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*This Week [February 4 - 12, 2023] in Avant Garde Cinema* To receive the weekly listing directly via email rather than through Frameworks, just hit Subscribe <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=091193278b&e=857b71a9cb> . *DEADLINES APPROACHING* **** Enter upcoming calls for entry here <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=f9170f21b1&e=857b71a9cb> **** ___________________________________________________________________________________ *sorted by submission deadline* Ongoing Films for Ukrainian Border Crossings <[email protected]?subdir=calls&filename=2.ann&accepts=yes%0a?subdir=calls&filename=2.ann&accepts=yes%20?subdir=calls&filename=2.ann&accepts=yes> (No Dialogue + PG) 02.07.2023 Live Soundtrack <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=445aa9fc11&e=857b71a9cb> (Early Birds) 02.08.2023 Crescent City Film Festival <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=72a802aa76&e=857b71a9cb> (Regular Deadline) 02.15.2023 Revolutions Per Minute Festival <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=aa75409cb1&e=857b71a9cb> (Late Deadline) 02.20.2023 SIGHT/GEIST <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=5eb6385948&e=857b71a9cb> 02.20.2023 VIDEOEX Experimental Film & Video Festival <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=cb6e4d7cb8&e=857b71a9cb> 02.22.2023 PACT Zollverein Residency <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=3b2529f0a0&e=857b71a9cb> 02.24.2023 Edinburgh Short Film Festival <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=4fda71fd08&e=857b71a9cb> (Early Deadline) 02.26.2023 Moviate Underground Film Festival <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=718be83d58&e=857b71a9cb> 02.28.2023 Crossroads <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=d7a0f6a001&e=857b71a9cb> 02.28.2023 Braziers International Film Festival <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=76b493f6bd&e=857b71a9cb> (Regular Deadline) 02.28.2023 Istanbul International Experimental Film Festival <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=aefaead3cf&e=857b71a9cb> (3rd Deadline) 03.01.2023 EXIS <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=625ca4874c&e=857b71a9cb> 03.01.2023 Media City Film Festival <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=f202de31ea&e=857b71a9cb> 03.01.2023 Fracto Experimental Film Encounter <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=d956f7be3b&e=857b71a9cb> 03.01.2023 Found Footage Magazine <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=99e5b02f67&e=857b71a9cb> 03.10.2023 West Virginia Mountaineer Short Film Festival <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=4d5d61ca07&e=857b71a9cb> 03.10.2023 Coney Island Film Festival <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=aff30f38ee&e=857b71a9cb> (Extended Deadline) 03.11.2023 Chicago Underground Film Festival <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=57e8dfbb95&e=857b71a9cb> (Late Deadline) 03.17.2023 New Orleans Film Festival <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=a45ffb9934&e=857b71a9cb> (Regular Deadline) 03.26.2023 Magmart international videoart festival <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=2aa817e793&e=857b71a9cb> 04.01.2023 Winnipeg Underground Film Festival <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=2a28c0b314&e=857b71a9cb> (90 second ultra shorts) 04.02.2023 VSW Project Space Residency <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=cdbf93e362&e=857b71a9cb> 04.07.2023 Buffalo Int’l Film Festival <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=996458745e&e=857b71a9cb> 04.09.2023 Mimesis Documentary Festival <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=11d0e31875&e=857b71a9cb> (Regular Deadline) 04.30.2023 Laterale Film Festival <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=d6a8967658&e=857b71a9cb> (Regular Deadline) 06.01.2023 Engauge Experimental Film Festival <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=271388f69f&e=857b71a9cb> 07.10.2023 Affective Intermediality International Conference <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=a6e03ba669&e=857b71a9cb> *EVENTS* **** Enter your event announcements here <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=bf7a90b3f2&e=857b71a9cb> **** ___________________________________________________________________________________ *complicated sorting but a true attempt, enjoy!* This week's programs (summary): - Refresh <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=ed0b719cfc&e=857b71a9cb> [March 2022 - Spring 2023, Denver, CO] - Soda Jerk: the Time That Remains <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=b321284702&e=857b71a9cb> [January 6 - February 6, online] - Split Screen <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=de49fc3807&e=857b71a9cb> [January 27-February 25, Victoria, BC, Canada] - Films From Iran For Iran <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=b2554a7009&e=857b71a9cb> [February 3-8, New York, NY] - From Inside of Here <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=cde445cfcb&e=857b71a9cb> [February 5, San Francisco, CA] - Passing Into Shadow: Films By Anna Kipervaser <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=e503d0de6b&e=857b71a9cb> [February 5, Granville, OH] - Cecelia Condit: Have We Met Before? <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=5b58929e27&e=857b71a9cb> [February 6, New York, NY] - Thom Andersen: Work On Film <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=a342c45142&e=857b71a9cb> [February 6, Los Angeles, CA] - VSW Salon: Films By Tomonari Nishikawa <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=38afc0d316&e=857b71a9cb> [February 9, Rochester, NY] - EC: Warhol / Watson & Webber / Whitney <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=bc94a495e6&e=857b71a9cb> [February 9, New York, NY] - In Situ: Yousra Benziane, Alexandre Larose & Danji Buck-Moore <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=a6e9eb4d3e&e=857b71a9cb> [February 9, Montreal, QC, Canada] - The Ever-Expanding Cinema of Ernie Gehr <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=613aaf0705&e=857b71a9cb> [February 10-11, Cambridge, MA] - The Long Conversation <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=e67c201eb7&e=857b71a9cb> [ongoing, online] - 6x6 Project: Artists' Moving Image Works <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=5a88c99b29&e=857b71a9cb> [ongoing, online] *STARTING BEFORE FEBRUARY 4, 2023* *March 2022 - Spring 2023* Venue type: *Live, physical event* Denver Museum of Nature & Science <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=1e574c6a41&e=857b71a9cb> open during Museum hours, The Summit Stage and Expedition Health, Denver Museum of Nature & Science, 2001 Colorado Blvd, Denver, CO *REFRESH: *CYANOBACTERIA OFFER PERSPECTIVE ON OURSELVES This art-science collaboration looks at the microscopic ways cyanobacteria move, on an individual level and in colonies. If we study these organisms and their varied forms, we might discover ways to improve our future. On display at the Denver Museum of Nature & Science in the Summit Stage and Expedition Health, March 2022 - Fall 2022 The cells in your body take in oxygen and sweep out waste products like carbon dioxide (CO2). Microscopic cyanobacteria use photosynthesis to work in reverse, breathing in CO2 and pumping out oxygen. Three billion years ago, cyanobacteria created Earth’s oxygenfilled atmosphere, supporting the evolution of creatures like us. Today, they provide one-quarter of the planet’s oxygen, and cyanobacteria like spirulina provide us with food. Researchers believe that cyanobacteria —which need only sunlight, CO2, and water to thrive— could offer solutions to our changing climate. They might help reduce CO2 on a grand scale, contribute to biofuel production, and support long-term space travel. This diverse group of organisms offers a symbolic warning as well: when colonies of cyanobacteria become too dense or stressed, they can run out of nutrients or be destroyed by their own air pollution. Made with the collaborative efforts of filmmaker Erin Espelie and the Jeffrey Cameron Laboratory at the University of Colorado Boulder, which created a customized microscope system specifically tailored for long-term growth and quantitative imaging of cyanobacterial cells; with special thanks to microbiologist and cinematographer Evan Johnson and artists Nima Bahrehmand, Travis Austin, Will Alstetter, as well as NEST Studio for the Arts. *___________________________________________________________________* *January 6 - February 6* Venue type: *Virtual, online event* VISIONS <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=e10fed3e15&e=857b71a9cb> streaming 24/7, Event URL: https://visionsmtl.com/2023/soda-jerk-2/ <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=6e5097b5b3&e=857b71a9cb> *SODA JERK: The Time That Remains* 2012 | digital | 12 mins Dear J, After you left the house this afternoon — we had both so much and so little to say to each other, as if the objects around us contained our words and we had to unlock them one by one, the way jewelery boxes of thought ready to bring forth their miniature dancer—I was seized with a sudden melancholy (for lack of a better word to describe the calm nervous breakdown that gripped me). The prospect of seeing you again terrified me. Because after all that we have shared, made shine, passionately sabotaged, in short, after all that we have lived leaning against each other, and here we are catapulted out of ourselves and yet perhaps more than ever in- inside of us, something was said in me without formulating it clearly that we would inevitably miss this reunion imposed by others. Did I just want to see you again? You must have grimaced when M. proposed this meeting to you. The prospect of seeing you again terrified me, I was just telling you, and this manifested itself in the dreams of the previous night, dreams during which frayed images formed an atmosphere where you were going, alternately shimmering and shimmering. Who were you, who was I, these images asked, who were we to each other, to each other, what was the distance that was intrinsically part of our relationship, this intimacy- there, this detestation of love, this hinge, this fold through which we articulated ourselves on both sides of closed doors and our broken lives at the work of appearing without common measure? So you were there and not quite there. You were beautiful and then I watched you being beautiful and you yourself watching me, only I was elsewhere than within beauty, elsewhere than beautiful yes, that I knew, from the now familiar sensation of my more more porous and to the ever-surprised vision of my own weathered face, no longer belonging to myself and yet welcoming all the strata of this I no longer am and then am by the desiring force of oblivion. And the dream, made of an image of a ball, of a marvelous dress, of curly hair falling in a cascade, image of you archaic and new, image of a waltz by Chopin, of a sea evoking the density of a psalm, conveyed a traversed and traversing duration, an idea of you and of me. From my dream emanated the affinity emerging from the vitality of our antagonism, I cannot tell you exactly how, since they were only old images projected by the mind which sleeps and fears the next day, but yes the affinity and split were expressed in the same way, like a wavering, a given meaning, the indifference of the setting sun. In the morning, I got up as if accomplished in a train station. After all these years, you would soon be here, as we began our disappearance and this disappearance became the new surface, the new support of our being. I was about to welcome you into this detachment, into this impalpable transit where I felt you, still erotic and hot with anger, I was about to see you and say hello to you ironically. You were there, in front of me, with your make-up that fools no one, your buried beauty, your sulky lips but worked at the same time by a subtle smile with an impossible to define spring. We disdainfully drank tea with these people who framed us and this pan of fatalism hanging on your blink, hanging on the closing of your incredibly long eyelids behind which I knew you knew all the material of our battles against the world. This afternoon, you were once again this other against whom I sought headlong to define myself and impose an image, this creature to swallow, to engulf like food. We pretty much said the things they expected, those barking dogs. And that was suddenly all. The door, with its people, your presence, its uproar, has closed. You were well and truly gone this time. And I immediately noticed a flicker, at the source of the intranquility that makes me take paper and pencil. I write to you as to myself, to this other that I have become, similar to what you have always been in the hollow of my angular heart and who lives a little through your own memories whose exact content I do not know, but within which I know I exist. I am writing to you through various accents, through the ages that we have had, alone and together, and from this station from where I would like to wish you good continuation, good disappearance, dear... wish you a beautiful death like sea, a beautiful death like your eyebrows. Friendships, B. *___________________________________________________________________* *January 27 - February 25* Venue type: *Live, physical event* Deluge Contemporary Art <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=88366ec060&e=857b71a9cb> Wed/Fri/Sat noon to 4pm PT, Thurs 1 to 5pm PT., Deluge Contemporary Art, 636 Yates Street, Victoria, BC, Canada *Split Screen* Leslie Bauer Gwendolyn Audrey Foster Todd Lambeth Kate Shults Split Screen is an experiment in encouraging language and conversation between 2D (in this case painting) and media artworks while expanding experiential possibilities for viewers. Less a situation of work coexisting alongside other work in aid of a specific set of ideas, appositions or overarching theme, the exhibition loosely harnesses syncopations—visual, audial, kinetic—to imagine a larger composition within which infinite possibilities for comprehension exist and from which infinite numbers of questions arise, much like abstraction itself. In Leslie Bauer’s *Fahren 7* velocity deforms our understanding of static objects, effecting surfaces into recondite dynamic shapes. “Traffic, as something very essential and characteristic of a particular time, is presented as a pattern of order and a perceptible form of structuring space and time. Locomotion makes a holistic view impossible. In the state of movement, speed and distance determine the perception of the landscape traversed. The road network itself is a pattern, a space-rastering construct, which in turn offers a reservoir of patterns, images and narratives." Gwendolyn Audrey Foster’s film *Dada Ship* wrests itself away from the homogeneity of the historical movement to set sail for other, queerer shores employing disrupted stereoscopy and collaged détournement of archival imagery. In his paintings, Todd Lambeth has long been interested in optically challenging unfixed areas of interest by flipping figure and ground. Like the moving image artists in Split Screen, Lambeth understands the actions of fracturing, splicing and splitting in order to animate lacunae between seeing and recognition, between “this” and “that.” Kate Shults has created a video portrait of a disaster—2017’s Hurricane Irma—from the precarious safety of her home in inland Central Florida. Through anticipation, impact and aftermath, *Irma* explores the fragility of digital images and landscapes while deftly challenging the politics of looking. While the artists in Split Screen engage with varying approaches and concerns, they often utilize similar techniques and processes—layering, montage, chroma shifting and hybrid analog/digital workflows—to enrich the vocabulary of contemporary abstraction across disparate media. *___________________________________________________________________* *February 3 - 8* Venue type: *Live, physical event* Anthology Film Archives <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=3fd139360b&e=857b71a9cb> times vary, see below, 32 Second Avenue, New York, NY *FILMS FROM IRAN FOR IRAN* On September 16, Jina (Mahsa) Amini, a 22-year-old Kurdish woman, was murdered in Tehran following her arrest by Iran’s Morality Police for wearing “improper” hijab. This brutal state-sanctioned murder has spurred a new women-led revolution across the country: with women, schoolgirls, and their allies mobilizing against veiling (mandatory since the foundation of the Islamic Republic in 1979), as well as countless other manifestations of the Islamic Republic’s all-pervasive oppression. Since then, hundreds of protesters have been murdered, with the particular targeting of ethnic and religious minorities including members of the Kurdish, Bahaiee, and Baluch communities; every day, we read news of another execution following a sham trial. Through this program, we seek to extend solidarity to the struggle in Iran, and contribute some much-needed nuance and context to the long history of feminist resistance to state violence that has existed there, at the intersections between gender, class, sexuality, and ethnicity. It aims to provide a corrective to the opportunism of big western art institutions, whose interest lies almost exclusively in the fetishization of certain symbols of Iranian society, which have themselves been molded by the Islamic Republic – institutions that foreground only those artists who reflect and reinforce this western gaze. Organized and presented in collaboration with Another Gaze <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=5cc8d3e57c&e=857b71a9cb>, a journal of film and feminisms, and the journal’s streaming project Another Screen <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=960276e1a8&e=857b71a9cb> . UPCOMING SCREENINGS FILMS FROM IRAN FOR IRAN - PROGRAM 1: INTER-GENERATIONAL TRANSMISSIONS <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=89cc3ea11f&e=857b71a9cb> February 3 at 7:30 PM February 5 at 5:00 PM FILMS FROM IRAN FOR IRAN - PROGRAM 2: BETWEEN WOMEN <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=9f11692260&e=857b71a9cb> February 4 at 5:00 PM February 6 at 7:00 PM FILMS FROM IRAN FOR IRAN - PROGRAM 3: TRANSLATIONS <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=d3743e84a8&e=857b71a9cb> February 4 at 8:00 PM February 7 at 7:00 PM FILMS FROM IRAN FOR IRAN - PROGRAM 4: IN THE STREETS <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=cb32dd7e88&e=857b71a9cb> February 5 at 8:00 PM February 8 at 7:00 PM *SUNDAY, FEBRUARY 5, 2023* Venue type: *Live, physical event* Roxie Theater <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=886eb955e9&e=857b71a9cb> 1:00pm (Pacific Time), Roxie Theater 3125 16th Street, San Francisco, CA 94103 *From Inside of Here* Filmmaker Bill Basquin IN PERSON for a Q&A moderated by Greta Snider after the screening. *From Inside of Here* is a meditation on vulnerability and interconnection through the lens of an ecosystem and through the body of the filmmaker. The place itself is a character in the film, as are the filmmaker’s methods. The film is composed of multiple digital and analog formats: 16mm film, HD video, infrared stills, inter-titles, and sound recordings. Basquin structured the filming of *From Inside of Here* around a series of camping trips to the Gila National Forest in New Mexico, which is the site for the reintroduction of the endangered Mexican Grey Wolf. The species was brought very close to extinction by the US Biological Survey in the early 1900s. The US Biological Survey is a direct predecessor of the U.S. Fish and Wildlife Service, which is the agency now responsible for re-establishing the species. World Premiere. Co-presented by Canyon Cinema. *___________________________________________________________________* Venue type: *Live, physical event* Denison University <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=c37db5e2a4&e=857b71a9cb> 7pm ET, Cinema House - Room 104, Denison University, 118 N. Mulberry St, Granville, OH *Passing Into Shadow: Films by Anna Kipervaser* An evening of short 16mm and digital works by Anna Kipervaser, including her newest film *With The Tide, with the tide*. Filmmaker in person. Anna Kipervaser is a Ukrainian-born artist whose practice engages with a range of topics including human and animal bodies, ethnicity, religion, colonialism, and environmental conservation. Her practice is informed by a commitment to formal experimentation, DIY and alternative processes across experimental and documentary moving image works in both 16mm film and video. Anna’s work screens at festivals, in classrooms, galleries, museums, microcinemas, basements, and schoolhouses! Anna is also a painter, printmaker, educator, curator of exhibitions, programmer of screenings. *And By The Night*, 9:45min, 16mm, 18fps, silent, 2017 *When It Is Still*, 10min, 16mm, 18fps, silent, 2018 *With the Tide, with the tide*, 3min, 16mm, 24fps, sound, 2022 *Terrain Ahead*, 20min, 16mm + digital, sound, 2021 *No Garden Beyond*, 11min, 16mm -> digital, sound, 2019 *in ocula oculorum*, 12min, digital, sound, 2014 The screenings will be followed by a discussion with Anna Kipervaser. *MONDAY, FEBRUARY 6, 2023* Venue type: *Both physical and online* Microscope Gallery <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=99d8c8b571&e=857b71a9cb> 7:30 PM ET, 525 W 29th St, second floor, New York, NY, 10001 Event URL: https://www.microscopegallery.com/cecelia-condit-have-we-met-before <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=62794b1b00&e=857b71a9cb> *Cecelia Condit: Have we met before?* Solo screening of video works by artist Cecelia Condit in person and online. Condit in attendance and available for a Q&A after the screening. The program includes eight videos made by Condit between 1981 through 2021, from her first *Beneath the Skin* originally shot on 3/4” U-matic tape, to her latest digital video piece *AI and I*. Condit has described her work as “feminist fairy tales” manifesting through childish naivety on the dark sides of womanhood. Often approaching unsettling subjects and traumatic events imposed on women such as stalking, domestic violence, and back-alley abortions, Condit reaffirms female agency and independence through the use of imaginative settings, soundtracks, and narration. Advance In-Person Tickets: https://microscopegallery.ticketleap.com/cecelia-condit-have-we-met-before/dates/Feb-06-2023_at_0730PM <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=f0aaf510c8&e=857b71a9cb> Online access: https://www.microscopegallery.com/cecelia-condit-have-we-met-before <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=51bd5d62ad&e=857b71a9cb>. Tickets to watch online will go live at 7pm on the day of show at the link above. *___________________________________________________________________* Venue type: *Live, physical event* Academy Museum <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=3199a4070b&e=857b71a9cb> 7:30pm PT, Academy Museum, 6067 Wilshire Boulevard, Los Angeles, CA 90036 *Thom Andersen: Work on Film* In person: Thom Andersen. Thom Andersen is no stranger to Los Angeles cinephiles, and his extensive work as a filmmaker, programmer, critic, teacher, writer, historian, and movie lover has had an enormous and meaningful impact on generations of audiences and students alike. With *Red Hollywood* (1996) and *Los Angeles Plays Itself* (2003), Andersen established an international reputation as one of contemporary cinema’s most keen-eyed and thoughtful essayists, with a singular and deeply committed perspective on the complexities and particularities of film history, which he has continued to develop. Years prior to these watershed films, Andersen’s first flurry of filmmaking activity in his 20s reflects a similar diversity, engagement, and interest in the layered and reverberating implications of cultural and historical moments and the images that seek to represent them. His interest in exploring and responding to experiences and spaces of resonant ephemerality prefigure his later opuses in which the incidental subtexts in cinema history are revealed to be much more meaningful than we could have imagined. This program will survey Andersen’s three influential short films from the 1960s, all in restored prints from the Academy Film Archive, along with his personal and elegiac return to 16mm, the acclaimed *Get Out of the Car* (2010). Thom Andersen will then join us for a discussion about his work, followed by a presentation of his ambitious and illuminating documentary, *Eadweard Muybridge, Zoopraxographer* (1974). Programmed by Hyesung ii and Academy Film Archive Senior Film Preservationist Mark Toscano. Notes by Mark Toscano. All films directed by Thom Andersen unless otherwise noted. *Melting* 1965. 6 min. USA. Color. 16mm. Restored print courtesy of the Academy Film Archive. *Olivia’s Place* 1966/74. 6 min. USA. Color. English. 16mm. Restored print courtesy of the Academy Film Archive. *----- -----------* DIRECTED BY: Thom Andersen, Malcolm Brodwick. 1967. 12 min. USA. Color. English. 16mm. Restored print courtesy of the Academy Film Archive. *Get Out Of The Car* 2010. 35 min. USA. Color. English, Spanish. 16mm. New print courtesy of the Academy Film Archive. *Eadweard Muybridge, Zoopraxographer *1974. 59 min. USA. Color. English. 35mm. Restored by the UCLA Film & Television Archive. Print courtesy of the Academy Film Archive. Academy Museum film programming generously funded by the Richard Roth Foundation. *THURSDAY, FEBRUARY 9, 2023* Venue type: *Live, physical event* Visual Studies Workshop <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=f8ba89547d&e=857b71a9cb> 7pm ET, Visual Studies Workshop, 31 Prince Street, Rochester, NY *VSW Salon: Films by Tomonari Nishikawa* Filmmaker Tomonari Nishikawa (Japan/USA) will present a program of his experimental Super 8 and 16mm films at the VSW Salon, and discuss his process-based approach to visual and temporal composition. Nishikawa’s intricate cinematic technique weaves time and space into graphic patterns, undulating rhythms and colorful forms, resulting in an expansive perceptual experience of often familiar subjects. *Sketch Film #1* (2.5 min, Super 8, silent, 2005) *Sketch Film #2* (2.5 min, Super 8, silent, 2005) *Market Street* (5 min, 16mm, silent, 2005) *Sketch Film #5* (2.5 min, Super 8, silent, 2007) *Lumphini 2552* (2 min, 35mm, sound, 2009) *Clear Blue Sky* (4 min, digital video, sound, 2006) *16-18-4* (2.5 min, 35mm, silent, 2008) *45 7 Broadway* (5 min, 16mm, sound, 2013) *sound of a million insects, light of a million stars* (2 min, 35mm, sound, 2014) *Tokyo – Ebisu* (5 min, 16mm, sound, 2010) *Ten Mornings Ten Evenings and One Horizon* (10 min, 16mm, sound, 2016) *Amusement Ride* (6 min, 16mm, sound, 2019) Purchase tickets at https://www.vsw.org/event-calendar/#id=125&cid=1853&wid=701 <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=c3e9bf98ca&e=857b71a9cb> *___________________________________________________________________* Venue type: *Live, physical event* Anthology Film Archives <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=f1615bfd0d&e=857b71a9cb> 7:30pm ET, 32 Second Avenue, New York, NY *EC: WARHOL / WATSON & WEBBER / WHITNEY* Andy Warhol *EAT* (1963, 35 min, 16mm, b&w, silent) “A portrait of artist Robert Indiana, *EAT* is one of the classics of Warhol’s minimalist cinema. As Indiana slowly eats one mushroom, the action is rendered mysterious by Warhol’s decision to assemble the rolls out of order, so the mushroom appears to magically renew itself from time to time.” –Callie Angell James Sibley Watson & Melville Webber *FALL OF THE HOUSE OF USHER* (1928, 13 min, 16mm, b&w, silent) “Filmed in a Rochester, New York, carriage house, this expressionist film is the earliest live-action dramatic film made by a collaboration of poets and artists in the United States. Watson devised the optical effects that distinguish the film, while Webber provided its visual design, based upon medieval frescoes.” –Robert A. Haller John & James Whitney *FILM EXERCISES 1-5* (1943-45, 18 min, 16mm) “The visual images in these films were created by shining light through flexible masks, so that the camera was filming direct light rather than light reflected from drawings. The results seem like dazzling neon apparitions, that were as novel and shocking as the accompanying soundtrack.” –William Moritz James Whitney *LAPIS* (1963-66, 10 min, 16mm) “The most elaborate example of a mandala in cinema. It utilizes a field of tiny dots, symmetrically organized in hundreds of very fine concentric rings, to generate slowly changing intricate patterns…. Both structurally and visually LAPIS conforms to the circular form of the mandala; its elaborate movements belie a fundamental stasis.” –P. Adams Sitney Total running time: ca. 80 min. *___________________________________________________________________* Venue type: *Live, physical event* la lumière collective <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=a6dbedba7d&e=857b71a9cb> 7 pm, 7080, rue Alexandra, #506 Montréal, QC H2S 3J5 *IN SITU: Yousra Benziane, Alexandre Larose & Danji Buck-Moore* Presented by la lumière collective, in collaboration with Zoom out and Hors Champ. Films in HD, 16mm & 35mm. Filmmakers in attendance Proposed by la lumière collective, IN SITU is a series that focuses on unique audiovisual works and live sound performances by local artists passionate about cinematic material, experimental moving images and sound art. *Bulletin spécial* | Yousra Benziane | 2017 | HD | 4 mins 40 secs Special Bulletin explores the way lines shape our lives. *Nitrate* | Yousra Benziane | 2019 | HD | 15 mins When the fireworks inflame the memory of a war survival. LIVE SOUND PERFORMANCE BY DANJI BUCK-MOORE *930* | Alexandre Larose | 2004/2006 | Super 8/16mm to 16mm | 9 mins 50 secs “(In 930), Larose transforms a CP train tunnel in Quebec City into a dynamic, morphing Rorschach inkblot. Symmetrical waves of light course over arpeggiated piano chords and gradually assume silhouettes. A portal—presumably the train tunnel—rapidly flashes between black and white. This gives way to a burst of light along a train track, which fluctuates like a great flame emanating out from a nearing horizon. (…) Through its increased granularity, his printed images take on the aesthetics of ink-on-paper, and as the image departs into abstraction, the viewer’s imagination is left to frame its fearful symmetries. A film of repeating parts, 930 is structured like a train track to return to its mysterious, blinking portal.” – Stephen Broomer, BlackFlash Magazine *La Grande Dame (étude)* | Alexandre Larose | 2005/2011 | Super 8 to 35mm | 3 mins 30 secs This film is an in-camera portrait of the place Ville Marie Royal Bank Building in Montréal. *Ville Marie *| Alexandre Larose | 2006/2009 | Super 8/16mm to 35mm | 12 mins 16 secs This film is inspired from a dream during which I fall from the top of a high-rise building facing the sky. *FRIDAY, FEBRUARY 10, 2023* *February 10 - 11* Venue type: *Live, physical event* Harvard Film Archive <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=63de7b0e29&e=857b71a9cb> 7pm ET, 24 Quincy Street, Cambridge, MA *The Ever-Expanding Cinema of Ernie Gehr* This two-program showcase of Ernie Gehr’s filmmaking over the past ten years begins with a pair of dazzling films, both works from longer series, which underscore the dialogue, active across his oeuvre, between Modernist Art and cinema. *Sensations of Light 7* uses flicker effect to create an intensely animated return to a variation of sorts of Albers’ famous *Homage to a Square, *now using variable speeds and rhythms to generate a rich series of effects and aftereffects that ignite the screen. Agnes Martin, Barnett Newman and Bridget Riley, among others, are recalled in the mesmerizing linear abstractions of *Auto-Collider XX*, part of a long series made using footage shot while driving through the streets of San Francisco. The other films in the program together give special emphasis to the urban focus of Gehr’s recent work. While *Construction Sight* uses slow motion and a low-fi soundtrack recalling his earlier *Reverberation *to observe uncanny patterns of movement and mirroring, *Back in the Park* observes the parallel world of shadows on a sun-drenched Manhattan day. It was on a certain *Sunday in Paris* that Gehr, meanwhile, filmed one of his most delightfully adventurous films using careful “cuts” to render the image into a fascinating turnstile of displaced perspective. Among the most beautiful and poignant of Gehr’s city films are three—*Delirium, The Weather Report* and *Flying Over Brooklyn*—that were made within steps from his Caroll Gardens home since the coming of COVID. Quiet works of resilience, the films affirm Gehr’s incredible resourcefulness as well as his understanding of vision itself as a creative and transformative art. – *Haden Guest*The Harvard Film Archive is extremely happy and proud to welcome back Ernie Gehr for two evenings of recent films and conversations. --- Friday, February 10th, Program One, 7pm --- *Sensations of Light 7*, 2016, digital video, color, silent, 8 min. *Auto-Collider XX*, 2014, digital video, color, 11 min. *Undertow*, 2019, digital video, color, 15 min. *Delirium*, 2020, digital video, color and b&w, 15 min. *The Weather Report*, 2022, digital video, color, silent, 9 min. --- Saturday, February 11th, Program Two, 7pm --- *Sunday in Paris*, 2016, digital video, color, 17 min. *Construction Sight*, 2019, digital video, color, 36 min. *Back in the Park*, 2019, digital video, color, 11 min. *Flying Over Brooklyn*, 2020, digital video, color, 5 min. *ONGOING* Venue type: *Virtual, online event* Riverwest Radio <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=99842ec03f&e=857b71a9cb> streaming 24/7 *THE LONG CONVERSATION* THE LONG CONVERSATION with Xav Leplae and Stephanie Barber is on indefinite hold. But... all episodes from the last year and a half are streaming!!! *___________________________________________________________________* Venue type: *Virtual, online event* 6x6 Project <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=0b30514741&e=857b71a9cb> streaming 24/7 *Artists' Moving Image Works* 6x6 project is an online artists' community that serves as a platform for disseminating artists' moving image works, and to create an ever-growing network among peers. There are now more than four hundred artists’ film and moving image works available to view on the website. ------------------------------ *Let us know about your alternative film/video event!* Enter your event announcements by going to the Flicker Weekly Listing Form <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=0b6dc3a82a&e=857b71a9cb> . To receive the weekly listing via email, send a message to Subscribe <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=51731efd5a&e=857b71a9cb>. To unsubscribe see the link at the bottom of this email. *Copyright © 2020 Flicker, All rights reserved.* Longtime recipient of This Week in Avant Garde Cinema This Week in Avant Garde Cinema · everywhere · Cincinnati, OH 45201 · USA
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