, California: Redcat
    9pm, 631 W 2nd St
    ISM ISM ISM: A Cinema of Passion: Films and Videos by Willie Varela
    In Person: Willie Varela Having completed over 100 films and videos made since the early 1970s, El Paso-based, Chicano media artist Willie Varela is one of independent cinema’s most passionate and unbridled social critics. A still-to-be-discovered gem of Chicano cinema, Varela’s visceral, layered work, produced in semi-isolation in the Texas border town, constitutes personal responses to events in his domestic life, local rituals, political issues and the ongoing flow of popular culture. This long-overdue overview ranges from Varela’s early Super 8 visual pieces to a more recent, more pungently political body of work. Included are: Becky's Eye (1977, 3:21’), March 1979 (1979, 3:30’), The Last Look (1981,1:53’), Recuerdos De Flores Muertas (1982, 6:58’), In Progress (1985, 12:30’), His Hidden Presence (1998, 10:10’), The Extraordinary Day (2003, 16:21’) and This Burning World (two-screen projection)(2002, 31:57’).

    New York, NY: Anthology Film Archives
    5:30 PM, 32 Second Avenue
    THE BLACK MARIA FILM FESTIVAL: PROGRAM 1: FREE REIN
    FIERCELY INDEPENDENT SHORT FILMS FROM THE 36TH ANNUAL FESTIVAL TOUR - 2017 The history of the short film is diverse and rich, and the Black Maria Film Festival has celebrated its legacy for the past 36 years. The festival was named after the American birthplace of the motion picture, Thomas Edison's West Orange, NJ, laboratory - a revolving photographic studio dubbed the "Black Maria" because it resembled a police paddy wagon. For decades this alternative festival has embraced the diversity and passion found in the cinematic short form. It provides many directors with their earliest exhibition opportunities and often discovers personal, eccentric, and unconventional talents. Black Maria travels each year to dozens of host sites and reaches audiences in the farthest corners of the U.S. and abroad through its annual tour. The festival champions films that live in the margins of popular culture and in the center of filmmakers' imaginations. Curated by Jane Steuerwald, Executive Director, Black Maria Film Festival. PROGRAM 1: FREE REIN Conventions be damned - these films dive into slapstick, surrealism, B-movie horror, performance art, and a visceral approach to story-telling. The personal vision of the artist and an exploration of the process of filmmaking rules the day. These films push boundaries through non-linear approaches to storytelling, bizarre imagery, and a blatant disregard for the cinematic status quo. Soetkin Verstegen MR. SAND (Leuven, Belgium, 2016, 8 min, digital) Joseph Houlberg A (Quito, Ecuador, 2016, 14 min, digital) Marcin Gizycki MONUMENT (Warsaw, Poland, 2015, 3 min, digital) Dianne Bellino THE ITCHING (Astoria, NY, 2016, 15 min, digital) Dawn George WE R THE WORLD/MOLD (Halifax, Canada, 2016, 7 min, digital) Akiko Maruyama & Philippe Roy KOROPOKKURU (Jersey City, NJ, 2015, 4 min, digital) Katrine Holmgren THE MUSE OF SAN FRANCISCO (London, UK, 2016, 22 min, digital) Morgan Miller THERE'S TOO MANY OF THESE CROWS (Brooklyn, NY, 2016, 4 min, digital) Total running time: ca. 80 min.

    New York, NY: Anthology Film Archives
    6:30 PM, 32 Second Avenue
    QUEERING IMMIGRATION
    Isabel Castro, Luan Joy Sherman, Katrina Sorrentino, and members of Queer Detainee Empowerment Project in person!This program is presented in conjunction with the Queer Detainee Empowerment Project's Queering Immigration Conference at The New School, taking place September 22-24; for more info visit: www.qdep.org/queering-immigration-conference. This will be a bilingual program; CROSSING OVER is in Spanish with English subtitles, while the other films and the discussion will be translated into Spanish. The streets of Asheville are illuminated and claimed as safe public space for members of North Carolina's trans community in ARTS ACTION AGAINST HB2: SAFE PUBLIC SPACE, made in support of advocacy organizations Southerners On New Ground (SONG) and Tranzmission. A panorama of personal stories in QUEERING IMMIGRATION (produced by SONG) acknowledge the undocumented struggle as a collective demand for true immigrant justice. CROSSING OVER: STORIES OF IMMIGRATION AND IDENTITY interweaves the stories of three transgender Latina immigrants who came to the U.S. from Mexico in search of a better life. Luan Joy Sherman, Stephen Zacks, and Adam Rush ARTS ACTION AGAINST HB2: SAFE PUBLIC SPACE (2016, 3 min, digital) Sowjanya Kudva QUEERING IMMIGRATION (2013, 6 min, digital. In English with Spanish subtitles.) Isabel Castro and Katrina Sorrentino CROSSING OVER: STORIES OF IMMIGRATION AND IDENTITY (2014, 45 min, digital. In Spanish with English subtitles.) Total running time: ca. 60 min. Followed by a reception.

    New York, NY: Anthology Film Archives
    8:00 PM, 32 Second Avenue
    THE BLACK MARIA FILM FESTIVAL: PROGRAM 2: SYNAESTHESIA
    FIERCELY INDEPENDENT SHORT FILMS FROM THE 36TH ANNUAL FESTIVAL TOUR - 2017 The history of the short film is diverse and rich, and the Black Maria Film Festival has celebrated its legacy for the past 36 years. The festival was named after the American birthplace of the motion picture, Thomas Edison's West Orange, NJ, laboratory - a revolving photographic studio dubbed the "Black Maria" because it resembled a police paddy wagon. For decades this alternative festival has embraced the diversity and passion found in the cinematic short form. It provides many directors with their earliest exhibition opportunities and often discovers personal, eccentric, and unconventional talents. Black Maria travels each year to dozens of host sites and reaches audiences in the farthest corners of the U.S. and abroad through its annual tour. The festival champions films that live in the margins of popular culture and in the center of filmmakers' imaginations. Curated by Jane Steuerwald, Executive Director, Black Maria Film Festival. PROGRAM 2: SYNAESTHESIA Synaesthesia is a process whereby one perceives the world with all of one's senses, at times individually, but more often simultaneously. What one sees, one can also hear and feel and unconsciously empathize with on the basis of past experiences. Sights are often perceived as sounds, feelings, and smells; while sounds can be perceived as visions, motions, and tastes; and smells perceived as tastes, sounds, and visceral experiences. Synaesthesia is an interaction of conscious and unconscious sensual experience resulting in impressions perceived symbiotically. Seoungho Cho SCRUMPED (Elmhurst, NY, 2016, 18 min, digital) Yagmur Altan RABBIT BLOOD (Astoria, NY, 2016, 5 min, digital) Ying-Fang Shen IN THE WAVES (Richmond, VA, 2015, 5 min, digital) Magdalena Bermudez MEMA'S LIFE STORY (Baltimore, MD, 2016, 2 min, 16mm-to-digital) Kate Balsey MICROSPECTRUM (Johns Creek, GA, 2016, 2 min, digital) Fernando Priego Ruiz RADIANCE (RESPLANDOR) (Buenos Aires, Argentina, 2016, 50 min, digital) Total running time: ca. 85 min.

    New York, NY: Anthology Film Archives
    8:30 PM, 32 Second Avenue
    HOMOTOPIA + CRIMINAL QUEERS
    Chris E. Vargas & Eric Stanley HOMOTOPIA (2006, 26 min, digital) Set sometime in the future-present, HOMOTOPIA chronicles a group of radical queers dedicated to exposing the trouble with gay marriage, dismantling the State, and undoing Empire, while looking totally fierce. Woven into the story of Yoshi's adventures in love, resistance, and sex, is a critique of the crushing violence of homonormativity and its deadly perpetuation of U.S. patriotism, conservative kinship structures, and affective accumulation. Chris E. Vargas & Eric Stanley CRIMINAL QUEERS (2015, 63 min, digital) CRIMINAL QUEERS visualizes a radical trans/queer struggle against the prison industrial complex and toward a world without walls. Remembering that prison breaks are both a theoretical and material practice of freedom, this film imagines what spaces might be opened up if crowbars, wigs, and metal files become tools for transformation. Following Yoshi, Joy, Susan, and Lucy as they fiercely read everything from the Human Rights Campaign and hate crimes legislation to the non-profitization of social movements, CRIMINAL QUEERS increases our collective liberation by working to abolish the multiple ways our hearts, genders, and desires are confined.

    San Francisco, California: Other Cinema
    8:30, 992 Valencia
    Psycho Geo2: CHIP LORD + ALEX COPPOLA + ED & PAULINE +
    This second iteration of our Focus-on-Locus is trained on sites outside of SF, starting with two in-person offerings from Chip (Ant Farm) Lord: Greetings from Amarillo ushers us into the colorful life of the Texas Panhandle, while the world premiere of his Dark Seagrams enacts an exacting architectural analysis of the celebrated Seagrams Bldg. in NYC, with music by Leonard Cohen (and free Seagrams toasts!). Christian Bruno/ Natalija Vekic’s long-awaited Ed & Pauline casts its gaze onto the first art-cinema in Berkeley, run by Ed Landberg and Pauline Kael!! Kirsten Johnson (Cameraperson) affords As Above, a blimp’s-eye view of Kabul, Diana Vidrascu’s camera explores Brittany’s dramatic topography, and Pablo Fiasco takes us on a tour of London via its graffiti. ALSO: Ellie Vanderlip delivers her desert diary Ocotillo! and Alex Coppola live-cues world musics to a triptych of silent amateur travelogs from Asia, Africa, and South America in Glimpses of the Global South.

    Sunday, September 24, 2017
    top

    : COMMEND
    6:00-8:00pm, COMMEND, 172 Forsyth Street, New York 10002
    EVENTS IN SHADOW
    An evening of films by Paul Clipson followed by a conversation between the filmmaker and sound artist/musician Jefre Cantu-Ledesma. Screening will include UNION (2010), ANOTHER VOID (2012), LIGHT YEAR (2013), THE LIQUID CASKET/WILDERNESS OF MIRRORS (2014), MADE OF AIR (2015), LIGHTHOUSE (2015), FEELER (2016), Program running time: 68 minutes

    Cambridge: Harvard Film Archive
    7pm, 24 Quincy Street
    Synaesthetic Cinema: Chumlum, Straight and Narrow & More
    Chumlum and The Invasion of Thunderbolt Pagoda are two of the more purely psychedelic films of the sixties. Chumlum was filmed during breaks in the production of Jack Smith’s Normal Love and captures a who’s who of the downtown underground, including Smith, Francis Francine, Beverly Grant (later married to Tony Conrad), and Warhol associates Gerard Malanga and Mario Montez. Smith appears again in Invasion, where the swirling colors, shapes and textures of Chumlum are sent into overdrive, blasting toward a psychedelic and synaesthetic space; MacLise’s soundtracks work with the overpowering visuals to drive the viewer toward an hypnotic state. Conrad attempts a similar experience using film itself as the medium. Straight and Narrow is an example of the minimalism of the art and music worlds being taken into the cinema. A gentler strobe film than his infamous The Flicker, the percussive soundtrack and alternating bars of light push the receptive viewer toward a trancelike state. In Between the Notes is a short documentary on the Hindustani singer Pandit Pran Nath, who was heavily influential on both Young and Riley. The roots of MacLise’s music, and many other minimalist composers, can be found in Pran Nath’s work.

    Los Angeles, California: Redcat
    6pm, 631 W 2nd St
    ISM ISM ISM: Countercultures and Undergrounds
    Historical shorts emerging from a number of Latin American cultural movements, including Enrique Pineda Barnet’s extraordinary Juventud, rebeldía, revolución, Narcisa Hirsch, Marie Louise Alemann and Reymundo Gleyzer’s Marabunta, Rolando Peña’s Cotorra, and Manuel DeLanda’s IsmIsm.

    Los Angeles, California: Redcat
    8:30pm, 631 W 2nd St
    ISM ISM ISM: Dialogues with Che: Appropriations of a Revolutionary Figure
    In Person: Venezuelan Actor Rolando Peña Images of Ernesto "Che" Guevara are the most contested and reproduced in Latin America, and this program explores ways this iconic figure has been represented. Diálogo con el Che (Dialogue with Che, 1968, newly restored, 53’), is a legendary film by queer Nuyorican artist José Rodriguez Soltero that parodies Hollywood portrayals of the revolutionary hero. Una foto recorre el mundo (A Photograph Travels the World (1981, 13’) by Pedro Chaskel (also know at the editor of The Battle of Chile, 1975) analyzes the iconic photograph of el Che taken by Alberto Korda at a political rally in 1960, and the unending international (and commercial) appropriations of this image. Leandro Katz’ El Día Que Me Quieras (1997, 30’) retraces the story behind the last photographs Freddy Alborta took of Che Guevara as he lay dead, surrounded by his captors, in 1967.

    New York, NY: Anthology Film Archives
    6:00 PM, 32 Second Avenue
    EC: ERNIE GEHR
    "Ernie Gehr [makes] cinematic magic, often from the least likely materials. Indeed, Gehr's most famous film, SERENE VELOCITY (1970), in which the filmmaker transforms an institutional hallway in the basement of a classroom building at the State University of New York at Binghamton into a nexus of visual and conceptual energy, merely by adjusting his stationary camera's zoom lens every four frames for twenty-three minutes, can be read as Gehr's manifesto. For Gehr the most everyday spaces and the most mundane actions offer the imaginative filmmaker the most interesting potential. No other filmmaker, with the exception of Michael Snow, has so relentlessly and so productively explored the capacity of filmmaking to develop the visual (and auditory) opportunities afforded by the cinematic apparatus itself." -Scott MacDonald, A CRITICAL CINEMA 5 MORNING (1968, 5 min, 16mm, silent) WAIT (1968, 7 min, 16mm, silent) REVERBERATION (1969, 23 min, 16mm, b&w) TRANSPARENCY (1969, 11 min, 16mm, silent) FIELD (1970, 19 min, 16mm, b&w, silent) SERENE VELOCITY (1970, 23 min, 16mm, silent) Total running time: ca. 70 min. [MORNING, WAIT, TRANSPARENCY, and FIELD are not part of the Essential Cinema collection, but are included here as a special bonus.]

    New York, NY: Anthology Film Archives
    8:00 PM, 32 Second Avenue
    EC: STILL
    by Ernie Gehr. "STILL is for me the first truly Proustian film in which I see mood and atmosphere seem to become slowly crystallized on particular objects - as if the whole framed scene and its mood slowly coagulates into - for instance - the mysterious recesses of the lush foliage of the tree across the street which the breeze lowly stirs… The moving and remarkable thing is that in this fifty-odd feet of New York city street front that we view for sixty minutes, nature and dreams of the forest and sky and wind and wilderness end up being more forcibly present than in any film about nature and forest and sky, etc." -Richard Foreman, FILM CULTURE #63-6


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