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This week [May 26 - June 2, 2013] in avant garde cinema

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Events are sorted alphabetically BY CITY within each DATE . This page is updated every Sunday.
  • Sunday, May 26, 2013
  • Monday, May 27, 2013
  • Tuesday, May 28, 2013
  • Wednesday, May 29, 2013
  • Thursday, May 30, 2013
  • Friday, May 31, 2013
  • Saturday, June 1, 2013
  • Sunday, June 2, 2013

    • This week's programs (summary):

    Sunday, May 26, 2013
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    New York, New York: Anthology Film Archives
    3:30 pm, 32 2nd Avenue
    Essential Cinema: Brakhage PIttsburgh Trilogy
    EYES 1970, 36 min, 16mm, silent. “After wishing for years to be given-the-opportunity of filming some of the more ‘mystical’ occupations of our Times – some of the more obscure Public Figures which the average imagination turns into ‘bogeymen’... viz.: Policemen, Doctors, Soldiers, Politicians, etc.: – I was at last permitted to ride in a Pittsburgh police car, camera in hand, the final several days of September 1970.” –S.B. & DEUS EX 1971, 34 min, 16mm, silent. “I have been many times very ill in hospitals; and I drew on all that experience while making DEUS EX in West Penn. Hospital of Pittsburgh; but I was especially inspired by the memory of one incident in an emergency room of San Francisco’s Mission District: while waiting for medical help, I had held myself together by reading an April-May 1965 issue of ‘Poetry Magazine’: and the following lines from Charles Olson’s ‘Cole’s Island’ had especially centered the experience, ‘touchstone’ of DEUS EX, for me: Charles begins the poem with the statement ‘I met Death –’ And then: ‘He didn’t bother me, or say anything. Which is / not surprising, a person might not, in the circumstances; / or at most a nod or something. Or they would. But they wouldn’t, / or you wouldn’t think to either, / it was Death. And / He certainly was, the moment I saw him.’” –S.B. & THE ACT OF SEEING WITH ONE’S OWN EYES 1971, 32 min, 16mm, silent. “…Brakhage, entering, with his camera, one of the forbidden, terrific locations of our culture, the autopsy room. It is a place wherein, inversely, life is cherished, for it exists to affirm that no one of us may die without our knowing exactly why. All of us, in the person of the coroner, must see that, for ourselves, with our own eyes. It is a room full of appalling particular intimacies, the last ditch of individuation. Here our vague nightmare of mortality acquires the names and faces of others.” –Hollis Frampton Total running time: ca. 105 minutes.

    New York, New York: Anthology Film Archives
    6:15 pm, 32 2nd Avenue
    Ken Jacobs program 5
    AMERICA AT WAR (2011, 30 min, digital video, anaglyph 3D) ANOTHER OCCUPATION (2011, 15 min, digital video) SEEKING THE MONKEY KING (2011, 40 min, digital video) Total running time: ca. 90 min.

    New York, New York: Anthology Film Archives
    8:30 pm, 32 2nd Avenue
    Ken Jacobs program 6
    KEATON’S COPS (1991, 23 min, 16mm) HIS FAVORITE WIFE IMPROVED (OR THE VIRTUE OF BAD RECEPTION) (2008, 2 min, digital video) WE ARE CHARMING (2007, 1 min, digital video) HANKY PANKY JANUARY 1902 (2007, 1 min, digital video) NYMPH (2007, 2 min, digital video) ALONE AT LAST (2008, 2 min, digital video) THE DISCOVERY (2008, 5 min, digital video) LOVE STORY (2008, 3 min, digital video) DISORIENT EXPRESS (1996, 30 min, 35mm) Total running time: 75 min.

    Zurich: Videoex
    18:15, Kanonengasse 20
    VIDEOEX Festival / "Ici et ailleurs" by Jean-Luc Godard
    As a first step of "For ever Godard!", a short survey inside the film practice of the Swiss-French director Jean-Luc Godard shown during the Videoex Festival, one of his most controversial films will be projected in the Cinema Z3. "Ici et ailleurs", produced in 1976 by using footage from "Jusqu'à la victoire" (a 1970 pro-Palestinian film made by Godard and Jean-Pierre Gorin), marks the beginning of Godard's transitional period, which found him experimenting with video and moving from political polemics to an examination of the way people perceive themselves and others.

    Monday, May 27, 2013
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    Toronto, Ontario, Canada: Early Monthly Segments
    8pm, Gladstone Hotel, Art Bar, 1214 Queen Street West
    EARLY  MONTHLY SEGMENTS #51 = Transitions
    Five films on transition as a psychological and formal device. Michael Robinson’s Chiquitita and the Soft Escape (2003) started as an attempt to ground nostalgia as “a purely mechanical process”, but reveals instead how powerfully an image carries emotional weight – whether the impositions of family life or, remarkably, the simple camera tilt up a window frame. Stan Brakhage’s In Between (1955), his first in colour and one of his few with music (by John Cage), uses the columns of San Francisco’s Legion of Honor as an external portraiture of the great collage artist Jess Collins. Barbara Sternberg’s Transitions (1982) confines the subject to the space of her bed while her inner mind, caught between waking and dreaming, sorts through visual and vocal superimpositions—the memories both trap her and lead her out into the imaginary beyond. Matthias Müller’s Pensao Globo (1997) looks directly at the beyond as a dying man books a room in Lisbon to spend his final days wandering, his body and mind dissolving into an uncertain eternal rest. Finally, the stunning hot air balloon ride in Fern Silva’s recent Passage Upon the Plume (2011) takes us out through the window and up into a abstracted voyage through the sky. Programme: Chiquitita and the Soft Escape, Michael Robinson, 2003, USA, 16mm, 10 min In Between, Stan Brakhage, USA, 1955, 16mm, 10 min Transitions, Barbara Sternberg, 1982, Canada, 16mm, 12 min Pensao Globo, Matthias Müller, 1997, Germany, 16mm, 15 min Passage Upon the Plume, Fern Silva, 2011, USA, 16mm, 7 min @ Gladstone Hotel, Art Bar | 1214 Queen St West Monday May 27, 2013 | 8:00 PM screening | $5 suggested donation

    Zurich: Videoex
    20:15, Kanonengasse 20
    VIDEOEX Festival / Carolee Schneemann
    «I really wanted to see what "the fuck" is and locate that in terms of a lived sense of equity», Carolee Schneemann said about her 1967 film "Fuses", which took inspiration by Stan Brakhage's "Window Water Baby Moving" (1959) and portrayed the artist and her then-boyfriend James Tenney having sex as recorded by a 16 mm Bolex camera. Schneemann then altered the film by staining, burning, and directly drawing on the celluloid itself, mixing the concepts of painting and collage. The segments were edited together at varying speeds and superimposed with photographs of nature, which she juxtaposed against her and Tenney's bodies and sexual actions. "Fuses" and a selection of films by Carolee Schneemann will be shown during the Videoex Festival as a taste of her controversial investigation in the world of sex and intimacy.

    Tuesday, May 28, 2013
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    Zurich: Videoex
    20:15, Kanonengasse 20
    VIDEOEX Festival / When reality isn't good enough
    A very special and inedited compilation, that decontructs the supposed reality of the filmic images putting the subject in front of another form of counsciousness. Seven videos in succession by the international filmmakers Ito Takashi, Bernard Gigounon, Arash T. Riahi, Nicolas Provost and Peter Tscherkassky.

    Wednesday, May 29, 2013
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    Zurich: Videoex
    20:15, Kanonengasse 20
    VIDEOEX Festival / "Tropicália" by Marcelo Machado
    "Tropicália" by Marcelo Machado is a vivid portrait of the Brasilian music avant-garde during the 60s. Through musicians and artists such as Os Mutantes, Tom Zé, Gal Costa, Gilberto Gil and Caetano Veloso, the movement which gives the title to the film has embodied the joyful symbol of opposition against tradition in the years of the authoritarian military dictatorship in Brasil.

    Thursday, May 30, 2013
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    London, England: Whitechapel Gallery
    7.00pm - 9.00pm, Zilkha Auditorium, Whitechapel Gallery, Whitechapel High Street.
    Places of Work: Creativity and Place.
    Opening with a poetry reading by acclaimed poet STEPHEN WATTS in Gallery 2, PLACES OF WORK explores sites of creativity; featuring work by filmmakers, STAN BRAKHAGE, MAYA DEREN, NICK COLLINS, ANNABEL NICOLSON, GUY SHERWIN, MARGARET TAIT, and PETER TODD, who has curated this programme and will introduce it, along with film-makers GUY SHERWIN and NICK COLLINS, and Tait scholar SARAH NEELY. Welcome by GARETH EVANS, Whitechapel Gallery. MY ROOM*. MARGARET TAIT. c.1951. 2.45mins. ‘Interiors of Margaret Tait's room when she stayed at 21 Via Ancona, Rome, Italy. Brief shots of her belongings (shoes, films, teacup) and then views of the street as seen from a balcony window. Original can hand-written with 'My room, Via Ancona 21' – from Scottish Screen Archive website. *[a very early piece not listed on filmography]. WHERE YOU HAD BEEN. PETER TODD. 2005. 3mins. 16mm. ‘exploring a dialogue of absence and presence in the loaded, emotionally significant space of the home, visiting the house as site and record of interchange, companionship, love.’ - Adam Pugh, May 2012, from Promontories: Exhibition Notes. THREE SILENT FILMS. NICK COLLINS. 2006. 7mins. 16mm. ‘…present domestic objects and interiors as things in themselves: liberated from their relationship with the world they are free to assert themselves as form alone.’ - Adam Pugh, May 2012, from Promontories: Exhibition Notes. WINDOW WATER BABY MOVING. STAN BRAKHAGE. 1959. 12mins. 16mm. ‘By the afternoon of November 12th, we had taken some moving pictures of the baby moving and kicking before being born, and that night there were contractions, and we were very happy and took some more film of our happy faces and some of the cat and played games and watched the clock…’ - Jane Brakhage, from ‘The Birth Film’, Film Culture 31, Winter 1963/4. MESHES OF THE AFTERNOON. MAYA DEREN & ALEXANDER HAMMID. 1943. 13mins. 16mm. ‘By using their own house as the setting the film-makers have also given us a vivid picture of the actual environment in which Meshes… was conceived.’ - Catrina Neiman, from The Legend of Maya Deren, Vol.1, Part. 2, Chambers. PRELUDE. GUY SHERWIN. 1996. 12mins. 16mm. ‘A study of time, memory and actuality, that takes place in the backyard of the house where my daughter grew up.’ - GS, from Luxonline. TO THE DAIRY. ANNABEL NICOLSON. 1975. 4mins. 16mm. ‘Around the dairy non-stop; single images in light just before the dairy ran out of time.’ - AN, from London Film Makers Co-op Catalogue, 1993. GARDEN PIECES. MARGARET TAIT. 1998. 12 mins. 16mm. ‘…a set of three pieces: Round the Garden is literally a look right round a back garden, from a central point, repeated da capo. As a garden, it's a place of potentiality still, but it is a place all right. Fliers is an animated piece, scratched-on, with added dyes. Grove, the longest of the three, studies and contemplates a group of trees planted maybe sixty years ago in a disused quarry.’ - MT, quoted in Subjects and Sequences: a Margaret Tait Reader, ed. Peter Todd and Benjamin Cook.

    Los Angeles, California: Echo Park Film Center
    8 pm, 1200 N. Alvarado St.
    LA AIR: Madison Brookshire
    LA AIR is a new artist-in-residence program that invites Los Angeles filmmakers to utilize EPFC resources in creating a new work over a four-week period. Madison Brookshire is a Los Angeles-based artist and filmmaker. He is currently working on a hand-made film by soaking lengths of 16mm acetate in paint and allowing evaporation, dust, crystallization, mold, and more to inform the image. In addition to this work in progress, Brookshire will present a program of works detailing his relationship to music, including OPENING (2007), an elliptical landscape film with a live soundtrack of indeterminate music; and Five Lines (2012), a digital video that is also a musical score. Brookshire will be in attendance and Ezra Buchla, Mark So, and more will perform. Free event.

    New York, New York: Anthology Film Archives
    7:30 pm, 32 2nd Avenue
    The Dead Man: Catalysts
    CATALYSTS (or, EXPOUNDED CINEMA) PRESENTS: Peggy Ahwesh & Keith Sanborn’s THE DEADMAN CATALYSTS is a new series wherein avant-garde filmmakers reveal the secret sources and inspirations for a specific film from their body of work by a show-and-tell presentation through readings, films, music, images, dreams, documents, private tales, or exhibits demonstrating the roots and branches of experimental personal cinema: Exegesis by demo. Each invited artist will be asked to develop and deliver a presentation that gives the audience insight into their original research on the personal, cultural, or historical source materials of the particular film being discussed. Each work chosen shall be rich in hybrid sources for a complex mixture of influences and inspirations. Curated by Bradley Eros. For this edition, Peggy Ahwesh and Keith Sanborn will explore the secret beatle messages and spiritual ambience which gave rise to their two-headed monster: THE DEADMAN. Bataille, Hegel, Lacan, Goya, de Sade, Danish specialty porn, Bimbonic initiatic rites, and the Dionysian festival of the goat will be included in this ill-guided tour of the Pathosformeln invoked in the making of the film. THE DEADMAN 1990, 37 min, 16mm A loose adaptation of Georges Bataille’s text of the same name. The protagonist, Marie, leaves the deathbed of her lover to explore to the limit her shattered identity. Neither ‘erotic’ nor ‘pornographic’ quite captures the sense of the agonistic limits she shatters in recollecting herself in confrontation with death. Nor is it a matter, for the filmmakers, of style, but the embrace of something less amenable to direct description.

    Zurich: Videoex
    18:15, Kanonengasse 20
    VIDEOEX Festival / "Film Socialisme" by Jean-Luc Godard
    With its intertextual references "Film Socialisme" (2010) by Jean-Luc Godard is a philosophical dissertation about the history, past and future of the Western culture. Divided into three acts, the film moves from a cruise on board the ship Costa Concordia to a gas station on solid ground, and ends with the final movement, set in six legendary sites: Egypt, Palestine, Odessa, Hellas, Naples, and Barcelona. Based not on a real narration, it's a compendium of fragmented dialogues, pseudo-characters and images, that suggest a critical interpretation of the today Europe. The projection is part of "For ever Godard!", a screening dedicated to the filmmaker inside the Videoex Festival.

    Zurich: Videoex
    20:15, Kanonengasse 20
    VIDEOEX Festival / Architecture in Experimental Film
    An intense compilation which shows how a film could reconstruct the fascination of the architectonic space. The filmmakers try to capture and return architectures by Robert Maillart, John Lautner, Oscar Niemeyer or Le Corbusier by their cameras developing an idea of film in dialogue with the structural space. With films by Elie Alexandre Habib aka siska, Matthias Müller, Maillart From The Ground, Lotte Schreiber and Sasha Pirker.

    Zurich: Videoex
    21:30, Kanonengasse 20
    VIDEOEX Festival / New Experimental Film in Serbia
    Curated by Miodrag Milošević, the screening shows the most recent engagement with the filmic practice by the last generation of Serbian filmmakers and artists, starting from the beginning of the present millennium when some young authors, who were proponents of the tradition of experimental film, had been introducing in their work an echo of reality to articulate their critical viewpoints. With films by: Bob Miloshevic, Zoran Tairovic, Bosko Prostran, Mane Zudelovic, Andrés Denegri, Incredible Bob, and Zoran Saveski.

    Friday, May 31, 2013
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    Albuquerque, NM: Center for Contemporary Arts [CCA]
    7:30pm, 1050 Old Pecos Trail
    Secession From the Broadcast: The Internet and the Crisis of Social Control
    "There exists today an alternative media environment that surpasses the wildest utopian dreams of twentieth-century media activism," writes Gene Youngblood. "It holds the possibility of radical re-socialization on a global scale and is a mortal threat to social control as we know it. This lecture is about what is at stake in the epic struggle for control of the Internet, and what we must do to release its revolutionary potential."

    Melbourne, Australia: CINECITY PROJECT
    6.30PM, BEER DELUX ATRIUM CAFE FED SQUARE
    CINECITY PROJECT SCREEINGING
    One minute architectural films explore the theme material JUDGING PANEL: BERNARD TSCHUMI - MANHATTAN TRANSCRIPTS EDUARDO KAIRUZ - KARIUZ.NET JANE RENDELL - ART AND ARCHITECTURE MICHAEL TAWA - AGENCIES OF THE FRAME RICARDA VIDAL - BETTING ON SHORTS SHELLEY PENN - PRESIDENT AIA RICHARD SOWADA - ACMI

    New York, NY: Anthology Film Archives
    7:30, 32 Second Avenue (@2nd Street)
    Abigal Child: UNBOUND and A Shape of Error NYC Premiere
    Unbound + A Shape of Error NYC Premiere, 2 Screenings UNBOUND, 2012, 75, digital video, The ‘exploded' version of A SHAPE OF ERROR

    New York, New York: Anthology Film Archives
    7:30 pm, 32 2nd Avenue
    Unbound
    ABIGAIL CHILD’S ‘UNBOUND’ & ‘A SHAPE OF ERROR’ Anthology is pleased to present the NYC premieres of both Abigail Child’s new feature film A SHAPE OF ERROR, and an expanded, ‘exploded’ version of the same material, entitled UNBOUND. “In Rome for a year at the American Academy, I created imaginary home movies of scenes from the life of Mary and Percy Shelley. I was attracted to these authors – their life of poetry, politics, and sexual invention – and inspired by my previous fictionalizing of home movies in COVERT ACTION and THE FUTURE IS BEHIND YOU. I worked with non-actors, the seasons, and the extraordinary architecture and landscapes of Italy where the Shelleys were in exile for six of their eight years together. The result was a feature film, A SHAPE OF ERROR, gorgeous, emotional, and harnessed to the narrative. I wanted to go further and abetted by digital technology, I have ‘exploded’ the film. The result is UNBOUND, digressive, looped, unpredictable, symphonic, spontaneous, messy – like life and memory.” –A.C. “So exuberant, so visually gorgeous…ahead of the curve…mixing narrative, avant-garde and expanded cinema.” –Tina Wasserman “[A]t once a mischievous scuttling of BBC costume drama and the creative anachronism of home movies before the invention of film. The results are of a kind that only Child could achieve: a playful mastery of form, and never-wavering attention to the past’s connection with the present.” –Jim Supanick UNBOUND 2012, 75 min, digital video. Music by Zeena Parkins. The ‘exploded’ version of A SHAPE OF ERROR.

    Toronto, Ontario, Canada: Pleasure Dome
    7:30 PM, CineCycle, 129 Spadina Avenue (down the lane)
    Intertidal: A Film Performance by Alex MacKenzie in Person!
    Pleasure Dome and LIFT are pleased to present Alex MacKenzie’s most recent expanded cinema performance works featuring 16mm analytic projectors with hand processed imagery. The scope and materiality of both emulsion and environment are explored using elements as wide ranging as photograms, alternative film chemistry and live manipulation. Intertidal (55 min., 2012) is inspired both by Ed Ricketts, the American marine biologist and philosopher known for his pioneering study of intertidal ecology, and the mesmerizing science films of Jean Painlevé. The work presents a submersive exploration of the tidal zones and marine life off the shores of B.C. Using camera and non-camera approaches, Intertidal speaks to the fragility of both the film medium and the marine environment explored. Travelling as far west as Nootka Sound on Vancouver Island and north to the tip of Naikoon on Haida Gwaii, this route purposefully emulates that which Ricketts and his close friend author John Steinbeck intended to revisit prior to Ricketts' untimely death in 1948. At once personal, political, visual and ecological, the work gives equal weight to representation and abstraction. Opening the programme, Logbook (25 min., 2011) utilizes black and white film emulsions handmade and painted onto raw celluloid in rendering traces of past life and moments passed on a remote island mountain in the Pacific Northwest. Filmed with a 1923 Cine-Kodak Model A—the first hand-cranked 16mm camera produced by Kodak—frames are slowed, frozen, reversed and reprised in a study and interplay of surface and subject, where fleeting images crackle, tear and fold in on themselves to invoke the very silver nitrate of which they are made. Alex MacKenzie is an experimental film artist working primarily with analogue film equipment and hand processed imagery. He creates works of expanded cinema, light projection installation and projector performance. MacKenzie’s work has screened nationally and internationally since 1998. He was the Founder and Curator of the Edison Electric Gallery of Moving Images from 1995 to 1997 and the Blinding Light!! Cinema from 1998 to 2003. Alex co-edited Damp: Contemporary Vancouver Media Art (2008) and interviewed David Rimmer for Loop, Print, Fade + Flicker: David Rimmer’s Moving Images (2009).

    Zurich: Videoex
    18:15-24:00, Kanonengasse 20
    VIDEOEX Festival / Contemporary & Historical Croatia in Experimental Film
    A long night dedicated to the Croatian Experimental Film scene, starting from a selection of contemporary filmmakers (Damir Očko, Boris Poljak, Mare Šuljak, Renata Poljak, Damir Čučić, Ivan Faktor, and Tanja Deman), up to a focus on the Croatian Animation Film of today designers, followed by an historical retrospective about the 1960s along the GEFF Reductionist Lines. The historical section will present films by: Mihovil Pansini, Vladimir Petek, Milan Šamec, Tomislav Gotovac, Ivan Martinac, Vjekoslav Nakić, and Ante Verzotti.

    Saturday, June 1, 2013
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    Austin, TX: Experimental Response Cinema
    1pm, Alamo Drafthouse Ritz, 320 E. 6th St.
    Large-Scale: Experimental Films on 35mm
    Experimental Response Cinema is excited to partner with the Alamo Drafthouse Ritz to present a rare screening of classic and contemporary experimental works made on that now-classic format of 35mm film! - Cabinets, windows and frames of reveries, hand-painted epics, radically reshaped and vital emulsions, and explorations of the primal elements of the medium are some of the themes that come forward in this diverse program. Featuring work by Christina Battle, Louise Bourque, Stan Brakhage, Siegfried A. Fruhauf, Lawrence Jordan, Chris Kennedy, Peter Kubelka, Kerry Laitala, Pat O'Neill, and Peter Tscherkassky. Conjuror’s Box by Kerry Laitala, 5min / 35mm / silent / 2011; Arnulf Rainer by Peter Kubelka, 7min / 35mm / sound / 1960; REALTIME by Siegfried A. Fruhauf, 5min / 35mm / sound / 2002; Three Hours, Fifteen Minutes Before the Hurricane by Christina Battle, 5min / 35mm / silent / 2006; Our Lady of the Sphere by Lawrence Jordan, 10min / 35mm / sound / 1969; Dream Work (for Man Ray) by Peter Tscherkassky, 11min / 35mm / sound / 2001; Jours en Fleurs by Louise Bourque, 4:30min / 35mm / sound / 2003; 16-18-4 by Tomonari Nishikawa, 2.5min / 35mm / silent / 2008; Jane’s Window by Chris Kennedy, 11min / 35mm / silent / 2005; The Dante Quartet by Stan Brakhage, 8min / 35mm / silent / 1987; Horizontal Boundaries by Pat O’Neill, 23min / 35mm / sound / 2008.

    Los Angeles, California: Echo Park Film Center
    8 pm, 1200 N. Alvarado St.
    Nomadic Archive: Abraham Ravett Presents Two Works by Tom Joslin
    Hampshire college alumna and EPFC staffer Eve LaFountain and her professor Abraham Ravett will present two of Tom Joslin’s works: Blackstar: Autobiography of a Close Friend from 1976, and the posthumously assembled work The Architecture of Mountains (2010). Ravett writes the following about the project: “Before he left for LA in 1981 to pursue a career in Hollywood, documentary filmmaker Tom Joslin completed an innovative and, to this day, historically significant film called Blackstar: Autobiography of a Close Friend (1976, 85 minutes, color, sound, 16mm). It was one of the first autobiographical, diary format films that addressed the issue of gay identity and coming out to one’s family. It’s a beautifully made film, formally inventive, and still resonates on many fronts.” When Tom passed away from AIDS, he left all his video tapes from another autobiographical project he had been shooting in LA to a former student named Peter Friedman who in turn, found the resources to construct the much acclaimed film, Silverlake Life: the View from Here. Prior to leaving Hampshire College in 1980, Tom was working on another film inspired by Jose Argüelles book, The Transformative Vision: Reflections on the Nature and History of Human Expression. Shot in sync and MOS on 16mm, the footage reflects Tom’s interest in perception, human consciousness, and signaled his evolving interest in fusing non-fiction, experimental and dramatic genres. All the original materials for this unfinished film were stored at the LA home of Ken Levin another former Hampshire College student who, along with several other students, worked with Tom on this project, which he called The Architecture of Mountains (62 minutes). Ravett asked Ken Levin if we could use the footage as part of a class project. For the last two years, a small group of students and Ravett have shaped the material into a 62 minute film that is based on Tom’s production notes, conversations with Tom’s former students about the Architecture of Mountains project, and the Argüelles text. The primary editor is Ben Balcom. The version which would be screened tonight “is an attempt to construct what Tom may have wanted to do with this material as well as our own engagement and fascination with this footage.” Following the sceerning, Ravett will discuss the consequences of creating such a “nomadic archive,” as he calls this project. (text from UnionDocs) ABRAHAM RAVETT IN ATTENDANCE!

    Zurich: Videoex
    16:15, Kanonengasse 20
    VIDEOEX Festival / Belgrad Historical - Radical Amateurism
    A four-film screening curated by Aleksandra Sekulić and devoted to the Experimental Avant-garde Film scene in Belgrade between the 60s and 80s. Films by Sava Trifkovic, Ivko Sesic, Miroslav Bata Petrovic and Bojan Jovanovic.

    Zurich: Videoex
    21:30, Kanonengasse 20
    VIDEOEX Filmfestival / Juan River & Riojim (live)
    Wild Elektro-Sound, lo-fi singing and explosive colours in an extemporaneous 16 mm Film... a psychedelic penetration in the black and white world for a live performance in the night of the VIDEOEX Festival.

    Zurich: Videoex
    22:00, Kanonengasse 20
    VIDEOEX Festival / "Leviathan" by Lucien Castaing-Taylor & Verena Paravel
    A special screening of the recent acclaimed film by Lucien Castaing-Taylor & Verena Paravel. "The Leviathan" (2012) is a documentary movie and wordless experimental work shot in the North Atlantic, focused on the North American commercial fishing industry.

    Sunday, June 2, 2013
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    Los Angeles, California: Filmforum
    7:30pm, Spielberg Theatre at the Egyptian, 6712 Hollywood Blvd.
    Los Angeles Filmforum presents The Oberhausen Short Film Festival Tour – International Competition 2012
    The Internationale Kurzfilmtage Oberhausen comes to Los Angeles. Oberhausen, Germany, hosts what is probably the world’s leading festival for short films, and Filmforum is bringing two of their programs from 2012 to Los Angeles. In this program of selections from Oberhausen’s International Competition, six documentary and experimental video works (for the most part) take a close look at human and animal behavior. What is fiction here, and what is documentary? The diversity of current international short film production is just waiting to be discovered in this program. Tickets: $10 general, $6 students/seniors; free for Filmforum members. Available at from Brown Paper Tickets (http://www.brownpapertickets.com/event/389209) and at the door. Screening: No estoy muerto, solo estoy dormido (I'm not dead, only asleep) by Juan S. Lopez Maas (2011, Netherlands, color, 25 min.), Snow Tapes by Mich'ael Zupraner (2011, Palestinian Territories, color, 14 min.), Ersatz by Elodie Pong (2011, Switzerland, France, color, 4 min.), Malody by Phillip Barker (2012, Canada, color, 12 min.), Hirvikuiskaaja (The Elk Whisperer) by Ilkka Rautio (2011, Finland, color, 19 min.), Café Regular, Cairo by Ritesh Batra (2011, Egypt, India, color, 11 min.) All the works in this program are Los Angeles premieres!

    New York, NY: Anthology Film Archives
    3pm, 32 Second Avenue (@2nd Street)
    Abigail Child: A Shape of Error NYC Premiere
    A SHAPE OF ERROR, 2012, 70min, digital video - - www.abigailchild.com, www.ashapeoferror.com

    New York, NY: Filmmakers Co-op
    2pm, 475 Park Avenue South, 6th Floor
    FILMMAKERS ROAD MAP with GEORGIA HILTON
    The Filmmakers' Cooperative & Millennium Film Workshop present: - FILMMAKERS ROADMAP WORKSHOP (Part One) - High Production Value on a Microbudget - This 2-hour workshop with Georgia Hilton will help you: - *Develop your project– Write scripts that won't force you to go on food stamps to feed your crew. - *Pre-Production – How to use Storyboards and Animatics to save 25% of your time and money\; Equipment you'll really need (sometimes it's cheaper to rent the right stuff than going with "what you have")\; Initial crewing tips\; Managing costs on the set\; and Realistic budgeting. - *Production – How to keep your crew and talent focused, on track, and on budget\; Things to look for to make Post a lot easier. - *Post-Production – How to use sound to fix film mistakes\; How to use picture editing to fix sound problems\; ADR tricks\; Great sound on a low budget and why you should never discount sound. - *Money - How to make your film accessible and seen by more people\; Alternative distribution options. - Cost: $59, Sunday, June 2nd, 2013, 2pm-4PM - @ the Film-Makers' Cooperative, 475 Park Avenue South, Sixth Floor (at 32nd street) - Fee: $59 : Sign up now, space is limited! - Paypal Link: http://millenniumfilm.org/wp-content/themes/mill_theme3/filmmakers_roadmap.php (Enroll by May 27) - - GEORGIA HILTON- MPE MPSE CAS, founder of Film Doctors and Hilton Media Management, is a Producer, director, and editor for Film and Broadcast. Ms Hilton is also a well known technology and business consultant for both media and technology fields. She has designed Broadcast Facilities, Recording Studios, Film Dub-stages, Data Centers, International Networks and Software/database systems. As a Media Consultant, she is a producer, director, editor, sound designer and re-recording engineer, with a remarkable background in film making. Georgia's expertise spans both the Art and Technology disciplines. Additionally, Ms Hilton is an approved Dolby and DTS content provider, delivering DTS, Dolby-E, Dolby-AC3, Digital delivery encoding services and QC for features & broadcast projects. She has a comprehensive credit list including broadcast, film and multimedia credits. - http://www.hiltonmediamanagement.com/

    Zurich: Videoex
    15:00, Kanonengasse 20
    VIDEOEX Filmfestival / "Le Fond de l'air est rouge" by Chris Marker
    Divided into two parts – the first one focused on the emergence of leftist movements at the end of 60s, while the second one details the slow demise of the invigorated left in the following years – "Le Fond de l'air est rouge" (1977) is a documentary film shot by Chris Marker before the Fall of the Wall and the end of the URSS and try to be an essay on the New Left – its arise and its failure.

    Zurich: Videoex
    20:15, Kanonengasse 20
    VIDEOEX Filmfestival / International & Swiss Contest - Screening of the winners
    After a ten-day overall screening, the last night of the Videoex Festival will be the scenario for the prize-giving of the winners. The films of both the international and Swiss contests will be awarded and then projected in the space of the Cinema Z3.

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