This week [January 14 - 21, 2018] in avant garde cinema

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This page is updated every Sunday.
  • Sunday, January 14, 2018
  • Monday, January 15, 2018
  • Tuesday, January 16, 2018
  • Thursday, January 18, 2018
  • Friday, January 19, 2018
  • Saturday, January 20, 2018
  • Sunday, January 21, 2018
  • This week's programs (summary):

    Sunday, January 14, 2018

    Oakland, California 94609: Shapeshifters Cinema
    8pm, TAC: Temescal Art Center, 511 48th St
    Shapeshifters Cinema presents Pad McLaughlin & Greta Snider
    "Window Violations," a term used in reference to stereoscopic photography, is also the name of a program of new and recent work by Bay Area artists Pad McLaughlin and Greta Snider, two artists who have done extensive, in-depth work with stereoscopic media. Snider will be presenting two new projects: "Cult of Compliance," a two-projector, 16mm film essay exploring a dystopia of oppressive structures and the gestures of trying to exist among them and "Flowers Open Every Night," a poem of celebration in archival stereoscopic slides. McLaughlin will be presenting "Strata," a realtime 3D archeological dig into the detritus of our cultural history and "Stereo Realist, a Family History," an exploration of the artist's family history captured through one stereoscopic camera; plus "Sketchpad" a 3D video collage and other surprises and works in progress, including some explorations into retinal rivalry and pseudoscopy.

    San Francisco, California 94123: San Francisco Cinematheque
    12:15pm, Palace of Fine Arts, 3301 Lyon St
    James Benning: 52 Films
    FULL DETAILS: CINEMATHEQUE MEMBERS ADMITTED FREE (with RSVP) Members please contact Cinematheque by January 11 for reservations: San Francisco Cinematheque is proud to to be part of the UNTITLED Art Fair-an international, curated art fair founded in 2012-for the second year in a row and thrilled to present James Benning's 2015 series 52 FILMS, a highly ambitious suite of films created in response to an incredible personal challenge-to create one film per week for an entire year. In keeping with Cinematheque's exhibition history with UNTITLED, Benning's 52 FILMS appropriately echoes the contemporary artistic concern of the archive… JAMES BENNING: "…maybe it was because I didn't understand the real importance of an archive until I found Robert Smithson and his collected writings. It was then that I could see art not only in the object but also in all of those things surrounding that object, the things that help produce it. At that point for me the archive became the everything, later evidenced in Julie Ault's Show & Tell: A Chronicle of Group Material, Jonas Mekas' Museum, Ludwig (Cologne, Germany 2008) and Donald Judd's materials room in Marfa, Texas, just to name a few. And then there's the largest and fastest growing archive of all time, the Internet, and in particular YouTube. I started here playfully looking in different directions but soon the tide of information took over. I thought there was no longer a need for a camera. I could make whatever I wanted through appropriation. It became addictive and I began to make a film per week. I could be an ethnographic filmmaker, remake my own films or classics, construct things I never thought of making, etc. It was totally liberating. The result is 52 FILMS. SCREENING WILL COMMENCE PROMPTLY AT 12:15pm AND WILL COMPLETE AT APPROXIMATELY 6pm. FULL ARTIST'S STATEMENT AND COMPLETE LIST OF FILMS AVAILABLE

    Washington, DC: National Gallery of Art
    4pm, 6th Street & Constitution Avenue NW
    An Affinity for the Readymade
    Cauleen Smith in person. Whereas the use of found footage in the visual arts conjures the notion of the readymade, the films in this program also repurpose visual and audio recordings original to the makers, to build on tradition and to attain new forms in cinema. The program features The Citizens (Everson, 2009), Nice Biscuits #2 (Luther Price, 2005), My Only Idol Is Reality (Martine Syms, 2007), Our Trip to Africa (Peter Kubelka, 1966), and Sugarcoated Arsenic (Everson and Claudrena Harold, 2013). (Total running time 54 minutes)

    Washington, DC: National Gallery of Art
    5:30, 6th Street & Constitution Avenue NW
    An Affinity for Collage
    Dirk de Bruyn in person. Assembling elements from the archive, films in this program gain shape from collision and multiplication. “This particular affinity is closely related to the readymade and functions as a complication and extension of the former” — Greg de Cuir. Works include A Saturday Night in Mansfield, Ohio (Everson, 2015), Reckless Eyeballing (Christopher Harris, 2004), WAP (Dirk de Bruyn, 2012), and Songs for Earth and Folk (Cauleen Smith, 2013) among others. (Total running time 69 minutes)

    Monday, January 15, 2018

    London, England: BFI Southbank
    18.30 & 20.30, BFI Southbank. SE1 8XT.
    The Aritst in the Archive and The Library & Luke Fowler Curates the BFI National Archive.
    Two special events at BFI SOUTHBANK with LUKE FOWLER. THE ARTIST IN THE ARCHIVE AND THE LIBRARY + Q&A with LUKE FOWLER. Monday 15th of January. 18.30pm. Jarman Award-winner and Turner Prize-nominated artist, filmmaker, and musician LUKE FOWLER is known for his use of archive materials including film (All Divided Selves), TV (Depositions), photography (To the Editor of Amateur Photographer), and sound (For Christian). Through his film and photography he is building up a body of work that could in itself be considered an archive. In conversation with WILLIAM FOWLER, curator of artists’ moving image, Luke Fowler will discuss his way of working and the experimental documentary. Supported by Paul Mellon Centre for Studies in British Art. Following on from the library talk there will be an EXPERIMENTA screening (ticketed separately) LUKE FOWLER CURATES THE BFI NATIONAL ARCHIVE. 20.30. NFT3. Jarman Award-winner and Turner Prize-nominee Luke FOWLER selects and introduces films from the BFI National Archive, drawing on exploratory documentaries made in decades past by the Arts Council, including CORNELIUS CARDEW(1986, Dir Philippe Regniez, 52min) about the political, experimental composer. Cardew’s unusual method of scoring music is discussed, and seminal British improv group AMM with Keith Rowe, John Tilbury and Eddie Prévost deliver a tense, rare, especially filmed performance. Fowler’s own films knit together personal, poetic imagery with archival footage and experimental music, and the rare works screening tonight demonstrate that the documentary form is more wide-ranging, malleable and open to disruption than we might think.

    Tuesday, January 16, 2018

    Brooklyn, New York 11222: Light Industry
    7:30 PM EST, 155 Freeman St
    Rare Screening of Sanjinés's The Secret Nation
    The Secret Nation, Jorge Sanjinés and the Ukamau Group, 1989, digital projection, 128 mins Light Industry begins its 2018 season with a rare New York screening of The Secret Nation.

    Los Angeles, California: Filmforum
    7:30 pm, Downtown Independent, 251 S Main St
    Ism, Ism, Ism: ORG, by Fernando Birri
    A Tribute to Fernando Birri. Fernando Birri, an Argentinian filmmaker often considered the father of Third Cinema, or the new Latin American Cinema, passed away at 92 on December 28, 2017––the end of an epoch for Latin American cinema. ORG is the work in which he took the next step, trying to synthesize militant cinema and formal experimentation. Los Angeles Filmforum and Acropolis Cinema were already planning to screen the film as part of "Ism, Ism, Ism: Experimental Cinema in Latin America," but now the screening takes on greater significance as a tribute to this most significant filmmaker and theorist. ORG is a colossal, nearly three-hour long film that’s only rarely been screened since it premiered at the 1979 Venice Film Festival. Beginning with his debut film Tire Dié, Birri, who was also a poet, painter, teacher and film school founder, became a key figure in Latin American cinema. For Birri, ORG was the result of his experience of exile in Italy: “The film is a nightmare with closed eyes because it counts among the most terrible moments of my life, my second exile, which lasted a very long time.” The story of ORG is based on the same ancient Indian legend that Thomas Mann also drew on for his story “The Transposed Heads.” But above all, ORG is an experiment in perception that features over 26,000 cuts and some 700 audio tracks. The film was partly funded by leading actor Mario Girotti, better known as Terence Hill. Viewing ORG today provides a kaleidoscopic insight into the experimental, aesthetic and political trends of the 1970s. Los Angeles premiere of a New digital restoration! Tickets: $10 general, $6 students/seniors, free fro Filmforum members. Available in advance from Brown Paper Tickets at or at the door.

    Thursday, January 18, 2018

    Victoria. British Columbia: Flux Media Art Gallery
    7 PM, 510 Fort Street, second floor
    On Thursday January 18, at 7 pm, FLUX media art gallery presents 6 short experimental films by two acclaimed contemporary Canadian media artists, Oliver Hockenhull from Vancouver, and Steven Woloshen from Montreal. location 510 fort Street, second floor, admission is free. ROBOT PAVLOV SPUTNIK (7 minutes 23 seconds) {and two other works} Hockenhull Premiere: Leiden International Short Film Festival, Award Best of the Northwest Film Festival Portland, Seoul International New Media Festival, Montana International Film Festival "By mixing two works that specifically deal with the cinematic process, Norman McClaren's "Synchromy"and Pudovkin's "Mechanics of the Brain", director Hockenhull creates a lush experience rich in subtextual meaning." This is a confluence of intent and a revisiting of an iconic animation by Norman McLaren -- "Synchromy" 1971. McLaren's "Synchomy" is an early form of machine art, a formal modernist gesture revealing & reveling in the immediate transparency of code and signal, a chimerical fantasy of speculative references--prophetic futurism reading itself, speaking itself. Robot Pavlov Sputnik reinterprets and composits the morphic quality of code, its slippage and variability, creating a highly saturated abstracted wave ocean horizon/sunrise pulsed imagistcally by the musical track.

    Friday, January 19, 2018

    Los Angeles, California: Filmforum
    7:30 pm, UCLA Film & Television Archive, Billy Wilder Theatre, UCLA Hammer Museum, 10899 Wilshire Blvd.
    Ism, Ism, Ism: Poetics of Space: 8mm Films from Argentina
    The arrival of Super 8, in the mid-1960s, meant the most radical expansion of the cinematic field of action until that historical moment. By means of these inexpensive, light and automated small-format cameras, cinema began a new stage, distanced from the specific and exclusionary technical knowledge of historical filmmaking, Super 8 proposed an inclusive and informal amateurism. Throughout Latin America, and in particular in Argentina (where Super 8 production remains active to this day), Super 8 was adopted early by occasional filmmakers, but, above all, by a handful of artists who saw in Super 8 an opportunity to capture personal explorations that would redefine the very limits of the technology. Driven by concepts from painting, music and philosophy, the films of this program compose a challenging panorama of what could be called an aesthetics of reduction, concentration and innovation carried out during the last fifty years of Argentine experimental cinema. -- Pablo Marín. In Person: Pablo Marín Tickets: $10 general; $8 seniors, UCLA Alumni Association members, & non-UCLA students; free for UCLA students and Filmforum members. Tickets available in advance at or at the door.

    San Francisco, California: ANALOGICA
    8PM, ATA 992 Valencia Street San Francisco, CA 94110
    ANALOGICA SELECTION is the annual short film program promoted by ANALOGICA. ANALOGICA is a platform and a festival for the investigation and dissemination of analog practices in visual and sonic experiments.

    Saturday, January 20, 2018

    Los Angeles, California: Filmforum
    3:00 pm, UCLA Film & Television Archive, Billy Wilder Theatre, UCLA Hammer Museum, 10899 Wilshire Blvd.
    Ism, Ism, Ism: Meta: Cinema within cinema
    In person: Luis Ospina In a reflexive mode, the filmmakers in this program contemplate their chosen medium, its history, defining characteristics and iconic movements. If there exists any Latin American specificity of meta-cinema, The Vampires of Poverty (Agarrando pueblo, 1977) by Luis Ospina and Carlos Mayolo is one of the starting points of that tradition. It reflects on the representation of poverty in Latin America, produced by privileged local filmmakers and financed by European funders in search of the elusive "real" in Third World cinema. Ospina and Mayolo accompanied the 1978 Parisian premiere of The Vampires of Poverty with a manifesto entitled "What is Poverty Porn?”, which represents a new level of self-awareness and critique with regards to the foreign perception of Latin American film. Ximena Cuevas Cinepolis, la capital del cine (Cinepolis, the Film Capital, 2003) presents an insider‘s unsettling perspective on the everyday world of image-making and image consumption. The cinematic apparatus is foregrounded in the Cuban critique of flawed and careless production, Chapucerias, and the Brazilian conceptual short Duelo (Duel, 1973), by Daniel Santiago, is a conceptual game that represents the tensions between Super 8 and 16mm filmmakers. Tickets: $10 general; $8 seniors, UCLA Alumni Association members, & non-UCLA students; free for UCLA students and Filmforum members. Tickets available in advance at or at the door.

    Los Angeles, California: Filmforum
    7:30 pm, UCLA Film & Television Archive, Billy Wilder Theatre, UCLA Hammer Museum, 10899 Wilshire Blvd.
    Ism, Ism, Ism: Luis Ospina: A Rational Act of Faith
    In person: Luis Ospina Colombian rabble-rouser Luis Ospina returns to his alma mater, UCLA, to screen a collection of his rarely seen early short films. His trademark style—already present in his early works— crosses boundaries between documentary and fiction, parody and melodrama, the archive and historical invention. We will screen his recently restored thesis film Acto de Fe (Act of Faith, 1972), a dark short film adaptation of Jean Paul Sartre’s short story Erostratus shot in Los Angeles, as well as Autoretrato (Dormido) (1971), El bombardeo de Washigton (Air Strike on Washington”, 1972), Oiga vea (co-directed with Carlos Mayolo, 1972, 28min.), En busca de 'María' (co-directed with Jorge Nieto, 1985, 15min), VIDEO (B)ART(H)ES (Luis Ospina, 2003, 3 min), among others. Tickets: $10 general; $8 seniors, UCLA Alumni Association members, & non-UCLA students; free for UCLA students and Filmforum members. Tickets available in advance at at the door.

    San Francisco, California 94111: Canyon Cinema
    3-5pm, Exploratorium, Pier 15 Embarcadero at Green St
    Reinscriptions for Line Describing A Cone
    Edition #2 of Prepared Projection Performances by Gibson + Recoder. Part of a series of works collectively referred to as solid light films, Anthony McCall's Line Describing a Cone sees the fog-thickened beam of a 16mm projector transformed into a three-dimensional moving sculpture. As the beam is viewed from various vantage points within the space it transforms, shifts, and demands attentive observation. In this Prepared Projection Performance from artists Sandra Gibson + Luis Recoder, a reprojection and reframing of McCall's work will be explored through projecting two prints of Line Describing a Cone in a cinematic experiment.

    Sunday, January 21, 2018

    Austin, TX: Experimental Response Cinema
    8pm, Museum of Human Achievement
    TR*MP TH*S! A one year anniversary of resistance Jan. 21, 8pm
    Suggested donation $5-10. Proceeds from ticket sales will go to Refugee Services of Texas . Following up our pre-inauguration F*CK TR*MP screening of 2017, Experimental Response Cinema presents TR*MP TH*S!, a program marking one year anniversary of the TR*MP presidency. Experimental works in this program respond to a year of racism, sexism, homophobia, religious intolerance, environmental degradation, corporate greed, Wall Street malfeasance, gun violence, corruption, voter suppression, foreign intervention in elections, defunding health care, human rights, income inequality, BLM… well it's an endless list, not to mention buffoonery, narcissism, pathology, lies, obsessive twittery… Come join us as we solemnly (and joyfully) swear to RESIST!, recognizing that artmaking is a necessary response to injustice. Complete lineup: 1/20/17, Gary Adlestein 4, What’s Next, Robin Gerke 1, Best of Luck With the Wall, Josh Begley 7, Maelstroms, Lana Z Caplan 8, Dailies from the USA, M. Woods 3, Have it Your Way, Bryan Konefsky 4, Collapsing, Brian Ratigan 1, News from the Sun, The Smyth Brothers 3, NewsReal Preview, Karissa Hahn 2, Where the Truth Lies, Diane Nerwen 4, Fragility of Nature, Abdoul-Ganiou Dermani 3, Empty Nightclub, Ben Edelberg 7.5, 44.5 minutes, How to Prevent Nuclear War, Justin Entennman + Allison Leigh Holt, 1, How Do I Explain This To My Children?, Chris Freeman 2, Flower Shop Parts I and II, Tommy Becker 9, Presence, Carlos Cruz Martinez 4.5, Now! Again!, Alexander Johnston 5, Eldorado, Salise Hughes 4, America’s Funniest, Don Swaynos 1, Earworms, Senaite Murray & Matthew Michael Wright 2, Do You Want to Go for a Drive?, Kelly Gallagher 5, Comet Song, Lydia Moyer 2, 35.5 minutes

    Los Angeles, California: Filmforum
    3:00 pm, UCLA Film & Television Archive, Billy Wilder Theatre, UCLA Hammer Museum, 10899 Wilshire Blvd.
    Ism, ism, Ism: Misreadings / Malas Lecturas and Book Launch
    Book launch: In person: Luis Ospina, Pablo Marín, Poli Marichal, Jesse Lerner and Luciano Piazza Screening: Misreadings / Malas Lecturas In the era of silent cinema, the interplay between text and image on the screen was a constant. A major figure in the Brazilian avant-garde, Humberto Mauro, believed that spoken dialogues and intertitles detracted from the moving image, and integrated text, in the form of speech bubbles, in his experimental cinematic melodrama, Ganga Bruta (1932). The use of text on the screen finds a master of ambiguity and irony in Cuba, with NIcolás Guillén Landrián. Following Santiago Alvarez' tradition, Guillén Landrián, nephew of the poet laureate Nicolás Guillén, playfully uses text in interaction with images on many different levels, generating a corrosive sense of irony and confusion rather than clarification in allegedly “didactic” educational documentaries. The starting point of this program is Guillen Landrián’s masterpiece Coffea Arábiga (1968), a parody of the utopian 1968 Green-belt agricultural project, to more contemporary exploration of the combination of typography and film syntax. Tickets: $10 general; $8 seniors, UCLA Alumni Association members, & non-UCLA students; free for UCLA students and Filmforum members. Tickets available in advance at at the door.

    Los Angeles, California: Filmforum
    7:30 pm, UCLA Hammer Museum, Billy Wilder Theatre, 10899 Wilshire Blvd.
    Ism, Ism, Ism: Testamento Cinemático: The Films of Narcisa Hirsch
    In person: Programmer Federico Windhausen A pivotal figure in Latin American experimental cinema, Narcisa Hirsch took up artistic practice by first focusing on painting, then shifting toward performances and happenings, and soon making a crucial move into experimental film. Reflecting, in part, the influence of the art and cinema of the sixties on her practice, Hirsch's films showcase the body and corporeal experience in various ways, some of which acknowledge directly her gendered perspective. They also combine the filmmaker's own treatment of existential and spiritual questions with lyrical imagery, much of it shot in the interior spaces of Hirsch's domestic life, the rural landscapes of Patagonia, and the urban environments of Buenos Aires. Including Marabunta (1967, 16mm transferred to digital, 8 min., Argentina); Diarios Patagonicos (circa 1972, super 8 transferred to digital 10 min., Argentina); Taller (English version, 1975, 16mm transferred to digital 11 min., Argentina) and more. Free.

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