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Please donate at https://gofund.me/6dbcb337 <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=4f38395a42&e=857b71a9cb> and help spread the word / / / * --- * \ \ \ *This Week [February 17 - 25, 2024] 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=21df62efa4&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) 02.18.2024 Moviate Underground Film Festival <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=ef084f7fab&e=857b71a9cb> 02.22.2024 Locarno Film Festival <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=bd540346e9&e=857b71a9cb> (Early Deadline) 02.23.2024 Edinburgh Short Film Festival <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=d72e1da0de&e=857b71a9cb> (Early Deadline) 02.25.2024 VIDEOEX Experimental Film & Video Festival <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=6abbd2e31b&e=857b71a9cb> 02.29.2024 Laterale Film Festival <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=00645f73ec&e=857b71a9cb> (Fifth Deadline) 02.29.2024 Crossroads Film Festival <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=86175eb6ec&e=857b71a9cb> (Late Deadline) 02.29.2024 I-Park Artist-in-Residence Program <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=372dcd435c&e=857b71a9cb> 03.01.2024 Festival de Cannes <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=e992b9cfbf&e=857b71a9cb> 03.01.2024 Analogica <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=a8c2ddd824&e=857b71a9cb> (Regular Deadline) 03.01.2024 Crescent City Film Festival <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=27003f4131&e=857b71a9cb> (Extended Deadline) 03.01.2024 Chicago Underground Film Festival <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=582a2cf931&e=857b71a9cb> (Regular Deadline) 03.03.2024 Film Farm <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=38bd9e5129&e=857b71a9cb> 03.10.2024 Mimesis Doc Fest <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=3a624b7403&e=857b71a9cb> (Regular Deadline) 03.15.2024 RPM Fest - Revolutions Per Minute Festival <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=e1db5c64e2&e=857b71a9cb> (Late Deadline) 03.15.2024 Found Footage Magazine <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=3247a5d3ef&e=857b71a9cb> 03.25.2024 Oak Cliff Film Festival <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=4fd2481050&e=857b71a9cb> (Regular Deadline) 03.30.2024 Braziers International Film Festival <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=6390e5d2e8&e=857b71a9cb> (Regular Deadline) 03.30.2024 Cauldron International Film and Video Festival <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=da493e336a&e=857b71a9cb> (Late Deadline) 03.31.2024 Experimental Film & Video Festival in Seoul (EXiS) <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=6079f0516a&e=857b71a9cb> 04.01.2024 The Franklin Furnace FUND for Performance Art <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=4eecd9a0ef&e=857b71a9cb> 04.05.2024 VSW Project Space Residency <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=dd06eb9f5b&e=857b71a9cb> 05.31.2024 San Diego Underground Film Festival <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=68dc5ce366&e=857b71a9cb> (Early Deadline) 06.01.2024 Engauge Experimental Film Festival <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=e0d92c99d1&e=857b71a9cb> *EVENTS* **** Enter your event announcements here <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=fb50f4c82e&e=857b71a9cb> **** ___________________________________________________________________________________ *complicated sorting but a true attempt, enjoy!* This week's programs (summary): - EC: Hollis Frampton <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=16879bcafd&e=857b71a9cb> [February 17, New York, NY] - In The Waves: Films For Our Grief <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=a5eead265a&e=857b71a9cb> [February 17, Waltham, MA] - Seasonal Affects: Films of Jonathan Schwartz <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=823c2b6879&e=857b71a9cb> [February 18, Los Angeles, CA] - EC: Ernie Gehr <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=ca1062943e&e=857b71a9cb> [February 18, New York, NY] - Yes: Tiffany Jiang / Allie Tsubota, In Person & Online <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=2c08f93fd3&e=857b71a9cb> [February 18-21, New York, NY] - Divine Horsemen: The Living Gods of Haiti <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=0b87cb207e&e=857b71a9cb> [February 20, New York, NY] - Leighton Pierce's *50 Feet of String* [February 21, Durham, NC] - Skip Norman: On Africa And In DC <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=cb9177f0a3&e=857b71a9cb> [February 22, Berkeley, CA] - EC: Eggeling / Grant / Jacobs & Fleischner <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=d0532de344&e=857b71a9cb> [February 23, New York, NY] - Mono No Aware In Residency @ Whammy! <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=6a5ffa5c32&e=857b71a9cb> [February 23 - March 3, Los Angeles, CA] - EC: Jerome Hill <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=9252057b6a&e=857b71a9cb> [February 24, New York, NY] - Figures Minus Facts: The Films of Mary Helena Clark <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=4e3ba8ff35&e=857b71a9cb> [February 24-25, New York, NY] - EC: Hugo / Jacobs / Levitt / Maas <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=a7167faabc&e=857b71a9cb> [February 25, New York, NY] - The Long Conversation <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=e87d315a40&e=857b71a9cb> [ongoing, online] - 6x6 Project: Artists' Moving Image Works <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=c37f59c47a&e=857b71a9cb> [ongoing, online] *SATURDAY, FEBRUARY 17, 2024* Venue type: *Live, physical event* *Anthology Film Archives* <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=42f40f935e&e=857b71a9cb> 5:30pm ET, 32 Second Avenue, New York, NY *EC: HOLLIS FRAMPTON* *ZORNS LEMMA* (1970, 60 min, 16mm. Preserved by Anthology Film Archives.) “A major poetic work. Created and put together by a very clear eye-head, this original and complex abstract work moves beyond the letters of the alphabet, beyond words and beyond Freud. If you don’t understand it the first time you see it, don’t despair, see it again! When you finally ‘get it,’ a small light, possibly a candle, will light itself inside your forehead.” –Ernie Gehr *HAPAX LEGOMENA I: (nostalgia)* (1971, 36 min, 16mm. Preserved by Anthology Film Archives, MoMA, and the NYU Moving Image Archiving and Preservation Program, with funding from the National Film Preservation Foundation.) “In *(nostalgia)* the time it takes for a photograph to burn (and thus confirm its two-dimensionality) becomes the clock within the film, while Frampton plays the critic, asynchronously glossing, explicating, narrating, mythologizing his earlier art, and his earlier life, as he commits them both to the fire of a labyrinthine structure; for Borges too was one of his earlier masters, and he grins behind the facades of logic, mathematics, and physical demonstrations which are the formal metaphors for most of Frampton’s films.” –P. Adams Sitney Total running time: ca. 100 min. *___________________________________________________________________* Venue type: *Live, physical event* *AgX Film Collective* <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=a4f434060e&e=857b71a9cb> 7pm ET, 144 Moody Street, Building 18, 2nd Floor Waltham, MA 02453 *IN THE WAVES: FILMS FOR OUR GRIEF* Filmmaking, like all art forms, has the ability to act as a powerful form of catharsis. Cinema also invites us as viewers to relate on an individual level to another person's complex expressions of grief – and sometimes to process our own grief through works that carry no direct connection to loss. In this lies the potential for a transcendent experience, both wholly singular yet universal. Even when we are faced with a relentless ocean of feelings and thoughts, cinema can buoy us as we drift in the waves. This program, curated by L'Etna member Malo Sutra Fish in collaboration with AgX members Stefan Grabowski and Genevieve Carmel, includes a selection of six films relating to grief in various forms, made by experimental filmmakers from the French artist-run film labs L’Etna, L’Abominable, MTK, and Labo K. Co-presented by Balagan Films. Malo Sutra Fish will be in attendance for a post-screening Q&A. Free with a $5 - $20 suggested donation to support AgX and the visiting programmer. *BLADE*, 2004, Sébastien Cros & Fabrice Hérédia (L’Etna), 7 min, b&w, sound, 16mm Night dance to a saber’s blade. A woman is fighting in the thickness of the emulsion. - Programming note: This film was never conceived around the idea of grief. Yet, I have always interpreted it as the battle one must face when dealing with the relentlessness of grief; Martial Arts as the best tool against pain. – Malo Sutra Fish *UNE SAISON SANS GUY*, 2018, Noémy, Alida, Léo and Manuel Aubry (L’Abominable), 12 min, color, sound, digital Three days before they are due to leave their village and family home following Guy's death, the members of his family salute the lands where they grew up. Caught between the stupor of death, the indecency of the world continuing to turn and the departure from home, they face this season to come. Frozen gestures and pack-like bodies reach out to one another. *ARCHIVISTES*, 2023, Maude Gallon (Labo K), 3’00, b&w, sound, 16mm It’s in our hair that our memory and memories reside longest, whether we want to part with them or retain them. *À L'HORIZON DES ÉVÉNEMENTS*, 2023, Laëtitia Foligné (Labo K), 8 min, b&w, sound, Super 8 The gateway to the distortion of space and time, the event horizon lies at the entrance to a black hole. The starting point of the journey, from which we can alter the past and see the future differently...The moment when a new beginning is still possible. *BORGO*, 2019, Lucie Leszlez (L’Abominable & MTK), 4 min, b&w, silent, 35mm Views of everyday life, Borgo Panigale, the road to the San Vitale Gate in Bologna and a breakaway: the Apennins, Portivy. A tremor of the photographed landscapes accompanies the appearance and disappearance of images seeking their frame. *AGUA DE VINAGRE*, 2021-2022, Frédérique Menant (L’Abominable), 40 min, color, sound, digital A woman walks through islands’ landscapes in which intimate territories of grief are being drawn. What do we make of the dead who still live in us? How do we live at the same time with and without them? How can we be present to the world with this abyss? approx runtime: 74 mins VISITING PROGRAMMER BIO: Malo Sutra Fish (b. 1985) is a French artist currently based in Paris. She has lived and worked in NYC for more than 4 years, and 2 years in Portland, Oregon. Educated at the Lycée International de St-Germain-En-Laye, she also holds a bachelor’s degrees in both Art History & Art Distribution. She has worked in film distribution, film production, stage production, film and photography festivals, publishing, and translation. *SUNDAY, FEBRUARY 18, 2024* Venue type: *Live, physical event* *Los Angeles Filmforum* <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=c2f351d44f&e=857b71a9cb> 7:30 PM PST, 2220 Arts & Archives - 2220 Beverly Blvd, Los Angeles, CA 90057 *SEASONAL AFFECTS: FILMS OF JONATHAN SCHWARTZ* In person introduction by Irina Leimbacher, Visiting Professor, Cal Arts Jonathan Schwartz made films as he lived his life. His short works are gestures of appreciation and awe towards the world and for those he loved. They are often also dialogs with texts and ideas he found compelling. In all his 16mm films, he gives expression to both the beauties of the concrete and the transience and potency of ineluctable time. A flower, a face, melting ice, a shift in light — Jonathan’s lens holds them with generosity and care, for his and our gaze. Time becomes a palpable preoccupation through his filming of the seasons and their variations, and in his own cinematic processes. These include his physical movements with the camera and the in-camera winding and re-winding of filmstock to embody both his and the world’s fortuitous memory. Seasonal Affects is a program of nine of Jonathan’s films, made between 2005 and 2018. We move between a collage of flowers in *For Them Ending* (2005) to the camera rolls in *Three Miniatures* (2014), to the observational simplicity and beauty of *New Year’s Sun* (2010). Two of his travel films are included: *Den of Tigers* (2002) which was his first film shot in India when he was working with Mark Lapore, and *Nothing is Over Nothing* (2008) depicting a personal journey to Israel. Several of the films are lyrical or philosophical responses to cherished places, moments, and people in rural Vermont and New Hampshire, the area in which he lived, including *If The War Continues* (2012), *Animals Moving to the Sound of Drums* (2013), and* A Leaf is the Sea is a Theater *(2017). His final completed film, *The Crack-Up* (2018) is an excursion through fear and transformation, a meditation on personal and planetary crises shot mainly in Iceland. Raw and sublime, it asserts the vulnerability and uncertainty of our human hold on identity, on life, on time. Jonathan Schwartz (1973-2018) was a much-loved filmmaker, an inspiring teacher, and a whimsical and witty friend. His unique16mm films incorporate handheld gestures, in-camera superimpositions and an acute attention to the transient qualities of the world. Whether shot near his home in Vermont or during cinematic journeys to India, Israel, Turkey or Iceland, his work embodies a devotion to the ephemerality of external worlds and a responsiveness to profound and shifting internal states. Incorporating fragments of poetic texts (by writers such as Cormac McCarthy, Susan Howe, Rajesh Parameswaran, James Tate, F. Scott Fitzgerald) or eschewing words altogether, the films both lacerate and console us as they move between sorrow and delight, despair and exultation. Jonathan studied and worked at Massachusetts College of Art, taught courses at the School of Museum of Fine Arts, Bennington College, and was Associate Professor in the Film Department at Keene state College from 2008-2018. His films have screened nationally and internationally, including at the New York and Ann Arbor Film Festivals, the Brakhage Center Symposium, Images in Toronto, the Austrian Film Museum. A full retrospective was shown at the Punto de Vista Film Festival in Spain in 2019. Program and Notes by Irina Leimbacher, Jonathan’s friend and colleague *___________________________________________________________________* Venue type: *Live, physical event* *Anthology Film Archives* <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=f50cf17822&e=857b71a9cb> 4:45pm ET, 32 Second Avenue, New York, NY *EC: ERNIE GEHR* “Ernie Gehr [makes] cinematic magic, often from the least likely materials. Indeed, Gehr’s most famous film, *SERENE VELOCITY* (1970), in which the filmmaker transforms an institutional hallway in the basement of a classroom building at the State University of New York at Binghamton into a nexus of visual and conceptual energy, merely by adjusting his stationary camera’s zoom lens every four frames for twenty-three minutes, can be read as Gehr’s manifesto. For Gehr the most everyday spaces and the most mundane actions offer the imaginative filmmaker the most interesting potential. No other filmmaker, with the exception of Michael Snow, has so relentlessly and so productively explored the capacity of filmmaking to develop the visual (and auditory) opportunities afforded by the cinematic apparatus itself.” –Scott MacDonald, A CRITICAL CINEMA 5 Brand new prints! *REVERBERATION* (1969, 23 min, 16mm) *SERENE VELOCITY* (1970, 23 min, 16mm, silent) *STILL* (1971, 54 min, 16mm. Preserved by Anthology Film Archives) Total running time: ca. 105 min *___________________________________________________________________* *February 18 - 21* Venue type: *Both physical and online* *Microscope Gallery* <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=a94fd93854&e=857b71a9cb> 7:00PM ET, 525 W. 25th Street, 2nd Floor *YES: TIFFANY JIANG / ALLIE TSUBOTA, IN PERSON & ONLINE* A screening of video works by Tiffany Jiang and by Allie Tsubota, taking place as part of our emerging artist series YES. Works by both artist have appeared at the gallery within the past year, with a video by Jiang's shown in the "Good System Showcase" screening and Tsubota's work in "Too Close: RISD MFA Photography Class of 2023." The event will be both in person and online, with a Q&A with the artists following the screening. The online event will continue through 11pm PT on February 21. Several works in the roughly 55-minute program by Jiang and by Tsubota examine the histories of the assimilation of Asian cultures into American society. Combining archival footage with vivid original video, the works by both artists offer unsparing critiques that address the hypocrisies and often cruel politics of this country, especially when it comes to the perceived “other.” Other works by Jiang investigate themes of loss and grief — including that which is related to the animal world — as well as the psychological disasters occurring within the confines of one’s own family and home. While the additional works on the program by Tsubota underline the “anxiety over Asian/American sexuality,” or expose the fabricated nature of the US official narratives around Hiroshima and the collapse of the Japanese Empire. Both artists will be available for a Q&A following the screening. *Advance in person tickets*: https://microscopegallery.ticketleap.com/yes-tiffany-jiang--allie-tsubota/dates/Feb-18-2024_at_0730PM . *Online tickets:* will be available starting at 6:30pm ET on Feb 18 at the URL above. *TUESDAY, FEBRUARY 20, 2024* Venue type: *Live, physical event* *Anthology Film Archives* <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=cf6db88bd1&e=857b71a9cb> 6:30pm ET, 32 Second Avenue, New York, NY *DIVINE HORSEMEN: THE LIVING GODS OF HAITI* by Maya Deren, Teiji Ito, and Cherel Winett Ito 1954/81, 52 min, 16mm Print courtesy of the Academy Film Archive. With a grant from the Guggenheim Foundation, avant-garde filmmaker Maya Deren traveled to Haiti begin to assemble an anthropological study of Voudun. She gathered the footage over the course of visits to the island between 1947 and 1952. Dance and choreography were foundational to her artistic practice, which also melded them with her experimental filmmaking into a form of “choreocinema.” This significantly shaped the footage she collected for *DIVINE HORSEMAN*, which is particularly attentive to embodied rituals and ceremonies. Early in her career and before beginning this project, Deren had been a secretary to Katherine Dunham – the famed African American dancer, choreographer, and ethnographer who pioneered a participatory cross-cultural interlacing of dance and anthropology in her Haitian and Trinidadian fieldwork. Although Deren continued her research for years, explored initiation into Voudun practices, and published a book of the same name in 1953, she was unable to complete the film. It was posthumously edited by her husband Teiji Ito and his wife Cherel Winett Ito. The resulting work, drawing voiceover commentary from Deren’s book, accentuated the more anthropological aspects of the documentary study. Yet it also retains the hallucinatory, hypnotic, and poetic qualities of Deren’s earlier cinematic experiments. Following the screening, there will be a conversation with Obden Mondésir, Archivist at the CUNY Haitian Studies Institute, and Fabrice Nozier, curator at large whose work focuses on the intersection of film and social justice. *WEDNESDAY, FEBRUARY 21, 2024* Venue type: *Live, physical event* *Experimental Film Society* 7:30pm ET, Duke University, Classroom Building, Screening Room 103, Durham, NC *LEIGHTON PIERCE'S 50 FEET OF STRING* A 12-section film that invites viewers into a more visceral and less verbally analytical state of mind. The "action," small events like the mail arriving, the storm coming, and the grass getting mowed, are secondary to the way of perceiving those events. In many ways this film reaches back into a kind of personal memory one might recall from early childhood. *50 FEET OF STRING* / 1995 / 16mm -> digital / color / sound / 51min "Composed like a piece of music with twelve intertitled segments, or movements. Filmed only in daylight, one has the impression that perhaps these twelve segments not only make up 12 hours of daylight and daily routine, but also act as a clock to reveal the repetition and rhythm found in a set of domestic events—chores, delivery services, play etc. In most segments there is an appearance of the string, pulled taught diagonally through the screen, a recurring graphic motif drawn across the frames." - Laura Coombs *THURSDAY, FEBRUARY 22, 2024* Venue type: *Live, physical event* *Pacific Film Archive* <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=90df7a44fc&e=857b71a9cb> 7PM PST, 2155 Center St, Berkeley, CA 94720 *SKIP NORMAN: ON AFRICA AND IN DC* Upon completion of his degree with the DFFB, Skip Norman undertook a series of projects that extended the concerns of his student work into even more rigorous and intellectual terrain, with a series of essay films that brought a Marxist, structuralist critique to issues of Black disenfranchisement in both the United States and Africa. On Africa, codirected with Joey Gibbs, emerged out of a trip Norman took to West Africa in the late 1960s. Contrasting footage of Berlin—notably the site of the 1884 conference that divided the African continent among European powers—with archival colonial photography and details of its brutality, it later incorporates striking still photographs Norman captured in his travels. His ground-eye view is paired with a voiceover detailing the operation of neocolonial banking structures, mining, and other means of continued exploitation. Initially produced as one film before separated for distribution, Washington D.C. November 1970 and Black Man’s Volunteer Army of Liberation take stock of the nation’s capital early in a new decade. The former contrasts a compendium of notable Black and abolitionist figures and American wars with speakers outside a Black Panther Party registration center, and the latter examines a mutual aid network established in Washington, DC, to support drug users, while deconstructing the issue’s root cause. —Jesse Cumming *FRIDAY, FEBRUARY 23, 2024* Venue type: *Live, physical event* *Anthology Film Archives* <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=75fa81d8ab&e=857b71a9cb> 8:45pm ET, 32 Second Avenue, New York, NY *EC: EGGELING / GRANT / JACOBS & FLEISCHNER* Viking Eggeling *SYMPHONIE DIAGONALE* (1924, 8 min, 35mm) “This early experimental short is one of only two films completed by Swedish-born artist Viking Eggeling, who worked in Paris, Milan, and ultimately Germany. It utilizes paper cutouts, tin foil, and frame-by-frame photography to create a playful show in which cubist, even art deco, circles and lines dance – diagonally – across the black screen.” –FACETS Dwinell Grant *COMPOSITION #2 CONTRATHEMIS* (1941, 5 min, 16mm, silent) “An attempt to develop visual abstract themes and to counterpoint them in a planned, formal composition.” –Dwinell Grant Dwinell Grant *STOP MOTION TESTS* (1942, 3 min, 16mm, silent) A pixillated self-portrait of the filmmaker in his studio. Dwinell Grant *COLOR SEQUENCE* (1943, 3 min, 16mm, silent) “Pure solid-color frames which fade, mutate and flicker. A research into color rhythms and perceptual phenomena.” –William Moritz Ken Jacobs & Bob Fleischner *BLONDE COBRA *(1959-63, 35 min, 16mm-to-35mm blow-up. With Jack Smith. Preserved by Anthology Film Archives with support from The Film Foundation) “...an erratic narrative – no, not really a narrative, it’s only stretched out in time for convenience of delivery. It’s a look in on an exploding life, on a man of imagination suffering pre-fashionable Lower East Side deprivation and consumed with American 1950s, 40s, 30s disgust. Silly, self-pitying, guilt-strictured and yet triumphing – on one level – over the situation with style… enticing us into an absurd moral posture the better to dismiss us with a regal ‘screw off.’” –Ken Jacobs Total running time: ca. 60 min *___________________________________________________________________* *February 23 - March 3* Venue type: *Live, physical event* *Whammy!* <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=5b5ba23e23&e=857b71a9cb> times vary, see below, Whammy! 2514 Sunset Blvd. Los Angeles, CA (Entrance in rear off Rampart!) *MONO NO AWARE IN RESIDENCY @ WHAMMY!* This is a collaboration between Mono No Aware and Whammy! and T.A.P.E. and the 818 Darkroom. *FRI * February 23rd *Presentation on MONO NO AWARE & Screening program <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=f027fb4954&e=857b71a9cb> 7 PM Meet & Greet, 8 PM : Conversation with Founder / Director of MONO Steve Cossman and 16mm projections of commissioned works. *SAT * SUN * February 24-25th * Two-Day intensive Intro to 16MM color filmmaking on Bolex Camera <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=63ba766e55&e=857b71a9cb> 12 - 6 PM An introduction to the Bolex Camera and a traditional Film to Film workflow ending with a projectable color print & scan! *SAT * February 24th* Projection Basics for 16MM Tabletop models <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=a77df97e37&e=857b71a9cb> 7 - 10 PM Learn to set up, load, operate and maintain an EIKI tabletop projector for standard and expanded cinema projections. *SUN * February 25th* Macro Cinematography on 16MM film <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=ac6eb39d60&e=857b71a9cb> 7 - 10 PM Learn to calculate proper exposure compensation and to measure focal distances in order to film in extreme close-up on film! *MON * February 26th* Motion Picture Film as Still Film for Photography <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=8f71d9c535&e=857b71a9cb> 7 - 10 PM Learn how to spool down motion picture film short ends and identify film stock properties, then upcycle them into still film canisters! *TUES * February 27th* Color Photograms on 16mm color print stock <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=7e10a64dad&e=857b71a9cb> 7 - 10 PM Learn to paint with light on motion picture film, develop the film by hand and project. Includes 100 of 16mm film to take home! *WED * February 28th* Test It Yourself ! T.I.Y. Super 8mm camera workshop and hand processing B&W film <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=1806ace4c0&e=857b71a9cb> 7 - 10 PM - Bring a new or used camera to test. We'll cover all functions of the camera, how to clean and fix minor issues, then film a test roll, develop & project! *THURS * February 29th* Desktop Cinema : Print digital images directly onto 16MM film from your home printer <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=edc4462a6d&e=857b71a9cb> 7 - 10 PM - Download, learn and use software that allows for multiple techniques printing large image patterns and videos directly onto film. *FRI * March 1st* BYOB/W - Non-toxic developing workshop & Community mixer <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=2da493e672&e=857b71a9cb> 7 - 10 PM - Learn to mix a non-toxic developer using beer and coffee then develop ANY format still or moving image black and white film ! *SAT * March 2nd* The complete 16MM film to film workflow for B/W film; titles, camera, developing, contact printing & projection <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=cd779e9978&e=857b71a9cb> 11 AM - 8 PM - This is a one day intensive designed to carefully illustrate how one can create, duplicate, archive and exhibit on 16mm film at home. *SUN * March 3rd* Moving Image Phytograms on 16MM film <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=c839175102&e=857b71a9cb> 11 AM - 3 PM - Forage for plant life then learn the technique of rendering detailed chemical traces of plants directly on photographic emulsion. *SUN * March 3rd* FREE COMMUNITY SCREENING PARTY @ WHAMMY! <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=964ec86960&e=857b71a9cb> 7 PM Screening Premiere of ALL the films made through the residency this week. Bring friends and family out to celebrate these new 16mm films. *SATURDAY, FEBRUARY 24, 2024* Venue type: *Live, physical event* *Anthology Film Archives* <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=7df94d72da&e=857b71a9cb> 5pm ET, 32 Second Avenue, New York, NY *EC: JEROME HILL* These 35mm prints are the result of a preservation project undertaken by the Museum of Modern Art. *DEATH IN THE FORENOON* (1934/66, 2 min, 35mm) *CANARIES* (1969, 4 min, 35mm) *FILM PORTRAIT* (1971, 81 min, 35mm) “*FILM PORTRAIT* is an autobiography in the sense that it deals explicitly with Jerome’s most personal life’s relationship to film. It draws on film clips taken in his childhood and his whole childhood involvement in art and life. It comes closest to any kind of filmic answer to Proust. […] *FILM PORTRAIT* is, I believe, the only direct autobiography we have in film. There is Jonas Mekas’s *WALDEN*, which is diary but not autobiography in a strict sense. We have Cocteau’s *BLOOD OF A POET*, *ORPHEUS*, and *TESTAMENT OF ORPHEUS*. One could say that this last is autobiographical, but it is also allusive and poetic; whereas Jerome’s *FILM PORTRAIT* is a very straight attempt to present autobiography on film. Of course, subsequently, James Broughton’s *TESTAMENT* and my own *SINCERITY & DUPLICITY* series of autobiographical films were very much inspired by Jerome’s *FILM PORTRAIT* as well as by Jonas’s *WALDEN*. […] Jerome Hill’s films are great because they are poised on wit and achieve a balance – a gentle, intentional, particularly American balance.” –Stan Brakhage, FILM AT WIT’S END Total running time: ca. 90 min *___________________________________________________________________* *February 24 - 25* Venue type: *Live, physical event* *Anthology Film Archives* <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=5d9b047f9f&e=857b71a9cb> 7:30pm ET, 32 Second Avenue, New York, NY *FIGURES MINUS FACTS: THE FILMS OF MARY HELENA CLARK* In conjunction with her upcoming exhibition at Bridget Donahue Gallery, we host filmmaker Mary Helena Clark for two programs, one featuring a selection of her 16mm and digital works, and the other – selected by Clark – pairing three of her films with thematically related works by Michael Snow, Rosemarie Trockel, and Charlotte Prodger. Clark’s films are constructed – sometimes from found materials, but mostly from Clark’s own footage – in ways that privilege atmosphere, intuitive connections, evocative collisions, or striking juxtapositions, rather than conventional narrative or documentary logic. Though each film has its own visual and aural texture and set of motifs, they are unmistakably the work of a single – and singular – artist, in part because of their highly refined sensitivity to the relationship between sound and image, and above all because of their profoundly hypnotic quality. In Clark’s body of work, “hypnotic” is more than a metaphorically descriptive term. The effect is sometimes achieved indirectly (thanks to the films’ carefully designed and precise soundtracks, or the meditative rhythms of the editing and pacing) and sometimes more explicitly (as a result of her play with direct address to the viewer, her straddling of the line between representation and abstraction, or, in *AND THE SUN FLOWERS*, by devoting the soundtrack to a guided-meditation tape). But one way or the other, Clark’s films induce a response that is uncannily suggestive of hypnosis, drawing the viewer into a paradoxical combination of a dreamlike state and a hyper-sensitivity to sound and image. Under the spell she casts, the world seems charged with mystery, replete with strange, hidden signals or messages – whether embedded in wallpaper, in jet trails, in the behavior of pedestrians, in the slow tilting of a horizon line. Her images (and sounds) are pregnant with a meaning that remains just out of reach, even as the films impart a conviction that, on a subconscious level, that meaning has been made legible. For more info about Clark’s exhibition at Bridget Donahue Gallery, which will be on view from January 25-March 21, 2024, visit: https://www.bridgetdonahue.nyc/exhibitions/mary-helena-clark/ <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=9b272764d8&e=857b71a9cb> In March we’ll present screenings of *A COMMON SEQUENCE*, a new feature film co-directed by Clark and Mike Gibisser. Stay tuned for more details. --- MARY HELENA CLARK PGM 1 - February 24 at 7:30PM <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=a58b54ce48&e=857b71a9cb> --- *AND THE SUN FLOWERS* 2008, 5 min, digital “Within this wallpaper: a floral forest of hidden depth and concealment, the hues and fragrance of another era. Surface decoration holds permeable planes, inner passages. There emerges a hypnotic empyrean flower, a solar fossil, a speaking anemone, of paper, of human muscle, of unknown origin, delivering an unreasonable message of rare tranquility.” –Mark McElhatten *SOUND OVER WATER* 2009, 6 min, 16mm “I wanted to shift the interpretation of a single image – a flock of birds – through fluctuating abstraction. By re-photographing and hand processing the images, the read changes. It’s ambiguously figurative – schools of fish, crashing waves, light on water – and then ends with the series of photographs acting as document, accentuating the gap between actual and perceptual.” –Mary Helena Clark *BY FOOT-CANDLE LIGHT* 2011, 9 min, digital “In the dream we call cinema there is no either, no or. We move from cave to forest to theater and back again, certain only that we are elsewhere, at least until the reel runs out. Here is objective truth, or ‘hypnosis’ by another name.” –Ben Russell *THE PLANT* 2012, 8 min, 16mm-to-digital A spy film, built on the bad geometry of point-of-view shots. *ORPHEUS (OUTTAKES)* 2012, 6 min, 16mm “Using footage from Cocteau’s *ORPHÉE*, Clark optically prints an interstitial space where the ghosts of cinema lurk beyond and within the frames.” –Andrea Picard *THE DRAGON IS THE FRAME* 2014, 14 min, 16mm An experimental detective film made in remembrance: keeping a diary, footnotes of film history, and the puzzle of depression. *FIGURE MINUS FACT* 2020, 13 min, digital “Night, like mourning, remakes space through absence: forms at the threshold of perception heighten sound and touch. When someone dies there is a pull towards the concrete and tangible, but disbelief creates a world of unreliable objects. *FIGURE MINUS FACT* draws and redraws coordinates between spaces, senses, and objects, groping in the dark, desiring to see something that’s not there. Spaces become evidentiary yet deceptive in a subjectless portrait of loss.” –Mary Helena Clark Total running time: ca. 65 min. --- MARY HELENA CLARK PGM 2 - February 25 at 7:30PM <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=2783f738ae&e=857b71a9cb> --- This program features works – both by Clark and by others – that relate to ideas in Clark’s exhibition at Bridget Donahue Gallery. Michael Snow *PUCCINI CONSERVATO* 2008, 10 min, digital “Commissioned to honor Puccini’s 150th birthday, the lighthearted *PUCCINI CONSERVATO* – which observes Snow’s stereo while a track from La Bohème plays – takes a subtle, good-natured jab at recorded music. (When opera is canned, where do you look?)” –Chris Kennedy Mary Helena Clark *THE GLASS NOTE* 2018, 9 min, digital A collage of sound, image, and text explore cinema’s inherent ventriloquism. Across surface and form, the video reflects on voice, embodiment, and fetish through the commingling of sound and image. Rosemarie Trockel *EGG TRYING TO GET WARM* 1994, 4 min, video “...features an egg spinning on a hot plate – Trockel’s sly commentary on the sexist social assumptions implicit in the domestic setting.” –Diane Solway Mary Helena Clark *UNTITLED* 2024, 8 min, digital This work-in-progress is premised as an examination of disgust. Charlotte Prodger *PASSING AS A GREAT GREY OWL* 2017, 6 min, digital Found footage of a female biologist mimicking the call of the male Great Grey Owl is counterposed with video of the legs of women as they urinate in various wildernesses. The collision of these activities in landscape points towards an exuberant queer territoriality. Mary Helena Clark *EXHIBITION* 2022, 19 min, digital The film moves through gallery rooms and archives, compounding multiple biographies into a single imaginary subject. A woman marries the Berlin Wall, stabs a Velásquez painting as an act of protest and longing, declares herself a doorknob, and plumbs the erotics of the Klein bottle. Using citation, appropriation, and museological forms of display, the film is a meditation on the assertion and refusal of subjecthood. Total running time: ca. 60 min *SUNDAY, FEBRUARY 25, 2024* Venue type: *Live, physical event* *Anthology Film Archives* <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=c7c685a0fc&e=857b71a9cb> 5:30pm ET, 32 Second Avenue, New York, NY *EC: HUGO / JACOBS / LEVITT / MAAS* Ian Hugo *BELLS OF ATLANTIS* (1952, 10 min, 16mm. Preserved by the Library of Congress through the Avant-Garde Masters program funded by The Film Foundation and administered by the National Film Preservation Foundation.) A film poem, based on Anaïs Nin’s *HOUSE OF INCEST*, narrated by and featuring Nin. “...inspired by the prologue to my *HOUSE OF INCEST* and the line: ‘I remember my first birth in water.’ The film evoked the watery depths of the lost continent of Atlantis. It is a lyrical journey into prenatal memories, the theme of birth and rebirth from the sea.” –Anaïs Nin Ken Jacobs *LITTLE STABS AT HAPPINESS* (1959-63, 18 min, 16mm. With Jack Smith.) “Material was cut in as it came out of the camera, embarrassing moments intact. 100’ rolls timed well with music on old 78s. I was interested in immediacy, a sense of ease, and an art where suffering was acknowledged but not trivialized with dramatics. Whimsy was our achievement, as well as breaking out of step.” –Ken Jacobs Helen Levitt, Janice Loeb, and James Agee *IN THE STREET* (1952, 12 min, 16mm, b&w. Preserved by Anthology Film Archives.) “Informality is indeed the crucial and virtually definitive quality of *IN THE STREET*; it is even the guiding principle and vision. […] This is the extreme realization of a classic ‘naturalistic’ genre, the German ‘street film,’ where the street was imaged as the arena of the everyday and random, the channel in which the ‘stream of life’ conveniently became microcosmic.” –Ken Kelman, THE ESSENTIAL CINEMA Willard Maas *GEOGRAPHY OF THE BODY* (1943, 7 min, 16mm, b&w. Preserved by Anthology with support from The National Film Preservation Foundation.) “The terrors and splendors of the human body as the undiscovered, mysterious continent.” –Willard Maas Total running time: ca. 55 min. *ONGOING* Venue type: *Virtual, online event* Riverwest Radio <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=cf657805b8&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=eab9d91d7b&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=500212fc65&e=857b71a9cb> . 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> . \ \ \ * --- * / / / Help us raise funds to cover MailChimp fees for the next year! We're looking to raise $375. Any additional funds we raise will go toward future months and years! Please donate at https://gofund.me/6dbcb337 <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=4f38395a42&e=857b71a9cb> and help spread the word / / / * --- * \ \ \ *Copyright © 2020 Flicker, All rights reserved.* Longtime recipient of This Week in Avant Garde Cinema
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