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

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This page is updated every Sunday.
  • Sunday, April 14, 2019
  • Monday, April 15, 2019
  • Tuesday, April 16, 2019
  • Wednesday, April 17, 2019
  • Thursday, April 18, 2019
  • Friday, April 19, 2019
  • Saturday, April 20, 2019
  • Sunday, April 21, 2019
  • This week's programs (summary):

    Sunday, April 14, 2019

    New York, NY: Anthology Film Archives
    5:00 PM, 32 Second Avenue
    CASTRO STREET (1966, 10 min, 16mm) ALL MY LIFE (1966, 3 min, 16mm) VALENTIN DE LAS SIERRAS (1968, 10 min, 16mm. Preserved by Anthology Film Archives.) "In [Baillie's late 1960s films], the eye of the film-maker quiets his mind with images of reconciliation; the dialectics of cinematic thought become calm in the filming of the privileged moment of reconciliation." -P. Adams Sitney, VISIONARY FILM & QUICK BILLY (1971, 56 min, 16mm) "The essential experience of transformation, between Life and Death, death and birth, or rebirth. In four reels, the first three adapted from the Bardo Thodol, the Tibetan Book of the Dead. The fourth reel is in the form of a black and white one-reeler Western, summarizing the material of the first three reels, which are color and abstract." -Bruce Baillie Total running time: ca. 85 min.

    New York, NY: Anthology Film Archives
    5:30 PM, 32 Second Avenue
    Though it is now a four-lane Google-owned Interstate where it was once a charming two-lane blacktop, YouTube is the grandest conduit for all manner of private interests, ranging from harmless to jail-able. This is where all the disaster scenes of the world are deposited for delectation, watched and commented upon until their titillations wear off. Video cameras mounted on dashboards or positioned with the perfect view of a certain low clearance bridge supply plenty of fodder for the hungry eyes that search desperately for their next fix. This program will offer a sampling of some of the outrageous scenes the perverse social subconscious dumps into YouTube's arena. Compiled with contributions from media artist Joe McKay.

    New York, NY: Anthology Film Archives
    7:30 PM, 32 Second Avenue
    Madison Brookshire is an artist and filmmaker whose work spans the realms of experimental film, music, painting, and performance. Though he's made films and videos in many different registers, he's demonstrated a proclivity for working without a camera - creating imagery by applying paint or other materials directly to the film strip, or by relying on pure color, light flares, or clear leader - and for collaborating with musicians and composers, such as Tashi Wada, Mark So, and Laura Steenberge, who often provide live accompaniment during his projections. For this Show & Tell program, taking place alongside other screenings/performances elsewhere in NYC, Brookshire will present two camera-less works (AS WATER IS IN WATER and ABOUT 11 MINUTES) as well as a rare photographed film featuring a live score by LCollective. "Madison Brookshire comes to his filmmaking through his attentiveness to the practices of contemporary musical composition. Inspired by composers such as La Monte Young and Éliane Radigue, as well as his studies with James Tenney and James Benning, Brookshire approaches time experientially, drawing our attention to the manner of its unfolding." -Chris Kennedy Additional programs devoted to Brookshire's work will take place at Mono No Aware on Friday, April 12 at 8pm, and at Microscope Gallery on Monday, April 15 at 7:30pm. For more info visit and AS WATER IS IN WATER (2017, 31 min, digital. Made in collaboration with Tashi Wada.) Paintings collide to produce panels of time distended with space, set to music by Tashi Wada. While the score is spare, the image is excessive, the meter working with and against the imagery. The picture is made from paint-soaked 16mm film strips, reinterpreted with a digital camera, edited to cycle in short, hallucinatory loops, forming abstract thaumatropes. ABOUT 11 MINUTES (2014, 11 min, 16mm) "I wanted to make a film that takes place over time, yet is complete at every moment. That is, it needs the pressure of time in order to be experienced, but does not move through time. Instead, it simply remains, putting the film entirely in the perception of the viewer and their ever-evolving relationship to the image. The sound is the same as the color. Both are interpretations of a material by a machine. It is a musical without spectacle." -Madison Brookshire OPENING (2007, 25 min, 16mm (with live musical accompaniment by LCollective)) OPENING reveals the city in the landscape and the landscape in the city. Many of the images come from overlooked, "in-between" spaces, such as off-ramps and back alleys and the editing emphasizes this in-between feeling. Three musicians playing very clear, very quiet, very long tones accompany OPENING. The composition, called Soundtrack, specifies how the musicians should play, but not what notes to make or when to make them. In this way, the indeterminacy of the music provides a stark contrast to the fixed nature of the film print. Total running time: ca. 75 min.

    Oakland: Shapeshifters Cinema
    7:30-10PM, Temescal Art Center, 511 48th St.
    Shapeshifters Cinema presents Keith Evans with Rae Diamond's Long Tone Choir
    "In dehydration melts" is a collaborative water augury featuring the paracinema of Keith Evans and the vocal dilations of Rae Diamond’s Long Tone Choir. Drawing attention to our interconnection with Earth patterns and energies, "In dehydration melts" is a performance and an object, an instrument of equivocal data displaying sounds and liminal images of the transition zone between experience and meaning. Bodies, gestures, field notes, screens, walls, and the aggregate equipment are elements in a schematic and an ephemeral architecture that is evocative of the elastic and transformational forces unfolding an awareness of time. This expansive new work of compressed artifacts and obsolescences will congregate in the heat around the phoneme + phone + phonograph + phonological as utterances idiosyncratically decay through the apparatus contributing to an animate cinema system performed in our minds and in our presence.

    Portland, Oregon: Boathouse Microcinema
    7:30pm, 822 N River St
    Roland Dahwen, Pam Minty, Julia Oldham
    Three shorts by filmmakers who explore the changing landscapes, tourism, and geography of places near and far.

    Monday, April 15, 2019

    Brooklyn, New York: Microscope Gallery
    7:30pm, 1329 Willoughby Ave, 2B
    Madison Brookshire: Passage, Veils, Fountain
    Artist in person! An evening of 16mm film, double projection, and film performance by Madison Brookshire, an LA-based artist whose work with film often incorporates painting, music, and performance. This is the final of 3 events featuring the artists taking place this week in NYC. The roughly 60-minute program begins with a double, overlaid 16mm projection work “Passage” (2011), made in collaboration with Tashi Wada, a full-frame color shifting field in which images and sounds of symmetrical structure overlap. The work also exists as an installation. The second work, “Veils” (2011-2013), is a 15-minute camera-less film that was originally immersed in paint and treated multiple times in a process that Brookshire describes as “a density built up of transparencies”. The work will by accompanied by a live score by LCollective. The night concludes with the NY debut of “Fountain” (2016), a film-less, minimalist performance for Kodak Pageant projector, harmonium and guitar in which the different frequencies of flickering projection and basic sounds harmonize in an unstable equilibrium. Admission $8, Students & Members $6. Additional info: tel: 347.925.1433, Nearest subway: Jefferson St L (exit Starr St)

    Santander, Spain: Centro Cultural Doctor Madrazo
    6:00 PM, Casimiro Sainz, S/N
    Cineinfinito #87: Pat O'Neill
    Cineinfinito #87: Pat O'Neill. Programa: Water and Power (1989), 35 mm, color, sonora, 55 min Formato de proyección: HD (copia cortesía de Lookout Mountain Studios) (Agradecimiento especial a Pat O’Neill y George Lockwood)

    Santander, Spain: Centro Cultural Doctor Madrazo
    6:00 PM, Casimiro Sainz, S/N
    Cineinfinito #86: Elizabeth Block
    Cineinfinito #86: Elizabeth Block CINEINFINITO / Centro Cultural Doctor Madrazo Lunes 15 de Abril de 2019, 18:00h. Centro Cultural Doctor Madrazo Calle Casimiro Sainz, s/n 39004 Santander Programa: Strewnpackedcinderwhateverlight (2003) 16mm, color + BW, sound, 9 min Make Haste, Slowly (2004) 16mm, color, silent, 6 min Color Time (2004) 16mm, color, silent, 3 min Formato de proyección: HD (Nuevos transfers digitales en exclusiva para este programa) (Agradecimiento especial a Elizabeth Block y a Canyon Cinema)

    Tuesday, April 16, 2019

    New York, NY: Anthology Film Archives
    7:30 PM, 32 Second Avenue
    Filmed 1949-63/edited 1976, 180 min, 16mm, color/b&w, soundShare +Twitter. Preserved by Anthology Film Archives through the Avant-Garde Masters program funded by The Film Foundation and administered by the National Film Preservation Foundation. "No figure appears more firmly rooted in both the American avant-garde and downtown New York than Jonas Mekas…. Yet LOST LOST LOST, his…three-hour diary collage, tells a very different story, one of exile, displacement, and longing. It was completed in 1976 out of footage shot during an almost 15-year span, from his arrival in New York in 1949 (as a postwar Lithuanian refugee) to his engagement with the budding independent film scene of the early '60s. […] These are gnomic records of self-discovery, sealed in celluloid amber by their very act of creation. But this potently intimate epic transcends mere personal record to tap a universal sentiment. A photographic Homer of his own odyssey, Mekas journeys - like us all - in irrevocable exile from his own past, attempting to reconstruct that invisible nation of youth to which he can never return." -Ed Halter, VILLAGE VOICE

    Wednesday, April 17, 2019

    New York, New York: anthology film archives
    6 PM, Anthology FIlm Archives 32 2nd AVE
    ENTITLED curated by Lili White
    TRT: 56.56 minutes; HORIZON OF MEANING; Rrose Present; SPAIN; 4:36; AS SWEET (film with audience participation performance); Emily Packer; USA; 12.00; THE LEISURE CLASS; Gwendolyn Audrey Foster; USA; 2.47; BATUM; Kamila Kuc; UK/GEORGIA; 8.13 NOTHING REMAINS; Hong Yane Wang & Hua Wang; UK/China; 1.14; MY GOSSIP; Kelly Gallagher; USA; 14.49; YOU ARE NOT MINE; Cinzia Sarto; Italy; TRT: 3.32; MARY MAGDALENE; M.M. Serra; USA; 3.43; UNIVERSAL LEADER 1; Orit Ben-Shitrit; USA/ Israel; 2.24;

    Thursday, April 18, 2019

    San Francisco, CA United States: Artists Television Access
    7:30 PM, 992 Valencia St
    One Big Box Begets Another: Films by Roger Beebe
    **FILMMAKER ROGER BEEBE IN PERSON** ADMISSION: $10 General/$5 Cinematheque Members and Headlands Center for the Arts Members This program is co-presented with Headlands Center for the Arts In this program, filmmaker and performance cinema practitioner Roger Beebe appears in person to present a mini-retrospective of his work. The show reflects Beebe's wry humor, observational wit and personally crafted approach to film/video collage, including elaborate multi-projector works and recent examples of “desktop cinema”—journalistic essay films reflecting mediated online experience and personal responses to current events. THE COMIC SANS VIDEO (2018), considers racialized ideologies embedded in fonts and typefaces in the context of Black Lives Matter protests and discourses. The epic essay AMAZONIA (2018) muses on the overlooked physical spaces of the internet as well as the conditions of alienated labor (de)evolution of urban space in the era of e-commerce while [SIC] SERIES (2014) is a sickly surreal found footage collision, a three-part dysfunctional funhouse of fragments. This program also includes two world premieres—DE RERUM NATURA (2019), an ambivalent consideration of on nature and beauty in the context of late capitalism and LINEAGE (FOR NORMAN MCLAREN), an overwhelming, laser-etched, hand-processed, loop-based performance for four 16mm projectors, presented live by the master film manipulator himself. Full details here:

    Friday, April 19, 2019

    Cambridge, Massachusetts: Harvard Film Archive
    7pm, 24 Quincy Street
    Such a Morning by Amar Kanwar - Filmmaker in Person
    Amar Kanwar (b. 1964) is a New Delhi-based filmmaker and artist whose work has powerfully mined the potential of a slower, drifting method of moving image to forge a politically charged and engaged mode of gently expanded cinema. Kanwar’s critically acclaimed yet fiercely debated Such a Morning hovers on the border between magical realist allegory and slow cinema trance film with an almost Calvino-like fable of a renowned mathematician impulsively abandoninghis university post, without explanation, to hibernate in a train car abandoned deep in a lush forest. Studiously meditating on the darkness of his cabin as he carefully blocks out the stubborn sunlight, Kanwar’s obscure hero seeks an enigmatic form of solace, a passenger on a secret train of thought bound for an uncertain destination. The appearance, or apparition, of a woman indifferently guarding a house systematically pulled apart by vandal ruffians offers a haunting bookend to the mathematician’s patient project, a form of deliberate waiting, or resistance, or surrender. Crafted with a cinematographic precision and remarkable attention to light and shadow, Such a Morning shimmers with fierce political allegory and obdurate mystery, inviting the viewer to sit and to wait, like the film’s characters, for an expected revelation.

    Saturday, April 20, 2019

    San Francisco: Other Cinema
    8pm, 992 Valencia Street
    David Cox' Assange + Putin + Paglen
    Networks of surveillance and espionage—and hacking--have become prime movers in political history...and the judgment is still pending on one of the charged field’s lightning-rods, Julian Assange. Agent provocateur David Cox riffs through a raft of pro- and con- cine-essays afloat, including the crucial Risk by ex-SF cook Laura Poitras, as well as the latest from Adam Curtis. ALSO: In its West Coast debut, Mariam Ghani’s The Seen Unseen looks into the after-lives of former black sites, operated by the CIA for rendition, interrogation, and torture. In person, Kathleen Quillian world-premieres her speculative collage Immaculate Concussion, an inquiry into the nefarious potentials (incl. embassy noise weapons) of the spectrum. UCB golden-boy Trevor Paglen punts in a pair of pieces--one on his art-in-orbit! PLUS an opening salvo of satires of Trump and Putin, Caleb Foss’ Amusement Park Home Movies Inspire the Algorithm, CIA filmstrips, and free vodka shots.*$8

    Sunday, April 21, 2019

    Portland, Oregon: Boathouse Microcinema
    7:30pm, 822 N River St
    Ruben Marrufo
    Lecture and film screening around issues on the US/Mexican border.

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