This week [January 3 - 11, 2015] in avant garde cinema
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Duke University (Durham, NC 27708; Deadline: January 16, 2015)
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Videoex festival (Zürich; Deadline: January 31, 2015)
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ACRE TV (Online; Deadline: February 01, 2015)
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THIS WEEK'S PROGRAMS (SUMMARY):
==============================
* The Chicago 8 Small Gauge Film Festival Presents: Super 8 Films By Bay
Area Film Collective- Silt [January 6, Chicago, Illinois]
* Perfect Fantasy: Film, video, &Amp;
Performance By Joshua Gen Solondz [January 7, Baltimore, Maryland 21218]
* Avatar and Aether: visionary Women and the
Cinematic Occult [January 8, Los Angeles, California]
* Space Material / Immaterial Place: Jeremy
Moss In Person [January 10, Austin, TX]
* A Series of Mysteries: the 52nd Ann Arbor Film Festival Traveling Tour,
Digital Program A [January 11, Los Angeles, California]
* Shapeshifters Cinema Presents Keith and Geoff Evans [January 11, Oakland]
Events are sorted by CITY within each DATE.
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TUESDAY, JANUARY 6, 2015
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1/6
Chicago, Illinois: The Chicago 8 Small Gauge Film Festival
Chicago8fest.org
6 PM, Museum of Contemporary Art Chicago. 220 E. Chicago Ave.
THE CHICAGO 8 SMALL GAUGE FILM FESTIVAL PRESENTS: SUPER 8 FILMS BY BAY
AREA FILM COLLECTIVE- SILT
The Chicago 8 Small Gauge Film Festival Presents: Super 8 films by Bay
Area Film Collective-SILT: Keith Evans, Jeff Warrin, & Christian
Farrell. Keith Evans In Person! SILT is a collaborative trio that had
been working in the San Francisco Bay Area since 1990. They considered
themselves landscape artists whose uniquely organic work reflects an
intimate relationship with both the film material and the animate
landscapes they investigate. Silt was allied with the tradition of
expanded cinema that centered around an attention to the ephemeral
nature of projection and a dedication to the handcrafted image. In their
films, the film emulsion itself is treated as an organic process. It is
a chemical landscape with a topographical surface, where the traces of
plant material, snake moltings, insect wings, and other elements are
fossilized with an actual dimensionality. The cinema of silt has pointed
away from traditional editing towards a combinatory choreography and led
to live performances which extend the human touch into the projection
apparatus. Their performances were unique events that create intimate
environments in which to examine relationships between place, space, and
time. Elements of these performances metamorphosed into installations
and installation performances, where cinematic, often motile projection
environments confront the viewer/participant with alternate modalities.
Being at a silt event was akin to a journey into different shifting
scales of matter, wherein one's body can directly approach and formulate
questions about light, images and the world around us. ARTISTS'
STATEMENT- We consider ourselves part of a tradition of paranaturalists,
drawing nourishment from the hermetic sciences, taoist landscape
painting, as well as goethean science, naturalist observation techniques
and the phenomenologists, amongst others. The paranaturalist methodology
employs holistic, integral, and receptive approaches to scientific
inquiry, intersecting poetic fact and imagination. Our work has at its
core an extended idea of cinema; It sculpts with time, becoming an
archaic, cinematic extension of the body and of the earth.
Paranaturalist cinematic-systems propose alternate technological
histories, neither nostalgic nor utopian. Collaboration and collective
intent link us to each other, the perceptual continuum of our bodies,
and the phenomena in which we find ourselves immersed. We use light and
sound as field-notes, creating a context from which the landscape can
itself speak directly to the body with sensual and sensible patterns.
Our methodological inquiry has a strong affinity with nineteenth-century
landscape painting: where social responsibility is primarily expressed
in drawing attention to a potential spiritual renewal in the wild.
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WEDNESDAY, JANUARY 7, 2015
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1/7
Baltimore, Maryland 21218: The Crown
8:00pm - 11:00pm, 1910 N Charles St
PERFECT FANTASY: FILM, VIDEO, & PERFORMANCE BY JOSHUA GEN SOLONDZ
A screening and performance by Joshua Gen Solondz. His work is often
intense and tests the limits of himself, the medium, and the viewer.
Warning: this event will feature strobing, potentially upsetting
violence, and Godzilla. 16mm FILMS & VIDEOS: -Perfect Fantasy (Car
Movie) - Work in Progress -Prisoner's Cinema -Burning Star -Keratin
Reserve -Against Landscape -It's Not a Prison (If You Never Try the
Door) -Couchsurferz: Carlos Surf -Outsourcing + This is How We Talk, a
brand new audiovisual performance collaboratively conceived by Josh
& Kate Ewald Ye$ for the traveler! 2-for-1 drinks. Blue Room.
Followed by a vinyl DJ set by James Ford.
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THURSDAY, JANUARY 8, 2015
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1/8
Los Angeles, California: Filmforum
http://www.lafilmforum.org/
7:00 pm, MOCA, 250 South Grand Avenue
AVATAR AND AETHER: VISIONARY WOMEN AND THE CINEMATIC OCCULT
Coinciding with the exhibition Cameron: Songs for the Witch Woman, Los
Angeles Filmforum at MOCA presents a program of short films by visionary
women that explore heightened states of observation and consciousness,
transformation and transcendence, and the ecstasy of experience.
Featuring a diverse array of works spanning nearly 60 years of
filmmaking, all the films in this program are presented in their
original 16mm film format, which is perhaps the most appropriate medium
for paying tribute to Cameron: full of texture, nuance, mystery,
intimacy, and beauty, not to mention a modicum of obscurity. INFO (213)
621- 1745 or [email protected]
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SATURDAY, JANUARY 10, 2015
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1/10
Austin, TX: Experimental Response Cinema
http://ercatx.org
8pm, GrayDUCK Gallery, 2213 East Cesar Chavez Street
SPACE MATERIAL / IMMATERIAL PLACE: JEREMY MOSS IN PERSON
Filmmaker Jeremy Moss, whose work has screened around the globe from the
Crossroads Film Festival in San Francisco to the Arkipel International
Documentary and Experimental Film Festival in Indonesia, brings to
Austin a 60-minute program of recent moving image work. In the summer of
2011, Moss began expanding beyond his narrative training to fully
explore expressionistic structural tendencies and its application to
place and the moving body, creating the Super8 surrealist documentary
THOSE INESCAPABLE SLIVERS OF CELLULOID, the abstract hand-made 16mm
films produced at the Independent Imaging Retreat, THE SIGHT and
CICATRIX, the dance for camera pieces in collaboration with
choreographer Pamela Vail, (UN)TETHERED, CHROMA, and THAT DIZZYING
CREST, and the essay film in collaboration with writer Erik Anderson,
THE BLUE RECORD. As a program, these works cohesively embody an
immersive optical and sonic experience reveling in cinema's capacity for
both meditative expression and the rigors of formal experimentation.
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SUNDAY, JANUARY 11, 2015
------------------------
1/11
Los Angeles, California: Filmforum
http://www.lafilmforum.org/
7:30 pm, Spielberg Theatre at the Egyptian, 6712 Hollywood Blvd.
A SERIES OF MYSTERIES: THE 52ND ANN ARBOR FILM FESTIVAL TRAVELING TOUR,
DIGITAL PROGRAM A
Filmforum dives into its 40th anniversary year with our second show of
the week, highlights of contemporary works from around the world. The
Ann Arbor Film Festival Traveling Tour gives Los Angeles audiences a
chance to see the best new experimental films and digital works. Program
A features nine films including Mystery, the short narrative by Spanish
filmmaker (and AAFF favorite) Chema García Ibarra; Cut, the most recent
film by German artists Matthias Muller and Christoph Girardet; Michael
Robinson's The Dark, Krystle, which brilliantly repurposes the 80s
television program Dynasty; Broken Tongue, Mónica Savirón's animated
collaboration with poet Tracie Morris; Kevin Jerome Everson's Fe26, a
portrait of two men scrapping copper in Cleveland (52 AAFF Jury Award);
Gowanus Canal, Sarah Christman's beautifully abstracted depiction of one
of the most contaminated urban waterways in the United States (52 AAFF
Gil Omenn Art & Science Award); Mountain in Shadow, Lois Patiño's
sublime film of skiers set in immense mountainous landscapes; the
ecstatic, recursive animation Division by Dutch artist Johan Rijpma (52
AAFF Barbara Aronofsky Latham Award for Emerging Experimental Video
Artist); and 52 AAFF audience favorite Suchy Pion (Dry Standpipe) by
Polish artist Wojciech Ba;kowski, a collage of home videos condensed
into blocks of abstraction with a wry, melancholy confessional
narration. Tickets: $10 general, $6 students/seniors; free for Filmforum
members. Available by credit card in advance from Brown Paper Tickets at
http://bpt.me/1092995 or at the door.
1/11
Oakland: Shapeshifters Cinema
http://shapeshifterscinema.com/
8-9PM, Temescal Art Center, 511 48th St.
SHAPESHIFTERS CINEMA PRESENTS KEITH AND GEOFF EVANS
Keith Evans is an activist who has been working and performing in the
Bay Area for 25 years. His artworks are translation systems, fascination
devices, extra-cinematic experiences that reveal the phenomenon and the
idea of cinema as an ecology and system, one that is unfixed and
accreting, neither nostalgic nor utopian. Collaborator Geoff Evans is an
Oaklander who has been involved in many musical projects for 25 years.
"the mantle degassed our water" is another in a series of Evans'
para-naturalist cinema systems--an arrangement of near-working and
functioning pieces of electronic equipment and formats including
super-8, video arrays, record players, 3/4" tape md cassettes casio and
guitar as well as objects found in field research used to explore the
para-cinamatic. Together they are a device and a hazard of set-ups that
embraces the mechanical, mercurial and unique perceptual relationships
between these things; their relationships in space as well as on the
screen. "the mantle degassed our water" is evocative of the elemental
transformative forces at work inside the earth. This electromagnetic
device becomes a para-cinematic journey to the underworld where, locked
within rare and highly compressed mineral arrangements, is more water
than resides on the surface. Stratigraphies and veils flatten and blur
into highlights. Spectral screens carry the images, glaciers score a
path of stained glass. Process gives way to image and process again. The
sound and space integrate the vision while the key component of
curiosity illuminates this fascination device.
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