From: Christoph Runne (email suppressed)
Date: Sat Feb 06 2010 - 13:19:44 PST
FOR IMMEDIATE RELEASE
February 9, 2010
A FLICKERING LIGHT IN THE HEART OF DARKNESS
Multimedia art show opens in Vancouver ’s Downtown Eastside
Vancouver, BC —In the heart of Vancouver ’s infamous Downtown Eastside, the InterUrban Gallery opens Far, Up Close on February 12 for the duration of the Winter Games. The show is made up of a number of multi-media works, providing a flickering counterpoint to the darkness, real and over-hyped, surrounding it.
“The media makes the Downtown Eastside out to be such a dark place,” says artist Christoph Runne. “In some ways, that is true. But this is also a place of community and people with stories to tell. We wanted to show that.”
Far, Up Close has a number of components including:
Time After, Chris Welsby’s five-monitor new media landscape. Neither movie nor photograph, Time After takes high-speed communications technology and slows it down to planetary speed revealing hitherto unnoticed atmospheric shifts and subtle changes in light and colour.
Time After turns the city into a landscape, placing human activity within the larger time scale of the natural world.
Portraits, by Christoph Runne, combines classical portraiture with overt allusions to Dutch masters, turn of the century anthropological photography and police mug shots.
Projected on the gallery’s windows, Portraits creates a spectral permanence for the residents of Vancouver ’s most disputed neighbourhood.
Monique Mees’ photographic series Specimen Plates exposes the visual culture of medicine by exploring the historic use of cinema in medical science to analyze, regulate and reconfigure the transient and uncontrollable human body.
The Blair Bush Project, by Faith Moosang and Christoph Runne, is a film installation that looks at the glamorization of warfare, exploring the correlation between beauty and horror.
—30—
For more information contact: Media Contact:
Christoph Runne, 604 783-7948 Allison Murray,
Far, Up Close—Background
Where: InterUrban Gallery, at 1 East Hastings Street
When: Gallery open: 12 February 2010 to
21 March 2010, Wednesday to Sunday 12 noon to 5 PM
Who:
Artist Bios
Chris Welsby is a graduate of the Experimental Media Department at the Slade School of Fine Art, University of London UK . He is currently Professor of Film and Digital Media at Simon Fraser University Vancouver and a member of ICICS (Institute for Computing, Information, and Cognitive Systems) at the University of British Columbia , Vancouver . Showing internationally since the early 1970s, his work has ranged across several media, but always concentrating on this central theme: how do we see ourselves in relation to the natural world and how should we position ourselves and our technologies within it?
Christoph Runné is a Vancouver-based experimental film, video, and installation artist. Through his work, he explores the unhidden yet seemingly invisible world around us. He creates visual tone poems with a humanitarian heartbeat whose minimalist and impressionistic methodology contradicts the complex human conditions with which Runné engages.
Faith Moosang graduated from the Emily Carr Institute of Art and Design and has received her MFA from Simon Fraser University ’s School for the Contemporary Arts. Her work, while largely based in photography, has also included installations using video and film. She has shown in group and solo exhibitions in Canada , the United States and Europe . She is fixated on the constructed visuality of warfare and its mediation to and by the public at large.
Monique Mees graduated with honors from the Emily Carr College of Art and Design in 1987. She pursued a scholarship in Germany at the Staatliche Der Bildenden Kunste, Karlsruhe , where she studied painting and has since developed a multi-interdisciplinary practice. Mees has received numerous cultural grants from both the Canada Council and the BC Art Council for her work, which has been shown both nationally and internationally.
Sponsors:
Bright light, Canada Council, British Columbia Arts Council, PHS Community Services
Christoph Runne
--- On Sat, 2/6/10, FRAMEWORKS automatic digest system <email suppressed> wrote:
> From: FRAMEWORKS automatic digest system <email suppressed>
> Subject: FRAMEWORKS Digest - 5 Feb 2010 to 6 Feb 2010 - Special issue (#2010-63)
> To: email suppressed
> Date: Saturday, February 6, 2010, 9:47 AM
> There are 2 messages totalling 570
> lines in this issue.
>
> Topics in this special issue:
>
> 1. Problems with Karma International Gallery,
> Zurich
> 2. This week [February 6 - 14, 2010] in avant garde
> cinema
>
>
> __________________________________________________________________
> For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
>
>
> ----------------------------------------------------------------------
>
> Date: Fri, 5 Feb 2010 17:00:25 -0800
> From: Beverly O'Neill <email suppressed>
> Subject: Re: Problems with Karma International Gallery,
> Zurich
>
> Dear Cindy, I found the Karma program on facebook
> with Martin Jaggi credited for curation when he had
> merely selected works from both the Unseen Cinema and
> Treasures of the Avant Garde DVD box sets. Unseen
> Cinema has the FBI warning at the head of each disc so the
> gallery infringed upon those copyright restrictions.
> The Treasures anthology doesn't follow suit, each disc
> begins with the opening film's title. The
> National Film Preservation Foundation which produced the
> Treasures has a copyright on each DVD disc with "All
> rights reserved". Does that mean Karma Gallery has legal
> exposure for showing that work publicly without
> permission? When the NFPF first selected works for
> this anthology the question about artist's rights
> arose. Each artist does retain ownership of his/her
> piece and the NFPF has control of individual work
> exclusively within the context of the anthology. Does
> the NFPF's "rights reserved" mean that
> galleries, museums, etc cannot show the work from !
> the set?
>
> Another big question: how to copyright individual artists'
> DVDs with some real muscle. What language should
> appear in the opening sequence that offers artists recourse
> when a work is pirated?
>
> Beverly O'Neill
>
>
>
>
> On Feb 4, 2010, at 11:18 AM, C Keefer wrote:
>
> > Is anyone else having problems with Karma
> International Gallery, Zurich and their "Kino Karma" series,
> specifically, showing artists' work from DVDs without
> permission, and specifically AGAINST artist's stated wishes?
> They do not respond despite numerous messages.
> >
> > Karma International, Zurich run by
> > Marina Leuenberger and Karolina Dankow
> >
> > It's disgusting when a gallery ignores a living
> artist's instructions and wishes. Another sleazy incident of
> the art world abusing experimental filmmakers' works?
> >
> > Also, can anyone confirm, did they contact Anthology
> and others and receive permission to screen from the
> Unseen Cinema set in their gallery?
> >
> > Also wondering if Marilyn Brakhage and Pat O'Neill
> have given permission for their works to be screened there?
>
> >
> > Cindy Keefer
> > Center for Visual Music
> > www.centerforvisualmusic.org
> > on behalf of Jordan Belson
> >
> >
> >
> >
> >
> __________________________________________________________________
> > For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
>
>
> __________________________________________________________________
> For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
>
> ------------------------------
>
> Date: Sat, 6 Feb 2010 09:47:40 -0800
> From: Weekly Listing <email suppressed>
> Subject: This week [February 6 - 14, 2010] in avant garde
> cinema
>
> This week [February 6 - 14, 2010] in avant garde cinema
>
> To subscribe/unsubscribe to the weekly listing, go to
> http://www.hi-beam.net/cgi-bin/mailto.pl?mailto=subscribe
> or send an email to (address suppressed)-beam.net.
>
> Enter your announcements (calls for entries, new work,
> screenings,
> jobs, items for sale, etc.) at:
>
> http://www.hi-beam.net/cgi-bin/ann.pl
>
> NEW FILM/VIDEO: NON-FEATURE:
> ============================
> "Memory Game" by Wilfried Agricola de Cologne
> http://www.hi-beam.net/cgi-bin/ann.pl?type=newwork&readfile=411.ann
> "STEVEN" by Ankur Mittal
> http://www.hi-beam.net/cgi-bin/ann.pl?type=newwork&readfile=410.ann
>
> NEW CALLS FOR ENTRIES:
> =====================
> ARTSFEST Film Festival, 12th Annual (Harrisburg, PA, USA;
> Deadline: February 26, 2010)
> http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1128.ann
> Fargo-Moorhead LGBT FIlm Festival (Fargo, ND, USA;
> Deadline: April 21, 2010)
> http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1129.ann
> Margaret Mead Film & Video Festival (New York, NY;
> Deadline: March 31, 2010)
> http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1130.ann
> Coney Island Film Festival (Brooklyn, NY, USA; Deadline:
> July 02, 2010)
> http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1131.ann
> Videoex festival (Zürich , Switzerland; Deadline: February
> 15, 2010)
> http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1132.ann
> 6th Renderyard Short Film Festival (London; Deadline: July
> 31, 2010)
> http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1133.ann
> Odds and Ends (Portland, Oregon. USA; Deadline: April 01,
> 2010)
> http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1134.ann
> Im:mobil Art (italy; Deadline: February 28, 2010)
> http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1135.ann
> Magmart | video under volcano, international videoart
> festival, extend its deadline (Naples, Italy; Deadline:
> February 28, 2010)
> http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1136.ann
> International Talent Workshop - Zagreb Jewish Film Festival
> (Zagreb, Croatia; Deadline: April 01, 2010)
> http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1137.ann
>
> DEADLINES APPROACHING:
> ======================
> Media City (Windsor ON Canada; Deadline: February 19,
> 2010)
> http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1088.ann
> Bicycle Film Festival (New York, NY, United States;
> Deadline: February 17, 2010)
> http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1094.ann
> Around the Coyote (Chicago, IL; Deadline: February 28,
> 2010)
> http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1107.ann
> Australian International Experimental Film Festival
> (Melbourne, Vic, Australia; Deadline: February 15, 2010)
> http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1110.ann
> Crossroads (San Francisco, CA USA; Deadline: February 10,
> 2010)
> http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1112.ann
> IC Docs (Iowa City, IA, USA; Deadline: March 06, 2010)
> http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1121.ann
> DotFest - International Online Short Film Festival
> (Switzerland; Deadline: March 01, 2010)
> http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1122.ann
> The International Surrealist Film Festival (Los Angeles,
> CA, USA; Deadline: February 13, 2010)
> http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1125.ann
> ARTSFEST Film Festival, 12th Annual (Harrisburg, PA, USA;
> Deadline: February 26, 2010)
> http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1128.ann
> Videoex festival (Zürich , Switzerland; Deadline: February
> 15, 2010)
> http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1132.ann
> Im:mobil Art (italy; Deadline: February 28, 2010)
> http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1135.ann
> Magmart | video under volcano, international videoart
> festival, extend its deadline (Naples, Italy; Deadline:
> February 28, 2010)
> http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1136.ann
>
> Enter your event announcements by going to the Flicker
> Weekly Listing Form
> at http://www.hi-beam.net/cgi-bin/thisweek.pl
>
> Also available online at Flicker: http://www.hi-beam.net
>
> THIS WEEK'S PROGRAMS (SUMMARY):
> ==============================
> * Essential Cinema: Man of Aran [February 6,
> New York]
> * Essential Cinema: Hollis Frampton [February 6, New
> York]
> * Circles of Confusion: A Hollis Frampton Film
> Retrospective Part 5 [February 7, Los Angeles, California]
> * Essential Cinema: Genet/Robert Frank & Alfred
> Leslie [February 7, New York]
> * Essential Cinema: Grant/Jacobs & Fleischner
> [February 7, New York]
> * Man Ray On Film [February 10, New York]
> * When It Was Blue [February 10, Seattle,
> Washington]
> * An Evening With Dara Birnbaum [February 11,
> Chicago, Illinois]
> * Nmc: Live Cinema Summit [February 11, Chicago,
> Illinois]
> * Gdr Underground Films [February 11, New York]
> * 75 Years In the Dark: A Partial History of Film At
> Sfmoma [February 11, San Francisco, California]
> * Electromediascope [February 12, Kansas City,
> Missouri]
> * Banned Broken Sky / Bene Brocani Schifano
> [February 12, New York, New York]
> * Personal Cinema Series - David Baker [February 13,
> New York, New York]
> * Essential Cinema: Une Simple Histoire [February
> 13, New York]
> * Los Angeles Filmforum Presents Kristina
> Talking Pictures By Yvonne
> Rainer [February 14, Los Angeles,
> California]
>
>
> Events are sorted by CITY within each DATE.
>
> --------------------------
> SATURDAY, FEBRUARY 6, 2010
> --------------------------
>
> 2/6
> New York: Anthology Film Archives
> http://www.anthologyfilmarchives.org/
> 6:15 pm, 32 2nd Avenue
>
> ESSENTIAL CINEMA: MAN OF ARAN
> by Robert Flaherty 1934, 76 minutes, 35mm, b&w.
> Flaherty's third major
> film portrays the lives of a family of fisher folk
> on the Aran Islands
> off the coast of Galway, Ireland. Flaherty selected
> this location and
> subjects because of their isolation as the
> westernmost outpost of
> European civilization. In addition, the daily
> struggle between the
> islanders and the sea perfectly suited his interests
> and concerns. The
> scenes at sea are breathtaking. "His passionate
> devotion to the
> portrayal of human gesture and of a man's fight for
> his family makes the
> film an incomparable account of human dignity.
> Better than anyone,
> Flaherty knew how to show the true face of Man."
> �Georges Sadoul
>
> 2/6
> New York: Anthology Film Archives
> http://www.anthologyfilmarchives.org/
> 8:00 pm, 32 2nd Avenue
>
> ESSENTIAL CINEMA: HOLLIS FRAMPTON
> ZORNS LEMMA 1970, 60 minutes, 16mm, color. "A major
> poetic work. Created
> and put together by a very clear eye-head, this
> original and complex
> abstract work moves beyond the letters of the
> alphabet, beyond words and
> beyond Freud. If you don't understand it the first
> time you see it,
> don't despair, see it again! When you finally 'get
> it,' a small light,
> possibly a candle, will light itself inside your
> forehead." �Ernie Gehr
> & HAPAX LEGOMENA I: (nostalgia) 1971, 36
> minutes, 16mm, b&w. "Nostalgia,
> beginning as an ironic look upon a personal past,
> creates its own filmic
> time, a past and future generated by the
> expectations elicited by its
> basic disjunctive strategy." �Annette Michelson
> "In nostalgia the time
> it takes for a photograph to burn (and thus confirm
> its
> two-dimensionality) becomes the clock within the
> film, while Frampton
> plays the critic, asynchronously glossing,
> explicating, narrating,
> mythologizing his earlier art, and his earlier life,
> as he commits them
> both to the fire of a labyrinthine structure; for
> Borges too was one of
> his earlier masters, and he grins behind the facades
> of logic,
> mathematics, and physical demonstrations which are
> the formal metaphors
> for most of Frampton's films." �P. Adams Sitney
>
> ------------------------
> SUNDAY, FEBRUARY 7, 2010
> ------------------------
>
> 2/7
> Los Angeles, California: Filmforum
> http://www.lafilmforum.org/
> 7:30 pm, Egyptian Theatre, 6712 Hollywood Blvd. at Las
> Palmas
>
> CIRCLES OF CONFUSION: A HOLLIS FRAMPTON FILM RETROSPECTIVE
> PART 5
> Los Angeles Filmforum and Khastoo Gallery are
> delighted to present
> CIRCLES OF CONFUSION, a five-screening series of
> films by Hollis
> Frampton, from January 21 to February 7, 2010, with
> guest scholars and
> artists at each program to discuss his works and
> their influence on
> later artists. email suppressed;
> www.lafilmforum.org Tickets:
> http://www.brownpapertickets.com/event/95584
> Introduction by David James
> (USC) Gloria, 1979, 9.5 min., sound Zorns Lemma,
> 1970, 60 min., sound
>
> 2/7
> New York: Anthology Film Archives
> http://www.anthologyfilmarchives.org/
> 6:00 pm, 32 2nd Avenue
>
> ESSENTIAL CINEMA: GENET/ROBERT FRANK & ALFRED LESLIE
> Jean Genet UN CHANT D'AMOUR 1950, 26 minutes, 16mm,
> b&w, silent. Jean
> Genet's poetic expression of male eroticism pitted
> against the confines
> of prison cells and a homophobic state�a
> powerfully resonant work that
> explores individual freedom and the laws of desire.
> Robert Frank &
> Alfred Leslie PULL MY DAISY 1959, 28 minutes, 35mm,
> b&w. A largely
> spontaneous experiment, arranged in 1959 by Robert
> Frank along with
> Alfred Leslie. They enlisted the participation of
> Jack Kerouac, who
> offered in place of an original screenplay a stage
> play he'd never
> finished writing, "The Beat Generation." The plot is
> based on an
> incident in the life of Neal Cassady and his wife
> Carolyn. They're
> raising a family and trying to fit in with their
> suburban neighbors, and
> one night they invite a respectable neighborhood
> bishop over for dinner.
> But Neal's Beat friends crash the party, and that
> Marx Brothers-like
> scenario is the closest thing the film has to a
> storyline.
>
> 2/7
> New York: Anthology Film Archives
> http://www.anthologyfilmarchives.org/
> 7:30 pm, 32 2nd Avenue
>
> ESSENTIAL CINEMA: GRANT/JACOBS & FLEISCHNER
> Dwinell Grant COMPOSITION #2 CONTRATHEMIS 1941, 5
> minutes, 16mm, color,
> silent. "An attempt to develop visual abstract
> themes and to
> counterpoint them in a planned, formal composition."
> �D.G. "Austere and
> chaste combinations, with subtle manipulation of
> structure, density and
> rhythm."�William Moritz STOP MOTION TESTS 1942, 3
> minutes, 16mm, color,
> silent. A self-portrait. COLOR SEQUENCE 1943, 3
> minutes, 16mm, color,
> silent. "Pure solid-color frames which fade, mutate
> and flicker. A
> research into color rhythms and perceptual
> phenomena." �William Moritz
> Ken Jacobs LITTLE STABS AT HAPPINESS 1959-63, 18
> minutes, 16mm, color.
> Featuring Jack Smith. "Material was cut in as it
> came out of the camera,
> embarrassing moments intact. 100' rolls timed well
> with music on old
> 78s. I was interested in immediacy, a sense of ease,
> and an art where
> suffering was acknowledged but not trivialized with
> dramatics. Whimsy
> was our achievement as well as breaking out of
> step." �K.J. Ken Jacobs &
> Bob Fleischner BLONDE COBRA 1959-63, 35 minutes,
> 16-to-35mm blow-up,
> b&w/color. Featuring Jack Smith. Preserved by
> Anthology, with the
> generous support of The Film Foundation, The
> National Film Preservation
> Foundation, Simon Lund and Cineric, Inc. "BLONDE
> COBRA is an erratic
> narrative � no, not really a narrative, it's only
> stretched out in time
> for convenience of delivery. It's a look in on an
> exploding life, on a
> man of imagination suffering pre-fashionable Lower
> East Side deprivation
> and consumed with American 1950s, 40s, 30s disgust.
> Silly, self-pitying,
> guilt-strictured and yet triumphing � on one level
> � over the situation
> with style� enticing us into an absurd moral
> posture the better to
> dismiss us with a regal 'screw off.'" �K.J. Total
> running time: ca. 70
> minutes.
>
> ----------------------------
> WEDNESDAY, FEBRUARY 10, 2010
> ----------------------------
>
> 2/10
> New York: Anthology Film Archives
> http://www.anthologyfilmarchives.org/
> 7:30 pm, 32 2nd Avenue
>
> MAN RAY ON FILM
> In conjunction with the exhibition ALIAS MAN RAY:
> THE ART OF REINVENTION
> at The Jewish Museum, Anthology will be screening a
> program of the films
> Man Ray created or worked on during the course of
> his career. A
> trailblazing figure in 20th-century art, Man Ray
> (1890-1976) revealed
> multiple artistic identities over the course of his
> career � Dadaist,
> Parisian Surrealist, international portrait and
> fashion photographer �
> and produced many important and enduring works as a
> photographer,
> painter, filmmaker, writer, sculptor, and object
> maker. Best known as a
> photographer, Man Ray in fact moved from one medium
> to another as he
> defied aesthetic boundaries. Like his fellow Dadaist
> and close friend
> Marcel Duchamp, Man Ray took delight in playing
> games and confounding
> expectations. With his steadfast independence and
> his need to explore
> every artistic avenue, Man Ray forged a vision that
> changed the very way
> art was conceived. ALIAS MAN RAY: THE ART OF
> REINVENTION will be on
> display through March 14, 2010 at The Jewish Museum,
> located at 5th
> Avenue at 92nd Street. For more information, please
> visit:
> www.thejewishmuseum.org. Very special thanks to
> Andrew Ingall & Jennifer
> Mock (The Jewish Museum). Man Ray LE RETOUR ? LA
> RAISON (1923, 2
> minutes, 16mm) ?TOILE DE MER (1927, 13 minutes,
> 16mm) EMAK BAKIA (1927,
> 18 minutes, 35mm) LES MYST?RES DE CH?TEAU DE D?
> (1929, 27 minutes, 35mm,
> with French intertitles) Fernand L?ger with Dudley
> Murphy BALLET
> M?CANIQUE? (1924, 19 minutes, 35mm. Preserved by
> Anthology Film
> Archives.) Ren? Clair & Francis Picabia
> ENTR'ACTE (1924, 22 minutes,
> 35mm) Marcel Duchamp with Man Ray ANEMIC CINEMA
> (1926, 7 minutes, 35mm)
> Total running time: ca. 115 minutes.
>
> 2/10
> Seattle, Washington: Northwest Film Forum
> http://www.nwfilmforum.org
> 8pm, 1515 12th Ave (at Pike)
>
> WHEN IT WAS BLUE
> (Jennifer Reeves, 2008, USA, DigiBeta, 60 min)
> Jennifer Reeves's epic,
> years-in-the-making When It Was Blue presents an
> experience of a world
> that is both visceral and fleeting. Photographed in
> 16mm over many years
> in various waters and terrains, an elaborate montage
> connects diverse
> ecosystems spanning from the northeastern USA, to
> Iceland, Canada's
> Pacific coast, New Zealand and Central America.
> http://www.nwfilmforum.org/live/page/series/1138
>
> ---------------------------
> THURSDAY, FEBRUARY 11, 2010
> ---------------------------
>
> 2/11
> Chicago, Illinois: Conversations at the Edge
> http://www.saic.edu/cateblog
> 6p.m., 164 N. State St.
>
> AN EVENING WITH DARA BIRNBAUM
> Dara Birnbaum in person! Thirty years before the
> ubiquitous YouTube
> mashup, artist Dara Birnbaum hijacked television
> imagery in a series of
> coolly ironic videos that recontextualized pop
> cultural icons (Wonder
> Woman, Kojak, Laverne and Shirley), TV grammar
> (inserts, two-shots,
> wipes), and genres (soap operas, sitcoms, game
> shows) to reveal their
> ideological subtexts. Birnbaum described her videos
> as late-20th-century
> "ready-mades"--works that "manipulate a medium which
> is itself highly
> manipulative." Now renowned as a pioneer in
> televisual appropriation,
> she is currently the subject of a major
> retrospective that began at
> S.M.A.K. in Ghent, Belgium, and will tour to Museu
> Funda��o Serralves in
> Porto, Portugal, later in the spring. This evening,
> Birnbaum will
> present an overview of her practice, with examples
> from her seminal
> early videos (Technology/Transformation: Wonder
> Woman, 1978-79; Pop Pop
> Video: General Hospital/Olympic Speed Skating,
> 1980), music videos and
> commercial spots (Airbreak for MTV Inc., 1987),
> gallery installations
> (Tiananmen Square: Break-In Transmission, 1989-90),
> large-scale,
> interactive outdoor pieces (Rio Videowall, 1989), as
> well as her latest
> works. Dara Birnbaum, 1978-2010, USA, multiple
> formats, ca. 90 min (plus
> discussion).
>
> 2/11
> Chicago, Illinois: New Media Caucus
> http://www.newmediacaucus.org/
> 5 PM - 10:30 PM, Columbia College Chicago, Conway Center -
> 1104 S Wabash Ave, 1st floor
>
> NMC: LIVE CINEMA SUMMIT
> The Live Cinema Summit is a one-night-only showcase
> of ten national and
> international artists/artist collectives working in
> the emerging field
> of real-time audio-visual performance, and will
> feature performances by:
> Noisefold, Barbara Lattanzi, Sabine Gruffat &
> Bill Brown, Robert Martin,
> Jon Satrom, Potter-Belmar Labs, DataIRJ, Black and
> Jones, jonCates, and
> Alessandro Imperato as well as several Columbia
> College students. The
> event begins at 5pm, and features a full line-up of
> back-to-back live
> cinema performance-demonstrations with break-out
> discussions and plenty
> of room for dialogue. Note: This evening only,
> trolleys complimentary
> Columbia College Chicago (CCC) will be continually
> transporting to/from
> the Hyatt starting at 5:30-9pm | makes stops at all
> CCC galleries and
> the Conaway Center.
>
> 2/11
> New York: Anthology Film Archives
> http://www.anthologyfilmarchives.org/
> 7:30 pm, 32 2nd Avenue
>
> GDR UNDERGROUND FILMS
> 1983-89/1997, 97 minutes, video. In German with
> English subtitles.
> Includes films by Helge Leiberg, Gino Hahnemann,
> Cornelia Schleime,
> Cornelia Klauss, Via Lewandowsky, Thomas Frydetzki,
> Claus L�ser, Tohm di
> Roes, Thomas Werner, and Ramona K�ppel-Welsh.
> Though the State had a
> monopoly on film production in East Germany (the
> German Democratic
> Republic, or GDR), it was not absolute. An
> underground film scene made
> up of painters, poets, musicians, and performance
> artists flourished
> from the 1970s-80s outside official channels. This
> program features a
> selection of ten Super-8mm films from this
> fascinating and provocative
> movement, many of whose members � including Helge
> Leiberg, Via
> Lewandowsky, and Cornelia Schleime � are now
> leading figures in the
> international art world. "It's amazing (and
> gratifying) to realize that
> such 'subversive' films were made in the GDR."
> �Amos Vogel, FILM AS A
> SUBVERSIVE ART
>
> 2/11
> San Francisco, California: San Francisco Museum of Modern
> Art
> http://www.sfmoma.org
> 7 p.m., Phyllis Wattis Theater, SFMOMA, 151 3rd St., San
> Francisco, CA 94103
>
> 75 YEARS IN THE DARK: A PARTIAL HISTORY OF FILM AT SFMOMA
> In 1937, Grace McCann Morley set up a screen and
> some chairs in the
> rotunda of the War Memorial Veterans Building
> (SFMOMA's first home) and
> showed films: D. W. Griffith, Walt Disney, The Jazz
> Singer, All Quiet on
> the Western Front, and the first ever Movietone
> newsreel featuring
> George Bernard Shaw. She believed that film, the
> 20th century's very own
> visual art form, should have a place in a museum of
> modern art. From the
> beginning, it's been an eclectic and inclusive mix:
> high- and lowbrow;
> shorts and features; fiction and documentary;
> studio, independent, and
> artists' films; video and digital media. For our
> anniversary, we invited
> three guest curators to explore film in the context
> of the history of
> modern visual arts and assemble programs from three
> successiveeras. In
> Programs 1, 2, and 3, Scott MacDonald, one of the
> country's foremost
> film historians, looks at 1937 through 1960. Steve
> Anker, dean of the
> School of Film/Video at the California Institute of
> the Arts, covers
> 1960 to 1985 in Programs 4 through 6 (screening in
> March and April).
> Former SFMOMA Curator of Media Arts Benjamin Weil
> selects from 1985 to
> the present in Programs 7 through 9 (May). The
> Europeans: Creating a
> Context The Smiling Madame Beudet, Germaine Dulac,
> 1922, 35 min.; Study
> No. 7,Oskar Fischinger, 1931, 3 min.; Rain, Joris
> Ivens, 1929, 15 min.;
> Composition in Blue, Oskar Fischinger, 1935, 4 min.;
> Carmen, Lotte
> Reiniger, 1932, 11 min.; A Colour Box, Len Lye,
> 1935, 5 min.; The
> Vampire, Jean Painlev�, 1945, 9 min.;Swinging the
> Lambeth Walk, Len Lye,
> 1940, 3 min. For more information:
> http://www.sfmoma.org/events/series/1319
>
> -------------------------
> FRIDAY, FEBRUARY 12, 2010
> -------------------------
>
> 2/12
> Kansas City, Missouri: Nelson-Atkins Museum of Art
> http://www.nelson-atkins.org
> 7:00 p.m., 4525 Oak Street
>
> ELECTROMEDIASCOPE
> "The film and videos in 'Shifting Frames of
> Reference' navigate new
> narrative pathways and inventive cinematic
> experiences without relying
> on text or dialog. Instead, framing, cinematography
> and editing are used
> by these artists to emphasize more liminal and
> connotative forms of
> observation and empathetic awareness at the
> thresholds of perception. Lu
> Chunsheng and Seoungho Cho's video works examine and
> call into question
> local experiences that ultimately have to do with
> how we know and
> re-imagine the world, and how our bodies know and
> respond to both inner
> and outer space. Ken Kobland and Ernie Gehr explore
> beauty and the
> pleasure of shifting visual perceptions of places
> that have been
> constructed and inhabited over time." �Patrick
> Clancy. "Ideas of Order
> in Cinque Terre," Ken Kobland (USA), 2005, 32 min.,
> digital video.
> "Horizontal Silence," Seoungho Cho (South Korea),
> 2003, 8:31 min.,
> digital video. "ws.2," Seoungho Cho (South Korea),
> 2004, 8:06 min.,
> digital video. "I Left My Silent House," Seoungho
> Cho (South Korea),
> 2007, 8:51 min., digital video. "Before the
> Appearance of the First
> Steam Engine," Lu Chunsheng (China), 2003, 35 min.,
> digital video shown
> on DVD. Program continues on February 19 and 26.
>
> 2/12
> New York, New York: Lucca Film Festival
> http://www.anthologyfilmarchives.org
> 7.15pm, Anthology Film Archives, 32 Second Avenue, New
> York, NY 10003
>
> BANNED BROKEN SKY / BENE BROCANI SCHIFANO
> B a n n e d B r o k e n S k y B e n e B r o c a n i
> S c h i f a n o a t
> A n t h o l o g y F i l m A r c h i v e s , F e b 1
> 2 t h t o 1 4 t h -
> - - - - - - - - - - - - - - - - - - - - - - - - - -
> - - - - - - -
> curated by Andrea Monti and Alessandro De Francesco
> (press conference
> and reception: Thursday Feb 11th 6pm at Italian
> Cultural Insitute of New
> York) This series is a triple homage to three of
> Italian cinema's most
> important independent filmmakers � Carmelo Bene,
> Franco Brocani, and
> Mario Schifano � whose long-lasting friendships
> and collaborations with
> each other were interrupted only by the early deaths
> of Schifano (1998)
> and Bene (2002). Though their artistic sensibilities
> were very different
> � Bene for instance was far better known as a
> playwright and theater
> director than as a filmmaker, while Schifano was a
> renowned painter �
> they all lived and worked in Rome in the 1960s and
> 70s, a period of
> remarkably rich artistic and cultural activity.
> Though all three sought
> to achieve a profoundly personal form of cinema,
> they resisted
> identifying with the Italian underground scene,
> preferring to make
> narrative films (albeit strikingly experimental
> ones) in order to effect
> a revolution in cinema that would reach audiences
> beyond the confines of
> the avant-garde. This series offers a rare
> opportunity to see a
> selection of their work, featuring five films
> (several recently
> restored) that are rarely, if ever, screened in the
> U.S., and that are
> as interrelated as they are impossible to
> categorize. F I L M S I N P R
> O G R A M : FEB 12 7:15 PM NECROPOLIS Franco Brocani
> 1970, 92 minutes,
> 35mm. In English, German, French, and Italian with
> English subtitles.
> Photography: Ivan Stoynov. Starring Viva, Pierre
> Cl�menti, Tina Aumont,
> Louis Waldon, Carmelo Bene and Paul Jabara. FEB 12
> 9:30 PM
> SCHIFANOSAURUS REX Franco Brocani 2008, 65 minutes,
> video. Tribute to
> Mario Schifano, Pop italian painter. In Italian with
> projected English
> subtitles. Music by Andrea Monti. FEB 13 6:30 PM OUR
> LADY OF THE TURKS /
> NOSTRA SIGNORA DEI TURCHI Carmelo Bene 1968, 125
> minutes, 16mm-to-35mm
> blow-up. In Italian with projected English
> subtitles. FEB 13 9:15 PM
> SALOM� Carmelo Bene 1972, 80 minutes, 35mm. In
> Italian with projected
> English subtitles. FEB 14 6:30 PM UMANO NON UMANO
> Mario Schifano 1969,
> 95 minutes, 35mm. In Italian with projected English
> subtitles. With
> Adriano Apr�, Carmelo Bene, Franco Brocani, Mick
> Jagger, Alberto
> Moravia, Anita Pallenberg, and Keith Richards. For
> further info, email
> email suppressed
>
> ---------------------------
> SATURDAY, FEBRUARY 13, 2010
> ---------------------------
>
> 2/13
> New York, New York: Millennium Film Workshop
> http://www.millenniumfilm.org/
> 8pm, 66 East 4th Street
>
> PERSONAL CINEMA SERIES - DAVID BAKER
> In his second one-person program at Millennium, NYC
> artist David Baker
> will give a magic lantern presentation with an
> accompanying reading from
> related surrealist texts (15 min.). He will screen
> four digital film
> works: FOLK FORMS (Iwerks Analytic) (11:42
> min.-2009), SOTTO VOCE (6:00
> min.-2009), EGYPT 8MM (Grisaille) (20:27 min.-2009),
> AB OVO (10:41
> min.-2009). "The sorcery of an "inverted
> anthropomorphism" as it
> reverberates in analogous forms will be the subject
> of this evening's
> presentation. In prelude, a magic lantern
> demonstratio�n will be given �
> opals, agates, gemstones and minerals (to discern
> aleatoric
> calligraphies played out patiently over thousands of
> years), then
> optical illusions, anamorphosi�s through the prism
> of a dissident branch
> of 1930's surrealism. With The Writing of Stones by
> Roger Caillois as
> Baedeker-resemblances, hidden recurrences,
> impossible scribblings in
> nature will be set next to digital film works." -
> D.B.
>
> 2/13
> New York: Anthology Film Archives
> http://www.anthologyfilmarchives.org/
> 4:30 pm, 32 2nd Avenue
>
> ESSENTIAL CINEMA: UNE SIMPLE HISTOIRE
> by Marcel Hanoun 1958, 68 minutes, 16mm, b&w. In
> French with no
> subtitles; English synopsis available. "Based on a
> true incident, the
> film chronicles the wanderings of a woman and child
> looking for work and
> lodging in Paris. This is the only plot, and Hanoun
> has little interest
> in embellishing it with background and motivation:
> he never even makes
> it clear, for example, whether the woman is the
> child's mother, guardian
> or companion. UNE SIMPLE HISTOIRE is, more than a
> narrative, a formal
> stylistic exercise so rigorously disciplined and
> understated that it
> makes the visual asceticism of Robert Bresson seem
> almost Fellini-esque
> by comparison." �TIME
>
> -------------------------
> SUNDAY, FEBRUARY 14, 2010
> -------------------------
>
> 2/14
> Los Angeles, California: Filmforum
> http://www.lafilmforum.org/
> 7:30 pm, Egyptian Theatre, 6712 Hollywood Blvd. at Las
> Palmas
>
> LOS ANGELES FILMFORUM PRESENTS KRISTINA TALKING
> PICTURES BY YVONNE
> RAINER
> Los Angeles Filmforum presents KRISTINA TALKING
> PICTURES Part 5 (of 8)
> of Bodies, Objects, Films: An Yvonne Rainer
> Retrospective At the
> Egyptian Theatre, 6712 Hollywood Blvd. at Las
> Palmas, Los Angeles Over
> the course of our 2009-2010 seasons, Filmforum is
> proud to present a
> full retrospective of the media works of Yvonne
> Rainer. One of the most
> significant artists in dance and film of the last
> fifty years, this is
> the first full retrospective of her films in Los
> Angeles. Please note
> that Rainer will not be present at this screening
> Admission $10 general,
> $6 students/seniors, free for Filmforum members
> Advance ticket purchase
> available through Brown Paper Tickets:
> http://www.brownpapertickets.com/event/95589 KRISTINA
> TALKING PICTURES
> (1976, 90 min., 16mm, color) Rainer continued her
> preoccupation with the
> contradictions between public and private personas
> with this story of a
> female lion tamer from Budapest who comes to New
> York to become a
> choreographer.
>
>
> Enter your event announcements by going to the Flicker
> Weekly Listing Form
> at http://www.hi-beam.net/cgi-bin/thisweek.pl
>
> The weekly listing is also available online at Flicker:
> http://www.hi-beam.net
>
>
> __________________________________________________________________
> For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
>
> ------------------------------
>
> End of FRAMEWORKS Digest - 5 Feb 2010 to 6 Feb 2010 -
> Special issue (#2010-63)
> ******************************************************************************
>
__________________________________________________________________
For info on FrameWorks, contact Pip Chodorov at <email suppressed>.