This week [October 14 - 21, 2019] in avant garde cinema

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  • Tuesday, October 15, 2019
  • Wednesday, October 16, 2019
  • Thursday, October 17, 2019
  • Friday, October 18, 2019
  • Saturday, October 19, 2019
  • Sunday, October 20, 2019
  • Monday, October 21, 2019
  • This week's programs (summary):

    Tuesday, October 15, 2019

    Mexico City: Filmforum
    10AM-6PM, Tuesday-Sunday, Paseo de la Reforma 51, Col. Bosque de Chapultepec
    Ismo Ismo Ismo--"Redes"
    Ismo Ismo Ismo: Experimental Film in Latin America/Cine experimental en América Latina Redes: Experimental Women Filmmakers from Latin America This program showcases female filmmakers who sought to carve out a place within the male-dominated world of Latin American independent audiovisual production. Key works, such as Argentine filmmaker Narcisa Hirsch’s “Come Out,” exemplify the defiant position toward gendered and essentializing aesthetics expected of Latin American women filmmakers. The program also includes pioneering Uruguayan filmmaker Lydia García Millán’s “Color,” one of the first abstract experimental films from Latin America, the politically charged Super 8 experiments by Puerto Rican underground artist Poli Marichal, an imagined dialogue with an iconic painting of Diego Rivera by Silvia Gruner, and a comic video essay by Mexican artist Ximena Cuevas. Redes: Realizadoras Experimentales de América Latina ‘Redes” busca indagar los posibles desbordes e implicaciones epistémicas de los términos “mujer latinoamericana”, “artista latina”, para componer un mapa de empatías conceptuales, estrategias coincidentes y redes afectivas que traspasaron barreras geopolíticas y apostaron a la subversión del canón modernista. La genealogía propuesta es sinuosa y fragmentaria, señala puntos en encuentro y desencuentro entre las creaciones cinematográficas realizadas por mujeres de américa latina. La emblemática obra de Narcisa Hirsch: “Come Out” (1975) funciona como síntesis conceptual de este panorama, trabajando desde una espacialidad personal e independiente, que resulta clave para comprender las indagaciones experimentales de las realizadoras presentadas en este programa. La performatividad sonora sirve como punto de partida de este recorrido. Lydia García, una de las pioneras en esta práctica, en “Color” trabaja con el Hot Jazz Club que acompaña en vivo la filmación de un action painting realizado por la artista. En una búsqueda musical comparable, Vivian Ostrovsky, quién vivió su infancia y adolescencia en Río de Janeiro, con Copacabana Beach realiza un collage lúdico que retrata las escenas cotidianas de una jornada en la playa de Copacabana. A partir del ritmo de fragmentos musicales, entre ellos canciones de Carmen Miranda, la película puede ser entendida como “beach symphony film” (una sinfonía costera), tal como la describe Johnson y Stam. En "Popsicles" de Gloria Camiruaga la sonoridad está trabajada a partir de bocas que repiten el mantra del Ave María, mientras chupan un helado de agua que dentro contiene el clásico soldadito miniatura. La obra es una fuerte denuncia a la ligazón entre la iglesia y la dictadura militar chilena, e interpela a la negación de los devotos a ver estos nexos. La enunciación feminista a través del señalamiento poético de la corporalidad en escena se muestra en Silvia Gruner en "Desnudo con alcatraces," donde la artista logra una atmósfera sutil contaminada por el grano de la película, sensual en la relación de su piel con los alcatraces y desafiante en los encuadres de su cuerpo desnudo.

    New York, NY: Anthology Film Archives
    7:30 PM, 32 Second Avenue
    Anthology welcomes German filmmaker Ute Aurand for a special screening of her brand-new 16mm film RUSHING GREEN WITH HORSES, as well as OH! THE FOUR SEASONS, a 1988 film made in collaboration with Ulrike Pfeiffer (and, via an introductory text, Anthology's founder Jonas Mekas). "Aurand's is a cinema of intimacy, populated by friends and family, in which daily experience forms the basis for a practice rich in lyrical beauty. I consider it amongst the most compelling work in experimental cinema today. […] The expanses of time Aurand spends with her subjects are telescoped through montage so as to bring together disparate glimpses of changing lives. Even when the passing of time emerges as a central concern…Aurand's films do not dwell in melancholy, but rather delicately register how our relationships to those around us develop and change over time. She shares with us the feeling that though time's arrow may bring loss, it is also time that brings tenderness, care, and complexity to our lives." -Erika Balsom Ute Aurand & Ulrike Pfeiffer OH! THE FOUR SEASONS / OH! DIE VIER JAHRESZEITEN 1986/88, 20 min, 16mm Aurand and Pfeiffer filmed each other at four famous sites in Europe: walking in a summer dress through the snow in front of the Reichstag in Berlin, spinning a young boy again and again through the air in Red Square in Moscow, climbing on a hot day into the waterfall at the Place de la Concorde in Paris, and, as two angels in London, walking through the night of the city. The film begins with a text about improvisation written and recited by Jonas Mekas. Ute Aurand RUSHING GREEN WITH HORSES / RASENDES GRÜN MIT PFERDEN 2019, 82 min, 16mm "A collection of brief observations and encounters, filmed between 1999 and 2018 at home and while traveling, with friends and alone. Private gestures awaken my attention: Anton in his apartment in Lichtenberg, Lilian and Nanouk 10 days old, Jón's 94th birthday, Sofia dancing, a trip to Detroit, Alma and Ernie at the Brandenburger Gate. We see the same people at various ages, as a child, a teenager, a young woman… The magic of moving images and sounds echoes from the past into the present. In the middle of the film appears a handwritten sentence first mirrored then turned around: 'A child asleep in its own life.'" -Ute Aurand

    San Francisco, CA United States: San Francisco State University
    4:30 PM, 1600 Holloway Ave
    Film Screening - Love Boat: Taiwan
    Join us to watch Love Boat Taiwan, a feature-length documentary from CAAMFest37 Spotlight Honoree and Professor Valerie Soe, which looks into of one of the longest running summer programs in the world. The film revisits the program’s participants and explores the history and popularity of this well-known program, sponsored by the Taiwanese government, which takes place every summer in Taiwan. After the film screening we will host a Q&A with Director Valerie Soe and a reception with Taiwanese snacks.

    Wednesday, October 16, 2019

    Berkeley, CA United States: Pacific Film Archive
    7:00 PM, 2155 Center St
    Found Images: Films by Scott Stark
    Found Images: Films by Scott Stark Wednesday, October 16, 7 PM Tonight’s program focuses on one strain in local filmmaker Scott Stark’s extensive oeuvre—the use of found images, whether industrial footage, movie trailers, amateur films, pornography, books, photographs, or, in the case of I’ll Walk with God, emergency information cards. Conceptually intriguing, often humorous, always surprising, these films are also often uncharacterizable. Stark constructs his most recent work, the performance piece Love and the Epiphanists, out of Hollywood movie trailers and other media, which he twists into a “playful and chaotic” futuristic narrative that is interrupted by timely history lessons. As Stark declares, it is a “pulsing, kinetic and intensely dramatic visual joyride.” This program is copresented by Canyon Cinema Foundation as part of Alternative Visions (September 4–November 13).

    Madrid, Spain: Círculo de Bellas Artes
    8:00 PM, Alcalá 42
    Cineinfinito #85: Margaret Tait
    Cineinfinito #85: Margaret Tait CINEINFINITO / CINE ESTUDIO Miércoles 16 de Octubre de 2019, 20:00h, Círculo de Bellas Artes Calle Alcalá, 42 28014 Madrid Programa: Blue Black Permanent (1992), 16mm, color, sonora, 86min Formato de proyección: DCP Agradecimiento especial a el British Film Institute

    Thursday, October 17, 2019

    New York, NY: Anthology Film Archives
    7:00 PM, 32 Second Avenue
    HAND CATCHING LEAD (1968, 3.5 min, 16mm, silent) HANDS SCRAPING (1968, 4.5 min, 16mm, silent. Made in collaboration with Philip Glass.) HANDS TIED (1968, 3.5 min, 16mm, silent) HAND LEAD FULCRUM (1968, 3 min, 16mm, silent) FRAME (1969, 22 min, 16mm) TINA TURNING (1969, 2 min, 16mm, silent) COLOR AID (1970/71, 36 min, 16mm) Total running time: ca. 80 min.Buy tickets for Richard Serra: The Complete Films and Videos

    San Francisco, CA United States: Wattis Institute for Contemporary Arts
    7:00 PM, 360 Kansas St (Between 16th & 17th Streets)
    Trinh T. Minh-ha film screening with introduction by Việt Lê
    Co-presented with SFMOMA, we screen Trinh T. Minh-ha's 1991 film Shoot for the Contents. Reflecting on Mao’s famous saying, “Let a hundred flowers blossom and a hundred schools of thought contend,” the film—whose title refers in part to a Chinese guessing game—is a unique excursion into the maze of allegorical naming and storytelling in China. The film ponders questions of power and change, politics and culture, as refracted by the protests and massacre at Tiananmen Square in 1989. At the same time, the film offers an inquiry into the creative process of filmmaking, intricately layering Chinese popular and classical music, the sayings of Mao and Confucius, women’s voices and the words of artists, philosophers and other cultural workers. Exploring color, rhythm, and the changing relationship between ear and eye, this meditative documentary realizes on screen the shifts of interpretation in contemporary Chinese culture and politics. The screening is introduced by Việt Lê, who discusses the multidimensional question of color, music, memory and the politics of translation in Trinh's films. Following the screening is a Q&A with Trinh. Read more about Trinh T. Minh-ha here. Việt Lê is Associate Professor in Visual Studies at California College of the Arts. As an artist, academic and curator, their work has been published in American Quarterly, Amerasia Journal, Art Journal and featured at the Bangkok Art and Cultural Center, the Smithsonian, Shanghai Biennale, among other venues. Lê is a board member of the Queer Culture Center and the reviews coeditor of Asian Diasporic Visual Cultures and the Americas (ADVA). This is the second event in our year-long season dedicated to the questions posed by the work of Trinh T. Minh-ha and how they address art, culture, and society today. 7pm: Introduction by Việt Lê 7:15pm: Screening Q&A with Trinh T. Minh-ha to follow. Location: Phyllis Wattis Theater at SFMOMA Free

    Friday, October 18, 2019

    New York, NY United States: Filmmakers Coop
    7:00 PM, 475 Park Ave S, Fl 6th
    Loose Ends, Loose Corner, and More
    Films by Chick Strand, Marie Menken, Storm DeHirsch, and Anita Thacher RSVP: to reserve your seat The shelves of the Film-makers’ Coop are filled with rarely-screened treasures; the dazzling, inventive 16mm films in this selection are all by women artists. The 79-minute program is part of the ongoing series Songs of the Unsung, programmed by David Schwartz, former Chief Curator of Museum of the Moving Image. The program includes three short works by California filmmaker Chick Strand: Loose Ends (1979, 25 mins.), a collage film about how we process the information that bombards us from the media and personal experience; Fake Fruit Factory (1986, 22 mins.), an intimate documentary about Mexican women who make papier mache fruit and vegetables, focusing on the color, music, and movement, but mainly on gossip and comradery; and Kristallnacht (1979, 8 mins.), a fragile vision of unearthly beauty, dedicated to Anne Frank, with the play of starlight off water and the sounds of animals evoking a lost Eden. Eden is vibrantly alive in Marie Menken’s Glimpse of the Garden (1957, 5 mins.), a lush montage with extreme closeups of boldly colored flowers. Storm DeHirsch’s kinetic and trippy Peyote Queen (1965, 9 mins.) is a mindblowing film made with abstract imagery drawn directly on the film. “Among my and excitement.” (Jonas Mekas, The Village Voice.) And Anita Thacher’s brilliant and playful Loose Corner (1986, 10 mins.) is a Magritte-like marvel, as a man, woman, child, and dog encounter boxes and objects that take on impossible proportions and features. Like all the films in this program, it uses its artistry to shift and startles our perceptions.

    New York, NY: Anthology Film Archives
    6:30 PM, 32 Second Avenue
    PAUL REVERE (1971, 9 min, 16mm. Made in collaboration with Joan Jonas.) ANXIOUS AUTOMATION (1971, 4.5 min, video. Made in collaboration with Joan Jonas and Gerry Schum. Soundtrack by Philip Glass.) VEIL (1971, 6 min, 16mm, silent. Made in collaboration with Joan Jonas. Preserved by Anthology Film Archives.) CHINA GIRL (1972, 11 min, video. Made in collaboration with Gerry Schum. Courtesy of Stiftung Situation Kunst, Bochum, Germany.) SURPRISE ATTACK (1973, 2 min, video. Camera: Babette Mangolte.) TELEVISION DELIVERS PEOPLE (1973, 6.5 min, video. Made in collaboration with Carlotta Schoolman.) BOOMERANG (1974, 11 min, video) Total running time: ca. 55 min.Buy tickets for Richard Serra: The Complete Films and Videos

    New York, NY: Anthology Film Archives
    8:00 PM, 32 Second Avenue
    MATCH-MATCH THEIR COURAGE (1974, 34 min, 16mm. Made in collaboration with Nancy Holt & Charlemagne Palestine.) PRISONER'S DILEMMA (1974, 40 min, video. Made in collaboration with Robert Bell. With Spalding Gray, Richard Schechner, Kathryn Bigelow, Leo Castelli, and Bruce Boice.) Total running time: ca. 80 min.Buy tickets for Richard Serra: The Complete Films and Videos

    Saturday, October 19, 2019

    New York, NY: Anthology Film Archives
    6:00 PM, 32 Second Avenue
    RICHARD SERRA, PROGRAM 4 (with panel discussion)
    RAILROAD TURNBRIDGE (1976, 19 min, 16mm, silent) STEELMILL/STAHLWERK (1979, 29 min, 16mm. Made in collaboration with Clara Weyergraf.) Total running time: ca. 50 min + panel discussion.On Sat, Oct 19, the screening will be followed by a panel discussion between curators Søren Grammel, Chrissie Iles, and Jeffrey Weiss, moderated by art historian Benjamin Buchloh.Buy tickets for Richard Serra: The Complete Films and Videos

    San Francisco, California: San Francisco Museum of Modern Art
    1pm, 3rd and Mission
    The Grand Bizarre
    odie Mack in person! Jodie Mack is an internationally recognized experimental animator who combines the formal techniques and structures of abstract/absolute animation with those of cinematic genres. Her handmade films use collage to explore the relationship between graphic cinema and storytelling, and the tension between form and meaning. A mixture of musical documentary and stroboscopic effect, Mack’s films study domestic and recycled materials to illuminate the elements shared between fine-art abstraction and mass-produced graphic design. The works unleash the kinetic energy of overlooked and wasted objects and question the role of decoration in daily life.

    San Francisco: Other Cinema
    8:30, 992 Valencia Street
    OCT.19: JAMES SCHNEIDER’s PUNK THE CAPITAL Long-time OC ally James June Schneider (1,2,3 Whiteout) remains an invaluable underground source, and bi-national non-fiction master, on the Washington watch. With essential help from small-gauge guru Paul Bishow, James has finally pulled together their long-awaited doc about the seminal years when punk broke in DC, with powerful new sounds and radical attitudes, thanks to bands like Minor Threat, Bad Brains, and the Void (Chris Stover in person). Tonight James is here in the flesh with the West Coast’s first look at how the DC scene gained momentum, and an affirmative, generous, and creative community emerged. An artists’ co-op called Madam’s Organ was a space of possibility, like punk itself, where generations and musical genres mixed, eventually becoming the launch-pad for Washington’s harDCore movement. Newly discovered footage and in-depth personal accounts afford fresh perspectives on how the impact of that music and those ideas eventually grew to resonate world-wide. *$8

    Sunday, October 20, 2019

    Los Angeles, CA United States: Echo Park Film Center
    7:30 PM, 1200 N Alvarado St
    A Song Dissolved in the Dawn: Films by Phil Solomon, program 1
    Phil Solomon (1954-2019) was an immensely passionate, inspiring, and kind-hearted figure to so many who encountered him and his work. He inhabited this world as a generous friend, dedicated teacher and mentor, and as an artist of profound talent and feeling, whose films have inspired countless over the decades. Los Angeles Filmforum has hosted Phil Solomon on a few occasions over the years, and he was always one of our favorite guests, presenting programs of great personality and memorable, lingering emotionality. So although it is with great sadness that we now present a memorial program for our departed friend, we know that Phil would be so pleased at the thought of his beautiful work continuing to inspire new viewers. This program focuses on what might be considered the more intimate, inward-looking side of Phil’s work. These are films that come from very personal places, which nevertheless bloom into more universal and empathic experiences shared with us through Phil’s nuanced command of montage, mood, and manipulation of the photographic image. Including his widely beloved breakthrough films The Exquisite Hour and Remains to be Seen, this program will also feature some lesser-seen rarities such as The Lateness of the Hour, What’s Out Tonight is Lost, and the delicate and little-known As if We. It will be an evening of genuine cinematic poetry as we celebrate the life and work of a very special artist and friend. Screening: Nocturne 1980/89, 16mm, bw, silent 24fps, 8m Finding similarities in the pulses and shapes between my own experiments in night photography, lightning storms, and night bombing in World War II, I constructed the war at home. As if We 1980, 16mm, color, silent 18fps, 11m Restored print courtesy of the Academy Film Archive Musing on the past and the present, on roads not taken and the road I was already on. For Jeanine Hayden and her son Jeff, wherever you are. What’s Out Tonight is Lost 1983, 16mm, color, silent 18fps, 8.5m Restored print courtesy of the Academy Film Archive “Adopting its title from a poem by Edna St. Vincent Millay, WHAT’S OUT TONIGHT IS LOST is an elegaic film sifting through the unrecoverable. The film is a reflecting pool where vision breaks up. The home we recognize is swallowed in the brume, the light barely penetrates; and the yellow school bus steals us away, delivering us into new clouds, embracing fear. The film has a surface of cracked porcelain and intaglio: the allergic childhood skin of cracks and bruises. This is a film of transubstantiations, the discorporation of human forms into embers. Air looms and blossoms into solidity and nearness … I hear it breathing…” (Mark McElhatten) Remains to be Seen 1989/94, 16mm, color, sound, 17.5m Using chemical and optical treatments to coat the film with a limpid membrane of swimming crystals, coagulating into silver recall, then dissolving somewhere between the Operating Theatre, The Waterfall, and the Great Plains. The Exquisite Hour 1989/94, 16mm, color, sound, 14m Partly a lullaby for the dying, partly a lament at the dusk of cinema. Based on the song by Reynaldo Hahn and Paul Verlaine. The Snowman 1995, 16mm, color, sound, 8m A meditation on memory, burial and decay - a belated kaddish for my father. The Lateness of the Hour 1999, 16mm, color, silent 24fps, 10m Restored print courtesy of the Academy Film Archive A little Nachtmusik… breathing in the cool night airs, breathing out a children’s song; then whispering a prayer for a night of easeful sleep. My blue attempt at a sequel to Rose Hobart. total = 77m

    Monday, October 21, 2019

    New York, NY: Anthology Film Archives
    7:30 PM, 32 Second Avenue
    WTC HAIKUS (Filmed 1977-95/edited 2010, 14 min, 16mm-to-digital) Looking through my finished and unfinished films, I was surprised how many glimpses of the World Trade Center I caught during my life in SoHo. I had a feeling I was Hokusai glimpsing Mount Fuji. Only that it was the World Trade Center. The WTC was an inseparable part of my and my family's life during my SoHo period from 1975-95. My method in constructing this piece was simply to pull out images of the WTC from my original footage, while including some of the surrounding scenes. The result I felt came close, albeit indirectly, to what in poetry is known as the Haiku. A WALK 1990, 58 min, digital On a rainy day, I have a walk through the early SoHo. I begin my walk on 80 Wooster Street and continue towards the Williamsburg bridge, where, 58 minutes later, still raining, my walk ends. As I walk, occasionally I talk about what I see or I tell some totally unrelated little stories that come to my mind as I walk. This video was my early exercise in the one-shot video form. There are no cuts in this video.

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