From: Weekly Listing (email suppressed)
Date: Sat Oct 25 2008 - 08:56:44 PDT
Part 1 of 2: This week [October 25 - November 2, 2008] in avant garde cinema
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V International Festival of Audio-visual arts VIDOLOGIA 2008 (Russia ; Deadline: November 01, 2008)
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Kansas City FilmFest (Kansas City, MO USA; Deadline: November 15, 2008)
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The 8 Fest (Toronto, Ontario, CANADA; Deadline: November 15, 2008)
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DEADLINES APPROACHING:
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Takoma Park Film Festival (Takoma Park, MD, USA; Deadline: November 01, 2008)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=883.ann
MONO NO AWARE II (Brooklyn, NY. USA; Deadline: November 07, 2008)
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Images Festival (Toronto, Ontario, CANADA; Deadline: November 14, 2008)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=912.ann
2nd Annual Studio 60093 Children's Video Fest (Winnetka, IL USA; Deadline: November 11, 2008)
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28th Black Maria Film + Video Festival (Jersey City, NJ, USA; Deadline: November 24, 2008)
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MAGA / Macon Georgia Film Festival (Macon, Georgia USA; Deadline: November 15, 2008)
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San Francisco Ocean Film Festival (San Francisco, CA, USA; Deadline: October 31, 2008)
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Gallery RFD (Swainsboro, GA; Deadline: October 31, 2008)
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Post-Postcard 12 at The LAB OPEN INVITATIONAL (San Francisco, CA 94114; Deadline: November 22, 2008)
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MUSEEK (Saint-Petersburg, Russia; Deadline: November 01, 2008)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=942.ann
MadCat Women's International Film Festival (NY, NY USA; Deadline: November 17, 2008)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=945.ann
V International Festival of Audio-visual arts VIDOLOGIA 2008 (Russia ; Deadline: November 01, 2008)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=946.ann
Kansas City FilmFest (Kansas City, MO USA; Deadline: November 15, 2008)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=947.ann
The 8 Fest (Toronto, Ontario, CANADA; Deadline: November 15, 2008)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=948.ann
Enter your event announcements by going to the Flicker Weekly Listing Form
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THIS WEEK'S PROGRAMS (SUMMARY):
==============================
* Who By Water, Who By Fire: New Experimental Cinema [October 25, Chicago, Illinois]
* Urban/Rural Landscapes (Experimental) [October 25, Greenbelt Maryland]
* Studio: Pneuma Monoxyd [October 25, London, England]
* A Sense of Place [October 25, London, England]
* Guy Debord [October 25, London, England]
* Alina Rudnitskaya [October 25, London, England]
* When Latitudes Become Form [October 25, London, England]
* Mark Street & Lynne Sachs At the 8th Annual Human Rights Film Festival [October 25, Los Angeles, California]
* The Camera [October 25, New York, New York]
* The Film Strip [October 25, New York, New York]
* The Photograph [October 25, New York, New York]
* The Frame [October 25, New York, New York]
* The Frame [October 25, New York, New York]
* Bill Berkson and Guests Jerome Hiler and Owsley Brown [October 25, San Francisco, California]
* Schneider's 1, 2, 3 Whiteout + Archimedia + [October 25, San Francisco, California]
* A Lower World: Excesses and Extremes In Film and video [October 25, Toronto, Ontario, Canada]
* The Resounding Image [October 26, Brooklyn, New York]
* Studio: Kempinski [October 26, London, England]
* Nathaniel Dorsky In Person [October 26, London, England]
* The Feature [October 26, London, England]
* The Word For World Is Forest [October 26, London, England]
* Ben Rivers At the Edge of the World [October 26, London, England]
* Surveying Surveillance [October 26, London, UK]
* Lynne Sachs and Mark Street Present "Xy Chromosome Project #3" [October 26, Los Angeles, California]
* Object-Ified Time and Light [October 26, New York, New York]
* Object-Ified Time and Light [October 26, New York, New York]
* Object-Ified Time and Light [October 26, New York, New York]
* Time and Place [October 26, New York, New York]
* Room Film [October 26, New York, New York]
* Leslie Thornton: Tuned Always To A Shifting Ground [October 26, San Francisco, California]
* The Free Screen - Cinema and Disjunction [October 27, Toronto, Ontario, Canada]
* Far From vietnam [October 28, Brooklyn, New York]
* All About Eve [October 28, Reading, Pennsylvania]
* Avant Cinema 2.1: Experimental Films From Romania [October 29, Austin, TX]
* Detroit Docs International Film Festival 2008 [October 29, Detroit, Michigan]
* Essential visual Music: Rare Classics From Cvm Archive [October 29, Ithaca, New York]
* When It Was Blue, Double Projection Film By Jennifer Reeves (2008) [October 29, New York, New York]
* Semiconductor [October 30, Chicago, Illinois]
* Detroit Docs International Film Festival 2008 [October 30, Detroit, Michigan]
* Time and Place : the Films of Ernie Gehr [October 30, Montreal]
* When It Was Blue, Double Projection Film By Jennifer Reeves (2008) [October 30, New York, New York]
* Open Screening [October 30, Reading, Pennsylvania]
* How We Fight: Program 3: Terrorists [October 30, San Francisco, California]
* Detroit Docs International Film Festival 2008 [October 31, Detroit, Michigan]
* Art Docs Series - One Bad Cat: the Reverend Albert Wagner Story [November 1, Chicago, Illinois]
* Detroit Docs International Film Festival 2008 [November 1, Detroit, Michigan]
* Like A Shipwreck We Die Going Into Ourselves [November 1, New York, New York]
* Erik Davis On Crowley and Zepplin [November 1, San Francisco, California]
* Detroit Docs International Film Festival 2008 [November 2, Detroit, Michigan]
* Star Spangled To Death [November 2, London, England]
* Our Most Holy Performance [November 2, London, England]
* Dimensional Bodies [November 2, San Francisco, California]
Events are sorted by CITY within each DATE.
--------------------------
SATURDAY, OCTOBER 25, 2008
--------------------------
10/25
Chicago, Illinois: Chicago Filmmakers
http://www.chicagofilmmakers.org/
8:00pm, Chicago Filmmakers (5243 N. Clark St.)
WHO BY WATER, WHO BY FIRE: NEW EXPERIMENTAL CINEMA
Curated and Introduced by Patrick Friel. Light and water have long been
two favorite subjects of experimental filmmakers. Tonight's program
features an outstanding international selection of new work riffing
directly and indirectly on these themes. Bill Morrison (Decasia)
continues his investigations of early archival footage in Who by Water
(2007, 18 min., USA), here exploring the faces of ship passengers; In
Studies in Transfalumination (2008, 5 min., US) Peter Rose uses
"modified flashlights and stripped down video projectors to explore the
visual complexities of the ordinary world." (PR); Christian Lebrat's V1
(Vortex) (2007, 11 min., France) moves the tradition of filming light
reflections on water into the digital age; this is not an anchor, this
boat is not an anchor (2007, 11 mins, Canada), by Marianna Milhorat, "is
the internal journey through a magical and mysterious landscape, where
romanticism is continually disrupted" (MM); Takashi Ishida's Film of the
Sea (2007, 12 min., Japan) playfully moves the sea into the gallery
space; In Kerry Laitala's Orbit (2006, 9 min., 16mm, USA) carnival
lights swirl and merge into a colorful illuminated dance; Sanctuary
(2008, 8 mins., 16mm, USA) by Vanessa O'Neill: "Breath in response to
the colors of air, an emergence to the moving light within" (VO). Total
running time: 73 mins. All video except where noted.
10/25
Greenbelt Maryland: Utopia film festival
http://www.utopiafilmfestival.org/
12 noon, Greenbelt Community Center room 114 (near the Greenbelt Library across the parking lot from Greenbelt’s Roosevelt Center); 15 Crescent Road
URBAN/RURAL LANDSCAPES (EXPERIMENTAL)
August-Vanessa O'Neill-(4min 30)-Impressions and presences evocated
through a hand-working of glimpses, of lighted moments. Polar-Scott
Nyerges-(1min 35)Apocalyptic inner visions of the polar ice caps plight.
All that Remains-Ryan Marino(8:25)A study in Light, textures and ghosts
that make up the abandoned. Nanjing Sunday-Chris Lynn(5:00min)-Nanjing,
China is explored through fragments of sound and light. Glimpses of the
everyday are revealed Tower-Roger Beebe-(5min)A world of wonders lies
just a glance away from the famous tower. Bus Stop-Chen
Sheinberg-(2.5min)-A fascinating bus ride through Tel Aviv edited in the
camera while shooting. Deconstruction Sight-Dominic
Angerame-(14min)Angerame begins an investigation into the excavations
that are supposed to help the city into the twenty-first century. The
'time lapse' images radiate a pre-cinematographic purity that sharply
contrasts with the industrial hell evoked by the excavators. Ghosts and
Gravel Roads-Mike Rollo-15.45-An inventory of lost memories and places,
the sun bleached landscape of Saskatchewan serves as a metaphor for
displacement, a framing of emptiness and absence.
10/25
London, England: BFI London Film Festival
http://www.bfi.org.uk/lff
12pm to 7pm, BFI Southbank, Belvedere Road, South Bank, SE1
STUDIO: PNEUMA MONOXYD
PNEUMA MONOXYD (Thomas Köner, Germany-Serbia, 2007, 10m) Merging
surveillance images of a German shopping street and a Balkan
marketplace, Köner's darkly abstract work, with its spatially evocative
soundtrack, generates a muted sense of spectral dystopia. Continuous
Projection. Free Admission.
10/25
London, England: BFI London Film Festival
http://www.bfi.org.uk/lff
2pm, BFI Southbank, Belvedere Road, South Bank, SE1
A SENSE OF PLACE
FOUR TORONTO FILMS (Nicky Hamlyn, UK, 2007, 18m) During a residency in
the Canadian city, Hamlyn made this suite of films that explore a direct
relationship between subject matter and camera apparatus. Three
scrutinise aspects of the urban locale, the other an accelerated view of
Koshlong Lake. 21 ALLEYS (Robert Todd, USA, 2007, 9min) A residential
street, seen through the passageways that separate its dwellings, is the
focus of this understated study of gentrification in a Boston
neighbourhood. LAST DAYS IN A LONELY PLACE (Phil Solomon, USA, 2007,
22m) Solomon has created a sombre elegy for a departed friend from
fragments of movie soundtracks and anomalous images liberated from Grand
Theft Auto. A soul drifts through unpopulated (virtual) spaces and we
see absence. LOSSLESS #2 (Rebecca Baron, Douglas Goodwin, USA, 2008, 3m)
Witness the dematerialization of an avant-garde standard as incomplete
digital files, downloaded from file sharing networks, induce trouble in
the image. TRILOGY: KETTLE'S YARD (Jayne Parker, UK, 2008, 25m) Linear
Construction, Woman with Arms Crossed and Arc refer back to a quartet of
films made with musician Anton Lukoszevieze almost a decade ago. This
new anthology for solo cello was shot at Kettles Yard and incorporates
items from the museum's collection which open up metaphorical space and
meaning. THE MIRACLE OF DON CRISTOBAL (Lawrence Jordan, USA, 2008, 12m)
An alchemical melodrama composed of engravings from 19th century
adventure stories. The illustrations are conjured into motion as
improbable sounds collide with a Puccini aria.
10/25
London, England: BFI London Film Festival
http://www.bfi.org.uk/lff
4pm, BFI Southbank, Belvedere Road, South Bank, SE1
GUY DEBORD
'The cinema, too, has to be destroyed.' (Guy Debord) An extremely rare
opportunity to see new 35mm prints of films by French writer and
theorist Guy Debord, best known for The Society of the Spectacle. Debord
was a central figure of the Situationist International (SI), a
nihilistic band of agitators whose harsh critiques of capitalist
society, inspired by Marxism and Dada, were conveyed through
publications, visual art and collective actions. Articulated primarily
in the French language, Situationism was relatively ineffective in
Britain and America in its time, and though numerous translations are
now available, Debord's radical films remain unseen. Far ahead of its
time, his technique of 'détournement' assimilates still and moving
image-scraps from features, newsreels, printed matter, advertisements
and other detritus to satisfy the viewer's 'pathetic need' for cinematic
illusion. Propelled by a spoken, monotonous discourse, the images do not
so much illustrate the text as underpin it, often maintaining a
metaphorical relationship that may not at first be apparent. The two
films showing here effectively bookend Debord's involvement with the
Situationists, whose politically subversive practice aspired to provoke
a revolution of everyday life. SUR LE PASSAGE DE QUELQUES PERSONNES Ŕ
TRAVERS UNE ASSEZ COURTE UNITÉ DE TEMPS (Guy Debord, France, 1959, 18m)
In the dingy bars of St-Germain-des-Prés, Debord and his associates
formed a bohemian underground for whom 'oblivion was their ruling
passion.' This anti-documentary captures the SI close to its moment of
inception, following their separation from the Lettristes two years
prior. IN GIRUM IMUS NOCTE ET CONSUMIMUR IGNI (Guy Debord, France, 1978,
105m) 'I will make no concessions to the public in this film. I believe
there are several good reasons for this decision, and I am going to
state them.' And state them he does. Debord's final film is a
denunciation of cinema and society at large, an unremitting diatribe
against consumption. The SI is equated to a military operation (charge
of the light brigade, no less) as its members are presented alongside
images of the D-Day landings, Andreas Baader, Zorro, a comic strip
Prince Valliant and quotes from Shakespeare, Ecclesiastes and Omar
Khayyám. Debord takes no prisoners in this testament to his anarchistic
vision.
10/25
London, England: BFI London Film Festival
http://www.bfi.org.uk/lff
7pm, BFI Southbank, Belvedere Road, South Bank, SE1
ALINA RUDNITSKAYA
Alina Rudnitskaya's humanistic approach to documentary filmmaking often
brings out the humour in her chosen subjects. As an introduction to her
work, this programme depicts three diverse groups of contemporary
Russian women. AMAZONS (Alina Rudnitskaya, Russia 2003, 20m) A sensitive
portrait of an unusual urban phenomenon: a troupe of independent and
strong-minded girls who keep horses in the heart of St Petersburg.
Amazons follows a new volunteer as she tries to find her place within
the group dynamic. BESAME MUCHO (Alina Rudnitskaya, Russia 2006, 27m)
With music providing an escape from their duties as veterinarians,
nurses and cleaners, the amateur chorus of a provincial town rehearse
songs from Verdi's 'Aida'. Close bonds are formed, but in true diva
style, relationships within the choir are frequently inharmonious. BITCH
ACADEMY (Alina Rudnitskaya, Russia, 2008, 29m) An improbable symbol of
modern Russia is displayed in this tragicomic verité on the aspirations
of young women. In a progressive twist on assertiveness training, a
middle-aged, paunchy Casanova (who surely loves his job) gives classes
on how to seduce the male using role play, styling critiques and sexy
dancing. The ultimate goal is to hitch a millionaire, and though there's
much humour in the situation, occasional tears and telling looks remind
us that the insecurities of real lives are being laid bare.
10/25
London, England: BFI London Film Festival
http://www.bfi.org.uk/lff
9pm, BFI Southbank, Belvedere Road, South Bank, SE1
WHEN LATITUDES BECOME FORM
IN THE KINGDOM OF SHADOWS (Francisca Duran, Canada, 2006, 6m) Set in
metal type, a passage from Maxim Gorky's review of the Lumičres melts
into a pool of molten lead. HOW TO CONDUCT A LOVE AFFAIR (David Gatten,
USA, 2007, 8min) 'An unexpected letter leads to an unanticipated
encounter and an extravagant gift. Some windows open easily; other
shadows remain locked rooms.'(DG) THE PARABLE OF THE TULIP PAINTER AND
THE FLY (Charlotte Pryce, USA, 2008, 4min) A saturated cine-miniature
inspired by Dutch 17th Century painting. DEEP SIX (Sami van Ingen,
Finland, 2007, 7m) The film image of a loaded truck, careening free of
its position in the frame, speeds along a mountain road towards an
inevitable fate. DE TIJD (Bart Vegter, Netherlands, 2008, 9m) Computer
animated abstraction in three dimensions. Slowly evolving geometric
forms suggest sculptural figures and waning shadows. HORIZONTAL
BOUNDARIES (Pat O'Neill, USA, 2008, 23m) O'Neill's dizzying deployment
of the 35mm frame-line is intensified by Carl Stone's electronic score.
A hard and rhythmic work, thick with superimposition, contrary motion
and volatile contrasts, reminiscent of his pioneering abstract work of
prior decades. EASTER MORNING (Bruce Conner, USA, 2008, 10m) Conner's
freewheeling camera chases morning light in a hypnotic blur of colour
and multiple exposures. This final work by the artist and filmmaker
rejuvinates his rarely seen 8mm film Easter Morning Raga (1966). With
music by Terry Riley.
10/25
Los Angeles, California: Echo Park Film Center
http://www.echoparkfilmcenter.org/
7 PM, 1200 N. Alvarado Street (@ Sunset Blvd)
MARK STREET & LYNNE SACHS AT THE 8TH ANNUAL HUMAN RIGHTS FILM FESTIVAL
Investigation of a Flame: a documentary portrait of the Catonsville 9 by
Lynne Sachs 7:00 - 8:00 PM On May 17, 1968, three Catholic priests, a
nurse, an artist and four others walked into a Catonsville, Maryland
draft board office, grabbed hundreds of selective service records and
burned them with homemade napalm. Their poetic act of civil disobedience
helped galvanize an increasingly disillusioned American public against
the Vietnam War. Investigation of a Flame is an intimate look at this
Sixties protest within our current times, when foes of Middle East
peace, abortion, and technology resort to violence to access the public
imagination. Filmmaker Lynne Sachs combines volatile, long-unseen,
archival footage with interviews with Daniel and Philip Berrigan and
other members of the Catonsville Nine, encouraging viewers to ponder the
relevance of civil disobedience and the implications of personal
sacrifice today. HIDDEN IN PLAIN SIGHT by Mark Street - 8:30 - 10 PM In
Hidden In Plain Sight, Mark Street and his camera travel to five major
cities in different nations-- the United States (New York City), Vietnam
(Hanoi), France (Marseilles), Senegal (Dakar) and Chile (Santiago). At
each stop, Street observes the people, the traffic patterns and the
scenery while looking for evidence of revolutionary political thought as
the principles of Ho Chi Minh and Salvador Allende pop up in unexpected
places. Featuring a score by noted cellist Jane Scarpantoni, Hidden In
Plain Sight was an official selection at the 2008 Tribeca Film Festival,
was it was screened as part of the "Progressive Landscapes" series. ~
Mark Deming, All Movie Guide FREE! FILMMAKERS IN ATTENDANCE!
10/25
New York, New York: Whitney Museum of American Art
http://www.whitney.org/
12:30PM, 945 Madison Avenue
THE CAMERA
Babette Mangolte, ‚Le Camera: Je', 1977, 88 min.
10/25
New York, New York: Whitney Museum of American Art
http://www.whitney.org/
5pm, 945 Madison Avenue
THE FILM STRIP
Bill Brand, 'Rate of Change: Acts of Light Part 1', 1972-74, 17 min.
Paul Sharits, 'Episodic Generation' (1977-78), 30 min.
10/25
New York, New York: Whitney Museum of American Art
http://www.whitney.org/
11:30am, 945 Madison Avenue
THE PHOTOGRAPH
THE PHOTOGRAPH; THE CAMERA; THE FRAME; THE FILM STRIP In this group of
films, the photograph becomes the subject; the frame is revealed as a
central element in defining the boundary between stillness and movement.
And the composition of the film strip, a series of still images printed
onto celluloid, is made explicit through re-photography. Michael Snow,
'Slides Seat Painting Slides Sound Film' (1970), 20 min. Morgan Fisher,
'Production Stills', 1970, 11 min. Michael Snow, 'One Second in
Montreal' (1969) 26 min.
10/25
New York, New York: Whitney Museum of American Art
http://www.whitney.org/
2pm, 945 Madison Avenue
THE FRAME
2pm – 3.30pm Peter Gidal, 'Heads', 1969, 34 min. Hollis Frampton,
'Nostalgia', 36 min. Nancy Graves, Isy Boukir, 1971, 16 min.
10/25
New York, New York: Whitney Museum of American Art
http://www.whitney.org/
4pm, 945 Madison Avenue
THE FRAME
Barry Gerson, 'Inversion' (1973), 16 min. Bill Brand, 'Moment', 1972, 23
1/2 min. Paul Sharits, 'Brancusi's Sculpture Ensemble at Tirgu Jiu'
(1977-84), 21 min.
10/25
San Francisco, California: New Langton Arts
http://www.newlangtonarts.org
7pm, 1246 Folsom Street
BILL BERKSON AND GUESTS JEROME HILER AND OWSLEY BROWN
Bill will be reading from his recent book of poetry, "Goods and
Services" as well as from his forthcoming "Portrait and Dream: New &
Selected Poems" (Coffee House Press, spring 2009). This will be followed
by short film screenings from his invited guests - filmmakers Owsley
Brown and Jerome Hiler. Poet, art critic, former professor of Liberal
Arts at the San Francisco Art Institute, Berkson has been a resident of
the Bay Area since 1970. During the 1970's he edited and published a
series of little magazines and books under the Big Sky imprint. He is
the author of nearly 20 pamphlets and books of poetry, as well as
numerous essays on art and literature. He is a corresponding editor for
Art in America. His criticism has been collected in "The Sweet Singer of
Modernism: Selected Art Writings 1984-2004"; "Sudden Address: Selected
Lectures"; and the forthcoming "For the Ordinary Artist: Writings and
Interviews on Art & Poetry" (2009). Hiler and Brown will screen footage
from their as-yet unfinished "Untitled (The Louisville Orchestra
Project)" centered on the development of the fabled muscial organization
founded in 1937 by visionary conductor Robert Whitney and the then Mayor
of Louisville, Kentucky, Charles Farnsley. Beginning in 1948, Whitney,
sometimes described as a "wide-eyed visionary," commissioned new works
from contemporary composers such as William Schumann and others, and
hosted such major figures as Igor Stravinsky and Dimitri Shostakovich.
10/25
San Francisco, California: Other Cinema
http://www.othercinema.com/
8:30pm, 992 Valencia Street
SCHNEIDER'S 1, 2, 3 WHITEOUT + ARCHIMEDIA +
Longtime OC ally James June Schneider has managed a prolific rate of
output even after moving to Paris for an advanced degree. He's bringing
back a 16mm print of his exquisitely stylized sci-fi feature 1, 2, 3,
Whiteout, an allegorical, speculative, late New Wave take on human
trajectories through the City of Light. Extrapolating on the
architectural, David Cox and Molly Hankwitz of Archimedia present Guy
Debord's Paris -obsessed short On the Passage of a Few Persons Through a
Rather Brief Period of Time, towards an understanding of both the
Situationists and the Schneider. ALSO: Caspar Stracke's Rong Xiang, on
the (de)construction of the Chinese copy of Le Corbusier's iconic Notre
Dame du Haut.
10/25
Toronto, Ontario, Canada: Pleasure Dome
http://www.pdome.org/
11am 8 pm, Pixel Gallery, 156 Augusta Ave
A LOWER WORLD: EXCESSES AND EXTREMES IN FILM AND VIDEO
Media Art Gallery Exhibition featuring seven video works: Monster Movie,
Takeshi Murata, 2005, 3:55 min., single-channel video on monitor, looped
playback with headphones Up and Away, Michael Bell-Smith, 2006, 6:40
min., single-channel video projected, loop playback with sound The
American Desert (for Chuck Jones), Mungo Thomson, 2002, 33:45 min.,
single-channel video projected, looped playback with sound Untitled
(Working Title Kids & Dogs), Nathalie Djurberg, 2007, 33 min.,
two-channel video on LCD monitors, looped playback with headphones
Journey to the Lower World, Marcus Coates, 2004, 30 min., single-channel
video on monitor, looped playback with headphones Killing Friends,
Julian Hoeber, 2001, 31 min. single-channel video on LCD monitor, looped
playback with headphones accompanied with a set of photographs Beg for
Your Life, Laurel Nakadate, 2006, 13 min. single-channel video on LCD
monitor, looped playback with headphones Where You'll Find Me, Laurel
Nakadate, 2005, 3:32 min. single-channel video on LCD monitor, looped
playback with headphones
------------------------
SUNDAY, OCTOBER 26, 2008
------------------------
10/26
Brooklyn, New York:
http://www.diapasongallery.org
8pm, 882 Third Avenue
THE RESOUNDING IMAGE
The Resounding Image The seven artists gathered for this show come from
a range of different artistic practices. Music and sound art, film and
photography, performance and installation are some of the elements of
their respective work. As sound composers and performers, they are
interested in the cinematic and evocative qualities of sound. As
photographers and film makers, they look for inherent musical qualities
of images and their display. All of them look to unfold by some degree
narrative structures (whether broad or minimal, open-ended or finite)
within the time frame of the live show. Resounding Image brings these
artists together because of their shared interest in intermedia
cross-pollination. As a one-night event, it defines a space and a time
for sound and image to meet and interact. Artists: Aki Onda and
mpld,Bruce McClure,Fabienne Gautier,Combes & Renaud,Sylvain Flanagan
Resounding Image is an original idea of Gill Arno, Fabienne Gautier and
Sylvain Flanagan. Show Starts at 8pm One night only Admission$10
Diapason Gallery for Sound and Intermedia 882 Third Avenue (between 32nd
and 33rd Street), 10th Ąoor Brooklyn NY 11232 Subways: D, N, R to 36th
Street www.diapasongallery.org
10/26
London, England: BFI London Film Festival
http://www.bfi.org.uk/lff
12pm to 7pm, BFI Southbank, Belvedere Road, South Bank, SE1
STUDIO: KEMPINSKI
Continuous Projection. Free Admission. KEMPINSKI (Neil Beloufa,
Mali-France, 2007, 14m) Whilst challenging our stereotypical view of
Africa, Kempinksi also blurs the lines between documentary, ethnography
and science fiction. Asked to imagine the future but to speak in the
present tense, the protagonists describe extraordinary and unexpected
visions.
10/26
London, England: BFI London Film Festival
http://www.bfi.org.uk/lff
2pm, BFI Southbank, Belvedere Road, South Bank, SE1
NATHANIEL DORSKY IN PERSON
In his search for a 'polyvalent' mode of filmmaking, Nathaniel Dorsky
has developed a filmic language which is intrinsic and unique to the
medium, and expressive of human emotion. Seeking wonder not only in
nature but in the everyday interaction between people in the
metropolitan environment, Dorsky observes the world around him. Free of
narrative or theme, his films transcend daily reality and open a space
for introspective thought. 'Delicately shifting the weight and solidity
of the images', a deeper sense of being is manifest in the interplay
between film grain and natural light. Dorsky returns to London to
introduce two brand new films and Triste, the work that first intimated
his sublime and distinctive 'devotional cinema'. These lyric films are
humble offerings which unassumingly blossom on the screen, illuminating
a path for vision. WINTER (Nathaniel Dorsky, USA, 2007, 19m) 'San
Francisco's winter is a season unto itself. Fleeting, rain-soaked,
verdant, a brief period of shadows and renewal.'(ND) SARABANDE
(Nathaniel Dorsky, USA, 2008, 15m) 'Dark and stately is the warm,
graceful tenderness of the sarabande.'(ND) TRISTE (Nathaniel Dorsky, USA
1978-96, 19m) 'The sadness referred to in the title is more the struggle
of the film itself to become a film as such, rather than some pervasive
mood.'(ND)
10/26
London, England: BFI London Film Festival
http://www.bfi.org.uk/lff
3:45pm, BFI Southbank, Belvedere Road, South Bank, SE1
THE FEATURE
THE FEATURE (Michel Auder, Andrew Neel, USA, 2008, 177m) In Michel
Auder's case, the truth is certainly stranger than fiction. One of the
first to compulsively exploit the diaristic potential of the Sony
Portapak, he was right there at the heart of the Warhol Factory and the
Soho art explosion. This fictionalised biography draws on his vast
archive of videotapes, connecting them by means of a distanced narration
and new footage, shot by co-director Andrew Neel, in which Auder
portrays his doppelganger, an arrogantly successful artist who may or
may not have a life-threatening condition. Resisting nostalgia through
wilful ambiguity, The Feature remains raw and brutally honest as Auder
displays the best and worst of himself. Taking in his marriages to both
Viva and Cindy Sherman, and affiliations with Larry Rivers, the Zanzibar
group and the downtown art scene, this is necessarily a tale of epic
proportions, chronicling an amazing journey through art and life whilst
providing access to a wealth of fascinating personal footage.
10/26
London, England: BFI London Film Festival
http://www.bfi.org.uk/lff
7pm, BFI Southbank, Belvedere Road, South Bank, SE1
THE WORD FOR WORLD IS FOREST
SMALL MIRACLES (Julia Hechtman, USA, 2006, 5m) Sci-fi hallucinations
seem commonplace as Hechtman invokes mysterious natural phenomena: an
extreme case of mind over matter. KEMPINSKI (Neil Beloufa, Mali-France,
2007, 14m) Speaking in the present tense, interviewees describe their
idiosyncratic notions of the future. To the western viewer, the unlikely
subjects, stylized settings and atmospheric lighting impart a strange
disconnect between science fiction and anthropology. TJÚBA TÉN (THE WET
SEASON) (Brigid McCaffrey, Ben Russell, USA-Suriname, 2008, 47m) 'An
experimental ethnography composed of community-generated performances,
re-enactments and extemporaneous recordings, this film functions doubly
as an examination of a rapidly changing material culture in the present
and as a historical document for the future. Whether the record is
directed towards its subjects, its temporary residents (filmmakers), or
its Western viewers is a question proposed via the combination of long
takes, materialist approaches, selective subtitling, and a focus on
various forms of cultural labour.'(BR) REMOTE INTIMACY (Sylvia
Schedelbauer, Germany, 2008, 15m) Cast adrift in the collective
unconscious, Remote Imtimacy constructs an allegorical collage from
found footage and biographical fragments, exploring cultural dislocation
using the rhetoric of dreams.
10/26
London, England: BFI London Film Festival
http://www.bfi.org.uk/lff
9pm, BFI Southbank, Belvedere Road, South Bank, SE1
BEN RIVERS AT THE EDGE OF THE WORLD
An intrepid explorer, Ben Rivers toys with ethnographic tropes whilst
roaming free from documentary truth. Encountering those who choose to
live apart from society, his nonjudgmental approach presents 'real life,
or something close to it.' The Edge of the World features several recent
works with other films of his choice. AH LIBERTY! (Ben Rivers, UK, 2008,
19m) In the wilderness of a highland farm, a bunch of tearaways joyride,
smash up, tinker and terrorize the way that only children can.
Assimilating landscape and livestock, this poetic study contrasts the
languid setting with the youngster's restless energy. RECORDANDO EL AYER
(Alexandra Cuesta, USA, 2007, 9m) In the shadow of an elevated subway
line in Queens, New York, the residents, streets and stores of a Latino
community evoke a sense of transience and displacement. ASTIKA (Ben
Rivers, UK-Denmark, 2007, 8m) Danish recluse Astika has allowed nature
to run wild, overgrowing his own habitat to the point that he has no
option but to move away. The film is a hazy arrangement in green and
gold, all rich textures and lush foliage. SINGING BISCUITS (Luther
Price, USA, 2007, 4m) A gospel cry rings out across the decades,
disrupted in space and time, fading but resilient. NEW SURPRISE FILM
(Ben Rivers, UK, 2008, c.7m) A little anticipation never did anyone any
harm; you'll have to be there to find out what it is. ORIGIN OF THE
SPECIES (Ben Rivers, UK, 2008, 17) 'A 70-year old man living in a remote
part of Scotland has been obsessed with 'trying to really understand'
Darwin's book for many years. Alongside this passion, he's been
constantly working on small inventions for making his life easier. The
film investigates someone profoundly interested in human beings, but who
has decided to live separately from the majority of them.'(BR)
10/26
London, UK: atmos
http://www.atmosstudio.com
11am, Vortex, 3 Bradbury Street, Dalston, London N16 8JN
SURVEYING SURVEILLANCE
SURVEYING SURVEILLANCE: What and whom is surveillance for? Sunday 26th
October, The Vortex, 3 Bradbury Street, Dalston, London N16 8JN 11.00
"SeeCTV – Watching the Watchers" – local street activism & documentation
workshop. 14.00 "Surveying Surveillance" Symposium. 16.00 Workshop
conclusion. 1 This Sunday October 26th at 2pm, Alex Haw (atmos) will be
chairing a major multidisciplinary discussion between various
surveillance experts interrogating the purpose and spatial significance
of surveillance technologies. 2 The Symposium will be preceded by a
workshop at 11am exploring and documenting Dalston's neighbourhood
surveillance. 3 The overall Festival launch is this Thursday, 7pm; all
welcome. 1 SYMPOSIUM: Forms of surveillance are all around us, radically
transforming our experiences of cities and spaces. Our attitudes to them
are ambiguous and conflicted: we decry privacy intrusions but demand yet
more CCTV cameras; our daily news is riddled with stories of disastrous
data losses, yet dataveillance and surveillance are rapidly growing
industries, increasingly explored by writers and artists, increasingly
ubiquitous as forms of televisual entertainment. Our needs mingle with
both our fears and our desires. This symposium, convened by Alex Haw
(atmos) as part of the TINAG annual conference, gathers a number of
experts from the various corners of the surveillance debate to confront
and discuss issues concerning the purpose, ethics, effectiveness,
spatiality, and finally the fantasies and dystopias of surveillance.
Juvenal's oft quoted surveillance adage 'Quis Custodes Ipsos Custodiet'
will prompt another Latin question: Cui Bono? Our main question is
simply what is surveillance for? Does it promote peace and justice, or
encourage fear and anxiety? Does it benefit a private or privileged
elite, or serve a much wider humanity? Is it there to be obeyed, or
subverted? Which is its main constituency the people, the politician,
the policeman, the artist, the street performer, the service provider or
CCTV operative? Each speaker will give a brief presentation of their
work and research in the field before a wider panel discussion.
10/26
Los Angeles, California: Film Forum
http://www.filmforum.com/
7:00 PM, The Egyptian Theatre, 6712 Hollywood Blvd
LYNNE SACHS AND MARK STREET PRESENT "XY CHROMOSOME PROJECT #3"
Garden of Verses: An Evening of Cinematic Seeds and Mordant Vines From
archival snips of an educational film on the weather to cine poems in
full blossom, New York film "avant-gardeners" Mark Street and Lynne
Sachs create their 3rd XY CHROMOSOME PROJECT. This program of 10 short
films on both single and double screen gleans audio-visual crops from
the dust of the filmmakers' fertile and fallow imaginations. In this
avalanche of visual ruminations on nature's topsy-turvy shakeup of our
lives, Street and Sachs ponder a city child's tentative excavation of
the urban forest, winter wheat, and the great American deluge of the
21st Century (so far).
10/26
New York, New York: Whitney Museum of American Art
http://www.whitney.org/
1:30pm, 945 Madison Avenue
OBJECT-IFIED TIME AND LIGHT
Peter Gidal, '4th Wall', 1978, 38 1/4 min. Larry Gottheim, 'Barn
Rushes', 1971, 34 min. Larry Gottheim, 'Fog Line', 1970, 11 min.
10/26
New York, New York: Whitney Museum of American Art
http://www.whitney.org/
11:30am, 945 Madison Avenue
OBJECT-IFIED TIME AND LIGHT
Sandra Gibson, 'NYC Flower Film', 2003, 5 min. Super-8 film. Ernie Gehr,
'Untitled', 1977, 5 min. Larry Gottheim, 'Blues', 1970, 8 1 /2 min.
Ernie Gehr, Table' (1977), 14 min. Power Boothe, 'Match', 1974, 4 min.
Babette Mangolte, '(Now) or Maintenant Entre Parentheses', 1976, 10 1/4
min. Ernie Gehr, 'Wait', 1968, 7 min.
10/26
New York, New York: Whitney Museum of American Art
http://www.whitney.org/
12:30pm, 945 Madison Avenue
OBJECT-IFIED TIME AND LIGHT
Hollis Frampton, 'Lemon (for Robert Huot)', 1969, 7 min.
10/26
New York, New York: Whitney Museum of American Art
http://www.whitney.org/
3:30pm, 945 Madison Avenue
TIME AND PLACE
The camera explores the city - Times Square, the meatpacking district
and Mulberry Street in the Lower East Side; in one film, the cracks in
the sidewalk become the primary subject. A fixed camera records a silent
street in Lodz in Poland; a flea market in East Berlin is captured just
after the fall of the Berlin Wall. Rudy Buckhardt, What Mozart Saw on
Mulberry Street', 1956, 6 min. Rudy Buckhardt, 'Square Times', 1967, 6
1/2 min. Marie Menken, 'Sidewalks', 1966, 6 1/2 min. Christine Noll
Brinckman, The West Village Meat Market, 1979, 11 1/2 min. Peter Hutton,
'Lodz Symphony', 1991-93, 20 min. Ernie Gehr, 'This Side of Paradise',
1991, 14 min.
10/26
New York, New York: Whitney Museum of American Art
http://www.whitney.org/
4:30pm, 945 Madison Avenue
ROOM FILM
"Gidal poses the problem of the dialectic of representation, through
representation." (Malcolm LeGrice) Peter Gidal, 'Room Film', 1973, 54
min.
10/26
San Francisco, California: San Francisco Cinematheque
http://www.sfcinematheque.org
7:30 pm, Yerba Buena Center for the Arts
LESLIE THORNTON: TUNED ALWAYS TO A SHIFTING GROUND
Program Three: Peggy and Fred in Hell: The Expiration Peggy and Fred in
Hell (1984–2008), Leslie Thornton's major work, is a serial epic akin to
the works of Craig Baldwin and Alan Curtis in its ravenous appropriation
of disparate archival footage, radical use of diverse genre forms and
embodiment of media history. Variously documenting and dramatizing the
lives of two children adrift in a post-apocalyptic, yet media saturated,
wasteland, Peggy and Fred… is equal parts ethnography, science fiction
and horror film. Issued episodically and long considered to be
perpetually "incomplete," The Expiration marks the approach of its
unexpected conclusion: "I would say it has been a quest which began to
close down after 9/11, when the pretense of the work's 'future tense'
(its undefined apocalypse) dissolved into a more disturbing present and
then even a past. Peggy and Fred… was set in the detritus of the Cold
War. In the last few episodes, the serial project finds its narrative
arc, ending on a note strangely optimistic, though post-human." Thornton
will end the event with a reading of text from The Eradication, the
final episode in progress of Peggy and Fred in Hell.
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MONDAY, OCTOBER 27, 2008
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10/27
Toronto, Ontario, Canada: Cinematheque Ontario
http://www.bell.ca/cinematheque
7:00 p.m., Jackman Hall - 317 Dundas St. West
THE FREE SCREEN - CINEMA AND DISJUNCTION
The Liaison of Independent Filmmakers of Toronto (LIFT) and Cinematheque
Ontario are pleased to present Adrian Blackwell's Night Equals Day and
Daniel Young and Christian Giroux's Every Building, Or Site, That a
Building Permit Has Been Issued for a New Building in Toronto in 2006.
These two new 35mm architectural films form the initial parts of LIFT's
"Cinema and Disjunction" commissioning and production support project
for critical architectural film works. Drawing inspiration from art
historical precedents and contemporary critiques of the urban form, the
initial projects presented under this framework defamiliarize and
interrupt our city's visual narratives with new questions and
alternative possibilities. To express our intent in Bernard Tschumi's
terms, these films "reinscribe the movement of bodies in space, together
with the actions and events that take place within the social and
political realm(s) of architecture." Blackwell's Night Equals Day
employs complex camera control to record a day at a single point of
Regent Park's Sackville and Oak streets intersection (now the site of
significant condominium development), compressing a twelve-hour equinox
day to thirty minutes of film time, one frame per second, and one
three-hundred-and-sixty degree camera rotation per hour. In Young and
Giroux's Every Building, one has the impression of an accelerated
Toronto represented by one hundred and thirty odd buildings or building
sites captured in eight second shots. These highly aestheticized images,
shot all over Toronto's boundaries, develop a time-based response to
photo-conceptualism's language of architectural photography, reframing
Ruscha within contemporary conceptualism. – Ben Donoghue, Executive
Director, LIFT. WORLD PREMIERE! WORLD PREMIERE!NIGHT EQUALS DAY.
Director: Adrian Blackwell (Canada, 2008, 30 minutes, 35mm, silent).
WORLD PREMIERE! EVERY BUILDING, OR SITE, THAT A BUILDING PERMIT HAS BEEN
ISSUED FOR A NEW BUILDING IN TORONTO IN 2006. Directors: Daniel Young &
Christian Giroux (Canada, 2008, 21 minutes, 35mm, silent).
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TUESDAY, OCTOBER 28, 2008
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10/28
Brooklyn, New York: Light Industry
http://www.lightindustry.org/
8 pm, 55 33rd Street, 3rd Floor
FAR FROM VIETNAM
Far From Vietnam, Jean-Luc Godard, Joris Ivens, William Klein, Claude
Lelouch, Chris Marker, Alain Resnais, Agnes Varda, 16mm, 1967, 120
minutes "One of the most powerful documentary statements about the
opposition to the U.S. involvement in Vietnam. In fact, I would cite
Emile de Antonio's 1968 In the Year of the Pig and the collectively made
1972 Winter Soldier as its only real competitors." - Jonathan Rosenbaum,
Moving Image Source Organized under the aegis of SLON (Société pour le
Lancement des Oeuvres Nouvelles) and overseen by Chris Marker as a
protest of the US involvement in Vietnam, this legendary portmanteau,
which features contributions by seven iconic artists, stands as
watershed moment for political cinema as well as collective filmmaking.
A melange of fictional and documentary elements shot across the US,
France, Cuba, and Vietnam, it was a source of some controversy in its
time, and remains a provocative and resonant essay on global conflict
and life during wartime. "Far from Vietnam is a film of question marks,
of questions we ask ourselves as often perhaps as you. It's for that
reason that we put them on the screen: after all, it is as natural for
filmmakers to speak on a white canvas as in a cafe." - Alain Resnais "On
the corner of 42nd Street and 8th Avenue in New York, a guy is reciting
a poem consisting of the syllables na-palm. And no one knows what napalm
is. It showed me how blind people become to something they hear referred
to all day long. So, we decided to do something a little like Picasso
confronted by the bombing of Guernica." - William Klein Tickets - $6,
available at door.
10/28
Reading, Pennsylvania: Berks Filmmakers
http://www.berksfilmmakers.org
7:30, Albright College
ALL ABOUT EVE
All About Eve (1950, 138 min.) by JOSEPH L. MANKIEWICZ. "…boundless
tribute to Mr. Mankiewicz and his cast for ranging a gallery of people
that dazzle, horrify and fascinate. Although the title character—the
self-seeking, ruthless Eve, who would make a black-widow spider look
like a lady bug—is the motivating figure in the story and is played by
Anne Baxter with icy calm, the focal figure and most intriguing
character is the actress whom Bette Davis plays. This lady, an aging,
acid creature with a cankerous ego and a stinging tongue, is the end-all
of Broadway disenchantment, and Miss Davis plays her to a
fare-thee-well. Indeed, the superb illumination of the spirit and pathos
of this dame which is a brilliant screen actress gives her merits an
Academy award. -Bosley Crowther, New York Times
(continued in next email)
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For info on FrameWorks, contact Pip Chodorov at <email suppressed>.