Part 2 of 2: This week [October 22 - 30, 2011] in avant garde cinema
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MONDAY, OCTOBER 24, 2011
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10/24
Cambridge, Massachusetts: Harvard Film Archive
http://hcl.harvard.edu/hfa
7pm, Harvard Film Archive, 24 Quincy Street
LONESOME COWBOYS
Directed by Andy Warhol and Paul Morrissey. With Joe Dallesandro, Viva,
Taylor Mead US 1968, 16mm, color, 109 min By the late 1960s, Warhol was
using not just sync sound but also color and an increasing emphasis on
narrative in an attempt to expand the audience for his movies. One of
the more successful of these ventures, Lonesome Cowboys re-imagines
Romeo and Juliet as a Western, shot at an Arizona dude ranch often used
as a Hollywood location. As the Nurse to Viva's Juliet, Mead spends much
of the film in idle gossip with his charge, as they wonder whether the
film's reluctant Romeo might prefer the other cowboys. Not content to be
a bystander, Mead undertakes a flirtation with Joe Dallesandro that
culminates in a spectacularly salacious dance scene. $9 regular
admission, $7 students and seniors
http://hcl.harvard.edu/hfa/films/2011octdec/mead.html#tarzan
10/24
London, England: BFI London Film Festival
http://www.bfi.org.uk/lff
1:30pm, BFI Southbank, Belvedere Road, SE1 8XT
TWO YEARS AT SEA
TWO YEARS AT SEA (Ben Rivers | UK 2011 | 88 min) Using old 16mm cameras,
artist Ben Rivers, who has been nominated for the Jarman Prize and has
won a Tiger Award at Rotterdam, creates work from stories of real
people, often those who have disconnected from the normal world and
taken themselves into wilderness territories. His new long-form work
extends his relationship with Jake, a man first encountered in his short
film This Is My Land. The title refers to the work Jake did in order to
finance his chosen state of existence. He lives alone in a ramshackle
house, in the middle of the forest. It's full of curiosities from a
bygone age, including a beloved old gramophone. We see his daily life
across the seasons, as he occupies himself going for walks in all
weathers, and taking naps in the misty fields and woods. Endlessly
resourceful, he builds a raft to fish in a loch. Jake has a tremendous
sense of purpose, however eccentric his behaviour seems to us. The
presence of the camera is irrelevant to him; he has no desire for human
contact, and is completely at home in his environment, the nature around
him and his constructed abode. Rivers' gracefully-constructed film
creates an intimate connection with an individual who would otherwise be
a complete outsider to us. www.experimentaweekend.org
10/24
London, England: BFI London Film Festival
http://www.bfi.org.uk/lff
2pm, BFI Southbank, Belvedere Road, SE1 8XT
ON THE ROAD WITH ROBERT FENZ
Robert Fenz's films explore cultural diversity and the human condition
with a keen eye reminiscent of his tutors Peter Hutton and James
Benning. Mixing improvisation with luminous photography, he offers a
poetic but political worldview. An associate of Robert Gardner's
Studio7Arts, Fenz has collaborated with musician Wadada Leo Smith and
worked as cinematographer for Chantal Akerman. THE SOLE OF THE FOOT
(Robert Fenz / USA 2011 / 34 min) Filmed in France, Israel and Cuba.
'Borders (and all the politics attending the drawing of borders) exist
to keep some people in (citizenship) and others out. This film is an
attempt to capture the presence of people otherwise denied the political
right to be at home in some place that is their home, where they have
their roots, where they have their being.' CORRESPONDENCE (Robert Fenz /
USA 2011 / 30 min) For CORRESPONDENCE, Fenz travelled to places where
the pioneering ethnographic filmmaker Robert Gardner shot three of his
best-known films – West Papua (DEAD BIRDS), Ethiopia (RIVERS OF SAND)
and India (FOREST OF BLISS). While documenting present conditions in
these locations, Fenz also constructs an elegy for a form of
image-making that is now in decline. www.experimentaweekend.org
10/24
London, England: BFI London Film Festival
http://www.bfi.org.uk/lff
4:15pm, BFI Southbank, Belvedere Road, SE1 8XT
FREE RADICALS: A HISTORY OF EXPERIMENTAL CINEMA
FREE RADICALS: A HISTORY OF EXPERIMENTAL CINEMA (Pip Chodorov | France
2010 | 82 min) FREE RADICALS scratches the surface of the history of
avant-garde cinema in Europe and the USA, from early post-war pioneers
through to the founding of New York's Anthology Film Archives, a museum
whose screen is the exhibition space. Director Pip Chodorov is
well-placed to chronicle the movement – he established the Re:Voir label
to distribute tapes and DVDs of artists' films, and counts many key
exponents amongst his friends. In this personal journey through
experimental movies, he surveys a generation of artists who pushed the
boundaries of the medium. Working without compromise, and without
financial rewards, they were forced to create their own support
structures in an expression of solidarity. Whilst not claiming to be a
definitive documentary, FREE RADICALS is a discerning introduction to
the field, and its informal nature provides a privileged glimpse at the
personalities involved. Archival footage of Hans Richter, Nam June Paik
and Stan Vanderbeek (drawn from TV programmes made by the filmmaker's
father) supplements new interviews with Chodorov's distinguished
acquaintances (Jonas Mekas, Peter Kubelka, Ken Jacobs, Robert Breer) and
generous excerpts from the films themselves. www.experimentaweekend.org
10/24
London, England: BFI London Film Festival
http://www.bfi.org.uk/lff
7pm, BFI Southbank, Belvedere Road, SE1 8XT
FREE RADICALS: A HISTORY OF EXPERIMENTAL CINEMA
FREE RADICALS: A HISTORY OF EXPERIMENTAL CINEMA (Pip Chodorov | France
2010 | 82 min) FREE RADICALS scratches the surface of the history of
avant-garde cinema in Europe and the USA, from early post-war pioneers
through to the founding of New York's Anthology Film Archives, a museum
whose screen is the exhibition space. Director Pip Chodorov is
well-placed to chronicle the movement – he established the Re:Voir label
to distribute tapes and DVDs of artists' films, and counts many key
exponents amongst his friends. In this personal journey through
experimental movies, he surveys a generation of artists who pushed the
boundaries of the medium. Working without compromise, and without
financial rewards, they were forced to create their own support
structures in an expression of solidarity. Whilst not claiming to be a
definitive documentary, FREE RADICALS is a discerning introduction to
the field, and its informal nature provides a privileged glimpse at the
personalities involved. Archival footage of Hans Richter, Nam June Paik
and Stan Vanderbeek (drawn from TV programmes made by the filmmaker's
father) supplements new interviews with Chodorov's distinguished
acquaintances (Jonas Mekas, Peter Kubelka, Ken Jacobs, Robert Breer) and
generous excerpts from the films themselves. www.experimentaweekend.org
10/24
London, England: Tate Modern
http://www.tate.org.uk/modern/programmes/film
7pm, Bankside, SE1 9TG
FEEL FLOWS: THE FILMS OF PHIL SOLOMON: PROGRAMME ONE
THE EXQUISITE HOUR (Phil Solomon, 1989/94, 16mm, colour, sound, 14 min)
"… Partly a lullaby for the dying, partly a lament of the death of
cinema … [it] is dedicated to the memory of my grandparents, Albert
Solomon, who was a projectionist for Fox, and Rose Solomon, who took
tickets at Lowe's Paradise in the Bronx." THE SNOWMAN (Phil Solomon,
1995, 16mm, colour, sound, 8 min) "A meditation on memory, burial and
decay – a belated kaddish for my father." CLEPSYDRA (Phil Solomon, 1992,
16mm, b/w, silent, 15 min) "Solomon has evolved his technique so that in
his latest work ('Clepsydra' – 'waterclock') the textures are constantly
changing and are often appropriate to each figure in metaphoric
interplay with each figure's gestural (symbolic) movement. He has, thus,
created consonance with thought as destroyer/creator – a Kali-like
aesthetic 'There is a light at the end of the tunnel' (Romantic); and it
is a train coming straight at us: … (and, to balance such, perhaps, with
a touch of Zen) … it is beautiful!" (Stan Brakhage) PSALM III: NIGHT OF
THE MEEK (Phil Solomon, 2002, 16mm, b/w, sound, 23 min) "It is Berlin,
November 9, 1938, and, as the night air is shattered throughout the
city, the Rabbi of Prague is summoned from a dark slumber, called upon
once again to invoke the magic letters from the Great Book that will
bring his creature made from earth back to life, in the hour of need. A
kindertodenliede in black and silver on a night of gods and monsters."
REHEARSALS FOR RETIREMENT (Phil Solomon, 2007, video, colour, sound, 10
min) "Had I known the end would end in laughter / I tell my daughter it
doesn't matter." (Phil Ochs) www.experimentaweekend.org
10/24
Los Angeles, California: Redcat
http://www.redcat.org/
8:30pm, 631 West 2nd St.
PROTO-ETHNOGRAPHIC WORKS
Jack H. Skirball Series $10 [students $8, CalArts $5] Presented as part
of Pacific Standard Time, in conjunction with the Long Beach Museum of
Afrts. This anthropology-themed program surveys strategies used by video
artists who disavow "objectivity" in exploring cultural experiences
different from their own, and instead actively participate with their
subjects. In The Singing Mute (1978), Juan Downey spends nine months
with a Yanomami tribe in the Amazon. Other artists critique the outsider
gaze—Terese Svoboda in Headhunters (1992), Sandra Kogut in What Do You
Think People Think Brazil Is? (1990). Wendy Clarke's Love Tapes
(1974–88) invites 800 people to record thoughts about love, while Lowell
Darling and Ilene Segalove befriend retired
prizefighters-turned-Hollywood entertainers in The Cauliflower Alley
Tapes, Part One (1976). In Rahime, Femme Kurde de Turquie (1981), a
Kurdish villager recounts her trials in Istanbul to Nil Yalter and
Nicole Croiset, who construct imagery to complement her story. Finally,
Azian Nurudin's What Does Pop Art, Pop Music, Pornography and Politics
Have to Do with Real Life? (1990) is a Warhol remake exhorting us to pay
closer attention to our surroundings. In person: Nancy Buchanan, Kathy
Rae Huffman, Azian Nurudin, Lowell Darling and Ilene Segalove Curated by
Nancy Buchanan. Presented in conjunction with the exhibition Exchange
and Evolution: Worldwide Video Long Beach, 1974–1999 at the Long Beach
Museum of Art, curated by Kathy Rae Huffman. Presented as part of
Pacific Standard Time. This unprecedented collaboration, initiated by
the Getty, brings together more than sixty cultural institutions from
across Southern California for six months beginning October 2011 to tell
the story of the birth of the L.A. art scene. Pacific Standard Time is
an initiative of the Getty. The presenting sponsor is Bank of America.
"Downey's insertion of himself into Yanomami life... questions the place
of the observer of another culture." Constance Penley
10/24
New York, New York: Modern Mondays (a program of Cineprobe)
http://www.moma.org/visit/calendar/film_screenings/13606
7:00pm, 11 West 53rd Street
MODERN MONDAYS: AN EVENING WITH BILL BASQUIN
Includes the World Premieres of HORSES WITH BELLS IN ZUGARRAMURDI and
DEER CENSUS as well as other short films by Bill Basquin.
www.BillBasquin.com
10/24
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:00 pm, 32 2nd Avenue
THE BRIG
See notes for Oct. 20, 9:15 pm.
10/24
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
8:45 pm, 32 2nd Avenue
WINDFLOWERS
See notes for Oct. 20, 7 pm.
10/24
San Francisco, California: SF Doc Fest
http://sfdocfest.festivalgenius.com/2011/films/amatterofbodyandmind_variousdirectors_sfdocfest2011
7:15pm, Roxie Theater, 3117 16th Street (at Valencia Street)
A MATTER OF BODY AND MINDS
Five films that explore the connection, often missed, between the body
and the mind and how society and social interactions interfere with it.
Featuring Crooked Beauty by Ken Paul Rosenthal. Sunday, October 23 at
2:45pm and Monday, October 24 at 7:15pm. Crooked Beauty Link:
http://sfdocfest.festivalgenius.com/2011/films/crookedbeauty_kenpaulrose
nthal_sfdocfest2011
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TUESDAY, OCTOBER 25, 2011
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10/25
Columbus, Ohio: Wexner Center for the Arts
http://www.wexarts.org
7:00 PM, 1871 N. High St.
DANI LEVENTHAL + JACQUELINE GOSS: ARTISTS IN CONVERSATION
Dani Leventhal, a Columbus native and one of this year's Wexner Center
Film/Video Residency Award recipients, presents three astonishing videos
that reveal troubling and beautiful moments from her travels in Israel.
Jacqueline Goss, a recent recipient of the prestigious Alpert Award and
a faculty member at Bard College, introduces her new feature The
Observers (2010), a contemplative portrait of the harsh but beautiful
environments of Mt. Washington, New Hampshire (where the strongest winds
in human history were recorded), and the solitary climatologists who
work there. After the films, Leventhal and Goss engage each other—and
the audience—in a discussion about their work. (program app. 120 mins.,
video)
10/25
London, England: BFI London Film Festival
http://www.bfi.org.uk/lff
1:15pm, BFI Southbank, Belvedere Road, SE1 8XT
GABRIEL ABRANTES
LIBERDADE (Gabriel Abrantes & Benjamin Crotty / Portugal-Angola 2011 /
16 min) LIBERDADE sketches episodes in the relationship between a
domineering Chinese immigrant and her Angolan boyfriend with lavishly
cinematic panache. Travelling through spectacular locations in and
around Luanda, they navigate the complications of their burgeoning
identities and the different cultures they represent. PALACIOS DE PENA
(PALACES OF PITY) (Gabriel Abrantes & Daniel Schmidt / Portugal 2011 /
56 min) Gabriel Abrantes and his collaborators use the tropes of
mainstream cinema to make works that are by turns comical,
thought-provoking and transgressive. In a parable on guilt and
oppression, which alludes to aspects of Portuguese colonial history, two
cousins are potential heirs to their grandmother's fortune. A new
generation may be oblivious to the past, but inherits it nonetheless.
OLYMPIA I & II (Gabriel Abrantes & Katie Widloski / Portugal-USA 2008 /
7 min) Mimicking the composition of Manet's notorious painting, the
artists play out two possible scenarios: between a prostitute and her
gay brother, and between a wealthy transsexual and his devoted maid.
www.experimentaweekend.org
10/25
London, England: BFI London Film Festival
http://www.bfi.org.uk/lff
4pm, BFI Southbank, Belvedere Road, SE1 8XT
PHIL SOLOMON’S AMERICAN FALLS
'Should anyone imagine that the art of alchemy died with the Middle
Ages, Phil Solomon's AMERICAN FALLS testifies to the contrary: both to
the possibilities of photographic and digital transformation and to the
magical emanations of their fusion.' (Tony Pipolo, Artforum) AMERICAN
FALLS (Phil Solomon / USA 2010 / 60 min) In his sublime 16mm films, Phil
Solomon chemically alters photographic imagery to create a thick
celluloid impasto that infuses footage with profound emotional
resonance. For AMERICAN FALLS, Solomon rifles through a collective
memory fashioned from both fact and fiction, mixing elements from
newsreels, actualities and narrative films in a monumental retelling of
American history which draws parallels with and reflects upon the
current state of the nation. Houdini, Harold Lloyd, Keaton and King Kong
commingle with presidents, gold-diggers, railroad barons and the civil
rights movement. 'My project is ultimately one of great hope, stemming
from a life-long love for this American experiment of ours … but it is
also necessitated by my deepest concern for its present and future
directions.' Originally conceived as a 360-degree installation around
the walls of the Corcoran Gallery of Art's rotunda, the work has been
reconfigured for the cinema as a panoramic view in triptych, with
surround sound mix by composer Wrick Wolff. WHAT'S OUT TONIGHT IS LOST
(Phil Solomon / USA 1983 / 8 min) 'The film began in response to an
evaporating relationship, but gradually seeped outward to anticipate
other imminent disappearing acts: youth, family, friends, time … I
wanted the tonal shifts of the film's surface to act as a barometer of
the changes in the emotional weather.' Preserved by the Academy Film
Archive, Los Angeles. www.experimentaweekend.org
10/25
London, England: BFI London Film Festival
http://www.bfi.org.uk/lff
7pm, BFI Southbank, Belvedere Road, SE1 8XT
THE PETTIFOGGER
THE PETTIFOGGER (Lewis Klahr / USA 2011 / 65 min) The first
feature-length work by Lewis Klahr takes a unique approach to a familiar
genre. Ostensibly a thriller that traces events in the life of an
American gambler and con man circa 1963, THE PETTIFOGGER is described by
the filmmaker as 'an abstract crime film and, like many other crime
films involving larceny, a sensorial exploration of the virulence of
unfettered capitalism.' Characters lifted from comic books move through
an impressionistic landscape of textures, photographs and drawings,
populating a story whose narrative is suggested but not strongly
defined. Employing a range of iconography and appropriated audio to
expand his signature style of collage animation, Klahr recycles symbols
of popular culture to address themes of the loss of innocence and the
irresistible allure of wealth. APRIL SNOW (Lewis Klahr / USA 2010 / 10
min) A love story about cars and girls, carried away by songs from the
Shangri-La's and The Boss. www.experimentaweekend.org
10/25
London, England: BFI London Film Festival
http://www.bfi.org.uk/lff
8:45pm, BFI Southbank, Belvedere Road, SE1 8XT
NATHANIEL DORSKY / BEN RIVERS
PASTOURELLE (Nathaniel Dorsky / USA 2010 / 17 min) 'A pastourelle and an
aubade are two different forms of courtship songs from the troubadour
tradition. In this case, the film PASTOURELLE, a sister film to AUBADE,
is in the more tumultuous key of spring.' THE RETURN (Nathaniel Dorsky /
USA 2011 / 27 min) 'Like a memory already gone, this place of life.'
Dorsky has created a poetic form of cinema in which the screen becomes a
site for reverie or transfiguration. In his most recent film, he seems
to move towards a more abstract representation of light and being. SACK
BARROW (Ben Rivers / UK 2011 / 21 min) The march of time claims another
casualty. SACK BARROW documents (and laments) the out-dated, but
functioning, technology of a family owned electroplating factory in the
weeks around its closure – its old ways now unsustainable in the modern
world. www.experimentaweekend.org
10/25
Reading, Pennsylvania: Berks Filmmakers, Inc
http://www.berksfilmmakers.org
7:30 pm, Albright College Center for the Arts
MIKE KUCHAR (IN-PERSON)
A program of the latest short videos presented by the legendary
filmmaker (with fans worldwide) now living/working in San Francisco.
Mike began making 8mm films with his twin brother, George (who passed
away early this September but whose art will live "so long as men can
breathe, or eyes can see") as a teenager in the Bronx. Susan Sontag's
notion of "camp" was an attempt to describe and celebrate the tone of
such over-the-top productions. The brothers Kuchar have been
acknowledged as major influences upon such filmmakers as Guy Madden, Tim
Burton and John Waters and as major practitioners of the Art of cinema.
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WEDNESDAY, OCTOBER 26, 2011
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10/26
New York, New York: Dirty Looks
http://dirtylooksnyc.org
8pm, 535 West 22nd Street, 3rd Floor
FANCY DAYS, FANCY TIMES, FILMS BY LUTHER PRICE
Fancy Days, Fancy Times The films of Luther Price -Filmmaker in Person-
One of the most important experimental filmmakers of the past 25 years,
Luther Price gained notoriety for his late 80s and early 90s Super-8mm
films, works that pushed the boundaries of good taste with their
deliberately crude construction (mostly from found footage) and their
often troubling images (extreme gay porn, surgical footage,
psychodramatic performances). Culling from new work and old, this
screening will showcase Price's distinct and tumultuous visions. "Home
Movies from hell?" "Ascending from one plane into the next?" Price's
films are startling and extreme states that must be experienced,
whatever the cost. Fancy Days, Fancy Times is a career spanning program
that takes Price's preoccupation with explicit, gay imagery as its
starting point. Whether it be self-performative, as in the excruciating
Ritual 629, or vintage porn Silk and Ribbon Candy, Price's intervention
in these sexual acts transcends the original footage into a realm of
psychological complexity and trauma. Screened alongside Price's
masterpieces, the near-feature Me Gut No Dog Dog and the infamous Sodom,
the evening will make a startling impression on all assembled. The event
will also feature a complimentary publication featuring writings by
Luther Price, Lia Gangitano, Bradford Nordeen and more.. with original
artwork. Program: Ritual 629, Super-8mm, 1999, 8min. Silk, 16mm, 2006,
15min. Ribbon Candy, 16mm, 2003/4, 7min. Me Gut No Dog Dog, 16mm on DVD,
1995, 45min. Sodom, 16mm, 1989, 15 min.
10/26
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:00 pm, 32 2nd Avenue
GOING HOME
See notes for Oct. 21, 7 pm.
10/26
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
9:00 pm, 32 2nd Avenue
DOUBLE-BARRELLED DETECTIVE STORY
See program notes for Oct. 22nd, 6:30 pm.
10/26
San Francisco, California: Periwinkle Cinema
http://periwinklecinema.com
8:00 pm, Artists' Television Access • 992 Valencia St.
SEX MAGICK & ALTER EGOS
• Alien Sex Video - Jenn Kolmel & Kate Gilbert • I Know My Soul -
Crystal Mason • Certain Death - Ben Aqua • Curses, Hexes, & Boots -
SUPERM (Brian Kenny & Slava Mogutin) • Noble Owl - B.J. Dini / League of
Burnt Children • Earth: Inferno - Mor Navón & Julián Moguillansky •
Thunder Perfect Mind - Micaela O'Herlihy • Imp of Satan - Flynn Witmeyer
• Plus twisted trailers & spooky door prizes! • ADULTS ONLY • $6 •
10/26
Toronto, Ontario, Canada: TIFF Bell Lightbox
tiff.net
6:00pm , 350 King Street West
THE FREE SCREEN: NAINSUKH
FREE EVENT! One of the most prolific and exciting film artists to emerge
from India in recent times, Amit Dutta has developed a singular
pictorial language derived from Indian mythology and his own personal
symbolic system (his "mental scrapbook" of poignant visual memories);
his style has been compared to that of the great Sergei Parajanov in its
evocative fever-dream quality, its searing visual elisions and potent
elementalism. His critically acclaimed second feature, Nainsukh (which
premiered last year in the Orrizonti section of the Venice International
Film Festival), evokes the story of the eponymous eighteenth-century
Indian miniaturist, who left his family's esteemed workshop to become a
court artist for hedonistic and spendthrift Rajput princes. Influenced
by Mughal naturalism, Nainsukh documented with great delicacy the
quotidian festivities at the palace, here rendered through Dutta's
elegant and painstaking compositions set amid ruins in the actual
locales. Serene, studied but also pulsating with playful energy, the
visually stunning Nainsukh, overflowing with eye-popping colours, rich
textures and a clever use of drawings, demands to be seen on the big
screen. Co-presented with SAVAC
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THURSDAY, OCTOBER 27, 2011
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10/27
Atlanta, Georgia: Contraband Cinema
contrabandcinema.com
8pm, 750 Kalb St SE
EXPERIMENTS IN TERROR
Experimental horror in 3 parts! This cranial conundrum of the macabre
co-curated by Blake Myers (in person) will cause you to cringe and
cogitate. Contraband Cinema and the Buried Alive Film Festival is
pleased to present a mind melting manifest of movies of merit plucked
from Blake's experience as a festival juror and programmer. The
Listening Dead Phil Mucci, US, 14 min, 2006; How to Extract Cranial
Fluids Blake Myers, US, 8 min, 2000; The Screaming Skull Ashley Thorpe,
UK, 10 min, 2008; Invocation Of My Demon Brother Kenneth Anger, US 11
min, 1969, Lot 63, Grave C Sam Green, US, 10 min, 2006; The Devil's
Orchard Phil Mucci, US, 7 min, 2011; Ballad of Mary Slade Robin Fuller,
UK, 3 min, 2007; Moving Illustrations of Machines Jeremy Solterbeck, US,
10 min, 2000
10/27
Berlin, Germany: Directors Lounge
http://www.richfilm.de/currentUpload/
21:00, Z-Bar, Bergstr. 2, Berlin-Mitte
STEVEN BALL - TRAVELLING PRACTICE - DIRECTORS LOUNGE SCREENING
-°*°- Digital video works by Steven Ball 2003 – 2010. -°*°- These works
travel near and far, across physical and virtual space using material
collected en route. Travel determines form, subject and object are fluid
entities, digital experimentation becomes landscape study, hyperlocal
excursion, and experimental documentary, as they explore and exhaust
species of spaces and media. -°*°- Steven Ball has worked in film,
video, sound and installation since the early 1980s. In the late 1980s
he accidentally migrated to Melbourne, Australia. There he continued his
practice making a number of film, video and sound and installation
works, as well as being engaged in various curatorial, administrative,
teaching and writing activities. Since returning to the UK he has worked
predominantly with digital video, producing a series of works, which
among other things, are particularly concerned with digital material
processes and spatial representation. -°*°- -°*°- Curated by Klaus W.
Eisenlohr -°*°- -°*°- Artist Links: -°*°- home:
http://www.steven-ball.net -°*°- blog:
http://directobjective.blogspot.com -°*°- videoblog:
http://directlanguage2010.blogspot.com -°*°- Public Water:
http://www.publicwater.net -°*°- -°*°- More infos: -°*°-
http://www.directorslounge.net -°*°-
http://www.richfilm.de/currentUpload/ -°*°-
http://www.z-bar.de/Inhaltsseiten/kulturprogramm.html -°*°- -°*°-
Program: Metalogue (26:37, 2003), Direct Language (10:00, 2005 – 2008),
The Ground, the Sky, and the Island (7:45, 2008), Aboriginal Myths of
South London (10:27, 2010), Personal Electronics (26:00, 2010) -°*°-
-°*°-
10/27
Chicago, Illinois: Conversations at the Edge
http://www.saic.edu/cateblog
6pm, Gene Siskel Film Center, 164 N. State Street
LUKE FOWLER: A GRAMMAR FOR LISTENING
Luke Fowler in person! How one sees the world and how one hears it are
the indelible questions underlying Luke Fowler's startling, vibrant
films. The award-winning Glasgow-based artist often collaborates with
musicians and sound artists, drawing upon the histories of field
recording, experimental music, and portraiture. Fowler's early films
shed light on such infamous experimental musicians as Cornelius Cardew
(of the London-based Scratch Orchestra) and Xentos "Fray Bentos" Jones
(of the post-punk The Homosexuals). More recently, his collaborations
with Richard Youngs, Lee Patterson, Eric La Casa, and Toshiya Tsunoda
have resulted in a series of audio-visual tone poems of domestic
interiors, urban geography, and rural environments. This evening, Fowler
presents a collection of these works, including his Tenement Films (3
Minute Wonders) series (2009), and selections from his three-part 2009 A
Grammar for Listening cycle, among others. Co-presented with the
University of Chicago's Film Studies Center, which will present a second
program of Fowler's films on Friday, October 28. Luke Fowler, 2007-09,
Scotland, 16mm and video, ca. 75 min + discussion.
10/27
London, England: BFI London Film Festival
http://www.bfi.org.uk/lff
3:45pm, BFI Southbank, Belvedere Road, SE1 8XT
ALTERED STATES
TRYPPS #7 (BADLANDS) (Ben Russell / USA 2010 / 10 min) The mirror
crack'd: As a young woman, high on LSD, looks toward the camera, the
doors of perception swing open for both viewer and subject. WHILE YOU
WERE SLEEPING (Mary Helena Clark / USA 2010 / 9 min) 'This is your life.
It rides like a dream.' SANS TITRE (Neil Beloufa / France 2010 / 15 min)
In a reconstruction of a villa occupied by terrorists during the
Algerian War, onlookers speculate on the activities that took place. THE
PIPS (Emily Wardill / UK 2011 / 4 min) A gymnast performs, and
everything begins to fall away. … THESE BLAZEING STARRS! (Deborah
Stratman / USA 2011 / 14 min) Watch the skies! Throughout history,
comets have heralded events of grave significance and change; today it
is thought that they can reveal facts about the formation of the
universe. THESE HAMMERS DON'T HURT US (Michael Robinson / USA 2010 / 13
min) 'Tired of underworld and overworld alike, Isis escorts her
favourite son on their final curtain call down the Nile, leaving a neon
wake of shattered tombs and sparkling sarcophagi.'
www.experimentaweekend.org
10/27
London, England: Tate Modern
http://www.tate.org.uk/modern/programmes/film
7pm, Bankside, SE1 9TG
FEEL FLOWS: THE FILMS OF PHIL SOLOMON: PROGRAMME TWO
"Although part of a long avant-garde tradition, Solomon makes films that
look like no others I've seen. The conceit of the filmmaker as auteur
has rarely been more appropriate or defensible – the liberating effect
of Solomon's work suggests a rather different realm: Film Meets Vision,
Rejoice!" (Manohla Dargis, New York Times) WHAT'S OUT TONIGHT IS LOST
(Phil Solomon, 1983, 16mm, colour, silent, 8 min) "Adopting its title
from a poem by Edna St. Vincent Millay, What's Out Tonight Is Lost is an
elegiac film sifting through the unrecoverable. The film is a reflecting
pool where vision breaks up. The home we recognize is swallowed in the
brume, the light barely penetrates; and the yellow school bus steals us
away, delivering us into new clouds, embracing fear. The film has a
surface of cracked porcelain and intaglio: the allergic childhood skin
of cracks and bruises. This is a film of transubstantiations, the
discorporation of human forms into embers. Air looms and blossoms into
solidity and nearness … I hear it breathing …" (Mark McElhatten) PSALM
I: THE LATENESS OF THE HOUR (Phil Solomon, 2001, 16mm, colour, sound, 10
min) "A little Nachtmusik, a deep blue overture to the series. Breathing
in the cool night airs, breathing out a children's song; then whispering
a prayer for a night of easeful sleep. My blue attempt at a sequel to
Rose Hobart." NOCTURNE (Phil Solomon, 1980, 16mm, b/w, silent, 10 min)
"Its setting is a suburban neighbourhood populated by kids at play and
indistinct but ominous parental figures. A submerged narrative rehearses
a type of young boy's night-time game in which a flashlight is wielded
in a darkened room to produce effects of aerial combat and bombardment.
A sense of hostility tinged with terror seeps into commonplace movements
… Fantasy merges with nightmare, a war of dimly suppressed emotions
rages beneath a veneer of household calm … In Nocturne, found footage is
worked so subtly into the fabric of threat that its comes as a shock
ploughed from the unconscious." (Paul Arthur) SEASONS... (Phil Solomon &
Stan Brakhage, 2002, 16mm, colour, silent, 15 min) "Brakhage's frame by
frame hand carvings and etchings directly into the film emulsion,
sometimes combined with paint, are illuminated by Solomon's optical
printing, then edited by Solomon into a four part seasonal cycle‚. This
film can be considered to be part of a larger work by Brakhage entitled
"…". Seasons… is inspired by the colours and textures found in the
woodcuts of Hokusai and Hiroshige, and the playful sense of forms
dancing in space from the filmworks of Robert Breer and Len Lye."
REMAINS TO BE SEEN (Phil Solomon, 1989/94, 16mm, colour, sound, 17 min)
"In the melancholic Remains to Be Seen, dedicated to the memory of
Solomon's mother, the scratchy rhythm of a respirator intones menace.
The film, optically crisscrossed with tiny eggshell cracks, often seems
on the verge of shattering. The passage from life into death is
chartered by fugitive images: pans of an operating room, an old home
movie of a picnic, a bicyclist in vague outline against burnt orange and
blue … Solomon measures emotions with images that seem stolen from a
family album of collective memory." (Manohla Dargis)
www.experimentaweekend.org
10/27
Los Angeles, California: Echo Park Film Center
http://www.echoparkfilmcenter.org/
8:00 pm, 1200 N. Alvarado St (at Sunset)
LA AIR 2: RICK BAHTO
LA AIR is a new artist-in-residence program that invites Los Angeles
filmmakers to utilize EPFC resources in creating a new work over a
four-week period. October's resident, Rick Bahto, has an on-going series
of films that are made in response to the work of other artists. During
his residency, he will complete a project For Paul Clipson, dealing with
aspects of the expansive body of Super 8 work from the filmmaker of that
name. The screening will present this portion of Bahto's films alongside
the work of the artists to whom they are dedicated, with films and slide
documentation of works by Karen Johannesen (Super 8 films including 76
Station), Pablo Valencia (slides and Super 8 film Films I), and Paul
Clipson (Super 8 film Chorus). He will also present films, slides, and
audio documents of performances of the work of Mark So, including
documentary footage of his performance of So's work parallel to the
earth (in the angles where the grass writing goes on), which was begun
in mid-September and will continue on indefinitely. $5
10/27
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:00 pm, 32 2nd Avenue
HALLELUJAH THE HILLS
by Adolfas Mekas 1963, 82 minutes, 35mm Share + Film Notes Written,
directed, and edited by Adolfas Mekas. Produced by David C. Stone. With
Peter H. Beard, Sheila Finn, Martin Greenbaum, Peggy Steffans, Jerome
Raphael, Blanche Dee, Jerome Hill, Taylor Mead, and Ed Emshwiller.
Adolfas's first feature film, HALLELUJAH was selected for the first New
York Film Festival, was the hit of the 'outside-of-competition' section
at the Cannes Film Festival, and won the Silver Sail at Locarno. "Next
to the two big shots of the New York School, Clarke and Cassavetes, he
seemed a poor relative, especially since people got him confused with
his brother. HALLELUJAH proved clearly that Adolfas is someone to be
reckoned with. He is a master in the field of pure invention, that is to
say, in working dangerously – 'without a net.' His film, made according
to the good old principle – one idea for each shot – has the lovely
scent of fresh ingenuity and crafty sweetness. Physical efforts and
intellectual gags are boldly put together. The slightest thing moves you
and makes you laugh – a badly framed bush, a banana stuck in a pocket, a
majorette in the snow. He shows life as defined by Ramuz: 'As with a
dance, such pleasure to begin, a piston, a clarinet, such sorrow to be
done, the head spins and night has come.'" –Jean-Luc Godard, CAHIERS DU
CINÉMA "A dizzy time capsule of proto-revolutionary anarchy, like bits
of youthful, energetic innocence frozen in the snowdrifts of time." –Ed
Halter, VILLAGE VOICE
10/27
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:30 pm, 32 2nd Avenue
ESSENTIAL CINEMA:JENNINGS/KIRSANOFF/LEGER & MURPHY/CLAIR & PICABIA
PROGRAM
Humphrey Jennings LISTEN TO BRITAIN (1941, 19 minutes, 35mm, b&w)
Jennings's film is a masterpiece of sound mixing; it creates an audio
landscape of Britain during the war, with images both accompanying and
conflicting with the multitude of sounds. From the film's introduction:
"I have been listening to Britain. I have heard the sound of her life by
day and by night…. In the great sound picture that is here presented,
you too will hear that heart beating. For blended together in one great
symphony is the music of Britain at war." Dimitri Kirsanoff MÉNILMONTANT
(1924-25, 38 minutes, 35mm, b&w, silent) A melodramatic story of an
orphan girl whose seduction is avenged. Early use of hand-held camera,
montage, and superimpositions. Fernand Léger & Dudley Murphy BALLET
MÉCANIQUE (1924, 19 minutes, 35mm, b&w, silent) Preserved by Anthology
Film Archives! A brief exploration of cubist form, black-and-white
tonalities, and various vectors through its constant, rapidly cut
movements and compositions. Many of the film's forms and compositions
are reflected in – or themselves reflect – forms and compositions in
Léger's famous cubist paintings from the period. René Clair & Francis
Picabia ENTR'ACTE (1924, 22 minutes, 35mm, b&w) A masterpiece of dada, a
feat of cinema magic. Made as an intermission entertainment for the
Ballet Suédois from an impromptu scenario by Francis Picabia. Music by
Erik Satie.
10/27
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
9:15 pm, 32 2nd Avenue
COMPANERAS AND COMPANEROS
See notes for October 23, 6:30 pm.
------------------------
FRIDAY, OCTOBER 28, 2011
------------------------
10/28
Cambridge, Massachusetts: Harvard Film Archive
http://hcl.harvard.edu/hfa
7pm, Harvard Film Archive, 24 Quincy Street
A CELEBRATION OF HELEN HILL
The Harvard Film Archive is honored to be the home for Helen Hill's
films – and eventually, her papers – and to offer this showcase of her
remarkable talent, which includes a selection of Hill's evocative New
Orleans home movie footage damaged by Katrina and recently preserved by
a dedicated group of archivists led by the Center for Home Movies in
association with the HFA. Friday October 28 at 7pm Introduced by Becky
Lewis, mother of Helen Hill All films directed by Helen Hill Mouseholes
US 1999, 16mm, color, 8 min Vessel US 1992, 16mm, color, 6 min
Upperground Show US 1990-91, digital video, color, 7 min Scratch and
Crow US 1995, 16mm, color, 5 min Film For Rosie US 2000, 16mm, color, 3
min Rain Dance US 1990, 16mm, color, 4 min Your New Pig is Down the Road
US 1999, b/w & color, 5 min The Florestine Collection US 2011, 16mm,
color, 31 min Selections from Helen Hill's Home Movies
10/28
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:15 pm, 32 2nd Avenue
JOYCE WIELAND PROGRAM 1
These six works are among Wieland's earliest films. They were completed
shortly after her arrival in New York (1962), where she lived with
Michael Snow until 1972. These films were conceived and completed
exclusively by Wieland, with the exception of BARBARA'S BLINDNESS, which
was a collaboration with Betty Ferguson. Wieland's early New York films
already demonstrate her incredible versatility and imagination as a
filmmaker, while revealing certain thematic and formal preoccupations
that she fully developed in her later films. LARRY'S RECENT BEHAVIOUR
(1963, 16.5 minutes, 16mm) PEGGY'S BLUE SKYLIGHT (1964, 12 minutes,
16mm, b&w) PATRIOTISM (1964, 4 minutes, 16mm, silent) PATRIOTISM PART II
(1965, 4 minutes, 16mm) BARBARA'S BLINDNESS (with Betty Ferguson) (1965,
16 minutes, 16mm) WATER SARK (1965, 13.5 minutes, 16mm) Total running
time: ca. 70 minutes.
10/28
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
8:45 pm, 32 2nd Avenue
JOYCE WIELAND PROGRAM 2
Another program of films produced during Wieland's New York period. A
number of these shorts are among her best-known work, and for good
reason. Formally rigorous as well as humorous, these films offer the
viewer a unique insight into Wieland's cinematic and political concerns.
1933 (1967, 4 minutes, 16mm) CAT FOOD (1967, 13.5 minutes, 16mm)
SAILBOAT (1967, 3 minutes, 16mm) HANDTINTING (1967-68, 6 minutes, 16mm,
silent) RAT LIFE AND DIET IN NORTH AMERICA (1968, 16 minutes, 16mm)
DRIPPING WATER (with Michael Snow) (1969, 10.5 minutes, 16mm, b&w) Total
running time: ca. 60 minutes.
--------------------------
SATURDAY, OCTOBER 29, 2011
--------------------------
10/29
Los Angeles, California: Echo Park Film Center
http://www.echoparkfilmcenter.org/
8:00 pm, 1200 N. Alvarado St (at Sunset)
PAUL CLIPSON / TASHI WADA
Paul Clipson and Tashi Wada present a performance of their ongoing film
and music collaboration. Clipson's largely improvised and in-camera
edited films employ multiple exposures, dissolves and macro imagery,
that bring to light subconscious preoccupations and unexpected visual
forms. Wada's recent work focuses on sound perception as a basis for
direct listening experiences. Also on the program are three of Paul
Clipson's short films, Sphinx on the Seine, Light from the Mesa, and one
other tba. $5
10/29
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
4:15 pm, 32 2nd Avenue
ESSENTIAL CINEMA: MARIE MENKEN PROGRAM 1
All films preserved by Anthology Film Archives. VISUAL VARIATIONS ON
NOGUCHI (1955, 4 minutes, 16mm, b&w) HURRY! HURRY! (1957, 3 minutes,
16mm) GLIMPSE OF THE GARDEN (1957, 5 minutes, 16mm) DWIGHTIANA (1959, 3
minutes, 16mm, score by Teiji Ito) BAGATELLE FOR WILLARD MAAS (1961, 5
minutes, 16mm) NOTEBOOK (1962-63, 10 minutes, 16mm, silent) MOOD
MONDRIAN (1961, 7 minutes, 16mm, silent) EYE MUSIC IN RED MAJOR (1961, 4
minutes, 16mm, silent) ANDY WARHOL (1965, 22 minutes, 16mm) Marie Menken
represents the lyrical sensibility in the American avant-garde film. She
manages to get the maximum visual intensity from minimally photogenic
subjects. Her usage of single-frame and her poetic attitude and purity
had a strong influence on many filmmakers of the sixties. Total running
time: ca. 70 minutes.
10/29
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
4:30 pm, 32 2nd Avenue
ESSENTIAL CINEMA: FILM PORTRAIT
by Jerome Hill 1971, 81 minutes, 35mm Assistant Producers: David C.
Stone and Barbara Stone. This pioneering work in autobiographical cinema
masterfully combines actual and staged footage and painting over images.
Filmmaker, painter, and composer Jerome Hill was born into the famous
James J. Hill railroad-building family and lived on the same street as
F. Scott Fitzgerald. Here he re-creates wonderfully – with old family
footage – the period and milieu of the American upper class at the
beginning of the 20th century. With: DEATH IN THE FORENOON (1934/66, 2
minutes, 35mm) CANARIES (1969, 4 minutes, 35mm) [Please note: This is an
Essential Cinema screening, and is FREE for AFA members!]
10/29
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
6:00 pm, 32 2nd Avenue
REASON OVER PASSION
A RAISON AVANT LA PASSION / REASON OVER PASSION 1969, 84 minutes, 16mm.
"REASON OVER PASSION is structured around four distinct sections, with a
loosely constructed preface that introduces the motifs Wieland employs
consistently throughout the film: strobing images of the Canadian flag;
long shots of passing landscapes; and the lyrics to 'O Canada',
didactically presented as overlayed text. Followed by a silent take of
the artist's face reflected in a mirror, singing the opening lines to 'O
Canada', the origins of the title of the film are presented: a quote
from Trudeau, in which he stated 'About reason over passion, that is the
theme of all of my writings.'" –Anne Low "Wieland's major film so far.
With its many eccentricities, it is a glyph of her artistic personality;
a lyric vision tempered by an aggressive form and a visionary patriotism
mixed with ironic self parody. It is a film to be seen many times." –P.
Adams Sitney, FILM CULTURE
10/29
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
8:00 pm, 32 2nd Avenue
JOYCE WIELAND PROGRAM 4
"Joyce Wieland's four films PIERRE VALLIÈRES, A & B IN ONTARIO,
SOLIDARITY and BIRDS AT SUNRISE were created when the Canadian Women's
Movement was at its most visible and vocal. They were made as a direct
response to hegemony, colonialism, sexism, imperialism and the
destruction of the environment – issues that feminists across the
country were writing about, protesting about, lobbying around and, in
Wieland's case, making films about." –Allyson Mitchell PIERRE VALLIÈRES
(1972, 32.5 minutes, 16mm) SOLIDARITY (1973, 10.5 minutes, 16mm) A & B
IN ONTARIO (with Hollis Frampton) (1984, 16 minutes, 16mm, b&w) BIRDS AT
SUNRISE (1986, 10 minutes, 16mm) Total running time: ca. 75 minutes.
10/29
San Francisco, California: Other Cinema
http://www.othercinema.com/
8:00pm, ATA, 992 Valencia Street
SLIMEY GREEN HALLOWEEN
CHRISTIAN DIVINE'S ECO-HORROR SPOOKTACULAR + Apropos of OC's love of all
things psychotronic, thee Area expert on '70s exploitation film
enthralls all with a fanboy-critical take on the eco-dystopian genre,
that cinematic mutation of the era's budding environmentalism. Divine
nimbly negotiates his way through a 2-hour clip-show of that decade's
most toxic shockers, parables that parlayed the pollution of nature into
an embodied force of evil. Among the jaw-droppers are Them!, Soylent
Green, Willard, Piranha, Stalker (!), and Godzilla vs. the Smog Monster.
Come early for Doug Katelus on his Mighty Hammond organ, glimpses of
Gamera (in 16mm), OCD Terror DVDs for a pittance, and intoxicating
witches' brew! $6.66. NOTE: DOORS 7:30, SHOWTIME 8PM.
------------------------
SUNDAY, OCTOBER 30, 2011
------------------------
10/30
Los Angeles, California: Filmforum
http://www.lafilmforum.org/
7:30pm, The Spielberg Theater at the Egyptian, 6712 Hollywood Blvd (at Las Palmas)
DISTRIBUTING THE AVANT-GARDE: THE CREATIVE FILM SOCIETY
In person: Angie Pike Film historian Anthony Slide, while writing an
appraisal letter for the film collection of late 1960's film distributor
Creative Film Society, stated that "Any student researching the rise of
the independent and experimental American film in the 1960s and 1970s
would find this collection invaluable, and it is unlikely that a
collection of this scope exists elsewhere. It is in many ways a tribute
to a filmmaking experience that has disappeared." Films to be screened:
Gumbasia, by Art Clokey (1955), Furies, by Sara Petty (1977), Carnival,
by Donald Bevis, Jim May, Herb Bertel (ca.1955), The Further Adventures
of Uncle Sam, by Dale Case & Robert Mitchell (1970), One Hundred and
Eight Movements, by Peggy Wolff (1973), The Unicycle Race, by Robert
Swarthe (1966), Microsecond, by Dan McLaughlin (1970), The Towers, by
William Hale (1955), Mobile Static, by Helmut Schultz (1969), The
Critic, by Ernie Pintoff (1963), Waiting, by Flora Mock (1952), and Wu
Ming, by James Whitney (1977).
10/30
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
4:15 pm, 32 2nd Avenue
ESSENTIAL CINEMA: MARIE MENKEN PROGRAM 2
WRESTLING (1964, 8 minutes, 16mm, b&w, silent) MOONPLAY (1962, 5
minutes, 16mm, b&w) DRIPS IN STRIPS (1961, 3 minutes, 16mm, silent) GO!
GO! GO! (1962-64, 12 minutes, 16mm, silent) LIGHTS (1964-66, 7 minutes,
16mm, b&w, silent) SIDEWALKS (1966, 7 minutes, 16mm, b&w, silent)
EXCURSION (1968, 5 minutes, 16mm) WATTS WITH EGGS? (1967, 12 minutes,
16mm, silent) ARABESQUE FOR KENNETH ANGER (1961, 4 minutes, 16mm) Total
running time: ca. 70 minutes.
10/30
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
6:00 pm, 32 2nd Avenue
THE FAR SHORE
THE FAR SHORE 1976, 105 minutes, 35mm. A consummate expression of
Wieland's artistic sensibility, a gorgeous, painterly film, formal in
conception, deliberate in its flagrant symbolism (the rigid imposition
of WASP power on French-Canadian culture) and portrayal of Canadian
myths (the mystery of Tom Thomson's drowning in Algonquin Park), and
exuding romantic naturalism. This northern love story, rooted in the
landscape of the Group of Seven and the realities of the Canadian
experience, is a tale of passion both carnal and artistic. "A vast and
epic meditation on all those 'big' themes that constantly abound:
gender, romance, ethnicity, nationality, French-English relations, and
the unsavory relationship between art and commerce. … This is a rare
opportunity to experience a seminal oeuvre in the history of Canadian
film by one of our country's most diverse, powerful, patriotic, and
renowned artists. The film is not only an agitational look at some of
the most omnipresent issues in Canadian popular culture and social life,
but also a gorgeous painterly visual object that deserves the full
attention of ears and eyes." –TIFF CINEMATHEQUE
10/30
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
8:15 pm, 32 2nd Avenue
JOYCE WIELAND PROGRAM 1
See program notes for October 28, 7:15 pm.
10/30
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
9:00 pm, 32 2nd Avenue
THE BRIG
See notes for October 20, 9:15 pm.
Enter your event announcements by going to the Flicker Weekly Listing Form
at
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The weekly listing is also available online at Flicker:
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