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This week [June 4 - 11, 2017] in avant garde cinema

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This page is updated every Sunday.
  • , June 4, 2017
  • , June 5, 2017
  • , June 6, 2017
  • , June 7, 2017
  • , June 8, 2017
  • , June 9, 2017
  • , June 10, 2017
  • Sunday, June 11, 2017
  • This week's programs (summary):

    Sunday, June 4, 2017
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    New York, NY: Anthology Film Archives
    5:15 PM, 32 Second Avenue
    EC: JAMES BROUGHTON PGM
    THE PLEASURE GARDEN (1953, 38 min, 35mm, b&w) THE BED (1968, 19 min, 16mm) THE GOLDEN POSITIONS (1970, 32 min, 16mm) HIGH KUKUS (1974, 3 min, 16mm) Broughton's films are celebrations of the joy of living. If there is such a thing as American Zen, Broughton is the master of it. "Broughton was and is a poet, sometimes a dramatist. Yet whatever the mode, his style is remarkably consistent: urbane and witty with the persona of the naĂŻve, or the simpleton, or the child. Like the poems, the films record the basic rites of passage, the search for love, the primal relationships, with ironic insight: there are parents who are children, a rube who's really the artist, a loony wise man." -P. Adams Sitney Total running time: ca. 95 min.

    , June 5, 2017
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    Brooklyn, New York: Microscope Gallery
    7pm, 1329 Willoughby Ave, #2B
    Artist Talk/Screening with Marni Kotak
    Multi-media and performance artist Marni Kotak joins us after hours on Monday June 5th to discuss her current exhibit at the gallery Treehouse , which includes the premiere of her nearly 6 hour film “Raising Baby X: Five Years”, recorded from the viewpoint of her son, whom she has outfitted with a GoPro camera since the age of three months. Long excerpts from the work will be screened. As in her previous exhibitions – among others “The Birth of Baby X” in which the artist gave birth to her son Ajax as a performance and “Mad Meds” where she slowly attempted to withdraw from psychiatric medications prescribed for postpartum depression – Kotak continues to use her own life experiences as they are happening – most recently a major fire in the artist’s home – as her work. Free Admission. Additional information at info@microscopegallery.com. tel 347.925.1433. Jefferson L (Starr St).

    , June 6, 2017
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    New York, NY: Anthology Film Archives
    7:30 PM, 32 Second Avenue
    EC: JOSEPH CORNELL, PGM 1
    Unless otherwise noted, all the films in this program are silent. With the exception of GNIR REDNOW, all films have been preserved by Anthology Film Archives. ROSE HOBART (ca. 1936, 20 min, 16mm, sound) COTILLION (ca. 1940s-1968, 8 min, 16mm, b&w. Completed by Larry Jordan.) THE MIDNIGHT PARTY (ca. 1940s-1968, 3.5 min, 16mm, b&w. Completed by Larry Jordan.) THE CHILDREN'S PARTY (ca. 1940s-1968, 8 min, 16mm. Completed by Larry Jordan.) CENTURIES OF JUNE (1955, 10 min, 16mm. Photographed by Stan Brakhage.) THE AVIARY (1954, 11 min, 16mm, b&w. Photographed by Rudy Burckhardt.) GNIR REDNOW (1955, 5 min, 16mm. Photographed by Stan Brakhage.) NYMPHLIGHT (1957, 8 min, 16mm. Photographed by Rudy Burckhardt.) A LEGEND FOR FOUNTAINS (1957/65, 17 min, 16mm, b&w. Photographed by Rudy Burckhardt; completed by Larry Jordan.) ANGEL (1957, 3 min, 16mm. Photographed by Rudy Burckhardt.) The poet of magic realities. Pioneer of recycled (found) images. ROSE HOBART and the Trilogy (COTILLION, MIDNIGHT PARTY & CHILDREN'S PARTY) are some of the earliest collage films created. The others were directed by Cornell (and photographed by Stan Brakhage and Rudy Burckhardt) at some of his favorite locations. Total running time: ca. 105 min.

    Newcastle Upon Tyne: CIRCA Projects
    7.00pm, c/o The Northern Charter, Commercial Union House, 39 Pilgrim Street
    Studio is Sudden #4 with invited guest Peter Todd
    Join us for short performances, screenings, and informal conversation with artist and curator Peter Todd – who will share his experiences of artist run space Ayton Basement in Newcastle in the late 1970s. During the evening Peter will lead a restaging of 'Idiophonics' a sound work by artist, teacher and activist Stuart Marshall performed at Ayton Basement during this period when Marshall was teaching at Newcastle Upon Tyne Polytechnic. Giles Bailey will present new material from a performance work in progress. There will also be a screening of Peter Todd’s 'Three Pieces Performed at the Robert Self Gallery Newcastle 1976', a film made entirely from black and white photographic documentation. Studio is Sudden occurs every Tuesday in Giles Bailey & CIRCA Projects’ shared studio at The Northern Charter, Newcastle, where we will test out works in progress, examine processes and share thoughts with invited guests.

    , June 7, 2017
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    08006 Barcelona, Spain: Crater Lab
    8 PM, Carrer Sant Guillem 17
    Crossroads Festival / Steve Polta
    CRATER-LAB presenta un doble programa que nos visita desde San Francisco, curado por Steve Polta: una selección del Festival CROSSROADS y las películas del propio cineasta en su formato original súper 8. PROGRAMA 1: MAR A MAR RADIANTE (ESTAMOS ENCASILLADOS EN ESTA ROCA) v.3 es la contundente selección del Festival CROSSROADS que nos trae Steve Polta, director del festival y de la SAN FRANCISCO CINEMATEQUE. Una selección de films curados por el propio Steve y que ofrecen una visión de la filosofía underground y avant-garde del festival y de la Cinemateque de San Francisco fundada en 1961 por Bruce Baillie. Prima Materia, Azin Seraj, 2015, vídeo digital, color, sonora, 9 min. H-E-L-L-O, Cauleen Smith, 2014, vídeo digital, color, sonido, 11 min. The Two Sights, Katherin McInnis, 2015, vídeo digital, B/N, sonora, 4 min. Playing Possum, Jamilah Sabur, 2013, vídeo digital, B/N, sonora, 12 min. Distant Shores, Christopher Harris, 2016, vídeo digital, color, sonora, 3 min. Cyclical Refractions, M. Martínez, 2016, vídeo digital, color, sonora, 3min. Colour My World, Mike Hoolboom, 2017, vídeo digital, color, sonora, 3 min. Restless, Robert Todd, 16mm, color, sonora, 8 min. Sine at the Canyon Sine at the Sea by Kelly Gabron, Cauleen Smith, 2016, vídeo digital, color, sonora, 7 min. PROGRAMA 2: WE LIVE IN CITIES/LIFE WITHOUT BUILDINGS es el inquietante programa de los propios films de Steve Polta, un corpus de películas difíciles de ver, ya que solo se proyectan en su formato analógico original. Red Sketch (1997c) (1997) de Steve Polta; Super-8mm, color, sonora, 6 minutos @ 18fps interval Oakland 99 (2000) de Steve Polta; Super-8mm, color, muda, 3 minutos @ 18fps Departure (1997c) (1997) de Steve Polta; Super-8mm, color, sonora, 7 minutos @ 18fps Picture Window (1996a) (1996) de Steve Polta; Super-8mm, color, sonora, 10 minutos @ 18fps Minnesota Landscape (1997) de Steve Polta; 16mm; color, muda, 10 minutos @ 18fps Estuary #1 (1998) de Steve Polta; Super-8mm, color, sounora, 10 minutos @ 18fps The Berries (2000) de Steve Polta; Super-8mm, color, muda, 3 minutos @ 24fps Summer Rain for LMC, side A (2007/2011) de Steve Polta; Super-8mm, color, muda, 3 minutos @ 18fps Summer Rain for LMC, side B (2007/2011) de Steve Polta; Super-8mm, color, muda, 3 minutos @ 18fps A House Full of Dust (2007) de Steve Polta; Super-8mm, color, muda, 10 minutos @ 18fps -\-\-\-\- Duración: 70+75 min. aprox. Formato: Vídeo digital, super-8 mm y 16 mm.

    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
    EC: JOSEPH CORNELL, PGM 2
    The films in this program - all of which have been preserved by Anthology Film Archives - are not part of the Essential Cinema cycle, but are being screened as a special supplement to Program 1.All films in this program are silent. BOYS' GAMES (1957, 5 min, 16mm) BOOKSTALLS (ca. late-1930s, 11 min, 16mm) BY NIGHT WITH TORCH AND SPEAR (ca. 1940s, 9 min, 16mm) NEW YORK-ROME-BARCELONA-BRUSSELS (ca. 1940s, 10 min, 16mm) VAUDEVILLE DE-LUXE (ca. 1940s, 12 min, 16mm) MULBERRY STREET (ca. 1957, 9 min, 16mm, b&w. Photographed by Rudy Burckhardt.) JOANNE, UNION SQUARE (ca. 1954, 8 min, 16mm. Photographed by Rudy Burckhardt.) CLOCHES À TRAVERS LES FEUILLES (1957, 4 min, 16mm. Photographed by Rudy Burckhardt.) CHILDREN (ca. 1957/65, 8 min, 16mm. Photographed by Rudy Burckhardt.) Rare Cornell; more magic cinema from the master collagist. Variations of films made by Cornell, plus collage films discovered by archivists after his death. Total running time: ca. 85 min.

    , June 8, 2017
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    San Francisco, California: Exploratorium
    7:30pm, Kanbar Forum @ The Exploratorium | Pier 15
    Cinema Arts: Cityscapes with Dominic Angerame
    In this screening of poetic documentaries that meditate on urban environments, familiar cityscapes are reframed through the camera’s lens. An innovator of observant cinema and a key member of the Bay Area experimental film community, Dominic Angerame presents a screening pairing his films with works of inspiration from other artists. As the former long-time director of Canyon Cinema and an educator, Angerame has a deep and wide-ranging knowledge of cinema, evident in his films and masterful curations. In this screening, select Angerame films considering the local cityscapes of the Bay Area are paired with other works in this genre that have influenced him throughout his career. Featuring Man in a Bubble by Sidney Peterson (1981, 15 min.), Bridges Go Round by Shirley Clarke (1958, 8 min.), GoGoGo by Marie Menken, (1962, 11 min.), Deconstruction Sight by Dominic Angerame (1990, 12 min.), Sausalito by Frank Stauffacher (1948, 9 min.). Presented in conjunction with Canyon Cinema 50, this event is part of a yearlong series of programming in celebration of the 50th anniversary of Canyon Cinema’s incorporation.

    , June 9, 2017
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    Brooklyn, New York: Microscope Gallery
    7:30pm, 1329 Willoughby Ave, #2B
    Winnipeg Handshake
    Short films, video, and performance from Winnipeg . Canadian artist and curator Aaron Zeghers curates "Winnipeg Handshake", an evening of works in film, video and live performance that although spanning time and mediums, come from the city of Winnipeg, Manitoba. Many are making their New York premieres. "This collection of short films presents an overview of contemporary experimental filmmaking in Winnipeg, as well as a brief history of experimental cinema in this isolated Canadian city. The work - while varied - is indoctrinated with the sentiments of the city itself, often referred to by it's practitioners as fun formalism.”-- A.Z. Works by Ed Ackerman & Gregory Zbitnew, Karen Asmundson, Alyssa Bornn, Michael Buttersworth & Cameron Cummings, Clint Enns, Scott Fitzpatrick, Walter Forsberg, Guy Maddin, Mike Maryniuk, Milos Mitrovic, Jaz Papadopolous, Heidi Phillips, Matthew Rankin, Colby Richardson, Leslie Supnet, Aaron Zeghers. More info and full program: www.microscopegallery.com. Admission $8, Students & Members $6. info@microscopegallery.com, tel: 347.925.1433. Jefferson L (exit Starr St).

    New York, NY: Anthology Film Archives
    8:00 PM, 32 Second Avenue
    RE-VISIONS: AMERICAN EXPERIMENTAL FILM 1975-90: JEFF PREISS PGM 1
    With the ongoing series RE-VISIONS: AMERICAN EXPERIMENTAL FILM 1975-90, Anthology spotlights the generation(s) of experimental film artists who emerged after the final formation in 1975 of our Essential Cinema repertory screening cycle. As hotly debated as it was widely celebrated, the EC had a seismic effect (for better or worse) on both cinema studies scholarship and international film curatorial practice. Even though the EC was intended as a direct response to the exclusion of the avant-garde from official Film History, by so concisely outlining a canon it effectively shifted critical and public interest away from the still developing experimental film movement and focused attention squarely on certain artists and works considered to be historically important. Subsequent generations of cinema artists have never received the same level of intellectual/institutional recognition or encouragement. We believe that it is high time for a re-evaluation. With the support of a significant grant from the Andy Warhol Foundation for the Visual Arts, Anthology has been engaged in a multi-year project to preserve significant works by a wide range of cinema artists who largely became active or reached their prime after 1975. Rather than attempt to amend the EC, RE-VISIONS uses it as a starting point from which to explore the continuities, fractures, corollaries, and connections between cinema artists of the last 40 years and the previous avant-garde film movements. Much like their predecessors, these artists continued to tirelessly push at the parameters of cinematic form. RE-VISIONS features single-artist screenings of our new preservations alongside other exemplary and enticing titles spanning each artist's career, as well as group shows bringing together multiple artists. When possible, artists will appear in person to discuss their work and answer questions. Special thanks to the Andy Warhol Foundation for the Visual Arts, Audio Mechanics, BB Optics, Cinema Arts, Cineric, Colorlab, The Film Foundation, FotoKem, the Mike Kelly Foundation for the Arts, The National Endowment for the Arts, the National Film Preservation Foundation, Sony Pictures Entertainment, Trackwise, Video and Film Solutions, Women's Film Preservation Fund of New York Women in Film & Television, and all the artists who were involved in this project. JEFF PREISS FILMMAKER IN PERSON! Jeff Preiss has achieved the rare and delicate balancing act of working both in high-profile mainstream contexts and in the realm of uncompromisingly independent, small-gauge, experimental cinema. Inspired by the diary films of Jonas Mekas and Warren Sonbert, he began in the early 1980s making silent, semi-narrative works born out of his practice of shooting with his Regular 8mm Bolex on a daily basis. He's called these works "lyric home newsreels" that aim to "balance 'home movie' sentimentality with concerns of formal (and literal) interpretation." When the photographer Bruce Weber saw Preiss's work he enlisted him as cinematographer on a string of collaborations including the feature documentaries BROKEN NOSES (1987) and LET'S GET LOST (1988), an acclaimed portrait of jazz legend Chet Baker. That film's success led Preiss to work directing commercials and music videos (including videos for Iggy Pop, Malcolm McLaren, REM, and the B-52s, and advertisements for Nike, Coca-Cola, Sony, American Express, etc.). In 2014, his first narrative feature, LOW DOWN, based on the life of jazz pianist Joe Albany, and starring John Hawkes, Elle Fanning, and Glenn Close, won best cinematography at the Sundance Film Festival and best actress at the Karlovy Vary International Film Festival. Even as he has developed these mainstream projects, Preiss has continued to work in the avant-garde realm. In 2005, he co-founded the NYC experimental gallery, Orchard. And in 2012, he completed STOP, an epic home movie compiled from 2,500 rolls of 16mm film. For these RE-VISIONS screenings, we will be debuting our own brand-new preservations of some of Preiss's earliest Regular 8mm Kodachrome films, in gorgeous 2K transfers, as well as presenting a screening of his magnum opus, STOP. All the films in this program have been restored by Anthology Film Archives with support from the Andy Warhol Foundation for the Visual Arts. LUDLOW ST. NEWSREEL PT. 1 (1981, 8.5 min, Regular 8mm-to-2K digital, silent) LUDLOW ST. NEWSREEL PT. 2 (1981, 12.5 min, Regular 8mm-to-2K digital, silent) FRED IN HELL TRAILER (1982, 9 min, Regular 8mm-to-2K digital, silent) STARING SHARON (1984, 8.5 min, Regular 8mm-to-2K digital, silent) WILD KINGDOM, PT 2: BOY TOWN (1984, 14 min, Regular 8mm-to-2K digital, silent) WINTER BUSES - CAR WASH - 14TH STREET TREES (ca. 1985, 3 min, Regular 8mm-to-2K digital, silent) BROKEN NOSES NEWSREEL (1987, 19 min, Regular 8mm-to-2K digital, silent. Made with Bruce Weber.) Total running time: ca. 80 min.

    , June 10, 2017
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    New York, NY: Anthology Film Archives
    5:00 PM, 32 Second Avenue
    RE-VISIONS: AMERICAN EXPERIMENTAL FILM 1975-90: JEFF PREISS PGM 2
    1995-2012, 120 min, 16mm-to-digitalShare +Twitter. With the ongoing series RE-VISIONS: AMERICAN EXPERIMENTAL FILM 1975-90, Anthology spotlights the generation(s) of experimental film artists who emerged after the final formation in 1975 of our Essential Cinema repertory screening cycle. As hotly debated as it was widely celebrated, the EC had a seismic effect (for better or worse) on both cinema studies scholarship and international film curatorial practice. Even though the EC was intended as a direct response to the exclusion of the avant-garde from official Film History, by so concisely outlining a canon it effectively shifted critical and public interest away from the still developing experimental film movement and focused attention squarely on certain artists and works considered to be historically important. Subsequent generations of cinema artists have never received the same level of intellectual/institutional recognition or encouragement. We believe that it is high time for a re-evaluation. With the support of a significant grant from the Andy Warhol Foundation for the Visual Arts, Anthology has been engaged in a multi-year project to preserve significant works by a wide range of cinema artists who largely became active or reached their prime after 1975. Rather than attempt to amend the EC, RE-VISIONS uses it as a starting point from which to explore the continuities, fractures, corollaries, and connections between cinema artists of the last 40 years and the previous avant-garde film movements. Much like their predecessors, these artists continued to tirelessly push at the parameters of cinematic form. RE-VISIONS features single-artist screenings of our new preservations alongside other exemplary and enticing titles spanning each artist's career, as well as group shows bringing together multiple artists. When possible, artists will appear in person to discuss their work and answer questions. Special thanks to the Andy Warhol Foundation for the Visual Arts, Audio Mechanics, BB Optics, Cinema Arts, Cineric, Colorlab, The Film Foundation, FotoKem, the Mike Kelly Foundation for the Arts, The National Endowment for the Arts, the National Film Preservation Foundation, Sony Pictures Entertainment, Trackwise, Video and Film Solutions, Women's Film Preservation Fund of New York Women in Film & Television, and all the artists who were involved in this project. STOP (1995-2012, 120 min, 16mm-to-digital) "STOP is a feature-length chronicle distilled from 2,500 100-ft rolls of 16mm film shot between 1995 and 2011 - organized sequentially by numbered lab rolls of camera negative into four half-hour parts. It operates around the conventions of home movies: the images are of my own life and in classic home-movie tradition the alternating subjects of family, friends, and travel are set by the filmstrip with absolute chronological certainty. Subjects repeat in cycles while others form internal episodes. But as home-movie impulses dictate, the central subject is my child. Among the stops referred to in the title, one was the act of assigning an end within the accumulating mass of my personal archive - so that a film could be possibly shaped. Many converging threads of ends and transformations were candidates, but most evident was the quintessential end of nearly all home-movie cycles: the awkward end of my child's prepubescence - in this case hinging on a heroically decisive transformation of gender expression." -Jeff Preiss Preceded by: WARREN SONBERT (1988, 3 min, Regular 8mm-to-2K digital, silent. Restored by Anthology Film Archives with support from the Andy Warhol Foundation for the Visual Arts.)

    New York, NY: Anthology Film Archives
    8:00 PM, 32 Second Avenue
    RE-VISIONS: AMERICAN EXPERIMENTAL FILM 1975-90: JEFF PREISS PGM 1
    See 6/9.

    San Francisco, California: Artists Television Access
    8:00pm, 992 Valencia Street
    EMPATHETIC WAVES: An evening of spontaneous collisions showcasing experimental film, animation, and improvisational audio/visual performances
    This program features collaborative sound and 16mm and video performances by Jeffrey Alexander and Stephanie Sherriff, Faith Arazi and CaptJRab, Paul Clipson and Gabriel Dunne and Tooth.

    Sunday, June 11, 2017
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    New York, NY: Anthology Film Archives
    7:30 PM, 32 Second Avenue
    SHOW & TELL: ANDREW BUSTI
    Andrew Busti has been making handmade films in various forms since 1999. His work revolves around the idea of the subjective and the languages that evolve through experience and perception. He is the technical director for the Film Studies Program at University of Colorado in Boulder and teaches classes in Alternative Process and Alchemical Cinema. He works with artists, museums, and archives through the name Analogue Industries Ltd., facilitating new works, helping to preserve any work that may be of value, and always striving to support analog cinema in all its ongoing forms. He is a founding member of Process Reversal, a nonprofit artist-run analog film initiative that currently educates, informs, supports, and outfits artist-run film labs and communities around the globe. He is an integral part of the new media preservation program for Film Studies at the University of Colorado in Boulder. When not working long hours and helping others make films or trying to actually make his own, he might be found cooking in his very small kitchen, incessantly smoking cigarettes, drinking scotch, and ruminating on all the lost hours that slip through his fingers…. He currently obsesses about the reclaiming and refining of silver from the photographic process .999 percent of his time. For his Show & Tell program, Busti will present three films from his in-progress project, 26 PULSE WROUGHT (film for rewinds), which will ultimately comprise nine parts, as well as selected earlier works, and at least one live performance! As if that's not enough, he has also curated a group program devoted primarily to films that have been created with the support of Process Reversal (as well as by filmmakers associated with the group). 26 PULSE WROUGHT (film for rewinds) A series of 9 films investigating subjective languages, languages of subjectivity, and interpretive modes through coded polyphonic articulate signals. A cinema of illumination and reflection. Screening tonight: 26 PULSE WROUGHT - (FILM FOR REWINDS) VOL. I: WINDOWS FOR RECURSIVE TRIANGULATION (2014, 3 min, 16mm) 26 PULSE WROUGHT - (FILM FOR REWINDS) VOL. III: PARALLEL BEAMS OR THE INEFFABLE INEFFCIENCY OF WORDS (2015, 3 min, 16mm, b&w) 26 PULSE WROUGHT - (FILM FOR REWINDS) VOL. II: EXCEPTIONAL VIOLENTS (2017, 4 min, 16mm, b&w) Additional films and performances to be announced! Total running time: ca. 70 min.


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