From: Weekly Listing (email suppressed)
Date: Sat Sep 18 2010 - 15:53:25 PDT
This week [September 18 - 26, 2010] in avant garde cinema
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NEW CALLS FOR ENTRIES:
=====================
TV Dinner Theater (Location: Cambridge, MA, USA; No entry deadline)
http://www.hi-beam.net/cgi-bin/ann.pl?type=callsnd&readfile=154.ann
Experiments In Cinema v6.3 (Albuquerque, New Mexico USA; Deadline: December 01, 2010)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1210.ann
London Iranian Film Festival (London; Deadline: September 17, 2010)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1211.ann
Temple Works/ Light Night 2010 (Leeds, West Yorkshire, UK; Deadline: October 01, 2010)
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Rogue & AMC Big Break Movie Contest (Los Angeles, CA, USA; Deadline: October 15, 2010)
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danubeVIDEOARTfestival #1 (Grein, Austria; Deadline: December 01, 2010)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1214.ann
Cambridge Super 8 Film Festival (Cambridge, UK; Deadline: November 27, 2010)
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$100 Film Festival (Calgary, AB CANADA; Deadline: December 01, 2010)
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Punto de Vista Film Festival (Pamplona, Navarra, Spain; Deadline: September 30, 2010)
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Residency (Tondela; Deadline: February 01, 2010)
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DEADLINES APPROACHING:
======================
13th San Francisco Independent Film Festival (San Francisco, CA; Deadline: October 09, 2010)
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FLEX Fest (Gainesville, FL, USA; Deadline: October 01, 2010)
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Flicker Spokane Film Festival (Spokane, WA USA; Deadline: September 18, 2010)
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Screening @ High Concept Laboratories (Chicago, IL, USA; Deadline: October 23, 2010)
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International Film Festival Rotterdam (Rotterdam, Netherlands; Deadline: October 01, 2010)
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Temple Works/ Light Night 2010 (Leeds, West Yorkshire, UK; Deadline: October 01, 2010)
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Rogue & AMC Big Break Movie Contest (Los Angeles, CA, USA; Deadline: October 15, 2010)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1213.ann
Punto de Vista Film Festival (Pamplona, Navarra, Spain; Deadline: September 30, 2010)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1217.ann
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THIS WEEK'S PROGRAMS (SUMMARY):
==============================
* Blissful Discretion: Curated By Solomon Nagler [September 18, Middle Sackville, New Brunswick, Canada]
* Independence [September 18, New York, New York]
* Blows Against Bp! Prelinger's Lives of Energy + Yes Men + [September 18, San Francisco, California]
* The Broken Shape: Jennet Thomas In Person! [September 18, Toronto, Ontario, Canada]
* Radical Light: Alternative Film and video In the San Francisco Bay Area [September 19, Berkeley, California]
* Los Angeles Filmforum Presents the 2010 Festival of (In)Appropriation -
Contemporary Found Footage Filmmaking [September 19, Los Angeles, California]
* Nina Menkes: Hitparkut (Dissolution) [September 20, Los Angeles, California]
* Nancy Holt: Sightlines Exhibition and Upcoming Events [September 21, New York, New York]
* Early Monthly Segments #20 = Lawrence Brose's De Profundis [September 21, Toronto, Ontario, Canada]
* The Destructive Power of Happiness - Riccardo Iacono [September 23, Berlin, Germany]
* Have To Believe We Are Magic: videos By Kent Lambert and Jesse Mclean [September 23, Chicago, Illinois]
* 23rd Annual videofest [September 23, Dallas, Texas]
* Nancy andrews Program [September 23, New York]
* What Is Life Without the Living? [September 23, San Francisco, California]
* Radical Light: Return To Canyon - Program I [September 23, San Francisco, California]
* Return To Canyon - Program ii [September 24, Canyon, CA]
* Three Films By Lynne Sachs Sept. 24 and 25 [September 24, New York, New York]
* Lynne Sachs Program [September 24, New York]
* Electronic Cinema [September 24, San Francisco, California]
* Paul Clipson, Paul Labrecque & Ignatz [September 25, Brussels, Belgium]
* Screening-Performance: Paul Clipson, Ignatz & Paul Labrecque [September 25, Brussels]
* Lynne Sachs Program [September 25, New York]
* The Land of the Rising Fastball + the Lsd No-No + [September 25, San Francisco, California]
* The Film Registry Show Returns! Selections From Recent Picks By the
Library of Congress [September 26, Los Angeles, California]
Events are sorted by CITY within each DATE.
----------------------------
SATURDAY, SEPTEMBER 18, 2010
----------------------------
9/18
Middle Sackville, New Brunswick, Canada: Faucet Media Arts Centre & Struts Gallery
http://www.strutsgallery.ca
7:30pm, Campbell Carriage Factory Museum: 19 Church St.
BLISSFUL DISCRETION: CURATED BY SOLOMON NAGLER
7:00pm Rides leave from Struts Gallery, 7 Lorne St. 7:30pm Reception
8:00pm Presentation by Solomon Nagler 8:30pm Screening of experimental
short 35mm films -----------------------------------------------------
Sites for Seeing: Out of the Cineplex and Into the Marshland
----------------------------------------------------- Faucet Media Arts
Centre & Struts Gallery are pleased to present the final installment of
Sites for Seeing: Out of the Cineplex and Into the Marshland -- the last
two in a series of four outdoor experimental film screenings in the
Tantramar marshes. These screenings provide an exciting opportunity to
see unique experimental film and video work outside of the institutional
walls of the gallery. This opens the project up to wider New Brunswick
audiences who might not normally cross the threshold of artist run
centres. It also removes the work from the realm of normal expectations
and places it into an environment where anything is possible. These
screenings also mark the launch of Sift; a new cultural broadsheet
devoted to critical writing, interviews, and images about contemporary
art. Each curator has been asked to write an essay about the films they
are presenting. The essays, along with interviews are printed in the
inaugural issues of Sift as well as published on our website. A major
component of the Sites for Seeing project is bringing these artists to
Sackville to engage with the local community. During their visit, they
will meet with local artists and residents at a reception before the
screening, as well as through individual studio visits the day after the
screening. Solomon Nagler's films, installations, and curated shows have
played across Canada, in the U.S., Europe and Asia. Retrospectives of
his work have screened at Winnipeg Cinematheque, Excentris Cinema in
Montreal and Festival De Le Cinéma Different in Paris. Nagler is
currently a professor at NSCAD University in Halifax.
---------------------------------------------------------- Films
screening as a part of Blissful Discretion include: Long Shadows (Joshua
Bonetta) C:won Eyed Jail (Kelly Egan) Refraction Series (Chris Gehman)
Mamori (Karl Lemieux) Ville Marie (Alexandre Larose) Trees of Syntax,
Leaves of Axis (Diachi Saito) Fore-and-Aft (Sara MacLean) sea series #6
- Landfall at Métis-sur-Mer (John Price) and sea series #5 - Georgian
Bay : a survey of littoral recreation (John Price)
---------------------------------------------------------- Sites for
Seeing is made possible through the support of a dissemination grant
from the Canada Council for the Arts. For more information on this
project, contact email suppressed or phone 506-536-1211.
9/18
New York, New York: MICROSCOPE GALLERY
http://www.microscopegallery.com
6-9pm, 4 Charles Place - Bushwick - Brooklyn NY 11221
INDEPENDENCE
MICROSCOPE GALLERY INAUGURAL EXHIBITION / SEPTEMBER 18TH – OCTOBER 18TH
/ Opening Reception: Sept 18th 6-9pm / Live performances at 6pm /
Featuring works by: Peggy Ahwesh, Michel Auder, Agnes Bolt, Martha
Colburn, Bradley Eros, Raul Vincent Enriquez, Glen Fogel, Takahiko
Iimura, Tom Jarmusch, Jonas Mekas, Anton Perich. MICROSCOPE Gallery
opens its doors in an old carburetor shop near Freedom Triangle in
Bushwick on September 18th. One of the few galleries in the world
dedicated to film, video, sound and other time-based art the MICROSCOPE
presents as its inaugural exhibition Indepedence, a group show of
emerging and established artists including several pioneers and heroes
of the New York underground. / Independent from theory, accepted
technique, prevailing politics, economic considerations, or even
equipment; working with film, video, or sound; and based in New York,
this describes the 11 very different artists in the show. It is the
spirit of innovation and uncompromising vision that we celebrate. The
artists, some of whom have been working for 2 and 3 generations, just do
what they do, year-after-year without concern for current trends or
schools of thought, and in spite of the inevitable obstacles that arise.
It is not surprising that each artist also works in other mediums
including sculpture, collage, print and performance. Independence offers
the rare chance to see the range of these artists works on display
side-by-side. / for further info: email suppressed /
www.microscopegallery.com
9/18
San Francisco, California: Other Cinema
http://www.othercinema.com/
8:00pm, Artists' Television Access, 992 Valencia Street, San Francisco, CA 94110
BLOWS AGAINST BP! PRELINGER’S LIVES OF ENERGY + YES MEN +
Culled from his world-renowned archive, here's the US premiere of Rick
Prelinger's feature-length montage of promotional clips from the energy
industry, creating a striking commentary on our over-dependence on oil.
Rick's shtick is preceded by a bevy of pungent shorts on environmental
issues, including Bahrani/Herzog's Plastic Bag, Jorge Furtado's Isle of
Flowers, Kathleen Quillian's Wasteland, and Rob Ray's Canary in a Coal
Mine. PLUS an Edward James Olmos inquiry, an Edward "Monkey Wrenching"
Albee excerpt, and a Paper Tiger TV segment. AND, at 10:30: The return
of The Yes Men Fix the World, in which our intrepid pranksters intervene
in the money-grubbing activities of the oil and chemical moguls. *8pm
showtime; $6.66, to benefit the Int'l Bird Rescue Research Center
(spokesperson present).
9/18
Toronto, Ontario, Canada: Pleasure Dome
http://www.pdome.org/
8pm, 129 Spadina Ave. (down the lane) CineCycle
THE BROKEN SHAPE: JENNET THOMAS IN PERSON!
Jennet Thomas's work emerged from the anarchistic, experimental culture
of London's underground film and live art club scene in the 1990s, where
she was a co-founder of the Exploding Cinema Collective. It now screens
extensively in international film festivals and galleries. Her work
began as hybrid spoken word performance and projections for a live
audience, it now combines a variety of filmic languages, ranging from
soap opera to experimental and underground filmmaking, from sci-fi to
musicals. "I like to explore unexpected processes of sense-making. My
narratives are often fractured, absurdist – generated via dream-logic
and increasingly experimental methodologies, inspired by odd corners of
British culture, driven by the urge to tell." Program : Important Toy
(1997), 4 Ways He Tried to Tell You (1999), SHARONY! (2000), Because of
the War (2005), The Man Who Went Outside (2008), Return of the Black
Tower (2008) + Miranda July's Getting Stronger Every Day (2001).
"[Jennet] Thomas suggests the near-feasibility of the absurd by
expressing messages from alternative dimensions, bizarre social codes
and accounts of recent cultural history through everyday means… The
bizarre, Thomas seems to suggest, is a close relative of the ordinary."
– Sally O'Reilly
--------------------------
SUNDAY, SEPTEMBER 19, 2010
--------------------------
9/19
Berkeley, California: Pacific Film Archive
http://www.bampfa.berkeley.edu/
6:30pm, 2575 Bancroft Way
RADICAL LIGHT: ALTERNATIVE FILM AND VIDEO IN THE SAN FRANCISCO BAY AREA
Program 1: Landscape as Expression. Ernie Gehr and Lawrence Jordan in
Person. In conjunction with the publication of PFA's first book, Radical
Light: Alternative Film and Video in the San Francisco Bay Area,
1945–2000, edited by Steve Anker, Kathy Geritz, and Steve Seid, the
Pacific Film Archive is presenting a film and video series that explores
the themes and movements, and traces the historic chronology of
alternative film and video in the Bay Area. San Francisco and the
surrounding Bay Area offer an astonishing landscape that combines
shifting and surprising natural visual qualities with a teeming urban
culture. Crystalline light, undulating hills, mesmerizing fog, and a
rugged shoreline captivate and become expressive parts of life. The area
is a magnet for wanderers and those seeking something new and
unexpected. Filmmakers, fascinated by the phenomena and energy of the
place, have been drawn here almost since the inception of the medium.
Tonight's program explores and reflects the wonder of this urban
landscape, and includes A Trip Down Market Street, a time capsule that
also presents a different consciousness than experienced on movie
screens today; Dion Vigne's ebullient North Beach, which revels in the
colors and rhythms of Beat-era North Beach; and Chris Marker's Junkopia,
a contemplation of renegade sculptures erected off shore between cities.
Michael Glawogger's Street Noise tours Oakland's San Pablo Avenue while
Ernie Gehr's Side/Walk/Shuttle provides a startling experience of San
Francisco's unpredictable skyline. Films by Lawrence Jordan, Bruce
Baillie, Scott Stark, and Lynn Marie Kirby further explore the Bay
Area's cinematic character. —Steve Anker • A Trip Down Market Street
1905 (Miles Brothers, 1906, 12 mins, Silent, B&W, 35mm, From Rick
Prelinger). North Beach (Dion Vigne, 1958, 5 mins, Color, PFA
Preservation Print). Visions of a City (Lawrence Jordan, 1957¬-78, 8
mins, B&W, From Canyon Cinema). All My Life (Bruce Baillie, 1966, 3
mins, Color, PFA Collection). Golden Gate Bridge Exposure: Poised for
Parabolas (Lynn Marie Kirby, 2004, 5 mins, Silent, Color, Digital Video,
From the artist). Junkopia (Chris Marker, 1981, 6 mins, Color, 35mm, PFA
Collection). Street Noise (Michael Glawogger, 1981, 9 mins, Color, From
the artist). Degrees of Limitation (Scott Stark, 1982, 3 mins, Silent,
Color, From the artist). Side/Walk/Shuttle (Ernie Gehr, 1991, 41 mins,
Color, PFA Collection)
9/19
Los Angeles, California: Filmforum
http://www.lafilmforum.org/
7:30 pm, Egyptian Theatre, 6712 Hollywood Blvd. at Las Palmas
LOS ANGELES FILMFORUM PRESENTS THE 2010 FESTIVAL OF (IN)APPROPRIATION -
CONTEMPORARY FOUND FOOTAGE FILMMAKING
At the Egyptian Theatre, 6712 Hollywood Blvd. at Las Palmas, Los Angeles
Admission for Filmforum screenings: $10 general, $6 students/seniors,
free for Filmforum members Advance ticket purchase available through
Brown Paper Tickets at http://www.brownpapertickets.com/event/125278
Whether you call it collage, compilation, found footage, detournement,
or recycled cinema, the incorporation of previously shot materials into
new artworks is a practice that has generated novel juxtapositions of
elements which have produced new meanings and ideas that may not have
been intended by the original makers, that are, in other words
"inappropriate."
--------------------------
MONDAY, SEPTEMBER 20, 2010
--------------------------
9/20
Los Angeles, California: Redcat
http://www.redcat.org/
8:30pm, 631 W. 2nd St., Los Angeles, CA 90012
NINA MENKES: HITPARKUT (DISSOLUTION)
Jack H. Skirball Series North American premiere Israel/USA, 2010, 88
min., HDCAM Inspired by Fyodor Dostoevsky's Crime and Punishment, Nina
Menkes returns to Israel, the site of some of her earlier work, and
continues her exploration of sumptuous, digital black-and-white as a
metaphor for the dark corners of the human psyche. She also takes a
giant step by focusing on a male character (nonprofessional actor Didi
Fire) who is both the subject of his own tale and an object of desire
for the camera, subverting the tropes of cinematic discourse. Shot in
Yafo, the predominantly Arab area of Tel Aviv, the movie follows the
moral collapse and first glimmer of redemption of a morose young Israeli
Jew who murders a female Arab pawnbroker. Menkes weaves realistic views
with surreal images to suggest a dialectic of violence: one man's
alienation and spiritual journey versus the war mentality that permeates
contemporary Israeli society and the devaluation of the feminine within
a context of intra-ethnic hostility. Hitparkut won the Anat Pirchi Award
for Best Drama at the 2010 Jerusalem International Film Festival. In
person: Nina Menkes
---------------------------
TUESDAY, SEPTEMBER 21, 2010
---------------------------
9/21
New York, New York: Miriam and Ira D. Wallach Art Gallery
http://www.columbia.edu/cu/wallach/
5:30, Columbia University at 116th Street, Schermerhorn Hall 8th Floor
NANCY HOLT: SIGHTLINES EXHIBITION AND UPCOMING EVENTS
Columbia University's Miriam and Ira D. Wallach Art Gallery opens its
exhibition season with Nancy Holt: Sightlines. This traveling exhibition
showcases Nancy Holt's transformation of the perception of the landscape
through the use of different observational modes in her early films,
videos, and related works from 1966 to 1980. The pioneering work of
important American artist falls at the intersection of art,
architecture, and time-based media and this rare presentation offers an
in-depth look at her early projects. Since the late 1960s, Nancy Holt
has created a far-reaching body of work, including Land Art, films,
videos, artist's books, concrete poetry, site-specific installations,
and major sculpture commissions. Opening Reception, Tuesday, September
21, 5:30 to 7:30 PM. Regular gallery hours are September 22 thru
December 11, Wednesday through Saturday, 1:00 p.m. to 5:00 PM.
9/21
Toronto, Ontario, Canada: Early Monthly Segments
http://earlymonthlysegments.org/
8:00 PM, Gladstone Hotel, 2nd Floor, 1214 Queen Street West
EARLY MONTHLY SEGMENTS #20 = LAWRENCE BROSE'S DE PROFUNDIS
A FUNDRAISER FOR THE LAWRENCE BROSE LEGAL DEFENSE FUND Buffalo-based
filmmaker, curator and arts advocate Lawrence Brose's landmark De
Profundis is a 65-minute meditation on queer desire based on Oscar
Wilde's infamous prison letter presented via lush hand-processed
imagery. The film utilizes vintage erotica, home movies, radical faerie
gatherings, pagan rituals and drag shows alongside a piano score by
Frederic Rzewski which incorporates Wilde's text as a means of exploring
assimilation and sexuality through hand painted frames and manipulation.
The result is an exploding utopia of colour and a layered but equally
privileged soundscape. A simply haunting work of terrifying beauty.
Recently the film has come under scrutiny by the US Department of
Homeland Security and the US Justice Department as Brose now faces
serious charges for allegedly possessing illicit digital images. One
hundred of the listed images in the charges are film frames from De
Profundis. The fact that he is under indictment for using images made by
others to examine the taboos that such laws are meant to prevent is as
overreaching as it is disturbing. This prosecution should be viewed as a
challenge to artistic freedom, brought by a U.S. Attorney's office that
previously unsuccessfully prosecuted Critical Art Ensemble founder Steve
Kurtz. This screening is a fundraiser for Brose's legal defense fund. If
travel restrictions are lifted we look forward to welcoming him in
person at the screening. For more information and to donate please visit
lawrencebroselegaldefensefund.com Programme: De Profundis, Lawrence
Brose, 1997, 16mm, 65 minutes, USA Music: Frederic Rzewski, with
additional compositions by Lawrence Brose and Douglas Cohen. 5-10$
suggested donation For more info please visit earlymonthlysegments.org
----------------------------
THURSDAY, SEPTEMBER 23, 2010
----------------------------
9/23
Berlin, Germany: Directors Lounge
http://www.richfilm.de/currentUpload/
9 pm, Z-Bar, Bergstr. 2, Berlin-Mitte
THE DESTRUCTIVE POWER OF HAPPINESS - RICCARDO IACONO
Directors Lounge presents: The Destructive Power of Happiness -°*°-
Video and Film Works by Riccardo Iacono -°*°- Thursday, 23 September
2010 -°*°- at 21:00 -°*°- Z-Bar, Bergstraße 2, 10115 Berlin-Mitte,
Germany -°*°- Riccardo Iacono -°*°- The Destructive Power of Happiness
-°*°- Riccardo Iacono, London-based artist and filmmaker, presents a
selection of films and video from three different bodies of work:
abstract videos, hand-painted films and performance tapes (produced
between 1993-2007). -°*°- "I like the destructive power of fire", a
friend stated to Riccardo. It became the source for the title of the
show in Berlin. Riccardo's fire might be his anarchistic disposition to
destroy static concepts. However, he does not avoid the pains, the
exhaustive efforts it takes to make art from "happiness". -°*°- In his
process of working with film, the painted film became the silent musical
score for the making, the re-photographing of the film. By means of an
optical printer, he developed a way to have light reflected from the
3-dimensional surface of the paint, while at the same time still
illuminating it from the backside. Although such animation techniques
usually are tedious work, Riccardo already tried to achieve some
immediacy while printing film to film. This urge for directness, and a
need for improvisation and contact with people have possibly let to his
more recent body of work: "Shooqui". The whole series of videos, which
involves throwing peas or clothes, is the opposite of camera-less film.
The artist holds the camera, aiming and tracking the prospective
trajectory of the object being thrown by his other hand. The body
connection between holding and throwing leads to a compulsive and
circular movement of the camera when throwing larger objects. "It is
almost like the recoil action of a gun upon firing." -°*°- (Curated by
Klaus W. Eisenlohr) -°*°- -°*°- Artist-Links: -°*°-
http://www.riccardoiacono.co.uk -°*°-
http://www.axisweb.org/openfrequency/riccardoiacono -°*°- Press Links:
-°*°- http://www.directorslounge.net -°*°- more infos and images:
http://www.richfilm.de/filmUpload/1-framesRiccIacono.html -°*°-
http://www.z-bar.de
9/23
Chicago, Illinois: Conversations at the Edge
http://www.saic.edu/cateblog
6pm, Gene Siskel Film Center, 164 N. State St
HAVE TO BELIEVE WE ARE MAGIC: VIDEOS BY KENT LAMBERT AND JESSE MCLEAN
By turns haunting and hilarious, the works of Chicago artists Kent
Lambert and Jesse McLean remix the banal debris of television culture
into striking meditations on our highly mediated public sphere. In
Security Anthem (2003), Hymn of Reckoning (2006), and Sunset Coda
(2006), Lambert culls footage from Lost, his own home movies, and the
vocal stylings of former U.S. Attorney General John Ashcroft to explore
the vagaries of national security in this current age of international
terror. In her Bearing Witness trilogy, comprised of The Eternal Quarter
Inch (2008), The Burning Blue (2009), and Somewhere Only We Know (2009),
McLean considers the possibility for genuine human connection within a
blur of televised emotion. This evening also features a brand-new
collaboration between the two, as well as the North American premiere of
McLean's Magic for Beginners (2010), among others. Kent Lambert and
Jesse McLean, 2003-10, USA, multiple formats, ca. 80 min (plus
discussion). KENT LAMBERT (1976, Colorado Springs, CO) lives and
works in Chicago. His videos have been screened at festivals around the
world and at such venues as Other Cinema in San Francisco and the
Institute of Contemporary Arts in London. His pop band Roommate will
release its third album, titled Guilty Rainbow, in early 2011.
JESSE MCLEAN (1975, Philadelphia, PA) grew up in Pennsylvania, studied
art at Oberlin College, and received her MFA in Moving Image from the
University of Illinois at Chicago. She was the winner of the Barbara
Aronofsky Latham Award for Emerging Experimental Video Artist at the
2010 Ann Arbor Film Festival. Besides Ann Arbor, she has shown her work
at the Venice Film Festival, Dallas VideoFest, San Francisco
International Film Festival, Onion City Film and Video Festival, Chicago
Underground Film Festival, Yerba Buena Center for the Arts, Migrating
Forms at Anthology Film Archives, Art Chicago, PDX Festival, FLEX, and
the Director's Lounge in Berlin. She lives and works in Chicago, where
she teaches part-time at the University of Illinois at Chicago.
9/23
Dallas, Texas: Video Association of Dallas
www.videofest.org
7:00 p.m., 5321 E. Mockingbird Lane
23RD ANNUAL VIDEOFEST
23rd Annual VideoFest– Sept. 23-26, 2010 Dallas, TX – The 23rd Annual
VideoFest will be at the Angelika Film Center Sept. 23-26,2010. The
oldest and largest video and film festival in the nation, VideoFest
shows a diverse range of works by regional, national and international
video and film artists that are hard to find at the local video store,
the movie theater or on Netflix. Because VideoFest is different than a
traditional film festival or just going to a movie, expect something
different! For the third year in a row, the VideoFest will be presented
thru I-Tunes. VideoFest is presented by Video Association of Dallas.
Patrons may purchase day passes ($25 or $35 depending on day) or
All-Festival passes ($75) for over 150 programs making this Festival the
best deal in town. Buy tickets online in advance or at the door day of
show. Visit www.videofest.org for more information or call 214-428-8700.
Sponsors include HBO, Kodak, Texas Film Commission, Dallas Film
Commission, Dallas Film Society, City of Dallas Office of Cultural
Affairs, and Texas Commission on the Arts. ABOUT VIDEOFEST VideoFest is
now the oldest and largest video festival in the United States, and
continues to garner critical and popular acclaim. Since 1986, VideoFest
has specialized in independent, alternative, and non-commercial media,
presenting hard-to-find works rarely seen on television, in movie
theaters, or elsewhere, despite their artistic excellence and cultural
and social relevance. Even in a Web 2.0 environment where everything is
seemingly available on the Internet, the VideoFest provides curatorial
guidance, a critical voice in the wilderness navigating the vast and
diverse landscape of media, helping to interpret its cultural and
artistic significance. The event still provides a communal environment
for real-time, face-to-face dialogue between makers and audiences. ABOUT
VIDEO ASSOCIATION OF DALLAS The mission of the Video Association is to
promote an understanding of video as a creative medium and cultural
force in our society, and to support and advance the work of Texas
artists working in video and the electronic arts. The Video Association
of Dallas (VAD) is a 501(c)(3) organization incorporated on April 25,
1989. # # # # TWENTY-THIRD ANNUAL VIDEO FEST WHAT: Twenty-Third Annual
Video Fest Presented by the Video Association of Dallas WHERE: At the
Angelika Film Center, 5321 E. Mockingbird Lane WHEN: Thursday, Sept. 23
7-11:30 p.m. Friday, Sept. 24 7-11:30 p.m. Saturday, Sept. 25 noon-11:30
p.m. Sunday, Sept. 26 10:30 a.m.-10 p.m. TICKETS: All-festival pass: $75
All-Evening passes: Thursday or Friday $25 All-Day and Evening passes:
Saturday or Sunday $35 Seniors (60 or older): $10 off Some selected
programs will be $6 per program available at event only Tickets will be
available at the door or online at videofest.org INFO: Video Association
of Dallas T: (214) 428-8700 E: email suppressed
http://www.videofest.org Press: Lisa Taylor, 214-914-1099,
email suppressed Sign up for the Video Association Newsletter and
Videomaker's Resource List:
http://visitor.constantcontact.com/manage/optin/ea?v=001PATbu7Y33LGmUMka
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9/23
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:30 pm, 32 2nd Avenue
NANCY ANDREWS PROGRAM
Total running time: ca. 70 minutes. Film Notes We are eager to invite
you to the New York City premiere of two far-out, fantastic new short
films by the uniquely gifted artist Nancy Andrews. Active as an animator
since the early 90s, Andrews's wildly inventive works often focus on
fantastic transformations and are constructed from an inspired mix of
live action, animation, archival imagery, and faked found footage, among
other elements. Humorous and engaging, visually arresting and very
moving, Andrews is a filmmaker with a unique touch, a distinctive style,
and something real to say. Screening alongside Andrews's films is a
certified classic from one of her main inspirations, the inimitable
Fleischer Brothers. ON A PHANTOM LIMB (2009, 35 minutes, video) This
film examines the journey of a human-made hybrid, a surgical creation –
part woman, part bird – passing through death, purgatory, and returning
to life. The boundaries of reality, fantasy, documentary, and fiction
are blurred in this reprise of classic themes, dilemmas, and
consequences of reanimation. "The monster did not choose this for her
self, to be an amalgam for alchemy." Dave Fleischer SNOW-WHITE (1933, 7
minutes, 16mm) Betty Boop stars as you-know-who in this whacked-out
reworking of a classic fable. And doesn't that clown sound a lot like
Cab Calloway? All hail the Fleischer Brothers! THE EARS ARE BEHIND THE
EYES (2010, 25 minutes, video) This mix of 16mm, animation, found
footage, and live-action footage follows the research of Dr. Sheri Myes
and her revolutionary attempts to expand our perceptions and
consciousness. The filmmaker began the project by writing a song cycle,
and then imagery was developed through a series of drawings. The film is
influenced by classic 'mad scientist' horror films like DR. JEKYLL AND
MR. HYDE, and by research into the physiology of insects. Total running
time: ca. 70 minutes.
9/23
San Francisco, California: Artists Television Access
http://www.atasite.org/
8pm, 992 Valencia Street
WHAT IS LIFE WITHOUT THE LIVING?
Program:David Scheid, 'Margot Kidder' 2005, videoLuther Price, 'A' 1995,
Super8 (screened on DVD) Two experimental queer works address queer
narrativity in the popular realm of the Hollywood dream-machine. The
program title misremembers the opening lyric to the theme to Imitation
of Life. The tune hauntingly floods Luther Price's 'A.' Alongside David
Scheid's video, 'Margot Kidder,' these works reconstruct Hollywood from
a space of queer fantasy, creating private narratives from popular
fiction. The event is curated by moving-image scholar Bradford Nordeen
and co-hosted by local author and critic Kevin Killian.Named one of the
top-20 living avant-garde filmmakers in Film Comment's recent poling,
Boston-based super-8 filmmaker Luther Price has been frequently likened
to Jack Smith, Karen Finley and Matthew Barney for his raw, visceral
cinema. In 'A,' Price concocted the most narrative tale of his 25-year
career: a cyclical feature in which a faded starlet (Edie) courts suitor
after suitor and fades into an alcoholic Lassie-laden haze. Price
portrays the heroine as she spirals deeper into destructive delusions,
turning on her lovers like an amped-up Jeanne Dielman. Edie is also a
ghostly, childhood memory, based on Price's mother and her obsessive
viewing of woman's pictures. David Scheid is a video artist whose work
addresses pathology and obsessive compulsive disorder. 'Margot Kidder'
meticulously reconstructs 3 films from the actress' golden period to
illuminate Kidder's peculiar personal narrative. Scheid infers that
Kidder's infamous downfall was present all along in these fragile
performances. 'Margot Kidder' throws these clues into plain view,
presenting a dismaying decoding of these otherwise commercial films.
Like Price's work, the film also serves as an intimate portrait of a
male fan's obsession with a female star. The 13-minute found-footage
film is an alarming depiction of the filmmaker's arousal, disdain,
compassion and compulsion towards the eponymous subject. This event will
be accompanied by a free publication of images, illustrations, an essay,
and artist writings designed by Deric Carner.
9/23
San Francisco, California: San Francisco Cinematheque
http://www.sfcinematheque.org
7:00 pm, SFMOMA, 151 Third St. (between Mission St. and Howard St.)
RADICAL LIGHT: RETURN TO CANYON - PROGRAM I
presented in collaboration with SFMOMA and in association with Canyon
Cinema, Exploratorium's Cinema Arts Program, Pacific Film Archive and
USF Film Studies Program; Bruce Baillie, Lawrence Jordan and Robert
Nelson in person [members: $7 / non-members: $10] ---- On a summer day
in 1961, in the East Bay community of Canyon, California, filmmaker
Bruce Baillie shone a light on a bed sheet screen and Canyon Cinema was
born. Over the years, Baillie's brainchild evolved into the independent
distributor Canyon Cinema and the venerable exhibitor San Francisco
Cinematheque. In commencement of Cinematheque's golden anniversary,
Cinematheque celebrates with a gathering of founding figures and
luminaries from the early days of the org, featuring brand new works and
newly preserved masterpieces from Bruce Baillie, Lawrence Jordan, Robert
Nelson and Chick Strand. (Steve Polta)
--------------------------
FRIDAY, SEPTEMBER 24, 2010
--------------------------
9/24
Canyon, CA: San Francisco Cinematheque
http://www.sfcinematheque.org
7:00 pm, The Canyon School, 187 Pinehurst Road
RETURN TO CANYON - PROGRAM II
presented in collaboration with Canyon Cinema, Exploratorium's Cinema
Arts Program and the USF Film Studies Program; Curated by Liz Keim and
Melinda Stone; Bruce Baillie in person [Free] ---- Come join us for a
night of celebration under the stars and grand redwoods of Canyon
California, the birthplace of San Francisco Cinematheque and Canyon
Cinema. This anniversary screening harkens back to the early days of
Cinematheque (then one and the same with Canyon Cinema) featuring some
of the first films screened in the little hamlet, along with vintage
serials, cartoons and the signature Canyon Cinema News. The coveted
Frankie Avalon Suit Award will be given to the most flamboyantly dressed
audience member so don't be shy. In the tradition of the founders, the
screening will precede with a potluck–bring your favorite dish,
something to drink, and your own table service. Free popcorn will be
served during the show. Some of the films to be screened include: All My
Life by Bruce Baillie, Angel Blue Sweet Wings by Chick Strand and My
Name is Oona by Gunvor Nelson. New work will also be featured, including
Reflect by Tsen-Chu Bamboo Hsu and a contemporary Canyon Newsreel made
by the students at Canyon Elementary with the assistance of films
students from USF. Special thanks to the teachers and students at Canyon
Elementary School and to the community of Canyon for support with the
screening. (Liz Keim & Melinda Stone)
9/24
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:30 pm, 32 Second Ave. (@2nd St.)
THREE FILMS BY LYNNE SACHS SEPT. 24 AND 25
WIND IN OUR HAIR / CON VIENTO EN EL PELO 2010, 41 min.. NYC PREMIERE!
Music by Argentine singer Juana Molina. "Inspired by the writings of
Julio Cortázar, [this] is an experimental narrative that explores the
interior and exterior worlds of four early-teenage girls in Buenos
Aires, and how through play they come to discover themselves and their
world. 'Freedom takes us by the hand – it seizes the whole of our
bodies', a young narrator describes as they head towards the tracks.
This is their kingdom, a place where the girls pose as statues and
perform for each other and for passengers speeding by. Collaborating
with Argentine filmmakers Leandro Listorti and Pablo Marin, Sachs offers
us a series of magical realist vignettes using a collage of 16mm, 8mm,
and video. Sachs and co-editor Sofia Gallisá construct a bilingual work
that places equal value on the intimacy of the girls' lives and their
growing awareness of those social forces encroaching on their kingdom."
-Carolyn Tennant, Media Curator, Hallwalls Contemporary Art Center "The
film moves from childhood's earthbound, cloistered spaces into the
skittering beyond of adolescence, exploding with anticipation and
possibility." -Todd Lillethun, Program Director, Chicago Filmmakers
"While (the girls') lives are blissful and full of play, the political
and social unrest of contemporary Argentina begins to invade their
idyllic existence. Sachs' brilliant mixture of film formats complements
the shifts in mood from innocent amusement to protest." –Dean Otto, Film
and Video Curator, Walker Art Center THE LAST HAPPY DAY 2009, 38 min..
An experimental documentary portrait of Sandor (Alexander) Lenard, a
Hungarian medical doctor and a distant cousin of Sachs. In 1938 Lenard,
a writer with a Jewish background, fled the Nazis to a safe haven in
Rome. Shortly thereafter, the U.S. Army Graves Registration Service
hired Lenard to reconstruct the bones of dead American soldiers.
Eventually he found himself in remotest Brazil where he embarked on a
translation of WINNIE THE POOH into Latin, an eccentric task that
catapulted him to brief worldwide fame. Sachs's essay film uses personal
letters, abstracted war imagery, home movies, interviews, and a
children's performance to create an intimate meditation on the
destructive power of war. (Premiere, New York Film Fest, 2009) "A
stunningly beautiful essay film in which (Sachs) uses the remarkable
story of her distant cousin ... as a lens for her meditations on trauma,
survival, history, and healing." -David Finkelstein, Filmthreat.com THE
TASK OF THE TRANSLATOR 2010, 10 min. Sachs pays homage to Walter
Benjamin's essay "The Task of the Translator" through three studies of
the human body.
9/24
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:30 pm, 32 2nd Avenue
LYNNE SACHS PROGRAM
THREE FILMS BY LYNNE SACHS Film Notes FILMMAKER IN PERSON! Anthology
presents three new works by filmmaker Lynne Sachs, who will be present
each evening for discussions following the screenings. "Working since
the mid-1980s, variously on lyrical formal shorts and long-form
experimental documentary, Lynne Sachs's body of film and video work has
explored the relationships between individual memory and experience in
the context of large historical forces. Foregrounding personal history
and autobiography, Sachs exalts the intimate gesture as perhaps the most
heroic of poetic and political acts. With a keen grasp on cultural
theory and media history, Sachs's films celebrate life and mindful
political engagement, presenting complex pictures of the world with
lyrical grace and even joy." –Steve Polta, SAN FRANCISCO CINEMATHEQUE
WIND IN OUR HAIR / CON VIENTO EN EL PELO 2010, 41 minutes, video. Music
by Argentine singer Juana Molina. NYC PREMIERE! "Inspired by the
writings of Julio Cortázar, [this] is an experimental narrative that
explores the interior and exterior worlds of four early-teenage girls in
Buenos Aires, and how through play they come to discover themselves and
their world. 'Freedom takes us by the hand – it seizes the whole of our
bodies', a young narrator describes as they head towards the tracks.
This is their kingdom, a place where…the girls pose as statues and
perform for each other and for passengers speeding by. Collaborating
with Argentine filmmakers Leandro Listorti and Pablo Marin, Sachs offers
us a series of magical realist vignettes…a collage of 16mm, 8mm, and
video. Sachs and co-editor Sofia Gallisá have constructed a bilingual
work that places equal value on the intimacy of the girls' lives and
their growing awareness of those social forces encroaching on their
kingdom." –Carolyn Tennant, HALLWALLS CONTEMPORARY ARTS CENTER THE LAST
HAPPY DAY 2009, 38 minutes video. "An experimental documentary portrait
of Sandor (Alexander) Lenard, a Hungarian medical doctor and a distant
cousin of Sachs's. In 1938 Lenard, a writer with a Jewish background,
fled the Nazis to a safe haven in Rome. Shortly thereafter, the U.S.
Army Graves Registration Service hired Lenard to reconstruct the bones
of dead American soldiers. Eventually he found himself in remotest
Brazil where he embarked on a translation of WINNIE THE POOH into Latin,
an eccentric task that catapulted him to brief worldwide fame. Sachs's
essay film uses personal letters, abstracted war imagery, home movies,
interviews, and a children's performance to create an intimate
meditation on the destructive power of war." –L.S. THE TASK OF THE
TRANSLATOR (2010, 10 minutes, video) Sachs pays homage to Walter
Benjamin's essay "The Task of the Translator" through three studies of
the human body. Total running time: ca. 95 minutes.
9/24
San Francisco, California: Artists Television Access
http://www.atasite.org/
8 pm. $6- $10, 992 Valencia at 21st
ELECTRONIC CINEMA
Sound artists perform live scores for films by experimental filmmakers
Tana Sprague (Lissom) will perform a score for a film by Vanessa Woods.
Elise Baldwin will perform scores for three videos by Anthony Discenza
http://www.atasite.org/2010/09/electronic-cinema/
----------------------------
SATURDAY, SEPTEMBER 25, 2010
----------------------------
9/25
Brussels, Belgium: Bozar Cinema & Courtisane
http://www.bozar.be/home.php?bozar=cinema&
8 PM, Bozar, 23 Rue Ravenstein
PAUL CLIPSON, PAUL LABRECQUE & IGNATZ
The elegantly ravishing super 8 films of Paul Clipson (USA) are lyrical
explorations of light and movement. His images, mostly edited in-camera,
reveal the rhythms, energy and sensuality of the everyday that we often
fail to see. The influence of experimental filmmakers such as Stan
Brakhage, Marie Menken, Bruce Conner and Bruce Baillie is palpable in
his multi-layered studies, as well as that of the many sound artists and
musicians with whom he has collaborated over the years, such as Jefre
Cantu-Ledesma, Gregg Kowalsky and William Fowler Collins. For this
occasion, a selection of his recent film work will be accompanied live
for the first time by Bram Devens (alias Ignatz, BE) and Paul Labrecque
(alias Head of Wantastiquet, Sunburned Hand of the Man, US). Both
musicians draw their exorcising sound explorations from the tradition of
"American Primitivism", where the dreaded, uncompromising ghost of John
Fahey dwells. Paul Clipson: http://www.withinmirrors.org/ Paul Labrecque
(Head of Wantastiquet): http://www.myspace.com/headofwantastiquet Bram
Devens (Ignatz: http://www.myspace.com/ignazt
9/25
Brussels: COURTisane
http://www.courtisane.be/
20:00, Bozar Rue Ravenstein 23
SCREENING-PERFORMANCE: PAUL CLIPSON, IGNATZ & PAUL LABRECQUE
Paul Clipson Films + Live soundtrack by Ignatz & Paul Labrecque 25
September 2010, 20:00. Palais des Beaux-Arts / Paleis voor Schone
Kunsten, Brussels. Organized by Courtisane & Bozar Cinema. The elegantly
ravishing super 8 films of Paul Clipson (US) are lyrical explorations of
light and movement. His images, mostly edited in-camera, reveal the
rhythms, energy and sensuality of the everyday that we often fail to
see. The influence... of experimental filmmakers such as Stan Brakhage,
Marie Menken, Bruce Conner and Bruce Baillie is palpable in his
multi-layered studies, as well as that of the many sound artists and
musicians with whom he has collaborated over the years, such as Jefre
Cantu-Ledesma, Gregg Kowalsky and William Fowler Collins. For this
occasion, a selection of his recent film work will be accompanied live
for the first time by Bram Devens (alias Ignatz, BE) and Paul Labrecque
(alias Head of Wantastiquet, Sunburned Hand of the Man, US). Both
musicians draw their exorcising sound explorations from the tradition of
"American Primitivism", where the dreaded, uncompromising ghost of John
Fahey dwells. www.courtisane.be www.bozar.be
9/25
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:30 pm, 32 2nd Avenue
LYNNE SACHS PROGRAM
See notes for September 24, 7:30 pm.
9/25
San Francisco, California: Other Cinema
http://www.othercinema.com/
8:30pm, Artists' Television Access, 992 Valencia Street, San Francisco, CA 94110
THE LAND OF THE RISING FASTBALL + THE LSD NO-NO +
Dedicated to recently-deceased editor Andrew Koenig, and with its
director Lance Miccio and writer Matthew Turner in attendance, the world
premiere of this cross-cultural report explores Japan's National
Pastime—baseball!—and the sociological role it has played through that
nation's growth, from its 1872 introduction, through Babe Ruth's '30s
tours, the World War, and beyond. Narrated by Buck Ford, Miccio blends
interviews with Hall of Fame players, visits to Japanese "Castles of
Baseball," and a compelling score by Charlie McAllister to give the
viewer a deep historical sense of yakyu, or Japanese baseball culture.
PLUS James Blagden's The LSD No-No—an animation in which Major-League
pitcher Dock Ellis relates his acid story—and a locker of 16mm archival
clips on both post-war Japan and the hallowed sport itself. Hot sake and
cold Sapporo!
--------------------------
SUNDAY, SEPTEMBER 26, 2010
--------------------------
9/26
Los Angeles, California: Filmforum
http://www.lafilmforum.org/
7:30 pm, Egyptian Theatre, 6712 Hollywood Blvd. at Las Palmas
THE FILM REGISTRY SHOW RETURNS! SELECTIONS FROM RECENT PICKS BY THE
LIBRARY OF CONGRESS
Every year the Library of Congress selects 25 films to be added to its
film registry. Some are well-known; some obscure. Last season Filmforum
held the first show of short films selected for the Library of Congress
Film Registry. Due to technical difficulties, the sound 16mm films
weren't able to be screened, so we've brought them back, along with
several other films selected for the Registry, including a couple of
home movie classics and several marvelous experimental films. Filmmaker
Janie Geiser, a Filmforum member, will be at the show for questions!
Including: The Sex Life of the Polyp (Thomas Chalmers, Robert Benchley,
1928, 11 min., selected in 2007); Quasi at the Quackadero (Sally
Cruikshank, 1975, 10 min., color, selected in 2009); Disneyland Dream
(Robbins Barstow, 1956, 34 min., selected in 2008); he Lead Shoes
(Sydney Peterson, 1949, 18 minutes, 16mm, b&w, selected in 2009); The
Red Book (Janie Geiser, 1994, 11 minutes, 16mm, color, selected in
2009); and more!
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
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