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** This week [February 7 - 15, 2015] in avant garde cinema
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NEW CALLS FOR ENTRIES:
artvideoKOELN (Cologne, Germany; Deadline: March 02, 2015)
http://hi-beam.us9.list-manage1.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=d45688e172&e=4e65756555
ANIMATOR 2015, 8th International Animated Film Festival (Poznan, Poland;
Deadline: March 02, 2015)
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=cce76b5a56&e=4e65756555
Newport Beach Film Festival (Newport Beach, California, U.S; Deadline: February
06, 2015)
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=0cf796b88a&e=4e65756555
The Center for Fine Art Photography (Fort Collins, Colorado US; Deadline: March
18, 2015)
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DEADLINES APPROACHING:
Multidisciplinary residency art call (Tondela,Viseu,Portugal; Deadline:
February 15, 2015)
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Montreal Underground Film Festival (Montreal, QC, Canada; Deadline: February
14, 2015)
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INTERNATIONAL VIDEO ART REVIEW THE 03 (Krakow, Poland; Deadline: March 01, 2015)
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=bec5a65a42&e=4e65756555
artvideoKOELN (Cologne, Germany; Deadline: March 02, 2015)
http://hi-beam.us9.list-manage1.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=d9a9db8bfa&e=4e65756555
ANIMATOR 2015, 8th International Animated Film Festival (Poznan, Poland;
Deadline: March 02, 2015)
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Events are sorted alphabetically BY CITY within each DATE.
This week's programs (summary):
* That Which Is Possible With Michael Gitlin At Uniondocs (#anchor1) [February
7, Brooklyn, New York 11211]
* Send Blank Tape With Skip Blumberg and Liz Flyntz At Uniondocs (#anchor2)
[February 8, Brooklyn, New York 11211]
* Living In the World: A Benefit For Joe Gibbons (#anchor3) [February 8,
Brooklyn, New York 11222]
* Daredevils, By Stephanie Barber (#anchor4) [February 8, Los Angeles,
California]
* Chantal Akerman | News From Home (#anchor5) [February 8, New York, New York]
* Shapeshifters Cinema Presents Cheryl Leonard With Rebecca Haseltine and Oona
Stern (#anchor6) [February 8, Oakland]
* Stephanie Barber's Jhana and the Rats of James Olds Or 31 Days/31 videos
(#anchor7) [February 9, Los Angeles, California]
* Sergei Loznitsa's Maidan (#anchor8) [February 10, Austin, TX]
* Wie Man Sieht (As You See) -- In Memory of Filmmaker Harun Farocki Screening
5: Wie Man Sieht (As You See) (#anchor9) [February 11, Los Angeles, California]
* Dreams (#anchor10) [February 11, New York, New York]
* Every Fold Matters - Feb. 12, 13 &Amp; 14 (#anchor11) [February 12, Brooklyn,
NY]
* Show & Tell: Nam June Paik & Tv Lab (#anchor12) [February 12, New York, New
York]
* Essential Cinema: Warhol/Watson & Webber/Whitney Program (#anchor13)
[February 12, New York, New York]
* Hello, I'm Sorry To Disturb You With Ant Hampton At Uniondocs (#anchor14)
[February 13, Brooklyn, New York 11211]
* Kaira M. CabaÃ&Plusmn;As Presents Gil J Wolman's L'anticoncept (#anchor15)
[February 13, Brooklyn, New York 11222]
* Call and Response 2nd Gallery Opening (#anchor16) [February 13, Dallas, TX]
* Call and Response 2nd Gallery Opening (#anchor17) [February 13, Dallas, TX]
* Costa Da Morte (#anchor18) [February 13, New York, New York]
* Like A Box of Chocolates: Cinematic Valentines From the Film-Makers'
Cooperative (#anchor19) [February 14, Brooklyn, New York 11237]
* Slow Sun: An Evening of Sound & Film Performances (#anchor20) [February 14,
Los Angeles, California]
* Essential Cinema: Warhol's Blow Job & Eating Too Fast (#anchor21) [February
14, New York, New York]
* Costa Da Morte (#anchor22) [February 14, New York, New York]
* Stephanie Barber: A Folding of Risk and Taker— Daredevils (#anchor23)
[February 14, San Francisco, California]
* More Real Than Reality Itself With A.L. Steiner At Uniondocs (#anchor24)
[February 15, Brooklyn, New York 11211]
* Festival of (In)Appropriation #7 (#anchor25) [February 15, Los Angeles,
California]
* The Festival of (In)Appropriation #7 (#anchor26) [February 15, Madison,
Wisconsin]
* Essential Cinema: Kenneth Anger Program (#anchor27) [February 15, New York,
New York]
* Terry Chatkupt, Julie Orser, Marco Rios (#anchor28) [February 15, New York,
New York]
SATURDAY, FEBRUARY 7, 2015
2/7
Brooklyn, New York 11211: UnionDocs
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=17d4bfe331&e=4e65756555
7:30pm, 322 Union Ave
THAT WHICH IS POSSIBLE WITH MICHAEL GITLIN AT UNIONDOCS
Saturday, Feb. 7th, 2015. 7:30pm. $9 New York Premiere. Filmmaker Michael
Gitlin will be joined by artist, musician and participant in the film, Issa
Ibrahim, in a post-screening discussion with Jim Supanik, videomaker and
writer. Michael Gitlin's film That Which Is Possible is a portrait of a
community of painters, sculptors, musicians and writers making work at the
Living Museum, an art-space on the grounds of a large state-run psychiatric
facility in Queens, New York. Shot over the course of two years and structured
across the arc of a day, the film observes with an intimate lens and unspools
like a musical, both bracing and tender. That Which Is Possible explores the
liberatory and reparative functions that creative action has for a group of
artists drawn together by shared struggle.
SUNDAY, FEBRUARY 8, 2015
2/8
Brooklyn, New York 11211: UnionDocs
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=3a2191483f&e=4e65756555
7:30pm, 322 Union Ave
SEND BLANK TAPE WITH SKIP BLUMBERG AND LIZ FLYNTZ AT UNIONDOCS
A screening of early video works discussed and distributed by Radical Software
magazine, the first periodical devoted to the medium of video. This screening
presents an array of videos created by collectives and individuals active in
the early video exchange network facilitated and promoted by Radical Software
magazine, displaying the range and depth of creative production made possible
by access to consumer video technology in the late 60s and early 70s. The
presentation includes work by collectives such as Videofreex, Raindance, and
Ant Farm as well as individuals such as video documentarian and Global Village
founder John Reilly. The work presented in this screening was originally
presented as an installation at Pioneer Works, in Red Hook, Brooklyn. Curator
Liz Flyntz will present the videos with some notes on the artists and the
history of their production and presentation. She will be joined by Skip
Blumberg of Videofreex in discussion to follow.
2/8
Brooklyn, New York 11222: Light Industry
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=85fa93193c&e=4e65756555
7:30pm, 155 Freeman St
LIVING IN THE WORLD: A BENEFIT FOR JOE GIBBONS
Living in the World, Joe Gibbons, 1984/85, Super-8 on video, 120 mins.
Introduced by Tony Oursler.
2/8
Los Angeles, California: Filmforum
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=c52be79d31&e=4e65756555
7:30 pm, Spielberg Theatre at the Egyptian, 6712 Hollywood Blvd.
DAREDEVILS, BY STEPHANIE BARBER
Filmmaker Stephanie Barber in person! Filmforum welcomes back filmmaker
Stephanie Barber for the Los Angeles premiere of her first feature film,
DAREDEVILS. A portrait of risk and language, DAREDEVILS (2013, HD, 85 min.),
presents the experimental narrative of a writer as she interviews a well-known
artist and feels the reverberations of their discussion throughout her day.
Visually spare, still and verbose, the video considers three formal handlings
of language—a dialog, two monologues and a song. For more event information:
www.lafilmforum.org, or 323-377-7238 Tickets: $10 general, $6 students/seniors;
free for Filmforum members. Available by credit card in advance from Brown
Paper Tickets at
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or at the door
2/8
New York, New York: Simon Preston Gallery
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=bd26db9201&e=4e65756555
6:30, 301 Broome St.
CHANTAL AKERMAN | NEWS FROM HOME
Jenny Perlin presents Chantal Akerman’s, News From Home, 1976 – 77, (85 mins).
Chantal Akerman is one of the most significant filmmakers of her generation,
and a leading visionaire in experimental cinema since the early seventies. In
News From Home, letters from Akerman’s mother are read over a series of
elegantly composed shots of 1976 New York, where our (unseen) filmmaker and
protagonist has relocated. This unforgettable time capsule of the city is also
a gorgeous meditation on urban alienation and personal and familial
disconnection.
2/8
Oakland: Shapeshifters Cinema
http://hi-beam.us9.list-manage1.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=0f1232fc3a&e=4e65756555
7:30-9PM, Temescal Art Center, 511 48th St.
SHAPESHIFTERS CINEMA PRESENTS CHERYL LEONARD WITH REBECCA HASELTINE AND OONA
STERN
Composer, musician, and instrument builder Cheryl Leonard will present four
works about water created in collaboration with visual artists Rebecca
Haseltine and Oona Stern. Inspired by hydrology, aquifers, and California
landscapes, "Watershed" combines field recordings from caves, rivers, and
oceans with sounds played live on water, glass, shells, kelp, and sand. "Frozen
Over" is based on aural and visual phenomena from frozen lakes, and features
recordings of flanging, thumping, and cracking lakes in Yosemite National Park.
Rebecca Haseltine will create live video for these two pieces using natural
objects, drawing, pouring, and painting. "Southern Ocean" and "Glugge" are
shorter works about the polar oceans that Leonard has developed with
Brooklyn-based Oona Stern. Merging audio recordings and video footage collected
in the Arctic and Antarctic with live sounds from natural-objects, these pieces
reflect on climate change at the ends of the earth.
MONDAY, FEBRUARY 9, 2015
2/9
Los Angeles, California: Echo Park Film Center
http://hi-beam.us9.list-manage2.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=40cb191c68&e=4e65756555
8:00PM, 1200 N. Alvarado St. Los Angeles CA 90026
STEPHANIE BARBER'S JHANA AND THE RATS OF JAMES OLDS OR 31 DAYS/31 VIDEOS
Between June 25th and August 7th 2011 Stephanie Barber moved her studio into
the Baltimore Museum of Art where she created a new video each day in a central
gallery open to museum visitors. The goal of this project, entitled Jhana and
the rats of James Olds or 31 days/31 videos, was to create a series of short,
poetic videos in the playful and serious footprints of Oulipo games and daily
meditations; creating one new video each day. The exhibit was both a constantly
changing installation as well as a collaborative performance in which museum
visitors were present as spectator and often creative partner. Barber will show
a selection from the series of 31 videos with discussions and storytelling
between each piece. FILMMAKER IN ATTENDANCE! 8pm $5 admission
TUESDAY, FEBRUARY 10, 2015
2/10
Austin, TX: Experimental Response Cinema
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=3cbb0eb1cc&e=4e65756555
6:45, Alamo Drafthouse Ritz, 320 E 6th St
SERGEI LOZNITSA’S MAIDAN
Directed by acclaimed filmmaker Sergei Loznitsa, Maidan chronicles the civil
uprising that toppled the government of Ukrainian president Victor Yanukovich
and has since developed into an international crisis between Russia and the
West. Filmed in stunning long takes, sans commentary, Maidan is a record of a
momentous historical event and an extraordinary study of the popular uprising
as a social, cultural and philosophical phenomenon. Programmed by Tommy
Swenson. “Easily the most rigorous, vital, and powerful movie of 2014….a
testament to the human experience of resistance.” – Village Voice
WEDNESDAY, FEBRUARY 11, 2015
2/11
Los Angeles, California: Filmforum
http://hi-beam.us9.list-manage1.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=055222f836&e=4e65756555
7:30 pm, Goethe-Institut Los Angeles, 5750 Wilshire Blvd. Suite 100
WIE MAN SIEHT (AS YOU SEE) -- IN MEMORY OF FILMMAKER HARUN FAROCKI SCREENING 5:
WIE MAN SIEHT (AS YOU SEE)
Harun Farocki – the director whose perspicacious cinematic essays analyzed the
new media world – died in July 2014. With his radical way of looking at things
Farocki strove to endow images with their own form of self-will, to expose
their political and cultural coding. Farocki lived and worked in Berlin as a
filmmaker, artist and writer. His essay and observational films question the
production and perception of images, decoding film as a medium and examining
how audiovisual culture is related to history, politics, technology and war.
Tonight: Wie man sieht (As You See) (1986, 72 min., color and b/w, German with
English subtitles. Digital.) For more event information:
i...@losangeles.goethe.org, or +1 323 5253388
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=891ca76583&e=4e65756555
Tickets: Free, but please RSVP due to limited seating, by email to
r...@losangeles.goethe.org or the 323.525.3388 $1 validated parking (for events
only) on weekdays after 6:00 pm and all day on weekends in the
Wilshire Courtyard West underground garage-P1.
2/11
New York, New York: Museum of Modern Art
http://hi-beam.us9.list-manage1.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=28ef70938a&e=4e65756555
4pm, 11 W. 53rd Street
DREAMS
Includes the following films: A Horse Is Not A Metaphor 2009. USA. Directed by
Barbara Hammer. This hopeful, multilayered experimental film, featuring music
by Meredith Monk, offers a first-person account of surviving—and thriving—with
cancer. 30 min. Ellis Island 1981. USA. Directed by Meredith Monk. In this
film, shot in various crumbling buildings on Ellis Island before the monumental
renovation, Monk and her dancers interpret the experiences of the thousands of
immigrants who passed through during the great wave of immigration at the start
of the 20th century. Preserved with support from NYWIFT’s Women’s Film
Preservation Fund. 28 min. Abstraction 1981. USA. Directed by Rosalind
Schneider. Interpretations of the female nude in combination with abstractions
of the natural landscape. Rosalind Schneider experiments with various images
through reflection, superimposition, and distortion. This short film is both
sensual and visually sensational. Preserved with support from
NYWIFT's Women's Film Preservation Fund. 8 min. Dream 1972. USA. Directed by
Jane Morrison. A mediation on the question: What if a Flapper from the 1920s
met a Pilgrim woman from the 1600s? Freedom and restriction are the central
concepts here, and Morrison, a documentarian, provides interesting answers.
Preserved with support from NYWIFT’s Women’s Film Preservation Fund. 10 min.
THURSDAY, FEBRUARY 12, 2015
2/12
Brooklyn, NY: New Lucky Laundromat
8:30pm, 323 Lafayette Avenue
EVERY FOLD MATTERS - FEB. 12, 13 & 14
EVERY FOLD MATTERS is a collaborative, site-specific performance with film
about the work of doing laundry by playwright/director Lizzie Olesker and
experimental filmmaker Lynne Sachs. With text developed from interviews with
NYC neighborhood laundromat workers, EVERY FOLD MATTERS looks at the charged,
intimate experience of cleaning other people's clothes in a public workspace.
Presented by Emily Rubin's Wash and Dry Productions. EVERY FOLD MATTERS
February 12-14, 2015 at 8:30 PM. New Lucky Laundromat 323 Lafayette Avenue
Brooklyn Created by Lizzie Olesker and Lynne Sachs Performed by Jasmine
Holloway, Veraalba Santa, Tony Torn and Ching Valdes-Aran Producer Emily Rubin
Music Stephen Vitiello Cinematography Sean Hanley Production Amanda Katz, Luo
XiaoyuanSpace is limited. We encourage you to make reservations at
everyfoldmatt...@gmail.com . Suggested donation $10.
2/12
New York, New York: Anthology Film Archives
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=50e92a9fd9&e=4e65756555
7:00 pm, 32 2nd Ave.
SHOW & TELL: NAM JUNE PAIK & TV LAB
SHOW & TELL: NAM JUNE PAIK & TV LAB: LICENSE TO CREATE by Howard Weinberg 2014,
93 min, digital Share + This screening is part of: SHOW & TELL: LARY 7 / HOWARD
WEINBERG / SYLVIA SCHEDELBAUER Film Notes This feature-length documentary
chronicles the role of seminal video artist Nam June Paik in the formation of
the TV LAB, the experimental division of New York public television station
Channel 13/WNET. Between 1972-84 the TV LAB represented an invaluable resource
for artists, experimental filmmakers, and documentarians, providing access to
equipment, fostering a collaborative community, and nurturing innovative
imagery on television. Boasting a blue-screen ChromaKey studio, video
synthesizers, and a digital time base corrector, the TV LAB played a huge role
in the development of video art, as well as independent media journalism.
Influencing the creation of both MTV and ‘reality television,’ TV LAB changed
the way we see television and the world. Exploring the collaborative
collisions of the TV LAB, this documentary sheds light on a fascinating era in
the history of television, through the prism of one of the giants of 20th
century video art. Howard Weinberg is a veteran documentary filmmaker who was
Founding Producer of The MacNeil/Lehrer Report and Executive Producer of THE
DICK CAVETT SHOW. He has produced series and segments for numerous programs
including BILL MOYERS’ JOURNAL, ASSIGNMENT AMERICA WITH STUDS TERKEL, and 60
MINUTES. Weinberg previously directed TOPLESS CELLIST: CHARLOTTE MOORMAN
(1995), a documentary profile of the performance artist who was Paik’s longtime
collaborator.
2/12
New York, New York: Anthology Film Archives
http://hi-beam.us9.list-manage1.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=c5b74be9af&e=4e65756555
7:30 pm, 32 2nd Ave.
ESSENTIAL CINEMA: WARHOL/WATSON & WEBBER/WHITNEY PROGRAM
Andy Warhol EAT (1963, 35 min, 16mm, b&w, silent) James Sibley Watson &
Melville Webber FALL OF THE HOUSE OF USHER (1928, 13 min, 16mm, b&w, silent)
John & James Whitney FILM EXERCISES 1-5 (1943-45, 18 min, 16mm) James Whitney
LAPIS (1963-66, 10 min, 16mm) Total running time: ca. 80 min.
FRIDAY, FEBRUARY 13, 2015
2/13
Brooklyn, New York 11211: UnionDocs
http://hi-beam.us9.list-manage2.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=37231ae031&e=4e65756555
7:30pm, 322 Union Ave
HELLO, I'M SORRY TO DISTURB YOU WITH ANT HAMPTON AT UNIONDOCS
WHAT YOU GET IS WHAT YOU SEE: HELLO, I'M SORRY TO DISTURB YOU Presented by Ant
Hampton. Followed by a complimentary cocktail reception, sponsored by El Buho
Mezcal! This event is part of What You Get Is What You See: A Series on
Spectatorship. In a presentation which pulls together fragments of
documentation video, photography, text and audio, Ant Hampton evokes his
experiences of performances which involved 'meeting' other people. What
constitutes an encounter? Can it even co-exist with the role of spectator?
Weaving a path through some vivid experiences of work by, among others, Vivi
Tellas, Stefan Kaegi, Mammalian Diving Reflex and Edit Kaldor, Hampton will
start by asking, what do we mean by 'live documentary,' how do artists'
approaches differ, where are its limits and what can it do that screened
documentaries cannot? What You Get Is What You See: A Series on Spectatorship
What hides behind simple gestures of attending? A series curated by Mathilde
Walker-Billaud.
2/13
Brooklyn, New York 11222: Light Industry
http://hi-beam.us9.list-manage1.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=88c067cc87&e=4e65756555
7:30pm, 155 Freeman St
KAIRA M. CABAñAS PRESENTS GIL J WOLMAN'S L'ANTICONCEPT
L'anticoncept, Gil J Wolman, 1951, digital projection, 60 mins. Introduced by
Kaira M. Cabañas. Projected on a helium-inflated spherical weather balloon
approximately two meters in diameter, L'anticoncept is a sound film without
images: it alternates between brief black sequences and a white disk whose edge
in projection matches as closely as possible the screen's circumference. Gil J
Wolman completed L'anticoncept in September 1951, and it was first shown on
February 11, 1952, at the Ciné-Club Avant-Garde 52 at the Musée de l'Homme in
Paris. While other Lettrists such as Isidore Isou and Maurice Lemaitre waged an
attack on conventional spectatorship through markedly dissociative strategies
(e.g., the disjunctures between speech and sound, sound and image, and between
screen and space deployed in their films), Wolman went further by totally
abandoning the photographic image and altering the shape of the screen.
2/13
Dallas, TX: Dallas Medianale
7:00pm, McKinney Avenue Contemporary (The MAC), 3120 McKinney Avenue
CALL AND RESPONSE 2ND GALLERY OPENING
Call and Response 2nd gallery opening. 7:30: Seated screenings in the MAC's
Black Box Theater The Lost Worlds (compilation), curated by Michael A. Morris
Ben Russell, Atlantis (2014), 16mm film to HD video, 23:30 min. Harun Farocki,
Parallel II (2014), HD video, 8:23 min. Richard Bailey, The Disappearance of
the Grackles (2014), HD video, 8 min. Jeremy Couillard, Mystical Beasts (2013),
HD video, 3:38 min. Nicky Tavaras, Call Me By Heart (2014), 16mm film, 2:22
min. Dani Leventhal, Sister City (2013), HD video, 4:40 min. Jeremy Couillard,
The Bob Monroe 24/7 News Network (2014), HD video, 2:48 min. Mike Stoltz, Under
the Atmosphere (2014), 16mm film, 14:30 min.
2/13
Dallas, TX: Dallas Medianale
9:45pm, McKinney Avenue Contemporary (The MAC), 3120 McKinney Avenue
CALL AND RESPONSE 2ND GALLERY OPENING
Call and Response 2nd gallery opening. Program 2: 8:45: Experimental Response
Cinema - Experimental films and videos from Austin, TX selected by Jarrett
Hayman (in person!). Pine Saga (6m digital) by Rachel Stuckey; It Takes All
Sorts (10m digital) by Rachel Stuckey; in.side.out (10m digtal) by Scott Stark;
Angel Beach (30m, 16mm, silent) by Scott Stark; The Oracle of Ambrosia (10m
digital) Jeanne Stern; Envy (6m digtial) Dan Stuyck; Talking me (4m digital) by
Metrah Pashee; ASH (10 m digital) by Nathan Duncan; Flourescent Concrete
Plastic Steel (6m digtial) Hunter Shaw.
2/13
New York, New York: Anthology Film Archives
http://hi-beam.us9.list-manage1.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=1e75480a8a&e=4e65756555
7:30 pm, 32 2nd Ave.
COSTA DA MORTE
by Lois Patiño In Spanish and Galician with English subtitles, 2013, 83 min,
digital NEW YORK THEATRICAL PREMIERE RUN! The first feature-length work by
Spanish experimental filmmaker Lois Patiño – whose short films and
installations have been exhibited in cinemas, film festivals, galleries, and
museums around the world over the last ten years – COSTA DA MORTE is a
stunningly photographed landscape film that works wonders with digital video.
It’s a portrait of the eponymous coastal region of Galicia, which, thanks to
its treacherously rocky shore and frequent storms, is famed for the numerous
shipwrecks it has seen over the years – the name translates as “Coast of
Death,” or in Galician, “Fisterra”: “end of the world.” Made in collaboration
with photographer Carla Andrade, Patiño’s film consists of a series of fixed,
beautifully composed takes, which taken together form a mosaic-like portrait of
the region. Many of these takes are extreme long-shots of figures in the
landscape, but with the voices recorded (and heard from) up-close. This unusual
and strangely disorienting effect, a cognitively dissonant fusion of distance
and intimacy, lends COSTA DA MORTE a perceptually challenging dimension that
distinguishes it from many superficially similar films. Combined with the
locals’ recounting of some of the area’s historical and mythical tales, it adds
up to an exquisite and fascinating essay film on the sights, sounds, people,
and folklore of the Costa da Morte. “Each of the film’s segments focuses on one
specific piece of Costa da Morte’s oceanic, forested, and cliff-strewn region
as small human figures move through it, narrating its history to one another.
[…] The cumulative experience of witnessing all these different locations is
that of coming to know Costa da Morte as though the region itself were a living
character.” –Aaron Cutler, CINEMA SCOPE “Shots of the sea in its more turbulent
moods recall such landmark works in the genre as
Robert Flaherty’s MAN OF ARAN (1934) and Jean Epstein’s LE TEMPESTAIRE (1947) –
although Patiño exhibits a lighter touch, as when the idle chatter of the
locals is at odds with their miniscule presence within the vastness of the land
and seascapes.” –Tony Pipolo, ARTFORUM Special thanks to Graham Swindoll.
SATURDAY, FEBRUARY 14, 2015
2/14
Brooklyn, New York 11237: Filmmakers Coop
http://hi-beam.us9.list-manage1.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=dfc068c780&e=4e65756555
7:30pm, Brooklyn Fire Proof, 119 Ingraham St (In the Alley)
LIKE A BOX OF CHOCOLATES: CINEMATIC VALENTINES FROM THE FILM-MAKERS' COOPERATIVE
Valentine's Day treats will be served! Did you know that one of the keywords on
the Coop catalog's search page is "erotic"? Bring your current or prospective
lover(s) for a stimulating selection of search returns, with films by Saul
Levine, Tom Chomont, Jose Rodriguez-Soltero, Bob Cowan, Willard Mass, Walter
Gutman, James Benning and Bette Gordon, Storm de Hirsch and Jerry Abrams.
Something for every sensibility. Program includes: -Jerry Abrams "Lotus Wing"
1968, 16mm, color & b&w, 16.5 min -Bob Cowan "Soul Freeze" 1967, 16mm, b&w, 25
min -Willard Maas "Orgia" 1967. 16mm, color, 12 min -Saul Levine "Note to Poli"
1983, 16mm, color, 2.5 min -Storm de Hirsch "The Tattooed Man" 1969, 16mm,
color, 35 min -Jose Rodriguez-Soltero "Jerovi" 1965, 16m m, color, 11.5 min
-Tom Chomont "Oblivion" 1969, 16mm, color, 4.25 min -James Benning & Bette
Gordon "I-94" 1974, 16mm, color, 3 min -Walter Gutman "Bolex" 1974, 16mm,
color, 12 min Curated by Sasha Janerus Presented in Collaboration:
Millennium Film Workshop and Film-Makers' Cooperative
2/14
Los Angeles, California: Echo Park Film Center
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=1c4aa50c15&e=4e65756555
8pm, 1200 N. Alvarado St. Los Angeles, California 90026
SLOW SUN: AN EVENING OF SOUND & FILM PERFORMANCES
The Echo Park Film Center presents expanded cinema performances by John Davis &
Tooth / Byron Westbrook & Paul Clipson. SLOW SUN presents poetic and
hallucinatory collisions of sound and image in two performances charting the
dynamic trajectories of "visual music" in its transcendental forms. John Davis
is a visual artist and musician. His current work builds on the transcendental
realities of personal poetic filmmaking, while expanding the relationship
between moving image and sound through live performance, collaboration,
experimentation and improvisation. Tooth is an artist that works in film,
sound, performance and other time-based disciplines. His performance work
primarily concerns itself with the phenomenology of trance states and their
function within a collision of cultural, political and personal realities.
Byron Westbrook is an artist and composer working with the dynamic quality of
physical space through site-specific installations and unique listening formats
to
activate architecture and community. Paul Clipson is a San Francisco-based
filmmaker who often collaborates with sound artists and musicians on films,
live performances, and installations.
2/14
New York, New York: Anthology Film Archives
http://hi-beam.us9.list-manage1.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=c68ee187f7&e=4e65756555
5:15 pm, 32 2nd Ave.
ESSENTIAL CINEMA: WARHOL'S BLOW JOB & EATING TOO FAST
VALENTINE’S DAY DOUBLE-BILL! BLOW JOB 1964, 36 min, 16mm, b&w, silent “Warhol’s
unmoving camera remains focused in close-up on the head of a young man, never
descending below his shoulders to show the sex act advertised by the film’s
title, which is nevertheless legible, in slow motion, in the changing
expressions passing across his face. By wittily restricting what his camera
sees, Warhol frustrates the expectations of porn fans and film censors alike,
while simultaneously implicating both audiences in the same illicit desire.”
–Callie Angell & EATING TOO FAST 1966, 66 min, 16mm, b&w “Also called BLOW JOB
NO. 2, [this] is an ironic remake, with sound, of Warhol’s 1964 minimalist
classic; it is also a stunningly beautiful portrait film. Art critic and writer
Gregory Battcock faces the camera in close-up, determined, it seems, to show
little response to the sex act taking place below the frame. For most of the
first reel, there is no camera movement, no dialogue, and little
perceptible action, until a phone call prompts a humorous downward pan.
Battcock’s animation during this phone conversation is in stark contrast to the
resignation with which he returns to the tedium of sex. The unclimactic second
reel contains many pans and other camera movements, suggesting that this film
may have been intended for double-screen projection.” –Callie Angell
2/14
New York, New York: Anthology Film Archives
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=7bedb2abca&e=4e65756555
7:30 pm, 32 2nd Ave.
COSTA DA MORTE
See notes for Feb. 13, 7:30 pm.
2/14
San Francisco, California: San Francisco Cinematheque
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=c20f47a731&e=4e65756555
7:30pm, Yerba Buena Center for the Arts, 701 Mission Street
STEPHANIE BARBER: A FOLDING OF RISK AND TAKER— DAREDEVILS
Presented in association with the Cinema Department at San Francisco State
University. Deeply philosophical, frequently humorous and deceptively simple in
form, the films, video works, poetry and book projects of Stephanie Barber
operate at the intersections of spoken, written, composed, conversational and
incidental language, reflecting shifting experiential qualities and varying
modes of address. Barber’s feature-length DAREDEVILS (2013) is a three-part
narrative portrait of risk and intimacy, presenting an interview between a
young writer and an admired artist as a reverberating life event and turning
point. Writes Barber, "The classic rising action, climax and denouement are
sculpted, not by cause and effect, but by the subtle movements to and from
understanding that are inherent in conversation. Bubbles of intimacy are blown
and popped, begin to be blown again." Come early (7pm) for a pre-show,
as-you-enter excerpt of I Love You, a Valentine’s Day delight (drawn from
jhana and the rats of james olds) featuring 789 visitors to Barber’s 2011
artist-in-residence project at the Baltimore Museum of Art. Admission: $10
general/ $6 Cinematheque members
SUNDAY, FEBRUARY 15, 2015
2/15
Brooklyn, New York 11211: UnionDocs
http://hi-beam.us9.list-manage1.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=a309784233&e=4e65756555
7:30pm, 322 Union Ave
MORE REAL THAN REALITY ITSELF WITH A.L. STEINER AT UNIONDOCS
More Real Than Reality Itself, 2014 USA, 3-channel DV, 54 mins. Political
action, cultural shifts and social revolutions are a continuum of processes,
yet are often framed as a "historical past" with a finite ending; likewise,
"history" is often framed as a competition that produces a series of winners,
losers, victors and victims- events with distinctive successes and failures.
Such frameworks construct deceptive linearities, hierarchies and patriarchies.
This video project explores the term "radical"- how nature, nurture, gender and
heteronormative culture formulate a personal and positional politic. Utilizing
activism as autobiography, this project attempts to delve into the then, how,
why and now of political herstoriographies.
2/15
Los Angeles, California: Festival of (In)Appropriation
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=ef2110bf43&e=4e65756555
7:30pm, The Egyptian Theater
FESTIVAL OF (IN)APPROPRIATION #7
The Festival of (In)appropriation #7 premieres at Los Angeles Filmforum on
February 15 at 7:30pm at the Egyptian Theater in Hollywood! It then begins its
traveling tour, which starts at Northwest Film Forum in Seattle on March 5. We
are still booking venues, so if you would like to show the new program, let us
know! Here is the lineup: Astro Black: Race for Space by Soda_Jerk (Australia,
digital video, color, sound, 2010, 6:06); Demolished Every Second by John Davis
(US/Tajikistan, 16mm on digital video, color, sound, 2014, 4:25); Sara Nokomis
Weir by Brian L. Frye (US, digital video, color, sound, 2014, 20:00); Lexicon
by Celeste Fichter (US, digital video, color, silent, 2014, 2:36); The Bags,
Probably 1971 by Joshua Yates (US, hand-processed 16mm film on video, black &
white and color, sound, 5:11); No Signal Detected by Péter Lichter (Hungary,
digital video, color, sound, 2013, 2:33); TOHO by Sellotape Cinema (UK, digital
video, color, sound, 2013, 9:30); Nothing by LJ
Frezza (US, digital video, color, sound, 2014, 6:27); Array by Ben Balcom (US,
digital video, color, sound, 2013, 7:18); My clothes were dragging me back by
Maria Magnusson (Sweden, digital video, color, sound, 2012, 4:53); Falling in
Love...with Chris and Greg: Work of Art! Reality TV Special by Chris E. Vargas
and Greg Youmans (US, digital video, color, sound, 2012, 14:00); Iterations by
Gregg Biermann (US, digital video, color, sound, 2014, 5:37). For more details
about the films, check out our website at
http://hi-beam.us9.list-manage1.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=f0f70fd113&e=4e65756555.
We hope to see you at one of our shows! Jaimie Baron, Lauren Berliner and Greg
Cohen The Curators
2/15
Madison, Wisconsin: Filmforum
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=0731b6cdc1&e=4e65756555
7:30 pm, Spielberg Theatre at the Egyptian, 6712 Hollywood Blvd.,
THE FESTIVAL OF (IN)APPROPRIATION #7
Los Angeles Premiere! Curators Jaimie Baron and Greg Cohen and filmmaker Maria
Magnusson in person! The Festival of (In)appropriation returns to Filmforum
with its seventh program of cutting-edge experimental found footage shorts.
Whether you call it collage, compilation, found footage, détournement, or
recycled cinema, the incorporation of previously shot materials into new
artworks is a practice that has generated novel juxtapositions of elements
which have produced new meanings and ideas that may not have been intended by
the original makers, that are, in other words “inappropriate.” This year’s show
is curated by Jaimie Baron, Greg Cohen, and Lauren Berliner. Including, among
others, Astro Black: Race for Space by Soda_Jerk; Demolished Every Second by
John Davis; Sara Nokomis Weir, by Brian L. Frye; Lexicon, by Celeste Fichter;
The Bags, Probably 1971 by Joshua Yates; No Signal Detected, by Péter Lichter;
My clothes were dragging me back by Maria Magnusson; Array, by Ben
Balcom ; Iterations by Gregg Biermann; and more! Tickets: $10 general, $6
students/seniors; free for Filmforum members. Available by credit card in
advance from Brown Paper Tickets at
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=bf9530fc22&e=4e65756555
or at the door.
2/15
New York, New York: Anthology Film Archives
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=0fa9f9280c&e=4e65756555
5:30 pm, 32 2nd Ave.
ESSENTIAL CINEMA: KENNETH ANGER PROGRAM
FIREWORKS (1947, 15 min, 35mm, b&w) RABBIT’S MOON (1950-70, 15 min, 35mm) EAUX
D’ARTIFICE (1953, 13 min, 16mm) KUSTOM KAR KOMMANDOS (1965, 3 min, 16mm)
SCORPIO RISING (1963, 30 min, 16mm) Poetry, psychodrama, and the occult meet in
these timeless works by one of the pioneers of the American avant-garde film.
Total running time: ca. 80 min.
2/15
New York, New York: Simon Preston Gallery
http://hi-beam.us9.list-manage1.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=d96b893317&e=4e65756555
6:30, 301 Broome St.
TERRY CHATKUPT, JULIE ORSER, MARCO RIOS
An evening featuring three Los Angeles based artists, whose work employs
philosophical and material language of cinema. Each artist will show work that
references a specific film bound by shared themes of fear, anxiety & obsession.
Transferase (2011) by Terry Chatkupt; Blood Work (2009), The Viewer (2011) and
Judy’s Nightmare (2014) by Julie Orser; Despair Beyond Despair (2011) and
Seconds Later (2013) by Marco Rios. With reference to Miracle Mile (1988);
Vertigo (1958); The Bird with the Crystal Plumage (1970) and Seconds (1966)
respectively.
------------------------------------------------------------
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