Does your departiment have a photo/film tech person? If not, a local machine shop could do the minor repairs to the hood and speed dial. Any camera repair person could also tackle this since it isn't really a specifically Beaulieu thing. Good luck, I love the R-16. Ethan Berry
On Wed, Oct 23, 2024 at 1:00 PM <[email protected]> wrote: > Send Frameworks mailing list submissions to > [email protected] > > To subscribe or unsubscribe via the World Wide Web, visit > > http://film-gallery.org/mailman/listinfo/frameworks_film-gallery.org > or, via email, send a message with subject or body 'help' to > [email protected] > > You can reach the person managing the list at > [email protected] > > When replying, please edit your Subject line so it is more specific > than "Re: Contents of Frameworks digest..." > Today's Topics: > > 1. This Week in Avant Garde Cinema: October 19 - 27, 2024 (This Week) > 2. Beaulieu R 16 (Heather Trawick) > 3. Re: Beaulieu R 16 (Super8 Reversal Lab) > 4. exhibition of my screenprinted maps, Th 24 Oct, De Bouwput, > Amsterdam (Eric Theise) > 5. Re: Beaulieu R 16 (Scott Dorsey) > 6. LUX Director role (Charlotte Procter) > > > > ---------- Forwarded message ---------- > From: This Week <[email protected]> > To: [email protected] > Cc: > Bcc: > Date: Tue, 22 Oct 2024 21:14:10 -0400 > Subject: [Frameworks] This Week in Avant Garde Cinema: October 19 - 27, > 2024 > View this email in your browser > <https://mailchi.mp/aad45ea5ab89/this-week-in-avant-garde-cinema-11033691?e=857b71a9cb> > > > > > *This Week [October 19 - 27, 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=9bf5ab0917&e=857b71a9cb> > **** > > ___________________________________________________________________________________ > *sorted by submission deadline* > 10.31.2024 MONO NO AWARE Festival > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=8b0dde9f71&e=857b71a9cb> > 10.31.2024 Laterale Film Festival > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=db464fd53a&e=857b71a9cb> > (First Deadline) > 11.01.2024 Single Frame > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=e71d060d82&e=857b71a9cb> > (Regular Deadline) > 11.01.2024 Experiments in Cinema > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=3088f3c299&e=857b71a9cb> > 11.01.2024 San Diego Underground Film Festival > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=22b2bfa472&e=857b71a9cb> > (Late Deadline) > 11.01.2024 Wide Open Experimental Film Festival > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=f411e0400e&e=857b71a9cb> > (Regular Deadline) > 11.01.2024 Portland Panorama > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=b0da5914bc&e=857b71a9cb> > (Regular Deadline) > 11.08.2024 Coney Island Film Festival > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=5fd84829b0&e=857b71a9cb> > (Regular Deadline) > 11.15.2024 Cosmic Rays Film Festival > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=453e399591&e=857b71a9cb> > 11.30.2024 Interbay Cinema Society Lightpress Grant > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=49e5dc339a&e=857b71a9cb> > 12.15.2024 Strangloscope Experimental International Festival > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=db9e0ff557&e=857b71a9cb> > (Extended Deadline) > 01.26.2025 International Short Film Festival Oberhausen > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=da958d413b&e=857b71a9cb> > (Regular Deadline) > 03.31.2025 FRACTO Experimental Film Encounter > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=8a15976f3a&e=857b71a9cb> > > > *EVENTS* > **** Enter your event announcements here > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=77ae391532&e=857b71a9cb> > **** > > ___________________________________________________________________________________ > *complicated sorting but a true attempt, enjoy!* > > This week's programs (summary): > > - A Synesthete's Atlas > > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=486734b9be&e=857b71a9cb> > [October > 19, Amsterdam, NL] > - Lucifer Rising & Inauguration of The Pleasure Dome > > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=514095bfb1&e=857b71a9cb> > [October > 19, Cambridge, MA] > - Landscape Cinema, Pgm 4 > > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=d6af3cdfc8&e=857b71a9cb> > [October > 19, New York, NY] > - OPTRONICA1 > > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=374b1e9c02&e=857b71a9cb> > [October > 19, San Francisco, CA] > - VISIONS : 23.10.24 : Lisa Truttmann > > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=802d2190f0&e=857b71a9cb> > [October > 23, Montreal, QC, Canada] > - Lives of Performers (Yvonne Rainer In Person!) > > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=076a60e739&e=857b71a9cb> > [October > 23, New York, NY] > - The Gloria of Your Imagination > > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=76a415863c&e=857b71a9cb> > [October > 23, New York, NY] > - Energies: A Moving Image Convening > > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=ee6626cf30&e=857b71a9cb> > [October > 24, New York, NY] > - Stephanie Barber: You Light Up My Life > > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=0f54aab2f9&e=857b71a9cb> > [October > 24, San Francisco, CA] > - Gravitational Lensing: Feminist Film Dialogues, Program 4: > Metaphysics & Magic > > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=f949bcc095&e=857b71a9cb> > [October > 25, Oakland, CA] > - Image Within Another: Short Films By Lisa Truttmann > > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=acd18ed7e7&e=857b71a9cb> > [October > 25, Toronto, ON, Canada] > - Almost Everyone Is Ready: The Cinema of Stephanie Barber > > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=1a138c3d05&e=857b71a9cb> > [October > 26, Portland, OR] > - OPTRONICA2 > > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=c529812e5b&e=857b71a9cb> > [October > 26, San Francisco, CA] > - The Long Conversation > > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=89d4bb2f92&e=857b71a9cb> > [ongoing, online] > - 6x6 Project: Artists' Moving Image Works > > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=e9913c289e&e=857b71a9cb> > [ongoing, > online] > > > *SATURDAY, OCTOBER 19, 2024* Venue type: *Live, physical event* > De Bouwput > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=e3dcbbcc9d&e=857b71a9cb> > Doors: 7:30p, Show: 8:00p Central European Summer Time, > Ferdinand Huyckstraat 74, Amsterdam, Netherlands > *A Synesthete's Atlas: Cartographic Improvisations Between Eric Theise and > Edward Schocker* > Real-time cartographic improvisations using projected, manipulated digital > maps by Eric Theise, in collaboration with Edward Schocker's alternately > tuned instruments and made/found objects. A visual wash of street grids, > land masses, water bodies, and curiosities from built and natural > environments. Orphaned labels. Free-floating symbology. Redlined > reverberations with redefined sonic roadmaps. Saturated colors and the > subtlest of tints. Jittery zooms, pans, and traversals. Glitches from > crowdsourced data. > > *The performance will last 45 minutes and will occasionally introduce > strobing effects that may affect photosensitive viewers.* > > Eric Theise is a San Francisco-based artist and geospatial software > developer. Through video and realtime performance tools he reinvigorates > the perceptual inquiries of structural filmmakers, experimental animators, > the Light and Space movement, and 60's light shows, occasionally injecting > letterform experiments inspired by visual poetry, as new possibilities in > the realm of digital cartography. https://erictheise.com > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=39f11e7103&e=857b71a9cb> > > Edward Schocker is a composer and performer who creates music with made > and found materials and alternate tuning systems. He studied at Mills > College, where he worked with Pauline Oliveros, Alvin Curran, and > independently with Lou Harrison. During his time at Mills he co-founded > Thingamajigs, a Bay Area arts and education organization devoted to > alternate methods of creating sound and art. His works have been performed > at the Berkeley Art Museum, Stanford Lively Arts, Yerba Buena Center for > the Arts, Sacred and Profane Chamber Choir, Firebird Youth Chinese > Orchestra, and International House in Tokyo. As a performer, he has > presented work at festivals around the world, including Internationales > Klangkunstfest in Berlin, Soundwave ((6)), San Francisco International Arts > Festival and Culture Station Seoul 284 in South Korea. > https://www.edwardschocker.com > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=2ea4ae8b64&e=857b71a9cb> > > *___________________________________________________________________* > > Venue type: *Live, physical event* > Anthology Film Archives > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=a0637604d7&e=857b71a9cb> > 7:30pm ET, > 32 Second Avenue, New York, NY > *LANDSCAPE CINEMA, PGM 4* > Ja’Tovia Gary *GIVERNY 1 (NÉGRESSE IMPÉRIALE)* 2017, 6 min, digital > Shot on location in Claude Monet’s garden in Giverny, France, this collage > examines the precarious nature of Black women’s bodily integrity, the > ethics of care as resistance work, and how class position shapes the > contours of violence. Set against the backdrop of the West’s continued > global imperialist campaigns and its historical artistic canon, the film > features a mélange of HD video, archival footage, and analog animation to > assert an oppositional gaze in the re-telling of modern history. > > Hito Steyerl *ABSTRACT* 2012, 7 min, DCP > A reflection on the political economy of the shot/countershot structure, > *ABSTRACT* juxtaposes the Berlin lair of Lockheed Martin (manufacturer of > assault weapons sold by the German government to the Turkish Army) with > images of the bombed-out cave where Andrea Wolf, Steyerl’s friend and > member of the PKK, was killed in 1998. > > Doplgenger *RECORD OF A LANDSCAPE WITHOUT PREHISTORY / SNIMAK PEJZAŽA BEZ > PREDISTORIJE* 2020, 14 min, digital > An epistolary structural film inspired by the poetry of the surrealist and > communist revolutionary Oskar Davičo. Set in a children’s health resort on > the Adriatic coast, it generates a futuristic self-consciousness of a > once-lively socialist landscape, about the desolate historical ruin it will > have become. > > Basma Alsharif *DEEP SLEEP* 2014, 13 min, digital > This film interrelates locations in Malta, Athens, and Gaza, using > auto-hypnosis as a method of land-scaping. A journey, recorded on Super-8mm > film, to the ruins of ancient civilizations embedded in modern civilization > in ruins, to a site ruined beyond evidence of civilization. An invitation > to move from the corporeal self to the cinema space in a collective act of > bi-location that transcends the limits of geographical borders and plays > with the fallibility of memory. > > Eduardo Williams *COULD SEE A PUMA / PUDE VER UN PUMA* 2011, 18 min, > 16mm-to-digital > An accident sends a group of young boys on a journey from the high roofs > of their neighborhood, passing through its destruction, to the deepest part > of the Earth. > > Yuxuan Ethan Wu *WILL YOU SEE THIS* 2024, 11 min, digital > The filmmaker gave his friend a camera. Through intimate exchanges of > voice recordings, she started to encounter herself behind the viewfinder. > Communication begins and ends with images of landscapes. Shadows on the > wall anticipate their projection. > > Total running time: ca. 75 min > > *___________________________________________________________________* > > Venue type: *Live, physical event* > Harvard Film Archive > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=7a270244f4&e=857b71a9cb> > 7pm EST, > 24 Quincy Street, Cambridge, MA > *Lucifer Rising & Inauguration of the Pleasure Dome* > > *Lucifer Rising*, Directed by Kenneth Anger, US, 1972/81, 16mm, color, 30 > min. > Filmed in a London studio and at sacred sites in Egypt, France, Germany > and England, *Lucifer Rising* was one of Anger’s most elaborate > productions. Its assorted cast includes Scottish director Donald Cammell; > Marianne Faithfull; and, briefly, Jimmy Page and Mick Jagger’s brother > Chris as ancient gods engaged in occult ritual. Based on the teachings of > Aleister Crowley, including his interpretation of Lucifer as a bringer of > light, Anger’s film remains starkly beautiful and mesmerizing with > startling edits, featuring an otherworldly score composed in prison by > Manson Family member Bobby Beausoleil. > > *Inauguration of the Pleasure Dome*, Directed by Kenneth Anger, US, > 1954/1966, 16mm, color, 38 min. > Steeped in the mythology of Aleister Crowley, art nouveau–era decadence > and Hollywood artifice, Anger’s astonishing masterpiece unleashes a > constellation of imagined gods choreographed by the filmmaker and inspired > by one of the bohemian “Come as Your Madness” costume galas hosted by > surrealist painter Renate Druks. *Inauguration* was filmed in the > luxurious abode of silent film actor and reclusive impresario Samson De > Brier, who plays many of the self-fashioned deities and demons alongside > fellow artists Anaïs Nin, Curtis Harrington, Marjorie Cameron and Druks, > among others. The film was reworked several times by Anger, once as a > dazzling three-screen version which he then condensed to the “Sacred > Mushroom Edition” (seen here) by brilliantly using superimposition to > create complex mandala-like images in an ecstatic Babylonian descent. > > *___________________________________________________________________* > > Venue type: *Live, physical event* > Other Cinema > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=352195a07b&e=857b71a9cb> > 8pm PT, > ATA Gallery - 992 Valencia ST, San Francisco, CA > *OPTRONICA1* > 3RD HAND COLLECTIVE + TRIGILIO + SCOBIE + BARTEN + > A special feature of every OC calendar, our Live A/V shows proudly > showcase a particularly West Coast cine-practice: Motion Picture pieces > PLUS Sound tracks, respectively, performed in situ and in real-time > conversation! Headlining this first of a program-pair is the > much-loved Frisco ensemble Third Hand, a multi-tasking multi-media crew > organized around, in this case, J Lee’s truly > marvelous Rear-Projection stagings—here in *Operation Theater* they > explore the living mechanics of the human body, as probed by electronic > sensors. Jetting up from San Diego is ex-SF hero-artist Mike Trigilio, > who’s taking a break from his UCSD duties to debut his dazzling > digi-animations, both as single-channel abstractions and as > in-the-moment video-synthesizer performances. Our beatnik homegirl Linda > Scobie also dives in to demonstrate what she’s been up to with > her water-color painting on found 35mm slides, tonight in collaboration > with audio-artists Country Dolls. AND Rebecca Barten graces us with her > presence and the world premiere of her *Amelia*--yes, on that amazing > aviatrix. ATA janitor Craig Baldwin sweeps into the mix > his stereoscopic twin-projection *Double Helix*, after a playful > *potpourri* of optical tricks punctuate the pre-show reception! > > *WEDNESDAY, OCTOBER 23, 2024* Venue type: *Live, physical event* > VISIONS > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=adde8ace5d&e=857b71a9cb> > 7:30pm EST, > la lumière collective [7080, rue Alexandra, #506, Montréal, QC, H2S 3J5] > *VISIONS : 23.10.24 : LISA TRUTTMANN* > [Filmmaker present | Projection HD] > +++ > “Sometimes my film is labeled as a documentary because that makes it > easier to show it at film festivals. Essay film is often still looked at as > a documentary that is more free, poetic, made from a subjective point of > view. For me, however, essay film is a very important genre. It was > essential as a form for the whole concept of the film, that literally > reflects back upon its content.” –Lisa Truttmann > > *ANYTHING CAN HAPPEN* | Lisa Truttmann | 2013 *|* digital *|* 4 mins 13 > *CRITTERS CHORUS, CYCLE 1* | Lisa Truttmann | 2022 | digital | 13 mins 31 > *THE COURSER* | Lisa Truttmann | 2018 | digital | 12 mins 7 > *BABASH* | Lisa Truttmann in collaboration with Behrouz Rae | 2014 | > digital | 9 mins 9 > *6500* | Lisa Truttmann | 2015 | digital | 8 mins 45 > *TABULA RASA* | Lisa Truttmann in collaboration with Elizabeth M. Webb | > 2015 | digital | 7 mins 25 > *MEMORABILIAN (EXCAVATE)* | Lisa Truttmann | 2021 | digital | 3 mins 30 > > *___________________________________________________________________* > > Venue type: *Live, physical event* > Anthology Film Archives > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=3dc64969b7&e=857b71a9cb> > 7pm ET, 32 Second Avenue, New York, NY > *LIVES OF PERFORMERS (Yvonne Rainer in person!)* > by Yvonne Rainer, 1972, 90 min, 16mm-to-DCP > > *SPECIAL EVENT! YVONNE RAINER IN PERSON!* > > Yvonne Rainer’s first feature film, *LIVES OF PERFORMERS* (1972) marked > her departure from the world of dance, which she had been a major part of > redefining over the previous decade. Rainer would go on to make seven > features over the next three decades, before returning to dance in the > early 2000s. > > The film depicts a love triangle whose narrative is spliced with scenes > from a dance rehearsal, loose audio, still photography, and conversations > between Rainer and her performers. The film exemplifies a technique she > identified as “radical juxtapositions” (taking a cue from Susan Sontag) and > would continue to use throughout her film career. In her funny and > fragmentary assemblage, Rainer both deconstructs tropes of melodramatic > filmmaking and portrays what goes on behind the scenes in contemporary > dance. > > The feature film will be paired with a short excerpt of Mikhail > Baryshnikov dancing ‘Valda’s Solo’ – originally performed in *LIVES OF > PERFORMERS*. The clip comes from a performance of “After Many a Summer > Dies the Swan” (2000), a choreography by Rainer following her return to > dance. > > The screening will be introduced by Marko Gluhaich, associate editor of > frieze magazine, and will be followed by a conversation between Yvonne > Rainer and curator Charles Aubin. frieze magazine’s October issue features > an essay written by Aubin celebrating Rainer’s second choreographic career > in a special section devoted to dance. > > Co-hosted by frieze magazine. > > *___________________________________________________________________* > > Venue type: *Live, physical event* > individual filmmaker @ Science New Wave Festival > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=db9d067933&e=857b71a9cb> > 7pm ET, > Cinema Village 22 East 12th street, New York, 10003 > *The Gloria of Your Imagination* > Writing, Direct-on-film, Editing, Sound Design by Jennifer Reeves, 97 > minutes, Dual-Projection: Digital 2K sound and silent 16mm (site-specific > configuration) > > In 1964 Gloria, a 30-year-old divorced single mother, was filmed in > psychotherapy sessions with three imminent psychologists. Reeves recuts and > remixes the original footage with superimposed home movies, newsreels, > propaganda and educational films of the time into a kaleidoscopic montage > that lays bare the unspoken threads of influence in Gloria’s struggle. > > *THURSDAY, OCTOBER 24, 2024* Venue type: *Live, physical event* > Anthology Film Archives > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=310ed2467c&e=857b71a9cb> > 7pm ET, > 32 Second Avenue, New York, NY > *ENERGIES: A MOVING IMAGE CONVENING* > On the occasion of “Energies” at Swiss Institute, this film program > reflects on the exhibition’s concern with addressing ecological affordances > and effects, social formations, and political arrangements attached to > energy past and present. Presenting a diversity of aesthetic approaches and > historical positions, the films explore the politics of energy production > in various global contexts and consider community organizing responses to > socially inequitable, extractivist infrastructures. > > “Energies” is on view at Swiss Institute (38 St Marks Pl, New York, NY > 10003) from September 11, 2024 to January 5, 2025. For more info visit: > https://www.swissinstitute.net/ > > “Energies: A Moving Image Convening” is made possible in part through > support from the Terra Foundation for American Art. > > Rosa Barba *THEY SHINE* (2007, 4 min, 35mm) > Nina Canell & Robin Watkins *ENERGY BUDGET* (2024, 8 min, digital) > Oleksiy Radynski *LANDSLIDE* (2016, 29 min, digital) > Monira Al Qadiri *CRUDE EYE* (2022, 10 min, digital) > Carolina Caycedo *A GENTE RIO (WE RIVER)* (2016, 29 min, digital) > Allora & Calzadilla *THE NIGHT WE BECAME PEOPLE AGAIN* (2017, 15 min, > digital) > > Total running time: ca. 100 min > > *___________________________________________________________________* > > Venue type: *Live, physical event* > San Francisco Cinematheque > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=f3e9fe3537&e=857b71a9cb> > 7:30 pm PDT, > THE LAB, 2948 16th Street San Francisco, CA 94103 > *Stephanie Barber: You Light Up My Life* > Stephanie Barber In Person > > I absolutely think about the audience when writing and scheming a piece of > work. I think about what I can do to them. What I can poke or press, and I > have epic and heartbreaking imaginings of what they will do to me in turn. > This awareness of an actual and yet, not actual audience is, for me, the > most profound element of art production and the most precise metaphor for > existential terror. (Stephanie Barber interviewed by Joanna Raczynska, > 2018; published by INCITE Journal of Experimental Media) > > Working now for three decades, prolific filmmaker and language artist > Stephanie Barber has developed a vastly intricate body of work—encompassing > film, video, performance, poetry and music—of a nearly unprecedented scope > and range. Tending toward the miniature, Barber’s disciplined, hermetic and > haiku-like work fuses freeform formalism with inventive explorations of > language, narrativity and presence, pleasurably perplexing > viewer/participants with conundra of creative wordplay and digressive > philosophy while probing the porous boundaries between performativity, > sincerity, intellect and emotional affect. Barber appears this evening in > person to present a career-spanning cumulus of ten works 1997–2023 ranging > from ‘90s era optically-printed films to recent poetic video essays and > sculptural works including long-unseen classics and recent favorites. > (Steve Polta) > > for a long time i moved with the awareness of one so alone that such > aloneness, the pure spectacular nature of such splendid aloneness, must be > accompanied by a viewer. a listener. a reader. when and where this > reception would occur has yet to be understood but it became clear that > documents must be created. documents of attempts at communication. > documents of failed communication. communication, reliant as it is on > exchange, is so silent when leaving a body alone. more than silent it is > not. not a thing, not a sound, not a sight until seen. heard. > > so it is you that makes my art. you with all the sad and so funny jokes. > you with all the ludic tragedy of death rushing towards us unmetered. you > with soul and mind carved ready. you with words shifty, right and loyal. > thank you. (Stephanie Barber) > > *little present for my friend columbus the explorer* (1999) by Stephanie > Barber; 16mm, color, sound, 4 minutes, print from Canyon Cinema > *HEALING* (2012) by Stephanie Barber; digital video, b&w, sound, 12 > minutes, exhibition file from the maker > *Another Horizon* (2020) by Stephanie Barber; 16mm, color, sound, 9 > minutes, print from Canyon Cinema > *flower, the boy, the librarian* (1997) by Stephanie Barber; 16mm, color, > sound, 4 minutes, print from Canyon Cinema > *Catalog* (2005) by Stephanie Barber; 16mm, color, sound, 11 minutes, > print from Canyon Cinema > *shipfilm* (1998) by Stephanie Barber; 16mm, color, sound, 3 minutes, > print from Canyon Cinema > *letters, notes* (1997) by Stephanie Barber; 16mm, color, sound, 7 > minutes, print from Canyon Cinema > *3 Peonies* (2017) by Stephanie Barber; 16mm, color, sound, 3 minutes, > print from Canyon Cinema > *The Enlightenment *(2023) by Stephanie Barber; 16mm, color, sound, 13 > minutes, exhibition file from the maker > *Oh My Homeland* (2019) by Stephanie Barber; 16mm, color, sound, 4 > minutes, print from Canyon Cinema > > *FRIDAY, OCTOBER 25, 2024* Venue type: *Live, physical event* > Shapeshifters Cinema > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=7462f08968&e=857b71a9cb> > 7pm PST, > 567 5th St, Oakland, CA > *Gravitational Lensing: Feminist Film Dialogues, Program 4: Metaphysics & > Magic* > Gravitational Lensing: Feminist Film Dialogues is a curated series > dedicated to exploring the visions, voices, concerns and lineage of women, > non-binary, genderqueer and trans filmmakers through public film > screenings, workshops, conversations and presentations. > > Using both poetic and critical lenses, the films in this program examine > the different ways we use symbolism, ritual and mythology as tools for > engaging with the unknown in the attempt to understand the mysteries that > surround us. > > Program 4: Metaphysics & Magic includes: *Pwdre Ser the rot of stars* (2018, > 16mm shown on DV) by Charlotte Pryce, *Them Oracles* (2012, 16mm film) by > Alee Peoples, *Onikuma* (2016, DV) by Alessia Lupo Cecchet, *Flor > Serpiente* (2014, 16mm film) by Rosario Sotelo, *Emmett Street: A Video > Poem* (2021, Super-8 shown on DV) by Krista Leigh Steinke, *Somewhere > Between Right and Wrong There is a Garden* (2023, DV) by Yin-Ju Chen, *Tectum > Argenti* (2022, 16mm film shown on DV) by Joanna Byrne, *EPOS (Chapter 5) > *(2022, DV) Lovage Sharrock, *Moon Moth Bed* (2023, DV) by Virginia L. > Montgomery, *Golden Dragon Temple* (2013, DV) by Lingyun Zheng, *Cycladic > Thermometer* (2023, 16mm film shown on DV) by Kate Dollenmeyer, *Smudge > Series: Indabaabasaan, Soda Lake and Boozhoo Jiibayag* (2013, 16mm film) > by Eve-Lauryn LaFountain and *...These Blazeing Starrs!* by Deborah > Stratman (2011, 16mm film). > > *___________________________________________________________________* > > Venue type: *Live, physical event* > PIX FILM Collective > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=e89253920d&e=857b71a9cb> > 7pm ET, > PIX FILM Gallery 1411 Dufferin Street Unit C, Toronto, ON, Canada > *Image Within Another: Short Films by Lisa Truttmann* > Lisa Truttman in person from Vienna > > *Golden Boys*, 4:09 min, 2009 > *Anything Can Happen*, 4:13 min, 2013 > *Water Fields*, 3:31 min, 2013 > *Babash*, in collaboration with Behrouz Raie, 9:09 min, 2014 > *6500*, 8:45 min, 2015 > *The Courser*, 12:07 min, 2018 > *Characters*, 16 min, 2020 > *Critters Chorus, Cycle 1*, 13:31 min, 2022 > *Memorabilien (Excavate)*, excerpt, 3:30 min, 2021 > Total Running Time: 74:55 min. > > Lisa Truttmann (born 1983) is an artist and filmmaker based in Vienna. In > her artistic practice, she combines documentary, essayistic, and poetic > methods to investigate the sociologies and ecologies of landscapes and > architectures. She is interested in relationships between human and > non-human agents as well as in their spaces of interaction. Truttmann > understands her subjective view as an approximation and considers her > artistic process as an attempt to playfully comprehend complex systems. > Associatively she intertwines collected material in image, sound and text > as well as objects in installations and rhythmic montages. Oscillating > between cinema and exhibition space, her works always reflect the language > of their medium. Lisa Truttmann studied Transmedia Art at the University of > Applied Arts Vienna and Film/Video at the California Institute of the Arts, > where she made her first essayistic feature film Tarpaulins (2017). > Truttmann currently works on her second feature film.Her films and > installations have been shown internationally at film festivals and > exhibitions, including Edinburgh IFF, CPH:DOX Copenhagen, New York FF, > Images Festival Toronto, Ann Arbor FF, Bertha DocHouse London, Alianza > Francesa Buenos Aires, Viennale, Diagonale, Kunsthalle Wien, KHM Wien, MAK > Wien, and Kunstsammlung NRW. She received numerous awards and scholarships, > such as the Kunsthalle Wien Prize, the Fulbright Scholarship, the Austrian > State Scholarship of the Federal Ministry BMKÖS, the Advancement Award of > the City of Vienna, and the Recognition Award for Media Art of the State of > Lower Austria. Lisa Truttmann has been teaching in the field of artistic > moving images since 2017, including at the University of Arts Linz and at > the University of Applied Arts Vienna. She has been a member of the Golden > Pixel Cooperative since 2018. > > *SATURDAY, OCTOBER 26, 2024* Venue type: *Live, physical event* > at Portland Institute of Contemporary Art > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=5cac41da8d&e=857b71a9cb> > 7pm PDT, > PICA Annex, 15 NE Hancock Street, Portland, OR 97212 > *Cinema Project presents: Almost Everyone Is Ready: The Cinema of > Stephanie Barber* > Stephanie Barber In Person > > Stephanie Barber makes films and videos in which verbal communication > often takes top billing, but they could also be watched for their elegant > imagery alone. She is continually drawing our focus, with the intense work > of her art, to the tenderest spots mostly out of reach. In *Another > Horizon*, a voodoo priest and priestess speak of death, while behind > their voices, a 36-foot scrolling collage of earth and sky slowly unwinds, > with a razor-scratched line connecting or separating them. Barber writes, > “the horizon, where the sky and the earth meet, is always elsewhere, a > promised place where these two elements come together. A metaphor, an > orienting, a promise of transition, change, transcendence. A place where > the corporeal and spiritual meet, or are cleaved apart.” > > For her project *jhana and the rats of james olds*, Barber made 31 films > in as many days in a museum gallery that was open to visitors. She says, "I > am thinking about the emphasis given to product over production, or display > over creation. The piece is a video screening and an installation and a > performance—a spiritual obeisance, an athletic braggadocio, a consideration > of marxist theories of production (with the assembly line so lovingly lit.) > It is a funny game for me to play, an exercise in concentration, discipline > and focus, an extension of my everyday.“ > > “Looking back on the resurgence of experimental cinema at the turn of the > millennium, it’s clear that one of the most significant artists to emerge > from that moment was Stephanie Barber…” (Light Industry). > > *letters, notes* 1997, 16mm, 7 mins > *Another Horizon *2020, 16mm, 9 mins > *3 peonies* 2017, 16mm, 3 mins > *Catalog* 2005, 16mm, 11 mins > *Total Power, dead dead dead* 2005, 16mm, 3 mins > *shipfilm* 1998, 16mm, 4 mins > *Palace of Pope* 2018, HD 12 min > *dwarfs the sea*, 2007, DV, 5min > *SOME ANIMALS *2011, digital, 2.30 min > *DEGAS *2011, digital, 1 min > *FOR W.G. SEBALD (TRAVEL WITHOUT TRAVEL)* 2011, digital, 4.5 min > *oh my homeland*, 2019, 16mm, 4 mins > > Stephanie Barber is a writer and artist who has created a poetic, > conceptual, and philosophical body of work in a variety of media, often > literary/visual hybrids that dissolve boundaries between narrative, essay, > and dialectic. Her work considers the basic philosophical questions of > human and non-human existence (its morbidity, profundity, and banality) > with play and humor. > > Barber’s films and videos have screened nationally and internationally in > solo and group shows at MOMA, NY; The Tate Modern, London; The Whitney > Museum of American Art, NY; The Paris Cinematheque; The Walker Art Center, > MN; MOCA Los Angeles, The Wexner Center for Art, OH, among other galleries, > museums, and festivals. Her videos are distributed by Video Data Bank and > her films can be found at Canyon Cinema. Publishing Genius Press published > her books Night Moves and these here separated... in 2013 and 2010 > respectively. CTRL+P published a collection of her haiku, Status Update > Vol. 1 in 2019 and her full-length play Trial in the Woods was published by > Plays Inverse in 2021 with a second pressing in 2022. Barber is currently > Department Head of Film and Digital Cinema at Moore College of Art and > Design in Philadelphia, PA. She is also a resident artist at The Mt. Royal > MFA for Interdisciplinary Art at MICA in Baltimore, MD, and a teaching > artist for The Milton Avery Graduate School of the Arts at Bard College and > Image Text Ithaca. > > James Glisson at Artforum wrote, "...the films of Stephanie Barber engage > universal themes—time, death, memory, forgetting, frustration." and Ed > Halter at Afterall Online wrote, "Barber...approaches cinema as a > philosophical toy, intimately small, in which the play itself generates > both pleasure and insight." > > *___________________________________________________________________* > > Venue type: *Live, physical event* > Other Cinema > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=9892f3c132&e=857b71a9cb> > 8pm PT, > ATA Gallery - 992 Valencia ST, San Francisco, CA > *OPTRONICA2* > Spelletich + 99 Hooker + Daniel + > Our second live-cinema screening is shaped by its proximity to Election > Day, so that Kal Spelletich can more effectively conjure his curse on > candidate D.Trump and his Nazi posse! ProPublica hero-reporter AC > Thompson and sound artist Mansur Nurullah aid Kal’s *American Aria* live > remix of never-seen Jan. 6th footage, towards an energized condemnation of > the QAnon election-deniers. Co-billed is that nationally-touring > video-poet 99 Hooker, a welcome member of the OC family and an > electronic artiste whose work > approaches stream-of-thought image-generation. AND also here is none other > than Bill Daniel, with one of his 16mm double-projection collabs with local > musicians. Tommy Becker, too, makes the scene, with the world premiere of > his *Stars Bright on a Blue Field*, while long-time ATA fave Mike > Kavanagh brings in his desperately needed critique of AI. PLUS Russ > Forster on Banjo, Pussy Riot, Indecline, Vic Berger, and a hilarious > battery of anti-Trump punches. > > *ONGOING* > > Venue type: *Virtual, online event* > Riverwest Radio > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=9613b7c389&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=6b57a43660&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=a8a8aee496&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> > . > > > > > *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 > > > > > > ---------- Forwarded message ---------- > From: Heather Trawick <[email protected]> > To: Experimental Film Discussion List <[email protected]> > Cc: > Bcc: > Date: Tue, 22 Oct 2024 20:12:39 -0700 > Subject: [Frameworks] Beaulieu R 16 > Hello, > > I'm wondering if anyone can recommend a repair service for a Beaulieu R16? > Some of my students dropped the camera and there is a small dent in the > lens hood where the cap winds in, so it can no longer screw in, and the pin > for the frame rate dial is bent. The camera, thankfully, seems to run well > after a registration test. DuAll, where I purchased the camera from, is > backlogged for months on repairs. Any other suggestions in North America or > even internationally would be appreciated. > > Thanks, > > Heather > > > > > ---------- Forwarded message ---------- > From: Super8 Reversal Lab <[email protected]> > To: Experimental Film Discussion List <[email protected]> > Cc: > Bcc: > Date: Wed, 23 Oct 2024 07:33:35 +0000 > Subject: Re: [Frameworks] Beaulieu R 16 > > Hello Heather, > > In Europe this man is the Beaulieu specialist, he is highly recommended. > > Bjorn Andersson > Vidholmsbackarna 54 > Hässelby - Stockholm 165 72 > Sweden > [email protected] > +46707905647 > > Good luck, > > Frank > Den Haag > > > ------------------------------ > *Van:* Frameworks <[email protected]> namens Heather > Trawick <[email protected]> > *Verzonden:* woensdag 23 oktober 2024 05:12 > *Aan:* Experimental Film Discussion List <[email protected]> > *Onderwerp:* [Frameworks] Beaulieu R 16 > > Hello, > > I'm wondering if anyone can recommend a repair service for a Beaulieu R16? > Some of my students dropped the camera and there is a small dent in the > lens hood where the cap winds in, so it can no longer screw in, and the pin > for the frame rate dial is bent. The camera, thankfully, seems to run well > after a registration test. DuAll, where I purchased the camera from, is > backlogged for months on repairs. Any other suggestions in North America or > even internationally would be appreciated. > > Thanks, > > Heather > -- > Frameworks mailing list > [email protected] > https://mail.film-gallery.org/mailman/listinfo/frameworks_film-gallery.org > > > > ---------- Forwarded message ---------- > From: Eric Theise <[email protected]> > To: Experimental Film Discussion List <[email protected]> > Cc: > Bcc: > Date: Wed, 23 Oct 2024 11:26:46 +0200 > Subject: [Frameworks] exhibition of my screenprinted maps, Th 24 Oct, De > Bouwput, Amsterdam > I wasn't going to post about this because it's not exactly moving image > work but since the "This Week" email went out four days after my Amsterdam > performance, why not? > > I've been in residence at AGA LAB here in Amsterdam for the better part of > two months. During that time I've created a portfolio/atlas of maps that > take favorite locations and color configurations I use in my *A > Synesthete's Atlas* performances as a jumping off point. I've taken > advantage of the screenprinting process to use metallic and dayglo inks, as > well as out--of-gamut colored papers and other substrates. Thirteen maps, > plus one, in editions of about 20 (I haven't trimmed, quality checked, or > signed them yet). > > There are five in this Instagram post: > https://www.instagram.com/p/DBa_8jRAMgI/ > > I'll be exhibiting all of them at De Bouwput alongside my fellow Artists > in Residence, Clara Arámburo and Nina Djekić. > > Thu, 24 Oct 20024 > 17:00-19:00 > De Bouwput > Ferdinand Huyckstraat 74 > Amsterdam > > Almost forgot: I'll unobtrusively project previously unscreened footage of *If > Map #5*, my 10 minute, map-based animation that looped atop San > Francisco's Salesforce Tower throughout February of this year. So there > will be moving image work after all. > > Eric > > > > > > ---------- Forwarded message ---------- > From: Scott Dorsey <[email protected]> > To: [email protected] > Cc: > Bcc: > Date: Wed, 23 Oct 2024 09:15:34 -0400 > Subject: Re: [Frameworks] Beaulieu R 16 > Bjorn is absolutely brilliant and does beautiful work and if you want a > general PM and once-over on your camera or you have a serious problem > with your camera he is the guy to call. > > Butit sounds like you have some pretty minor problems that I'd expect > an on-site tech to be able to handle. If you don't have someone on-site > who is willing to try and straighten damaged threads, I can suggest that > KEH Camera in Atlanta has done good work on stuff like that, but that any > good camera technician should not have a problem. > --scott > > > > > > > ---------- Forwarded message ---------- > From: Charlotte Procter <[email protected]> > To: [email protected] > Cc: > Bcc: > Date: Wed, 23 Oct 2024 14:32:46 +0100 > Subject: [Frameworks] LUX Director role > > Hi everyone, > > Many of you may have already seen this, but I wanted to share the > opportunity to apply for the position of Director at LUX. You can find more > details below via our website: lux.org.uk/about/jobs. > > The job pack is available here: LUX-Director-Application-Pack.pdf > <#m_1017950276561244869_>. > > If you have any questions, please email: [email protected]. > Deadline: *18th November, 5pm* (UK). > > Many thanks and best regards, > Charlotte > -- > > Charlotte Procter > Collection & Archive Director > LUX > Waterlow Park Centre > Dartmouth Park Hill > London > N19 5JF > email: [email protected] > web: www.lux.org.uk > > ------------------------------- > > *DISTRIBUTION *LUX Distribution Ordering Information > <https://lux.org.uk/collection/how-to-order/> > *NEWS* Subscribe to LUX newsletters > <https://us1.list-manage.com/subscribe?u=2a1edb258ab052f1d16be0934&id=8c7f3fa21c> > *SOCIAL* LUX on Twitter <https://twitter.com/LUXmovingimage> / LUX on > Instagram <http://www.instagram.com/luxmovingimage> > > ------------------------------- > > LUX is a registered charity and a not-for-profit company limited by > guarantee. > Registered Address: LUX, Waterlow Park Centre, Dartmouth Park Hill, London > N19 5JF, UK > Glasgow Office: LUX Scotland, 350 Sauchiehall Street, Glasgow, G2 3JD > Company Registered in England 04421812 | Registered Charity in England > 1094936 | Scottish Charity Register SC049324 | VAT Number GB 795906373 > | EORI number GB795906373000 > -- > -- > Frameworks mailing list > [email protected] > https://mail.film-gallery.org/mailman/listinfo/frameworks_film-gallery.org >
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