From: TIE (email suppressed)
Date: Mon Jun 29 2009 - 17:59:46 PDT
TIE (July 29, 2009) Newsletter
Contents:
- DISPLACEMENT: Cinema out of site
- Film Acquisition (Austrian Film Museum)
- TIE Monograph
- New Address
- Programming Contact
- Submission Form
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DISPLACEMENT: Cinema out of site
August 7-9, 2009
Colorado Springs, Colorado
DISPLACEMENT: Cinema out of site Displacement is the perfect marriage of a
program and a project. The program, AWOL: Art Without Limits is about
creating new forums for discussion on art through site-specific
installations, happenings and non- traditional exhibition spaces. The
project, Displacement, is a conversation based on the art of displaced
cinema. Both the program and project value the importance and effect of
space, and both challenge traditional expectations of what an exhibition
site can and should be. This project, a collaboration between GOCA and TIE,
The International Experimental Cinema Exposition, will be presented on the
top floor of the Kiowa & Nevada parking garage in downtown Colorado Springs,
Colorado. Lectures will be offered at the FAC Modern to further explore the
discourse of expanded (or displaced) cinema, aural experimentation,
spectatorship, the recontectualization of found- footage, and parkour (the
art of movement).
Displacement: Cinema out of site is collaboration and presentation of film
works by contemporary Argentine and North American avant-gardists to
encourage an intercontinental dialogue between artists. These artists,
writers and curators are presenting moving image and sound creations on the
concrete structure of a public parking garage. To understand the
presentation and its relationship to parkour we must understand
displacement. Rachel Cole, a participating artist, wrote "Place isn't lost,
it is rather "displaced," undone, emptied of meaning of itself, a location
without linear measurement." Displaced is not misplaced. The cinema and this
program are not lost; instead they have been stripped of popular
expectations for what they should be. Many would say art should be in a
gallery and film in a theater. This project uses an existing space, urban
architecture, to redefine the viewer’s experience of the work presented.
Participants include: Pablo Marin (filmmaker/lecturer) Jesse Kennedy
(filmmaker) Rachel Cole (lecturer) Christopher May (filmmaker/lecturer/co-
curator) Dan Mancini (lecturer) Jimmy Gable (lecturer) Gregg (aural
installation/ lecturer) Caitlin Green (co-curator)
Recommended Hotel: www.broadmoor.com
More details coming soon.
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Film Acquisition (Austrian Film Museum):
TIE's four-program exhibition at the Austrian Film Museum (April 22-24,
2009) resulted in the Museum acquiring several of the 16mm and 35mm prints.
The titles thus far acquired include:
- Jonathan Schwartz In a Year with 13 Deaths
- Ben Russell - Black and White Trypps Number Two
- Timoleon Wilkins The Crossing
- Scott Stark Angel Beach
- Jorge Lorenzo Flores 1/48''
- Jonathan Schwartz Nothing Is Over Nothing
- Jeanne Liotta Observando el Cielo
- David Gatten What the Water Said 4-6
- David Chaim Cohen - Sacred Space
- Ben Russell - Black and White Trypps Number Three
A complete list of acquired titles will be released soon.
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TIE Monograph (limited edition)
This work of art covers an entire year of exhibitions, gatherings, films,
and programs. Original interviews, essays, letters, and reviews were created
exclusively for this monograph by other artists, filmmakers, writers and
friends. The design and production were created by Matter Studio (Denver,
Colorado). 150 monographs were produced. Each contain sixteen booklets that
were hand-made and sewn. The brilliant essays, interviews and reviews were
printed on beautiful fifty year-old typing paper. Full-color still cards and
b&w snapshot memories are embedded inside the silk-screened package.
The writing includes: - Dipping Sauce (a film by Luther Price, interview
with Luther Price, conducted by Bill Storz) - An Interview With Carolee
Schneemann: Fuses (conducted by Christopher May) - Mondrian Sprockets (a
film by Steve McIntyre, reviewed by Jorge Lorenzo Flores Garza) - Cheesman
Park, Summer (two Super-8 Exhibitions, in-review) - Albert Sackl
Retrospective (a review by Jesse Kennedy) - Leather Hunk Lost in Warhol’s
Void: Blow Job (a paper by Paul Gansky) - Counter Girl Trilogy (an interview
with Courtney Hoskins, conducted by Matthew Perino) - Films of the Third
Reich Reconsidered: Exploring the Fleischarchive (an interview with Thorsten
Fleisch, conducted by Noah Manos) - still (Tim Leyendekker discusses his
work.) - TIE Award (plus an interview with LIC/MVD co-founder Ángela López
Ruiz) - Acknowledgement of Key Figures - The Influence of Ocular Light
Perception on Metabolism in Man and Animal by Thomas Draschan and Stella
Friedrichs (a review by Logan Corcoran) - Silk plus Kittens Grow Up (films
by Luther Price, reviewed by Jesse Kennedy) - My Mess (a film by Jesse
Kennedy, reviewed by Jorge Lorenzo Flores Garza) - I Don’t Know: A
Conversation with Jesse Kennedy about Language, Body, and Horror by Rachel
Cole
The TIE Monograph is not for sale, however it is a gift to all new and
current Friends of TIE. To become a Friend of TIE, simply make any donation
over $100. Friends of TIE are recognized at various TIE events and
publications according to contribution level or may remain anonymous. Send
check or money-order made payable to TIE to the address below or send it
electronically to email suppressed via paypal.com
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New Address:
TIE 5531 Powers Center Pt, Suite 103
Colorado Springs, CO 80920
USA
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Programming:
Bring programming to your area. Film societies, universities, museums and
other cultural institutions may contact us directly:
email suppressed or 303.408.4623.
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Submission Form: http://experimentalcinema.org/subform2.htm
TIE seeks films that challenge popular and conventional modes of the moving
image. From difficult and hand-made films to extraordinarily radical and
obscure compositions, TIE selects only outstanding celluloid cinema from the
outer-spaces of contemporary screen-culture. If a submitted film is
selected, the exhibition print must be film (8mm, Super-8, 9.5mm, 16mm,
35mm). All lengths are considered. Films from any era and year of completion
are considered. A nominal entry fee is required.
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For info on FrameWorks, contact Pip Chodorov at <email suppressed>.