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** This week [February 21 - March 1, 2015] in avant garde cinema
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NEW CALLS FOR ENTRIES:
INTERNATIONAL VIDEO ART REVIEW THE 03 (Krakow, Poland; Deadline: April 01, 2015)
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25 FPS Festival (Zagreb, Croatia; Deadline: May 31, 2015)
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Institut des hautes etudes en arts plastiques (Iheap) (New York; Deadline:
March 01, 2015)
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Jacket Video Art Showcase (st augustine, FL, US; Deadline: March 02, 2015)
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Gallery 263 (Cambridge, MA United States; Deadline: March 01, 2015)
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Iowa City International Documentary Film Festival (Iowa City; Deadline:
February 27, 2015)
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SiciliAmbiente Documentary Film Festival San Vito Lo Capo (San Vito lo Capo,
Italy; Deadline: April 30, 2015)
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DEADLINES APPROACHING:
artvideoKOELN (Cologne, Germany; Deadline: March 02, 2015)
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ANIMATOR 2015, 8th International Animated Film Festival (Poznan, Poland;
Deadline: March 02, 2015)
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The Center for Fine Art Photography (Fort Collins, Colorado US; Deadline: March
18, 2015)
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Institut des hautes etudes en arts plastiques (Iheap) (New York; Deadline:
March 01, 2015)
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Jacket Video Art Showcase (st augustine, FL, US; Deadline: March 02, 2015)
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Gallery 263 (Cambridge, MA United States; Deadline: March 01, 2015)
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Iowa City International Documentary Film Festival (Iowa City; Deadline:
February 27, 2015)
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Events are sorted alphabetically BY CITY within each DATE.
This week's programs (summary):
* Cameraless Remote Documentaries With Dominic Gagnon, Tim Jackson, and Steve
Holmgren For Nyc Premiere (#anchor1) [February 21, Brooklyn, New York 11211]
* Essential Cinema: Baillie/Crockwell Program (#anchor2) [February 21, New
York, New York]
* Essential Cinema: Stan Brakhage Program (#anchor3) [February 21, New York,
New York]
* Joe Gibbons Benefit (#anchor4) [February 21, San Francisco, California]
* Sat. 2/21: Joe Gibbons Benefit Screening (#anchor5) [February 21, San
Francisco]
* American Originals Now: Cathy Lee Crane (#anchor6) [February 21, Washington,
DC]
* American Originals Now: Cathy Lee Crane (#anchor7) [February 21, Washington,
DC]
* Essential Cinema: Stan Brakhage Program 2 (#anchor8) [February 22, New York,
New York]
* Essential Cinema: Stan Brakhage's Dog Star Man (#anchor9) [February 22, New
York, New York]
* Space Material/Immaterial Place: Films By Jeremy Moss (#anchor10) [February
22, San Francisco, California]
* Three Films By Mark Lapore (#anchor11) [February 25, Brooklyn, New York 11222]
* Wie Man Sieht (As You See) ¬– In Memory of Filmmaker Harun Farocki Screening
7: Arbeiter Verlassen Die Fabrik (Workers Leaving the Factory) and
GefäNgnisbilder (Prison Images) (#anchor12) [February 25, Los Angeles,
California]
* Rebecca Baron: Detour De Force (#anchor13) [February 26, Chicago, Illinois]
* An Evening With Ernie Gehr (#anchor14) [February 27, Chicago, Illinois]
* Black Lives Matter (#anchor15) [February 28, San Francisco, California]
* 5th Annual San Francisco History Exposition (#anchor16) [February 28, San
Francisco, California]
* This Island Earth: Live Sound & Film Performance By Ashley Bellouin, Ben
Bracken and Paul Clipson (#anchor17) [February 28, San Francisco, California]
* Stop & Go: Made From Scratch (#anchor18) [February 28, San Francisco,
California]
* Recycled Cinema With Roger Beebe (#anchor19) [March 1, Los Angeles,
California]
SATURDAY, FEBRUARY 21, 2015
2/21
Brooklyn, New York 11211: UnionDocs
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7:00pm - 11:30pm, 322 Union Ave
CAMERALESS REMOTE DOCUMENTARIES WITH DOMINIC GAGNON, TIM JACKSON, AND STEVE
HOLMGREN FOR NYC PREMIERE
"In his ongoing quest to explode the film frame, Dominic Gagnon's flurry of
internet collage films not only cull the lonely, shocking margins of YouTube to
captive us with pixelated self-representations of despair, anger, and
survivalism, they also challenge the scope of copyright laws and question the
definition of what constitutes cinema." - J.P. Sniadecki, filmmaker and
anthropologist. UnionDocs is proud to present the NYC premiere of Dominic
Gagnon's recent web trilogy - the films RIP in Pieces America (2009), Pieces
and Love All to Hell (2011), and Hoax_Canular (2013) - Dominic Gagnon finds
video excerpts on the Internet, which he describes as a cinémathèque or film
archive, and recombines them to produce what he calls "films about people who
film themselves." With this appropriation, he redefines what the found-footage
film might become in the Web era, while raising the questions of the artist and
of self-exhibition on the Internet. Without a camera and from a distance,
Gagnon adopts the position of hidden observer, anxious witness, and amused
nomad - a foreign traveller to the worlds he visits. In an approach that is
both postmodern and ethnographic and that bears traces of situationist
influence, he captures the paradoxical character of subjects who make
spectacles of themselves as they use YouTube to vehemently decry control by the
society in which they live.
2/21
New York, New York: Anthology Film Archives
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5:00 pm, 32 2nd Ave.
ESSENTIAL CINEMA: BAILLIE/CROCKWELL PROGRAM
Bruce Baillie MASS FOR THE DAKOTA SIOUX (1963-64, 20 min, 16mm, b&w) QUIXOTE
(1964-65, 45 min, 16mm) CASTRO STREET (1966, 10 min, 16mm) ALL MY LIFE (1966, 3
min, 16mm) VALENTIN DE LAS SIERRAS (1968, 10 min, 16mm) Meditations on America
by a filmmaker whom Willard van Dyke once called the most American of all
contemporary filmmakers. Annette Michelson has referred to Bruce Baillie as one
of the few American political filmmakers. Douglass Crockwell GLENS FALLS
SEQUENCE (1964, 8 min, 16mm) “The basic idea was to paint continuing pictures
on various layers with plastic paint, adding at times and removing at times,
and to a certain extent these early attempts were successful.” –D.C. Total
running time: ca. 100 min.
2/21
New York, New York: Anthology Film Archives
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7:30 pm, 32 2nd Ave.
ESSENTIAL CINEMA: STAN BRAKHAGE PROGRAM
Unless otherwise noted, all films are silent. DESISTFILM (1954, 7 min, 16mm,
b&w, sound) REFLECTIONS ON BLACK (1955, 12 min, 16mm, b&w, sound. Preserved by
Anthology Film Archives.) THE WONDER RING (1955, 4 min, 16mm) FLESH OF MORNING
(1956, 25 min, 16mm, b&w) DAYBREAK AND WHITEYE (1957, 8 min, 16mm) WINDOW WATER
BABY MOVING (1959, 12 min, 16mm. Preserved by Anthology Film Archives.) Films
made during the early, “psychodramatic” period of one of modern cinema’s
greatest innovators, including two of his early experiments with sound. Total
running time: ca. 75 minutes.
2/21
San Francisco, California: Other Cinema
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8:30, 992 Valencia Street
JOE GIBBONS BENEFIT
The film-art world is in shock to learn of our dear friend Joe’s imprisonment
in Riker’s Island after his two bank robberies/performance pieces. A loose
network of supporters across the country has initiated fund-raising efforts to
assist his legal defense. For the benefit here, we feature his
oh-so-appropriate Confessions of a Sociopath, a 40-min. tell-all that
crystallizes Joe’s kleptomaniacal proclivities. Opening the program are A Time
to Die, Room 1040: San Francisco, and the hilarious first chapter of Emily
Breer’s The Tutor. PLUS updates from a source close to Joe, with rushes from
thee bank film!! $7-100.
2/21
San Francisco: Other Cinema
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8:30, 992 Valencia
SAT. 2/21: JOE GIBBONS BENEFIT SCREENING
S.O.S! Other Cinema is opening its Spring 2015 season with a fundraiser for our
old buddy Joe Gibbons, currently rotting away in a New York jail after two bank
robberies. Featured is his legendary tell-all "Confessions of a Sociopath."
Also, "Room 1040 San Francisco", "A Time to Die", et al. Plus updates on Joe's
case from close sources.
2/21
Washington, DC: 1962
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2:30 pm, West Building Lecture Hall
AMERICAN ORIGINALS NOW: CATHY LEE CRANE
Short Film Selection, 1994 – 2010 February 21 at 2:30 West Building Lecture
Hall Cathy Lee Crane in person A selection of Crane’s provocative and lyrical
16 mm short films spanning the last twenty years includes White City (1994),
Not for Nothin’ (1996), Sketches after Halle (1997), The Girl from Marseilles
(2000), Adrift (2009), and On the Line (2010). (Total running time
approximately 86 minutes) --------------- Pasolini’s Last Words followed by
excerpts from The Manhattan Front (work in progress) February 22 at 4:00 West
Building Lecture Hall Cathy Lee Crane in person Combining staged and archival
material, Pasolini’s Last Words considers the controversial Italian
filmmaker/writer’s brutal murder in 1975 alongside the texts he published or
left unfinished during his last year. The film enjoyed its world premier as a
“gem of world cinema” at the Festival du Nouveau Cinema in Montreal and went on
to be part of major Pasolini retrospectives at the British Film Institute in
London and the Cinémathèque Française in Paris last year. (2012, 60 minutes)
Crane’s current project, The Manhattan Front, explores United States
involvement in World War I during the period of its neutrality. In an attempt
to reveal the untold stories of how this war was waged in and through the New
York harbor, the film looks at several issues, particularly the intrigue
surrounding the production and export of American munitions. (Approximately 20
minutes)
2/21
Washington, DC: National Gallery of Art
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2:30, West Building Lecture Hall
AMERICAN ORIGINALS NOW: CATHY LEE CRANE
Cathy Lee Crane in person A selection of Crane’s provocative and lyrical 16 mm
short films spanning the last twenty years includes White City (1994), Not for
Nothin’ (1996), Sketches after Halle (1997), The Girl from Marseilles (2000),
Adrift (2009), and On the Line (2010). (Total running time approximately 86
minutes)
SUNDAY, FEBRUARY 22, 2015
2/22
New York, New York: Anthology Film Archives
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5:30 pm, 32 2nd Ave.
ESSENTIAL CINEMA: STAN BRAKHAGE PROGRAM 2
Unless otherwise noted, all films are silent. ANTICIPATION OF THE NIGHT (1958,
40 min, 16mm. Preserved by Anthology Film Archives.) CAT’S CRADLE (1959, 6 min,
16mm) SIRIUS REMEMBERED (1959, 12 min, 16mm) THE DEAD (1960, 11 min, 16mm)
MOTHLIGHT (1963, 4 min, 16mm. Preserved by Anthology Film Archives.) BLUE MOSES
(1963, 11 min, 16mm, b&w, sound) With ANTICIPATION OF THE NIGHT, Brakhage
leaves psychodrama and enters the “closed-eye vision” period. This program also
contains a unique example of a film made without a camera, MOTHLIGHT, and one
of Brakhage’s few sound (and ‘acted’) films, BLUE MOSES. Total running time:
ca. 90 min.
2/22
New York, New York: Anthology Film Archives
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7:30 pm, 32 2nd Ave.
ESSENTIAL CINEMA: STAN BRAKHAGE'S DOG STAR MAN
by Stan Brakhage 1961-64, 74 min, 16mm, silent Share + Film Notes A masterwork
in which all of Brakhage’s techniques achieve a complex synthesis to produce
one of cinema’s supreme epic poems. “The film breathes and is an organic and
surging thing… it is a colossal lyrical adventure-dance of image in every
variation of color.” –Michael McClure, ARTFORUM
2/22
San Francisco, California: San Francisco Cinematheque
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7:30pm, 992 Valencia Street
SPACE MATERIAL/IMMATERIAL PLACE: FILMS BY JEREMY MOSS
Working in a number of intersecting and overlapping genres—including dance
film, speculative essay and rich alchemical, film emulsion-based
abstraction—the film/video work of Pennsylvania-based filmmaker Jeremy Moss
explores and interrogates bodies, identities and places shaped by rigid
boundaries and porous peripheries. His films incorporate intricate and direct
camera work that often emulates (only to subvert and deconstruct) such strict
structures. A featured artist in Cinematheque’s CROSSROADS festival in 2013 and
’14, Moss appears in person to present a complete program (including local
premieres) of his innovative body of work. THE BLUE RECORD—made with Erik
Anderson—is a harrowing meditation on ruin-gazing, panoptic oppression and the
experience of destruction as an aesthetic pleasure. THE SIGHT and CICATRIX
(both created at Ontario’s famed Independent Imaging Retreat—aka “Film Farm”)
ooze, bubble and rip with emulsive creationist impulses, while THOSE INESCAPABLE
SILVERS OF CELLULOID, an earlier contemplation of ideology and place, brings a
prophet’s omniscient and culpable gaze to a desolate desert landscape of
detritus and destruction. This program also includes a trio of Moss’ incredible
dance films—CHROMA, *(un)tethered* and THAT DIZZYING CREST, each made in
collaboration with choreographer Pamela Vail. Colliding movement and place,
fused with masterful filmic form, these works create immersive new realms for
the moving figure and offer tantalizing contributions to this rich, if
neglected, film genre. Jeremy Moss in person. Admission: $10 general/ $5
Cinematheque members.
WEDNESDAY, FEBRUARY 25, 2015
2/25
Brooklyn, New York 11222: Light Industry
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7:30pm, 155 Freeman St
THREE FILMS BY MARK LAPORE
The Sleepers Mark LaPore, 1989, 16mm, 16 mins “Memory, as well as the residue
of information in text and film from Sudan, led me to make The Sleepers in
order to resolve the impression that the third world is present in the first
world as an idea and a condition. The Sleepers is a film about how notions of
culture are often defined by information received indirectly—information that
frequently violates the particulars of people and place and makes questionable
one’s ability to portray specific individuals as representatives of culture.
The Sleepers concludes with a description of an African girl cleaning up after
a meal being read over the image of a red storefront in New York’s Chinatown.
Time and space contradict, then collapse to suggest a new third world city; a
city of the imagination, where rural Sudan, China and Manhattan exist
simultaneously.” — ML The Five Bad Elements Mark LaPore, 1997, 16mm, 32 mins
“The title of the film is mischievously cribbed from a gang of
troublemakers that appears in Chinese filmmaker Xie Jin's film Hibiscus Town
but also hints at the biblical concept of The Seven Deadly Sins, of universal
ingredients - the four elements - earth, water, air and fire. Bad elements can
refer euphemistically to a criminal milieu, ‘the wrong crowd,’ as well as
suggesting the antiquated medical notion of the circulating ‘humors’ that
govern disposition and health. Going to the source of trouble was part of the
filmmaker’s intent. LaPore: ‘I was more interested in who put those things into
Pandora's box than I was in who let them out.’ ... Sound and image are subtly
and rigorously counterpointed so as to fall into unnatural relations,
blistering as they graze against each other and leaving a stinging afterglow of
synesthesia and emotional voltage. By building the film on normally
inadmissible evidence, telegraphed inferences, metaphoric leaps and omissions,
damaged testimonies and scattered remains the film fabricates an impeccable
and elegant architecture from a materially incomplete and unsound body. In the
fragmented corpus of human beings and continents which is The Five Bad
Elements, LaPore has created a film which itself acts as an absorbent object, a
kind of metastatic sin eater that aims at expiation through its own
contamination, redistributing poisons into a netherworld that still clearly
resides at the core of its own physical and visible existence.” — Mark
McElhatten The Glass System Mark LaPore, 2000, 16mm, 20 mins “The Glass System,
made from images shot in New York and Calcutta, looks at life as it is played
out in the streets. Every corner turned reveals activities both simple and
unfamiliar: a knife sharpener on a bicycle; a tiny tightrope walker; a man
selling watches in front of a department store on Fifth Avenue; a hauntingly
slow portrait of the darting eyes of schoolgirls on their way home; the
uncompleted activities of a young contortionist. The sound in the film (which
is from a
Bengali primer written by British missionaries) is a meditation on how the
English language teaches ideas about culture which are often incongruous. The
disjunction between what you hear and what you see evokes reflections about the
impact of globalization and the hegemony of Western-style capitalism.” — ML
2/25
Los Angeles, California: Filmforum
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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 7:
ARBEITER VERLASSEN DIE FABRIK (WORKERS LEAVING THE FACTORY) AND GEFäNGNISBILDER
(PRISON IMAGES)
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: Arbeiter verlassen die Fabrik (Workers Leaving The Factory) (1995, 36
min., color and b/w, German with English subtitles. Digital.) and
Gefängnisbilder (Prison Images) (2000, 60 min., color and b/w, German with
English subtitles. Digital.)All films in this series are in German with English
Subtitles, unless otherwise noted. For more event information:
i...@losangeles.goethe.org, or +1 323 5253388
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Tickets: Free, but please RSVP due to limited seating, by email to
r...@losangeles.goethe.org or the 323.525.3388
THURSDAY, FEBRUARY 26, 2015
2/26
Chicago, Illinois: Conversations at the Edge
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18:00, Gene Siskel Film Center, 164 N. State
REBECCA BARON: DETOUR DE FORCE
Los Angeles–based filmmaker Rebecca Baron is known for provocative essay films
exploring such far-ranging subjects as Britain’s Mass Observation movement,
19th-century Arctic exploration, and the role of recording technologies in
shaping our understanding of the world around us. Her latest film, Detour de
Force, introduces viewers to the incredible world of “thoughtographer” Ted
Serios—a Chicago bellhop who, in the mid-1960s, produced hundreds of Polaroid
images through sheer force of mind. Baron screens the film with a selection of
works from Lossless (2008, with Douglas Goodwin), a series of digital
interventions—data compression, code removal—into video copies of classic
American films with fascinating results. Presented in collaboration with the
Video Data Bank. 2008–14, US, DCP and digital video, ca 70 min + discussion.
Rebecca Baron (1968, Baltimore, MD) takes up the construction of history and
the relationship between still photography and the moving image. Her work
has screened widely at international film festivals and media venues, including
Documenta 12, Anthology Film Archives, Pacific Film Archive, Whitney Museum of
American Art and the New York, London, and Toronto Film Festivals, among
others. Baron is the recipient of a 2002 Guggenheim Fellowship and a 2007
Fellowship at the Radcliffe Institute for Advanced Study. She is currently on
faculty at the California Institute of the Arts.
FRIDAY, FEBRUARY 27, 2015
2/27
Chicago, Illinois: Film Studies Center/University of Chicago
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7pm, Logan Center for the Arts, 915 E. 60th St
AN EVENING WITH ERNIE GEHR
A luminary member of the post-Brakhage generation of American avant-garde
filmmakers, Ernie Gehr is today among the most influential artists working
within, yet always reaching far beyond, the structuralist tradition that
reinvigorated experimental cinema in the late 1960s and 1970s. Beginning in
2001, Gehr completely shifted his production from film to video while applying
the same playfully rigorous curiosity to the digital as the cinematic, seeking
to harness the very essence, however ineluctable, of the “new” medium. In this
screening, Gehr presents and discusses his latest work on HD, including
Photographic Phantoms (2013, 27 min), Picture Taking (2010, 10 min), Winter
Morning (2013, 18 min), Brooklyn Series (2013, 8 min) and A Commuter’s Life
(What a Life!) (2014, 20 min).
SATURDAY, FEBRUARY 28, 2015
2/28
San Francisco, California: Other Cinema
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8:30, 992 Valencia
BLACK LIVES MATTER
Especially for Black History Month, the attention of the nation is focused on
the endangered status of African-Americans. Recent events have brought into
sharp relief a de facto second-class citizenship, and a decidedly unhealthy
state of police relations. Addressing these dire issues is this diverse program
of films both old and new: Kelly Gallagher’s Pen Up the Pigs (with Assata
Shakur), Soda_Jerk’s Astro Black (with Sun Ra), Alex Johnston’s Now Again, and
(an excerpt from) James Baldwin’s Hunter’s Point tour, Take this Hammer (1963),
ALSO: original newsreels from Selma, vitalizing verite from Oakland protests,
recent reportage from Ferguson, Mo, and inspiring work from Kevin Jerome
Everson and Cauleen Smith. Come early for Black movie trailers, 70s Soul
musicians, and a fired-up Muhammad Ali.
2/28
San Francisco, California: San Francisco Mint on Mission Street
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(http://hi-beam.us9.list-manage1.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=06fa324084&e=4e65756555
)
10-6pm, San Francisco Museum and Historical Society 88 5th Street, San
Francisco, CA 94103
5TH ANNUAL SAN FRANCISCO HISTORY EXPOSITION
My program titled "Antiquity" will be shown in Vault #9. I will exhibit
Deconstruction Sight and Preminition. These will be shown on 16mm film from
February 28-March 1, 2015.
2/28
San Francisco, California: Incline Gallery
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8pm, 766 Valencia St.
THIS ISLAND EARTH: LIVE SOUND & FILM PERFORMANCE BY ASHLEY BELLOUIN, BEN
BRACKEN AND PAUL CLIPSON
Ashley Bellouin and Ben Bracken make music with both traditional and hand made
instruments that exploit the natural overtones and sympathetic vibrations
generated by highly redundant tuning systems. Minimal structures and simple
harmonic relationships give rise to meditative washes of sound. Each
composition is constructed by considering the personal experience of a physical
site, the materials used in the construction of the instruments, and the
interplay between the two. Their performances are a mixture of the imagined and
real, of natural phenomena, and direct action. Dual 16mm film projection by
Paul Clipson. Part of the THIS ISLAND EARTH exhibition at Incline Gallery which
opens on Friday, February 27 from 6-9pm, and features new works in sculpture,
painting and film/video by Alexander Cheeves, Walter Logue and Paul Clipson.
2/28
San Francisco, California: Stop & Go
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7:30 p.m., Second Act Market Place 727 Haight Street
STOP & GO: MADE FROM SCRATCH
This delicious suite of animations offers a variety of impressions on crafting,
horticulture and food. For this screening we will partner with the food vendors
of the Second Act Market Place to offer a series of food pairings alongside the
animations. Artists whose works are included in this program include Emily
Alden Foster, William Cashion & Elena Johnston, Hugo de Kok & Kay van Vree,
Benjamin Ducroz, Eric Dyer, Sandra Eber, Andy Ellison, Alice Evans, David
Green, Elizabeth Hobbs, Andrew Kelleher, Katarzyna Kijek & Przemyslaw Adamski,
Sarah Klein & David Kwan, Katie Lenton, Jennifer Levonian, Jillian McDonald,
Peter Millard, Rob Munday, Johan Rijpma, Jacob Rivkin, Albert Roskam, and Caleb
Wood.
SUNDAY, MARCH 1, 2015
3/1
Los Angeles, California: Filmforum
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7:30 pm, Spielberg Theatre at the Egyptian, 6712 Hollywood Blvd.,
RECYCLED CINEMA WITH ROGER BEEBE
Filmforum is delighted to welcome filmmaker philosopher Roger Beebe to our
small confines with some of his expansive media works. With this show, Roger
says "I’m thinking about all of these films and videos as being related—through
some notion of “foundness”—to the detritus of multinational capital, whether
that’s in the form of the built landscape of the strip mall and its omnipresent
signage (The Strip Mall Trilogy, AAAAA Motion Picture) or a more fully
“mediated” landscape of mass media representations (Historia Calamitatum, [sic]
series, Dirty Harry and the Hendersons.) I’ve increasingly been thinking about
the continuity between the found footage film and all the other kinds of films
I’ve made, where even shooting feels like just another way of re-presenting the
world as found.” The evening includes a live-scored two-projector performance
of AAAAA Motion Picture, and also the dual-projector film TB TX Dance -- it’s
gonna be quite a show! 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
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