*The PICTURE Show Presents:* *The San Francisco Exploratorium*
Thursday, October 23, 2014 / 7 PM / 226 Green St., Brooklyn / $6 Total Run Time: 49 minutes Since its establishment in 1969, the Exploratorium, self-described as “a museum for art, science, and human perception,” has relied on expansive approaches to science education as an institutional framework. Founder Frank Oppenheimer always intended for his museum to consider art and science in parallel; in 1974 a formal Artist-in-Residence program was begun. This was followed by the establishment in 1982 of a film program, Cinema Arts, founded - and still led - by Liz Keim. Tonight’s program focuses on artist works and experimental cinema from the Cinema Arts collection crafted by makers with whom the Exploratorium shares extended cultivated relationships. Either commissioned by, or part of the museum collection - or simply made by friends of the institution - most of these works are rarely shown outside of the Bay Area. *Light Walk* (Michael Walsh, 1999, 16mm, 4 min.) *Panorama* (Michael Rudnick, 1982, 16mm, 13 min.) *Market Street* (Tomonari Nishikawa, 2005, 16mm, 4 min.) *Light Year *(Paul Clipson, 2013, 16mm, 10 min.) *Vespucciland* (Rock Ross, 1982, 16mm, 3 min.) *Exploratorium *(Jon Boorstin, 1974, video, 15 min *recently restored by the Academy Film Archive through the National Film Preservation Foundation) *The Cinema of Pierre Coulibeuf* Friday, October 24, 2014 / 7 PM / 226 Green St., Brooklyn / $6 Total Run Time: 85 minutes Pierre Coulibeuf has been making films for some twenty years, turning his attention to contemporary artists working within different disciplines, and approaching these artists as collaborators, subjects, and guides, in order to create alternate cinematic forms. Within this fictive space, Coulibeuf presents the logic of painting, photography, literature, and performance art in a cinematic language that is all his own. *Amour Neutre* 2005, 28 minutes « The neuter does not seduce or attract: therein lies its dizzying attraction against which nothing preserves. » Maurice Blanchot. Amour Neutre lies within a cross-disciplinary project that brings together cinema, photography, literature and painting. The work is characterized by a circular, de-centered construction, with a repetition-variation principle extended to all the audiovisual components. This movement gradually perverts the codes of representation. *Pavillion Noir* 2006, 24 minutes Parodic fiction, based on special creations by choreographer Angelin Preljocaj. The seven characters who move in the architecture of Rudy Ricciotti’s Pavillon Noir break shamelessly with the codes of choreography and cinema: contamination, overflow, distance, - fiction tests reality. The film Pavillon noir is part of a cross-disciplinary project that, in this case, brings together architecture, choreography and cinema. The work aims to create a space “on the border” (of artistic disciplines and categories as well as of genres of the moving image), exactly where the individuals and things transform themselves, change their status, their identity. *Magnetic Cinema* 2008, 33 minutes Inspired by Canadian choreographer Benoît Lachambre’s *Lugares Comunes*, the film touches on the sphere of the supernatural. An interplay of multiple energies links the film’s characters to the natural elements—air, water, plant and mineral—leading to strange, instinctual body movements. These characters have an android double, haunted by another, non-human will. They move about in a magnetic space where corporal language takes the place of the verbal. Cinema — as the art of suggestion, the art of dark, obsessive forces — attests to the cyclical nature of existence. Thus do waves live.
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