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This week [February 22 - March 1, 2020] in avant garde cinema

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Shocks To the System: An Evening With Manuel Delanda [February 24, Los Angeles, California]


Cineinfinito #124: Patrice Kirchhofer [February 26, Santander, Spain]


Access To the view. Films of Amy Halpern [Attended By the Filmmaker] [February 27, Barcelona, Spain]


Weimar Variations: Experimentation/Abstraction [February 29, Los Angeles, California]


Dangerous Erotics: A Tribute To Carolee Schneemann [February 29, Los Angeles, California]


Psycho-Geo1: Norcal [February 29, San Francisco]

Events are sorted alphabetically BY CITY within each DATE.

This week's programs (summary):

SATURDAY, FEBRUARY 22, 2020

2/22
Berkeley, CA United States: Berkeley Art Museum & Pacific Film Archive
4:00 PM, 2155 Center St
BLACK LIFE: STEPHANIE HEWETT
Choreographer and movement artist Stephanie Hewett presents (E)cho Queue, a performance that aims to reclaim the inextricable connection between techno music and black life. In response to Jenn Nkiru’s documentary Black to Techno, Hewett reinforces the inherently Black American nature of this invention by examining its true origins and locating its syncopated, complicated, and paradoxical rhythms in the black, dancing body. Stephanie Hewett is a choreographer, movement researcher, performer, and teacher from the Bronx, New York (Lenape territory). She holds an MFA in dance from Mills College, and has held residencies at Counterpulse and the Paul Dresher Ensemble. Her current research entails navigating performance through injury, pleasure frequencies, Detroit techno, dance-floor exorcisms, and excavating ancestral vestiges in the body. She is a collaborator/member of Lxs Dxs, a queer performance collective making messes in the Bay, LA, and abroad. Programmed by Ryanaustin Dennis Included with admission

2/22
New York, NY: Anthology Film Archives
http://www.anthologyfilmarchives.org/
5:15 PM, 32 Second Avenue
ED EMSHWILLER: PROGRAM 3: IMAGE, FLESH AND VOICE
Ed Emshwiller IMAGE, FLESH AND VOICE 1969, 77 min, 16mm "This is a film about Images (visual and psychological), Flesh (sensuality), and Voice (as a revelation and as a textural element in the film). The pictures range back and forth from the completely spontaneous to very formal choreography. The voice track, a collage edited into thematic sequences from a mass of interviews and informal discussions, gives an inner portrait of men and women candidly revealing their relationships. It is a non-story-telling feature film, a structured interplay of sound, image and sensual tensions." -Ed Emshwiller Preceded by: Ed Emshwiller GEORGE DUMPSON'S PLACE (1964, 8 min, 16mm. Preserved by Anthology Film Archives with support from the National Film Preservation Foundation.) "George Dumpson was a scavenger. He created a small universe with what he found and could carry on his homemade wagon. To me he epitomized the soul of the artist. He put together what things he could in such a way as to satisfy some inner need, just as I had to make this picture of him and his place." -Ed Emshwiller Total running time: ca. 90 min.

2/22
New York, NY: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:30 PM, 32 Second Avenue
ED EMSHWILLER: PROGRAM 4
Ed Emshwiller FREEDOM MARCH (1963, 9 min, 16mm. Preserved by Anthology Film Archives.) This rarely-screened short film documents the historic 1963 march on Washington, DC. Jack Willis STREETS OF GREENWOOD (1963, 20 min, 16mm. Photographed by Ed Emshwiller. Print courtesy of Washington University in St. Louis.) A short documentary about the efforts of the Student Non-Violent Coordinating Committee (SNCC) to register voters in rural Mississippi. The film is a remarkable document of the civil-rights-era southern United States. The concert featured in the film includes an early performance by Bob Dylan which was ultimately used in the 1967 D.A. Pennebaker film, DON'T LOOK BACK. Jean-Bernard Bucky & Robert Peyton REPORT 1970, 60 min, 16mm. Photographed by Ed Emshwiller. Courtesy of Jean-Bernard Bucky. This film is one of several projects related to Emshwiller's time as Film Advisor and Cinematographer at UC Berkeley in 1968. REPORT is a chronicle of Norman Jacobson's attempt to conduct an experimental class called "Toward the Expression of the Idea of Freedom." Total running time: ca. 95 min.

2/22
San Francisco: Other Cinema
http://www.othercinema.com/
8:30 PM, 992 Valencia St
X~PERI~MENTAL ANIMATION
OC opens with a dazzling performance and celebration of older and newer pixelated cinema! Out spotlight focuses on SF's own word-image-sound alchemist Tommy Becker, with FOUR of his musical poems that foreground animation passages. ALSO premiering are two sublime shorts by Janie Geiser--Reserve Shadow and Fluorescent Girl. AND Jeremy Rourke/Rebecca Solnit's A Fine Initial Act, Salise Hughes' Witch, Bill Plympton's Trump Bites, Niles Atallah's Luis, Stephanie Delazeri's Wheaties, and Martha Colburn's Walls & Wills. PLUS a special "legacy showcase" --- classic stop-motion from UB Iwerks (in 16mm), Gumby-maker Art Clokey's Mandala, Sally Cruikshank's Quasi at the Quackadero (16mm), and Helen Hill's Tunnel of Love. Free champagne, toast, and Nutella to ring in the new season, amidst flickers from Bruce Bickford, Nina Paley, and a hilarious hysterically homophobic anti-Disney comic-rant by the American Family Assoc. *$7.77

SUNDAY, FEBRUARY 23, 2020

2/23
Barcelona, Spain: Xcentric Cinema
http://xcentric.cccb.org/en/programas/fitxa/masks-noemia-delgado/232546
18:30, CCCB (Centre de Cultura Contemporania de Barcelona)
MASKS. NOEMIA DELGADO
Mascaras(1976), by Noemia Delgado, is a pioneering work that crosses ethnographic cinema with elements of fiction. Inspired by various works of anthropology, the filmmaker documents festivals and rituals in the Portuguese region of Tras-os-Montes, ancient traditions of the so-called winter cycle, celebrations of pagan origin that evoke the solstice, coming of age and the different cycles of life. But the masked rituals were just a pretext to show aspects of life in this region, where ancient uses and unique sociocultural traits remained unchanged. Like Manoel de Oliveira, Antonio Reis and Margarida Cordeiro, Antonio Campos and Joao Cesar Monteiro, Noemia Delgado set out to portray this relatively isolated, unknown rural world, forgotten even by the Portuguese dictatorship. Accordingly, Tras-os-Montes became a mythical territory for Portuguese cinema. The films made there, like the one in this session, were an act of resistance and shaped some of the most radical cinematographic experiences of the new Portuguese cinema. Mascaras, Noemia Delgado, 1976, 35 mm, 110 min. Catalan subtitles. Copy courtesy of Cinemateca Portuguesa.

2/23
New York, NY: Anthology Film Archives
http://www.anthologyfilmarchives.org/
5:15 PM, 32 Second Avenue
ED EMSHWILLER: PROGRAM 5
Ed Emshwiller CAROL (1970, 5 min, 16mm. Preserved by Anthology Film Archives.) This elegant film portrait of Carol Emshwiller uses images from a forest - trees shimmering in the sunlight - to frame its subject. A simple score composed on thumb piano combines with double-exposed images to capture the poetry of the everyday. Ed Emshwiller TOTEM (1963, 16 min, 16mm) "A filmic interpretation of the ballet TOTEM by Alwin Nikolais. A cine-dance in which the choreography often comes as much from camera movement and film editing as from the dancers. A mysterious, primordial, and ritualistic sequence of movements." -Ed Emshwiller Ed Emshwiller FUSION (1967, 16 min, 16mm. Courtesy of the Jerome Robbins Dance Division, The New York Public Library for the Performing Arts.) "A cine-dance film sponsored by Springs Mills to promote a new line of towels designed by Pucci. Dancers throw, move through, dance with, and are draped in a variety of designer towels." -Ed Emshwiller Ed Emshwiller FILM WITH THREE DANCERS (1970, 20 min, 16mm) "Three dancers are seen in different ways. They are seen in formal movements combined and transformed by cinematic techniques. They are shown in semi-documentary fashion, in surreal fashion. They reveal themselves, their aesthetics, their method of working together. The film is an exploration of ways of seeing, of ways of showing dancers." -Ed Emshwiller Ed Emshwiller CHRYSALIS (1973, 22 min, 16mm) "Dancers coming from a black void move in slow, normal, and rapid motion. They are transformed by light, by pixilation, by projections on them, by their actions and costumes. They pass through a series of violent, humorous, and strange states, emerging in a form of rebirth." -Ed Emshwiller Total running time: ca. 85 min.

2/23
New York, NY: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:30 PM, 32 Second Avenue
ED EMSHWILLER: PROGRAM 6
Ed Emshwiller WOE OH HO NO (1972, 13 min, 16mm-to-DCP) Collaboratively produced at Wantagh High School in New York, WOE OH HO NO ventures into the unconscious mind of the average student. Ed Emshwiller IDENTITIES (1973, 10 min, 16mm) This is the second of the two short films Emshwiller created with Wantagh High School students. Ed Emshwiller FAMILY FOCUS 1975, 58 min, video "FAMILY FOCUS is an Emshwiller family self-portrait, a stylized group autobiography. It was recorded for the most part with a black and white video portapak over a span of a year and a half. One series of Christmas movies shows the growth of the children covering 20 years. The camera was available for spontaneous taping by members of the family. It is documentary/video art transformation of self-revealing images, a playful ironic tape." -Ed Emshwiller Total running time: ca. 85 min.

MONDAY, FEBRUARY 24, 2020

2/24
Los Angeles, California: Redcat
http://www.redcat.org/
8:30 pm, REDCAT, 631 West 2nd Street
SHOCKS TO THE SYSTEM: AN EVENING WITH MANUEL DELANDA
https://www.redcat.org/event/shocks-system-evening-manuel-delanda Renowned philosopher and moving image-maker Manuel DeLanda makes a rare Los Angeles appearance with selected films, videos and a lecture, “Cinema as an Emergent Phenomenon.” After relocating from Mexico to New York City in the 1970s, DeLanda created a body of radical films that were visceral and raw, and that also had profound theoretical underpinnings. Unique for being lauded by punk, experimental and academic communities, DeLanda’s work defied definition, taking seemingly familiar genres into outlandish and unexpected territories. DeLanda is now an internationally respected philosopher, author and teacher who has also created a stream of astonishingly original and kinetic videos. Regardless of medium, DeLanda is a great contemporary provocateur who brings a sense of danger, excitement and renewal to each experience. Tickets: $12 general; $9 for REDCAT and Current Filmforum members Available for presale at https://web.ovationtix.com/trs/pr/1023312 Filmforum members contact us at lafilmforum@yahoo.com for the discount code.

2/24
New York, NY: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:30 PM, 32 Second Avenue
ED EMSHWILLER: PROGRAM 7: BRANCHES
Ed Emshwiller BRANCHES 1970, 102 min, 16mm "Featuring Bill Weidner and Connie Brady, BRANCHES was made in a filmmaking workshop at Cornell University during the summer of 1970. The film was improvised around the theme of Branches of Possibilities real or imagined in Bill's pursuit of Connie. It is an attempt to structure a film out of the concerns of the time, using the college environment and student sexual drives as the principle focus." -Ed Emshwiller

TUESDAY, FEBRUARY 25, 2020

2/25
Brooklyn, NY United States: Light Industry
http://www.lightindustry.org/
7:00 PM, 155 Freeman St
DANCE OF VALUES: SERGEI EISENSTEIN'S CAPITAL PROJECT
A lecture by Elena Vogman Sergei Eisenstein’s planned film adaptation of Karl Marx’s Capital stands as one of the most enigmatic projects in the history of cinema. A recent look into Eisenstein’s archive revealed the full scope of his plans: between October 1927 and September 1928, he gradually transformed his working diaries into an editing board. This “visual instruction in the dialectical method,” as Eisenstein himself called his project, comprises over 500 pages of notes, drawings, press clippings, expression diagrams, plans for articles, negatives from October, theoretical reflections, and extensive quotations. What can be seen and read is not a film but a series of variations on the themes of economy and capitalist exploitation. Elena Vogman’s recent book Dance of Values: Sergei Eisenstein’s Capital Project explores the internal formal necessity underlying the director’s choices, arguing that Capital’s visual complexity as well as its epistemic efficacy resides precisely within the state of its material: the dance of heterogeneous themes and disparate fragments, a non-linear, provisory, and non-articulated flow. In this way Eisenstein’s montage sequences produce a kind of surplus value entirely their own: a semiotic excess, which stirs the materials and represented bodies into a dance analogous to Marx’s “dance” of “petrified conditions.” It is in this polymorphic and “diffuse” language—associated with the stream of consciousness of Joyce's Ulysses—that Eisenstein saw the strongest critical and affective potential for the future cinema. Elena Vogman is a literary scholar, theorist, and independent curator. She has published two books: Sinnliches Denken. Eisensteins exzentrische Methode (Diaphanes, 2018) and Dance of Values: Sergei Eisenstein’s Capital Project (Diaphanes, 2019). She currently teaches at the Art Academy Weissensee in Berlin and is working on a research project on media and milieus of critical psychiatry at the Bauhaus-University in Weimar. =

2/25
New York, NY: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:30 PM, 32 Second Avenue
ED EMSHWILLER: PROGRAM 8
Ed Emshwiller SCAPE-MATES (1972, 28 min, 16mm) "SCAPE-MATES is a videotape which combines dancers with an environment made by computer animation. It starts with an electronic 'big bang'; is seen to be a frame within a frame; body parts suggest primitive life forms; disembodied heads engage in a series of encounters, a strange passage in a vast open space. A monolith changes into an angular, serpentine statue which moves with the dancers. The dancers, filled with electronic flames, emerge and leap about in a place charged with spiraling energy. All elements go through rapid and radical transformations, ending in an architectural maze before disintegration. A mythic, evolutionary journey." -Ed Emshwiller Ed Emshwiller PILOBOLUS AND JOAN 1973, 58 min, video "Based on 'Metamorphosed' by Carol Emshwiller (a reversal of Kafka's 'Metamorphosis'). A cockroach wakes up as a four-man-being, falls in love with a girl, and proceeds to encounter the human world. A humorous, surreal journey with a remarkable dance company." -Ed Emshwiller Ed Emshwiller SUNSTONE (1979, 4 min, 16mm) "Symbolic and poetic, SUNSTONE is a pivotal work in the development of an electronic language to articulate three-dimensional space. The opening image is an iconic face, which appears to be electronically 'carved' from stone. A mystical third eye, brilliantly crafted from a digital palette, radiates with vibrant transformations of color and texture. Sculpting electronically, Emshwiller then transforms perspectival representation: the archetypal 'sunstone' is revealed to be one facet of an open, revolving cube, each side of which holds a simultaneously visible, moving video image." -ELECTRONIC ARTS INTERMIX Total running time: ca. 95 min.

WEDNESDAY, FEBRUARY 26, 2020

2/26
Athens, Greece: Pugnant Film Series
19:00, Skouleniou 2B
VISAGE’S SPIEGEL
19:00 Light emerging from a black hole, Sara Xhengo (Albania, Germany, 2020, 6 minutes) Who Wants to Fall in Love?, Emily M Van Loan (Usa, 2019, 6 minutes) Driving Dinosaurs, Emma Piper-Burket (Usa, 2018, 9 minutes) Maternal Histories, Anouk Dominguez-Degen (Switzerland, 2015, 28 minutes) to the muse, Yiannis Lianos (Greece, 2020, 4 minutes) Transparent, the world is. Yuri Muraoka (Japan, 2019, 7 minutes) Le visage d'outremer, Gabriele Rossi (France, 2020, 2 minutes) Hommage to Summer, Katerina Markoulaki (Greece, 2019, 4 minutes) Restless instants, Clémentine Chapron (France, 2019, 9 minutes) I Have a Song to Sing You, Zoe Aiano (Serbia, 2019, 6 minutes) The Man in the Bushes, Vasilios Papaioannu & Emma Piper-Burket (Usa, 2017, 5 minutes) Dukkha, Elisavet Pirounia (China, 2019, 12 minutes) 20:40 Autumnal Sleeps, Michael Higgins (Ireland, 2019, 74 minutes)

2/26
Santander, Spain: Centro Cultural Doctor Madrazo
6:00 PM, Casimiro Sainz, S/N
CINEINFINITO #123: LYNSEY MARTIN
Cineinfinito #123: Lynsey Martin CINEINFINITO / Centro Cultural Doctor Madrazo Miércoles 26 de Febrero de 2020, 18:00h. Centro Cultural Doctor Madrazo Calle Casimiro Sainz, s/n 39004 Santander Programa: Mind Lines (1971), Super 8mm, color, sonido en cinta, 8 min. Approximately Water (1972), 16mm, color, sonido óptico, 4 min. Whitewash (1973), 16mm, b&w, sonido óptico, 4 min. Inter-view (1973), 16mm, b&w, silente, 25 min. Leading Ladies (1975), 16mm, color, sonido óptico, 5 min. Automatic/Single/Continuous (1982), 16mm, color, sonido óptico, 8 min. One Nine Six Nine (1990), 16mm, color, sonido en cinta, 3 min. Light and Dark (2005), 16mm, color / b&w, sonido óptico, 12 min. Formato de proyección: HD (nuevos transfers digitales supervisadas por el autor, en primicia para este programa) Agradecimiento especial a Lynsey Martin, Lynn Smailes y Dirk de Bruyn https://www.cineinfinito.org/cineinfinito-123-lynsey-martin/

2/26
Santander, Spain: Centro Cultural Doctor Madrazo
7:30 PM, Casimiro Sainz, S/N
CINEINFINITO #124: PATRICE KIRCHHOFER
Cineinfinito #124: Patrice Kirchhofer CINEINFINITO / Centro Cultural Doctor Madrazo Miércoles 26 de Febrero de 2020, 19:30h. Centro Cultural Doctor Madrazo Calle Casimiro Sainz, s/n 39004 Santander Programa: Chromaticité I (1977), 16mm, color, sonora, 11min Chromaticité II (1978), 16mm, b&w, sonora, 7min Décembre 79 (1980), 16mm, b&w, silente (asistido por Bernard Weidmann en la imagen), 40 min L’Envers (1998-2001), 16mm, color, sonora, 25min Formato de proyección: HD (nuevos transfers digitales, cortesía de Light Cone) Agradecimiento especial a Light Cone

THURSDAY, FEBRUARY 27, 2020

2/27
Athens, Greece: Pugnant Film Series
19:00, Skouleniou 2B
THE ROMANTIC DYSTOPIANS
9:00 2006 The Only Year That I Remember, Alberto Van den Eynde (Spain, 2019, 14 minutes) I am You, Vasia Ampatzi (Usa, 2019, 5 minutes) A Double Caprice at the Asylum, Stéphane Rizzi (France, 2019, 6 minutes) Στον ελεύθερο χρόνο μου μιλάω με τον θεό, Eirini Tampasouli (Greece, 2020, 4 minutes) Table Talk, Celia Cooley (Usa, 2020, 2 minutes) Other people, Charlotte van Winden (Netherlands, 2018, 4 minutes) A Manual for Believers, HANUL KIM (Republic of Korea, 2018, 6 minutes) We Need To Talk About Barbie, Dimitra Mitsaki (Greece, 2016, 3 minutes) A Romantic comedy, Rock Brenner (France, 2014, 5 minutes) Translator, Aleksei Klimon (Russia, 2019, 20 minutes) 20:20 A hole in my heart, Lookas Moodysson (Sweden, Denmark, 2004, 93 minutes)

2/27
Barcelona, Spain: Xcentric Cinema
http://xcentric.cccb.org/en/programas/fitxa/access-to-the-view-films-of-amy-halpern/232532
19:30, CCCB (Centre de Cultura Contemporania de Barcelona)
ACCESS TO THE VIEW. FILMS OF AMY HALPERN [ATTENDED BY THE FILMMAKER]
Starting out in New York in 1971, alone in an apartment with a camera, a projector, a splicer and a pair of rewinds, she began to compose films of texture, light and shadow. The qualities of the medium, sensitivities of different emulsions to light, the elegant Brownian motion of the grain and the photographed gestures themselves- continue to hold her attention. Working in 16mm, Halpern is interested in direct filming what is seen: an object, a location, a gesture, etc. She avoids dramatic manipulation, finding inherent dramas in abstraction more exciting, and  defies the viewer’s expectations learned from narrative cinema. Playing with different associative forms, she fuses moments in which one may feel movement as color, or an image as a taste. Invocation, 1982, silent, 2 min; 3 Preparations, 1972, silent, 6 min; Pouring Grain, 2000, silent, 2 min; Access to View, 2000, 2 min; Filament (The Hands), 1975, silent, 6 min; Peach Landscape, 1973, silent, 5 min; Injury on a Theme, 2012, 7 min; Palm Down, 2012, silent, 6 min; Cheshire Smile, 2012, 5 min; By Halves, 2012, silent, 7 min; 3-Minute Hells, 2012, 14 min; #27, 2019, silent, 3 min; My Mink (Unowned Luxuries), 2019, silent, 5 min; Elixir, 2012, silent, 7 min. 16 mm screening. Copies courtesy of Amy Halpern. A programme by Francisco Algarin Navarro.

2/27
Berlin, Germany: Directors Lounge
http://www.directorslounge.net
21:00, Z-Bar, Bergstraße 2, 10115 Berlin-Mitte, Germany
DIRECTORS LOUNGE SCREENING – KIM COLLMER - BEHIND THE CURTAIN
Animation and "real film" come together almost seamlessly in the work of Kim Collmer, connecting creative fantasy with space and place. The artist who lives in Köln was born in Seattle. She studied Art History and German in Washington and Sculpture and Animation in Chicago. She works with video, installation, and painting/collage. For her films, she uses an amazing variety of materials both in front of the camera as in her editing process. Stop motion, object animation, animated cartoon and found footage are to be named as techniques that Collmer has used, and which sometimes are used together. Even when shooting digital video, her images show the sensitivity and language of a filmmaker.  -*°*- Her pictures often have a dreamy quality (“Mercury Moon” and “Stars of the Lid”) that seem to be influenced by early science fiction films, when there still was a hallucinatory quality to science fiction. When using object animation, the artist uses simple materials, which she transforms into glossy, fluorescent and radiant worlds. In opposition to this world of pure imagination which Collmer creates in some of her films, or maybe as a compliment, there appears another strand of video work concerned with place, connection, and belonging. The motifs of a small house, rooms or surfaces of the city seem to have autobiographic references, with the larger connotation of dwelling as a metaphor for (human) being. “Head Room” (2011) starts with a quote of Marcel Proust about the memory of his limbs in rooms he was sleeping in before. Subsequently in the film, the artist is drawing animations according to oral memories of place by members of her own family.  -*°*- “Conquering Place” (2018) is a short essay about American-German interrelations during the time of the Cold War and German division when not only American military personal but their families were based in Germany. The video, which is made with found footage from the last century and recent photographs of abandoned or reused army homes, creates a “dream capsule marking the end of this era.” With her latest film “Too Big To See” (2019) Kim Collmer brings together the dream-like qualities of her earlier animations with found footage, and her own footage. And her futuristic vision of a world at large meets a vision of (ecological) conscience, that still needs to find fulfillment.   -*°*- Kim Collmer will present her work personally and join us for Q&A. Curated by Klaus W. Eisenlohr  -*°*-  -*°*- Artist Link: http://www.kimcollmer.com  -*°*- Links: Directors Lounge: http://www.directorslounge.net -*°*- Richfilm: http://www.richfilm.de/currentUpload/ -*°*- Z-Bar: http://www.z-bar.de

2/27
Brooklyn, NY United States: UnionDocs
http://www.uniondocs.org
7:30 PM, 322 Union Ave
ACCESSION
Tamer Hassan and Armand Yervant Tufenkian will join us to share a special screening of their feature ACCESSION. As a part of a special presentation with Microscope Gallery, this screening will be followed by several outtake selections from this unique travelogue for additional context. Shooting for more than five years in 13 locations around the U.S., they traced a collection of letters to the homes where each was sent or received in this epistolary celebration of the small scale and the analogue. The letters, written to accompany seed packets sent between friends and families that date as far back as 1806, are read aloud by individual narrators, unfolding as personal-poetic reflections on life and labor in rural America. Via a variety of 16mm film stocks, Accession maps a visual and aural correspondence between anonymous people and places with an exploratory flair. Join us for this special screening and a conversation following with Tamer and Armand in attendance. 48min Screening to be followed by discussion with Tamer Hassan and Armand Yervant Tufenkian.

2/27
San Francisco, CA United States: San Francisco Cinematheque
http://www.sfcinematheque.org
7:30 PM, 701 Mission St
POCKET-SIZE CINEMA IN SPAIN: EXPERIMENTS IN SUPER-8
Pictured: Una Película en Color (2019) by Bruno Delgado Ramo Admission: $10 General/$6 Cinematheque Members Tickets available soon Founded in 2010, the intimate (S8) Mostra de Cinema Periférico has, over the past decade, emerged as an absolutely essential film festival and vital node in the world-wide artist-film community. Exemplary in its global scope and commitment to fostering international community, [S8]—presented annually in A Coruña, Galicia, Spain—offers an inspiring mix of solo artist programs, historical retrospectives and curated programs that resonate around the world. Visiting on a short west-coast tour, [S8] programmer (and filmmaker) Elena Duque appears in person to present a program of contemporary and historic films made in Super-8mm by Spanish filmmakers. As a light, intimate, cheap and flexible format, Super-8 has been a friendly tool to experimental cinema. In Spain, it was the “underground of the underground,” a way of imagining new strange worlds during the dictatorship and in its aftermath, when creativity was not welcome. Today, Super-8 is more alive than ever, thanks to a new generation that has seen the endless potential of the photochemical format, ignoring the doomsayers that say that film is dead. This program presents a loose and subjective genealogy of the use of this small format in Spain. Featuring formal experimentation and a recurring theme of spirituality, these films transcend the traditions of diary and personal filmmaking, presenting the claustrophobic hallucinations, utopian humor and more. SCREENING: Sevilla Tenía Que Ser (1979) by Juan Sebastián Bollaín A Mal Gam A (1976) by Iván Zulueta Película Sudorosa (2009) by David Domingo Bionte (2015) by Lucía Vilela Trópico Desvaído (2016) by Valentina Alvarado Una Película en Color (2019) by Bruno Delgado Ramo

FRIDAY, FEBRUARY 28, 2020

2/28
San Francisco, CA United States: Wattis Institute for Contemporary Arts
6:30 PM, 360 Kansas St (Between 16th & 17th Streets)
CONVERSATION WITH TRINH T. MINH-HA AND ISAAC JULIEN
Artist and filmmaker Isaac Julien continues a conversation with Trinh T. Minh-ha on interdisciplinarity, the moving image, and contemporary culture in filmmaking that has unfolded over their decades-long friendship. Isaac Julien is known for his technically complex, politically charged, and visually arresting installations which draw from and comment on a range of artistic disciplines and practices. Julien was awarded the title Commander of the Most Excellent Order of the British Empire (CBE) in 2017 and named Royal Academician in 2018. His work is in museum and private collections throughout the world, including: Tate, London; Museum of Modern Art, New York; Centre Pompidou, Paris; the Solomon R. Guggenheim Museum, New York; and the Zeitz Museum of Contemporary Art, Cape Town. He has taught extensively and is currently a Distinguished Professor of the Arts at the University of California, Santa Cruz. The conversation is introduced by Ranu Mukherjee. /.. This is the sixth 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. /.. More information about the event: https://wattis.org/view?id=884

2/28
Santander, Spain: Centro Cultural Doctor Madrazo
6:00 PM, Casimiro Sainz, S/N
CINEINFINITO #125: TOM PALAZZOLO
Cineinfinito #125: Tom Palazzolo CINEINFINITO / Centro Cultural Doctor Madrazo Viernes 28 de Febrero de 2020, 18:00h. Centro Cultural Doctor Madrazo Calle Casimiro Sainz, s/n 39004 Santander Programa: · Pigeon Lady (1966), 16mm, color y b&w, sonora, 26 min · Love It / Leave It (1970), 16mm, color, sonora, 14 min · Jerry’s Deli (1976), 16mm, color, sonora, 9 min Formato de proyección: HD (nuevos transfers digitales cortesía de Chicago Film Archive) Agradecimiento especial a Tom Palazzolo, Chicago Film Archive, Matt Schwarz y Olivia Babler https://www.cineinfinito.org/cineinfinito-125-tom-palazzolo/

2/28
Santander, Spain: Centro Cultural Doctor Madrazo
7:30 PM, Casimiro Sainz, S/N
CINEINFINITO #126: MICHEL NEDJAR
Cineinfinito #126: Michel Nedjar (II) CINEINFINITO / Centro Cultural Doctor Madrazo Viernes 28 de Febrero de 2020, 19:30h. Centro Cultural Doctor Madrazo Calle Casimiro Sainz, s/n 39004 Santander Programa: · Le gant de l’autre (1977), Super 8, color, silente, 15 min · Angle (1978), Super 8, color, silente, 10 min · Gestuel (1978), Super 8, color, sonora, 20 min Formato de proyección: HD (copia cortesía de Light Cone) Agradecimiento especial a Michel Nedjar y Light Cone https://www.cineinfinito.org/cineinfinito-126-michel-nedjar/

SATURDAY, FEBRUARY 29, 2020

2/29
Brooklyn, NY United States: Light Industry
http://www.lightindustry.org/
7:00 PM, 155 Freeman St
PREMIERE OF LEWIS KLAHR'S CIRCUMSTANTIAL PLEASURES
Circumstantial Pleasures, Lewis Klahr, 2012-2019, digital projection, 65 mins Capitalist Roaders (2016, 18 mins) Ramification Lesions (Microbial Stress) (2019, 7 mins) Ratchet the Margin (2016, 7 mins) Virulent Capital (2018, 9 mins) High Rise (2016, 2 mins) Circumstantial Pleasures (2019, 22 mins) Light Industry is proud to present the world premiere of Circumstantial Pleasures, a new cycle of films by Lewis Klahr. Shaped by soundtracks ranging from girl-group bops to post-punk noise, Klahr’s cut-out animations conjure narratives that are at once cryptically articulated and forcefully emotional. These collage films, scholar Tom Gunning observes, “have always mimed the processes of memory by pulling together the discards of contemporary life (images from ads, textbooks, or comic books, objects such as game pieces, menus, playing cards) into scenarios that seem like some Hollywood film dimly remembered.” For Klahr, such effects have long been achieved by manipulating elements that evoke a mid-century America of atom bombs and miniskirts, Superman and Sinatra—J. Hoberman coined the phrase “Populuxe surrealism” to locate the counter-nostalgic vibrations of Klahr’s early Super-8 serial Tales of the Forgotten Future (1988-1991). With Circumstantial Pleasures, however, Klahr engages with a markedly different set of emblems, drawing upon the iconography of 21st-century politics and entertainment, as well as music by David Rosenboom, Tom Recchion, and Scott Walker. “In my 20s,” Klahr explains, “as collage emerged as my primary form of expression, my use of outmoded source materials in my films to explore the pastness of the present was always front and center. Occasionally, throughout the decades—Yesterday’s Glue (1990) or my first digital work Antigenic Drift (2007)—I would use current images to describe the present day. But I always knew, at some point, I would create a feature-length series of films that used only contemporary images to explore the current zeitgeist.” While a dark psychological undercurrent can be found elsewhere in Klahr’s filmography—consider the transgressive erotics of Pony Glass (1997), or the bad-trip ego-death of Govinda (1999)—the moods of Circumstantial Pleasures feel more acutely in sync with our moment’s collective unease. Here the figures manifest across a field of crumpled polypropylene bags, emptied transparent blister-packs, and Juul paraphernalia, punctuated at times with stroboscopic patterning. Klahr deploys the harsh shadows and unforgiving detail of high-definition video in service of the film’s ominous atmospheres, accentuating the indentations of an RFID tag, or the fragile fluttering of paper scraps. A striking elaboration on a signature style, with “story” all but evacuated, Circumstantial Pleasure’s six episodes proceed less like an album of potent recollections and more like a stream of agitated consciousness.

2/29
Los Angeles, California: Filmforum
http://www.lafilmforum.org/
5:30 pm, Spielberg Theatre at the Egyptian, 6712 Hollywood Blvd.
WEIMAR VARIATIONS: EXPERIMENTATION/ABSTRACTION
The American Cinematheque, the LA Phil, and Los Angeles Filmforum present Weimar Variations: Experimentation/Abstraction http://americancinemathequecalendar.com/content/experimentationabstraction Free screening! Live Music! This event is free with RSVP to: https://www.eventbrite.com/e/89358245919 Situated between the end of World War I and Hitler’s assumption of power, the Weimar Republic (1919-1933) was an era characterized by unprecedented social freedoms as well as economic hardship. While commonly associated with German Expressionism and narrative film, Weimar cinema is considered equally influential in the realm of the avant-garde. From Dadaist art to city symphonies to abstract experiments with animated shapes and colors, Weimar cinema constantly broke new ground. Our program offers a sampling of its styles, including Walter Ruttmann’s landmark film BERLIN, SYMPHONY OF A GREAT CITY, and illustrates its lasting impact on modern cinema both in the art world and beyond.

2/29
Los Angeles, California: Redcat
http://www.redcat.org/
8:30 pm, REDCAT, 631 West 2nd Street
DANGEROUS EROTICS: A TRIBUTE TO CAROLEE SCHNEEMANN
In person: Peggy Ahwesh, Maggie Nelson, Lauren Pratt and Kenneth White https://www.redcat.org/event/her-dangerous-erotics-tribute-carolee-schneemann REDCAT celebrates the life and work of Carolee Schneemann, one of the great artists of the 20th century, with a panel discussion and selection of her films and videos. Schneemann’s performances, films, paintings and installations were at the center of world art culture from 1960 until her death in 2019. Unrelenting in confronting traditional roles and taboos imposed upon women, Schneemann defiantly embraced female sexuality and physicality with a power and immediacy that remains groundbreaking. Her early investigations into gender and “forbidden aspects of the female experience” (C.S.) laid the groundwork for much feminist art of the 1980s and 90s. The program will feature music by James Tenney, her long-term partner and collaborator. 8:30pm: Screening Films and videos spanning Schneemann’s filmmaking career Tributes by Artists and Colleagues Tickets: $12 general; $9 for REDCAT and Current Filmforum members Available for presale at https://web.ovationtix.com/trs/pr/1023333 Filmforum members contact us at lafilmforum@yahoo.com for the discount code.

2/29
New York, NY: Anthology Film Archives
http://www.anthologyfilmarchives.org/
6:30 PM, 32 Second Avenue
EC: HARRY SMITH
FILM NOS. 1-5, 7, 10 (EARLY ABSTRACTIONS) (ca. 1946-57, 23 min, 16mm-to-35mm. Restored by Anthology Film Archives and The Film Foundation with funding provided by the George Lucas Family Foundation.) FILM NO. 11 (MIRROR ANIMATIONS) (ca. 1957, 4 min, 16mm. Newly preserved by Anthology Film Archives!) FILM NO. 14 (LATE SUPERIMPOSITIONS) (1964, 28 min, 16mm) FILM NO. 16 (OZ: THE TIN WOODMAN'S DREAM) (ca. 1967, 15 min, 35mm, silent) "My cinematic excreta is of four varieties: - batiked animations made directly on film between 1939 and 1946; optically printed non-objective studies composed around 1950; semi-realistic animated collages made as part of my alchemical labors of 1957 to 1962; and chronologically super-imposed photographs of actualities formed since the latter year. All these works have been organized in specific patterns derived from the interlocking beats of the respiration, the heart and the EEG Alpha component and should be observed together in order, or not at all, for they are valuable works, works that will forever abide - they made me gray." -Harry Smith Total running time: ca. 75 min.

2/29
New York, NY: Anthology Film Archives
http://www.anthologyfilmarchives.org/
8:30 PM, 32 Second Avenue
EC: FILM NO. 12 (HEAVEN AND EARTH MAGIC FEATURE)
by Harry Smith. Preserved by Anthology Film Archives with support from the National Film Preservation Foundation and Cineric, Inc. "NO. 12 can be seen as one moment - certainly the most elaborately crafted moment - of the single alchemical film which is Harry Smith's life work. In its seriousness, its austerity, it is one of the strangest and most fascinating landmarks in the history of cinema. Its elaborately constructed soundtrack in which the sounds of various figures are systematically displaced onto other images reflects Smith's abiding concern with auditory effects." -P. Adams Sitney

2/29
San Francisco: Other Cinema
http://www.othercinema.com/
8:30 PM, 992 Valencia St
PSYCHO-GEO1: NORCAL
Focus on Locus! The Bay Area itself is the protagonist of the first of four Psycho-Geography shows this season, with this SF showcase serving as a benefit for the in-progress book Avant to Live! Incite editor Brett Kashmere unveils Craig Baldwin's long lost S8 downtown-street project, Stolen Movie, before Baldwin double-projects John Corser's Crosstown Traffic (on Mission Street). Anthony Buchanan personally introduces his own S8 homage to Streetopia's mid-Market interventions, Ben Wood updates us on proposals to save Arnautoff's GWHS murals, and Daniel Johnson unfurls fascinating field footage of the endangered California Condor, at Pinnacles Peaks, just southeast of us. Ex-Mish masters Sam Green and Christian Bruno send in their Pie Fight '69, to share the screen with the Bullitt production short, of course. Free postcards! *$8-20

SUNDAY, MARCH 1, 2020

3/1
Barcelona, Spain: Xcentric Cinema
http://xcentric.cccb.org/en/programas/fitxa/access-to-the-view-films-of-amy-halpern/232532
18:30, CCCB (Centre de Cultura Contemporania de Barcelona)
SUPER-8 AMATEURS: THE LOCAL NON-SCHOOL
This session presents the recent work of six young filmmakers associated with the city of Barcelona who all use the same medium, Super-8, an anachronistic format that seems to be enjoying a revival among a new generation of artists and filmmakers. After the screening, we’ll have the chance to discuss the potential of this old home movie format with the filmmakers, looking at its virtues and drawbacks. La alegria de vivir, Miguel Rojas, 2018, Super-8 to digital, 16 min; El mar peino a la orilla, Valentina Alvarado Matos, 2019, Super-8, 2:26 min; Tropico desvaido, Valentina Alvarado Matos, 2016, Super-8 to digital, 6:09 min; Tot es un somni, Mariona Domenech, 2019, Super-8 to digital, 6:21 min;  Sin Titulo (Agosto), Blanca Garcia, 2016, Super-8, 3:15 min; Ipsae (Guillermina), Blanca Garcia, 2016-2019, Super-8, 3:18 min; Autoretrat Llum Casa, Alba Yruela, 2018, Super-8 to digital, 1 min; #002, Yonay Boix, 2019, Super-8 to digital, 3:18 min. Copies courtesy of the artists. A programme by Gloria Vilches and Diego Cepeda.


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