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** This week [March 28 - April 5, 2015] in avant garde cinema
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NEW CALLS FOR ENTRIES:
CineSpace (Houston, TX, USA; Deadline: July 31, 2015)
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The Center for Fine Art Photography (Fort Collins, Colorado US; Deadline: May
13, 2015)
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Creative Commons Festival Barcelona (Barcelona,Spain; Deadline: April 06, 2015)
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DEADLINES APPROACHING:
Magmart Festival 9th Edition (2014-15) (Naples, Italy; Deadline: March 31, 2015)
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=c2cb989f51&e=4e65756555
INTERNATIONAL VIDEO ART REVIEW THE 03 (Krakow, Poland; Deadline: April 01, 2015)
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Winnipeg Underground Film Festival (Winnipeg, MB, Canada; Deadline: March 31,
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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Art in the Dark @ Isadore gallery (Lancaster, PA USA; Deadline: April 01, 2015)
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FLEFF (Ithaca, NY, USA; Deadline: May 01, 2015)
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Haverhill Experimental Film Festival (Haverhill, MA, USA; Deadline: April 11,
2015)
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Creative Commons Festival Barcelona (Barcelona,Spain; Deadline: April 06, 2015)
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s
Events are sorted alphabetically BY CITY within each DATE.
This week's programs (summary):
* Essential Cinema: L'age D'or (#anchor1) [March 28, New York, New York]
* Paul Sharits Program 2 (#anchor2) [March 28, New York, New York]
* Cyrus Tabar + Schedelbauer + Baldwin + (#anchor3) [March 28, San Francisco,
California]
* Ornette: Made In America (#anchor4) [March 29, Cambridge, Massachusetts]
* Paul Sharits Program 3 (#anchor5) [March 29, New York, New York]
* Paul Sharits Program 4 (#anchor6) [March 29, New York, New York]
* Film: English Language Version of Guy Debord's In Girim Imus Nocte Et
Consumimir Igni (#anchor7) [March 29, Oakland, California 94609]
* Films of Place By Ute Aurand - Filmmaker In Person (#anchor8) [March 30,
Cambridge, Massachusetts]
* Transforming Spaces: New Films From L.A. Filmmakers (#anchor9) [March 30, Los
Angeles, California]
* Nathaniel Dorsky On Stan Brakhage Part ii (#anchor10) [March 30, San
Francisco, California 94103]
* Edward Owens: Private Imaginings and Narrative Facts | Facebook (#anchor11)
[March 31, Brooklyn, New York 11222]
* Magmart Festival ix Edition Is Start! (#anchor12) [March 31, Naples, Italy]
* Flaherty Nyc: the Motherhood Archives Program (#anchor13) [March 31, New
York, New York]
* 18:00 (#anchor14) [April 2, Chicago, Illinois]
* Show & Tell: Wojciech Bakowski (#anchor15) [April 2, New York, New York]
* Paul Clipson Programme I (#anchor16) [April 3, Hong Kong]
* Re-Visions: American Experimental Film 1975-80: Joe Gibbons Program 1
(#anchor17) [April 3, New York, New York]
* Fantasmas CromÁTicos- the Films of Claudio Caldini (#anchor18) [April 3,
Toronto, Ontario, Canada]
* Paul Clipson Programme ii (#anchor19) [April 4, Hong Kong]
* Re-Visions: American Experimental Film 1975-80: Joe Gibbons Program 2
(#anchor20) [April 4, New York, New York]
* Gillooly's Suitcase of Love and Shame + Rhody (#anchor21) [April 4, San
Francisco, California]
* Re-Visions: American Experimental Film 1975-80: Joe Gibbons Program 3
(#anchor22) [April 5, New York, New York]
* Re-Visions: American Experimental Film 1975-80: Joe Gibbons Program 4
(#anchor23) [April 5, New York, New York]
SATURDAY, MARCH 28, 2015
3/28
New York, New York: Anthology Film Archives
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5:30 pm, 32 2nd Avenue
ESSENTIAL CINEMA: L'AGE D'OR
by Luis Buñuel and Salvador Dalí In French with English subtitles, 1930, 73
min, 35mm, b&w Conventional attempts at plot synopsis wither in the face of
L’ÂGE D’OR. In Buñuel’s words, “The story is a sequence of moral and surrealist
aesthetics. The sexual instinct and the sense of death form the substance of
the film. It is a romantic film performed in full surrealistic frenzy.”
3/28
New York, New York: Anthology Film Archives
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7:30 pm, 32 2nd Avenue
PAUL SHARITS PROGRAM 2
PROGRAM 2: DREAM DISPLACEMENT (1976, 25 min, double 16mm projection) Special
thanks to the Albright-Knox Art Gallery, Buffalo, NY ANALYTICAL STUDIES II:
UN-FRAMED LINES (1971-76, 30 min, 16mm) AXIOMATIC GRANULARITY (1972-73, 20 min,
16mm) Total running time: ca. 80 min.
3/28
San Francisco, California: Other Cinema
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=243200610f&e=4e65756555
8:30, 992 Valencia
CYRUS TABAR + SCHEDELBAUER + BALDWIN +
Launching Canyon Cinemazine #3: Sound (with flexidisc filled with
soundtracks!), our second synesthesia session sports Renaissance man Tabar
performing a primo selection of his audiovisual originals, working between
keyboard and screen, analog and digital. Sylvia Schedelbauer is represented by
her tour-de-force Sea of Vapors (in fact shot by Tabar!), a transcendent
flicker-film that activates a euphoric figment-rich region between memory and
imagination. AND in Hot Pickled Capers, Craig Baldwin unspools a pair of
hardly/oddly compatible 16mm reels, mixing and mashing up some Sixties
international atomic-espionage. PLUS Moog Promos, Soviet Theremins, Dream
Machines, and more! $7.
SUNDAY, MARCH 29, 2015
3/29
Cambridge, Massachusetts: Harvard Film Archive
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=70c54862b8&e=4e65756555
5pm, 24 Quincy Street
ORNETTE: MADE IN AMERICA
Clarke’s free-associating, layered approach to her portrait of the legendary
free jazz icon mischievously reflects the multidimensional fabric of Ornette
Coleman’s inventive, radical approach to jazz. Initially dropping the project
of filming Coleman in the Sixties, Clarke resumed production in the Eighties at
the urging of producer Kathelin Hoffman, in part to document the inaugural
concert of a new performing arts center opening in Coleman’s hometown of Fort
Worth, Texas. Clarke magically and unpredictably blends dramatization, video
collage and rhythmic editing techniques with interviews and concert footage, to
craft an energetic and otherworldly journey through the cosmos of Ornette
Coleman. Featuring appearances by fellow creative eccentrics like William
Burroughs and Brion Gysin while conjuring the philosophies of Buckminster
Fuller, Clarke’s biography dreamily sketches out the transcendental orbit
Coleman has always followed while tenderly tethered to his humble
beginnings in a Fort Worth ghetto. Directed by Shirley Clarke US 1984, 35mm,
color & b/w, 77 min Preceded by Bridges-Go-Round Directed by Shirley Clarke US
1958, 16mm, color, 4 min. Score by Louis and Bebe Barron
3/29
New York, New York: Anthology Film Archives
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6:45 pm, 32 2nd Avenue
PAUL SHARITS PROGRAM 3
PROGRAM 3: VERTICAL CONTIGUITY (1974, 15 min, double 16mm projection) WORD
MOVIE (FLUXFILM 29) (1966, 4 min, 16mm) PIECE MANDALA/END WAR (1966, 5 min,
16mm) ANALYTICAL STUDIES III: COLOR FRAME PASSAGES (1973-74, 21 min, 16mm)
ANALYTICAL STUDIES IV: BLANK COLOR FRAMES (1975-76 15 min, 16mm) ANALYTICAL
STUDIES III and IV preserved by Anthology Film Archives through the Avant-Garde
Masters program funded by The Film Foundation and administered by the National
Film Preservation Foundation. Total running time: ca. 65 min.
3/29
New York, New York: Anthology Film Archives
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=8fd3c1e7a5&e=4e65756555
8:30 pm, 32 2nd Avenue
PAUL SHARITS PROGRAM 4
PROGRAM 4: FIGMENT I: FLUXGLAM VOYAGE IN SEARCH OF THE REAL MACIUNAS (1977-86,
104 min, Super 8mm-to-video. Digitized by Anthology Film Archives.)
3/29
Oakland, California 94609: The Omni
7:00pm - 10:00pm, 4799 Shattuck Ave
FILM: ENGLISH LANGUAGE VERSION OF GUY DEBORD'S IN GIRIM IMUS NOCTE ET
CONSUMIMIR IGNI
"IN GIRUM IMUS NOCTE ET CONSUMIMUR IGNI" Sunday, March 29, 7:00 p.m. Omni
Building, 4799 Shattuck, Oakland.
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=18f0bc87c4&e=4e65756555
Suggested donation $5-$10, but no one will be turned away. All proceeds will
go to support the Omni Oakland Commons. Guy Debord (1931-Â1994) was the most
influential figure in the Situationist International, the notorious subversive
group that played a key role in provoking the May 1968 revolt in France. The
title of Debord's sixth and final film "In Girim Imus Nocte et Consumimir Igni"
(1978) is a Latin palindrome you can look up the meaning of. The film is at
once an autobiographical reflection and a scathing denunciation of the
ever-increasing moral and material degradation of modern capitalist society.
Many people consider it to be his masterpiece. All of his films are brilliant
in their diverse ways, but in this astonishing summation of his life and work
he really pulls out all the stops. As with "The Society of the Spectacle"
filmmaker
Konrad Steiner took the original French film and produced an English overdubbed
version with the superlative translation of the film script by Bay Area author
/ translator Ken Knabb expertly interpreted on the sound track by artist /
scholar Dore Bowen. Ripped DVD clips from the quoted films (which in Debord's
film were in French) have been re-rendered into English using subtitles and the
original English soundtracks. This version is meant to allow more people to
appreciate the complex interplay between montage, image and language which make
up Debord's reflections on life and his panegyric to a revolutionary era. The
film serves as a companion piece to "The Society of the Spectacle" (screened on
March 7th). While the earlier film suggests that, in order to change the world,
theory must be learned and discarded in favor of specific historical actions,
the present one goes further to insist that an avant garde acts only to be
sacrificed for that change, rather than to survive
and administer it. If you think of Debord as a dry theoretician, your
impression might be changed by watching this film. Ken will introduce the film,
and he and Konrad and Dore will be on hand for discussion afterwards.
MONDAY, MARCH 30, 2015
3/30
Cambridge, Massachusetts: Harvard Film Archive
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=5a35688e2c&e=4e65756555
7pm, 24 Quincy Street
FILMS OF PLACE BY UTE AURAND - FILMMAKER IN PERSON
$12 Special Event Tickets India India developed from three journeys to Pune in
2001, 2002 and 2004. I arrived in a foreign country and felt astonishingly
familiar with it. Walking through the streets of Pune I was submerged in
Life—surrounded by the people, the colors, the light, the beauty. It was the
small things that inspired me to film, sometimes a short glimpse, a hand
movement, a smile, a temple hidden in a courtyard. It was like a long hot bath,
that I took there in Pune's streets—Prana trembling in the leaves, in the dust,
in the dances, Prana everywhere. – Ute Aurand Germany 2005, 16mm, color, 57 min
To Be Here To Be Here is the last part of my trilogy of countries that includes
India and Junge Kiefern (filmed in Japan). In the past ten years I visited New
England many times and decided to make a film about what attracted me—like the
women's colleges, the Shakers, Katharine Lee Bates and her “Amercia the
Beautiful.” I traveled through the present New England evoking
former idealists and visionaries. Mount Holyoke College takes a special place
in my film. The impulse for my trip to the Southwest in the second half of the
film also came from “America the Beautiful,” which Bates wrote on her visit to
Pikes Peak. While travelling west, I visited the Hopi and felt far far away
from the United States of America. Nature seems to preserve what we the people
forget. – Ute Aurand Germany 2013, 16mm, color, 38 min Sakura, Sakura Sakura,
Sakura is a two-minute film about two Japanese women, whom I met in Nara and
Rappongi while filming for Young Pines. – Ute Aurand Germany 2015, 16mm, color,
2 min
3/30
Los Angeles, California: Redcat
http://hi-beam.us9.list-manage1.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=664837eb11&e=4e65756555
8:30pm, 631 West 2nd Street
TRANSFORMING SPACES: NEW FILMS FROM L.A. FILMMAKERS
This program of experimental work samples recent creative approaches by which
Angeleno filmmakers are engaging with real or imagined spaces and shaping those
encounters into distinctly cinematic experiences. Landscape becomes a
meditative space in Kate Brown's Utah (2014, 20 min.) while it abstracts into
sensual tapestries in Abigail Severance's latest Kinesthesia Series (2014, 8
min.). Laura Kraning turns to heavy industry in Port Noir (2104, 11 min.) and
recasts its structures as haunted mazes. The cinema itself becomes a shared
space for reflecting on time and sensation in Madison Brookshire's About 11
Minutes (2014, 11 min.), whereas in Janie Geiser's The Hummingbird Wars (2014,
10 min.), the screen serves in its familiar role as window, one that magically
blends a treasure-trove of found objects into a luminous spectral domain. Check
redcat.org for the full program and in-person guests. Presented as part of the
Jack H. Skirball Series. Curated by Steve Anker and Bérénice
Reynaud.
3/30
San Francisco, California 94103: New Nothing Cinema
7:00pm - 9:00pm, 16 Sherman St
NATHANIEL DORSKY ON STAN BRAKHAGE PART II
Canyon Cinema Foundation is pleased to announce the first Salon event of 2015!
Join us March 30th at New Nothing Cinema as we celebrate the return of
Nathaniel Dorsky to the program .This month, Mr. Dorsky will continue his
meditation on the work of Stan Brakhage with a screening and discussion of The
God of Day Had Gone Down Upon Him. This screening is FREE and open to the
public, kindly arrive before 7:30PM, as the doors to the venue will be shut at
that time.
TUESDAY, MARCH 31, 2015
3/31
Brooklyn, New York 11222: Light Industry
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7:30pm, 155 Freeman St
EDWARD OWENS: PRIVATE IMAGININGS AND NARRATIVE FACTS | FACEBOOK
Tomorrow's Promise 1967, 16mm, 45 mins "Edward Owens has achieved in Tomorrow's
Promise a quality so exceedingly high that one is forced to term certain
moments of the film bad only because they are surrounded by such rich nuance.
Tomorrow's Promise deals with complex, intellectually exciting subject matter
yet remains unobscure. The nudity of the film is handled in a fresh and
climactic way. Tomorrow's Promise contains almost separate films and Mr. Owens
has successfully assembled them toward one goal: vacantness. Mr. Owens appears
to be a classicist adhering to his own valid principles of excellence in the
arts " there will be no limit to the amount of beauty and excoriation he may
choose to show us." - Gregory Battcock
3/31
Naples, Italy: Magmart Festival
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2015 April, CAM Casoria Contemporary Art Museum
MAGMART FESTIVAL IX EDITION IS START!
Magmart festival IX edition is start! Be one of us, join the festival with your
video artwork(s)! We are waiting them! RULES The Festival is open to all
international videoartists. Partecipation is free. Between all submitted
videos, will be done a final selection based on vote of a Jury composed by
experts. The 30 selected artworks will become part of CAM (Casoria Contemporary
Art Museum) permanent collection. All sended materials don't will be return,
and will be stored in the Festival's archive like documentation. Sending the
participation form, the artist accept fully the present rules. The Jury verdict
is incontestable. The artist accept that his/her own videos will be broadcasted
online and offline, on site www.magmart.it; he/she accept that, if selected,
the video become part of permanent collection of CAM, and should be freely
screened at CAM rooms. All the videos, selected or not, can be screened in any
other place or event related to Festival, online or offline,
with exclusion of any commercial use. Still-frame from videos can be freely
used for the Festival communication, mentioning title and author of artwork.
All rights on videos remain property of author. The author assert, under
his/her own liability, the complete right of use on used materials (images,
sounds, videos) and that compose the artwork; the author undertake completely
the liability for any breach of copyright laws. To participate is necessary
fill out the form available online, on this website. The omission, or the
incorrect filling, of one or more parts of form itself, will involve the
exclusion of video by selection of Jury. The possible selection by Jury is in
any case subordinate at an essential condition for the proclaim of winners: the
author of selected video must send, via ordinary mail, and within 15 days from
Jury's verdict communication, the donation act to CAM of the copy of his/her
own video, and the hard copy on DVD itself. The donation act don't
underlie in any way a transfer of right, but certify exclusively the
willingness of author so that a copy of his/her own video artwork will be
permanently keeped - and, with limitations above, utilized - in the permanent
collection of CAM. Without this donation act, the videos will be rule out by
group of 30 selected artworks, and replaced by those immediately subsequent in
Jury's ranking. Any author can participate with max 5 videos. Videos already
submitted to previous editions of Magmart, or at Magmart projects (100x100=900
and F.I.V.E.), even if not selected by Jury, aren't admissible. DEADLINE Will
be accepted only the videos received within midnight of March, 31 2015.
3/31
New York, New York: Anthology Film Archives
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=cc40d6642c&e=4e65756555
7:00 pm, 32 2nd Avenue
FLAHERTY NYC: THE MOTHERHOOD ARCHIVES PROGRAM
Irene Lusztig’s film, THE MOTHERHOOD ARCHIVES, explores the history of efforts
to discipline and control the body of pregnant women. Lusztig spent five years
assembling an extraordinary archive of over 100 educational, industrial, and
medical training films and, in her inimitable style, editing this material into
THE MOTHERHOOD ARCHIVES, a hidden history of childbirth in the twentieth
century. Through the process, Lusztig highlights the uncomfortable and
little-discussed ambivalence that many women feel about producing children,
those most precious of objects. Irene Lusztig THE MOTHERHOOD ARCHIVES (2014, 91
min, digital) Lusztig will be here in person. This program is a co-presentation
with Triple Canopy.
THURSDAY, APRIL 2, 2015
4/2
Chicago, Illinois: Conversations at the Edge
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18:00, Gene Siskel Film Center, 164 N. State
18:00
Recently restored by the Cineteca di Bologna, this astonishing 1975 documentary
centers on the titular pregnant, homeless 16-year-old girl whom filmmakers
Alberto Grifi and Massimo Sarchielli encountered in Rome’s Piazza Navona.
Mainly shot on then-newfangled video, it documents the interactions between the
enigmatic Anna and its directors, whose interest in her is at once
compassionate and self-serving. Far from straightforward vérité, this complex,
self-implicating chronicle includes Grifi and Sarchielli’s explicit attempts to
direct their subject, reenactments of off-screen events, and intrusions from
behind the camera (not least the emergence of the film’s electrician as a love
interest). In Italian with English subtitles. 1972-75, Alberto Grifi and
Massimo Sarchielli, Italy, DCP, 225 minutes + discussion. Massimo Sarchielli
(1931–2010, Florence, Italy) was an Italian actor, filmmaker, and mime. As an
actor, he worked with Federico Fellini, Bernardo Bertolucci, Dario
Argento, Terence Stamp, and Spike Lee. Alberto Grifi (1938–2007, Rome, Italy)
was an Italian painter, filmmaker, and inventor. His experimental works range
from incisive montage films to a 12-hour event composed of magnetic tape
distributed among and reassembled by the audience.
4/2
New York, New York: Anthology Film Archives
http://hi-beam.us9.list-manage1.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=3f2ed40d75&e=4e65756555
7:30 pm, 32 2nd Ave.
SHOW & TELL: WOJCIECH BAKOWSKI
EXERCISES FOR TRUE FRIENDS (2011, 14.5 min, digital, b&w) SPOKEN MOVIE 4 (2009,
12.5 min, 35mm-to-digital, b&w) CONSTRUCTION OF THE DAY (2013, 9 min, digital,
b&w) ARE YOU GOING WITH ME? (2007, 13 min, 35mm-to-digital) LOVE (2009, 5 min,
digital) SPOKEN MOVIE 2 (2008, 8 min, 35mm-to-digital) FEAR (2005, 4 min,
35mm-to-digital, b&w) SPOKEN MOVIE 6 (2011, 6 min, digital, b&w) MAKING NEW
WORLDS INSTEAD OF FORGETTING ABOUT IT (2010, 5.5 min, digital, b&w) Total
running time: ca. 80 min.
FRIDAY, APRIL 3, 2015
4/3
Hong Kong: Hong Kong International Film Festival
http://hi-beam.us9.list-manage1.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=66077cd8ab&e=4e65756555
5:15pm, Hong Kong Arts Centre Agnès b. Cinema, 2 Harbour Road, Wan Chai, Hong
Kong
PAUL CLIPSON PROGRAMME I
"Clipson takes the "symphony of a city" into the new millennium in SPHINX ON
THE SEINE, with a soundtrack by Jefre Cantu-Ledesma, and the melting lights of
Rotterdam, San Francisco and New York in CHORUS with music by Gregg Kowalsky.
The program shifts from city to nature with the chiaroscuro dance of UNION and
the explosions of growth, light and sound in LIGHT FROM THE MESA, with its
score by Barn Owl. Finally, the five movements of COMPOUND EYES NOS. 1-5, a
magical menagerie (and another collaboration with Cantu-Ledesma) ask us to see
the world with and like other beings – whether refracted through the vision of
myriad insects or drifting in an aqueous world with the fishes. Total: 64min."
Screened on Super 8mm by the filmmaker.
4/3
New York, New York: Anthology Film Archives
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7:30 pm, 32 2nd Ave.
RE-VISIONS: AMERICAN EXPERIMENTAL FILM 1975-80: JOE GIBBONS PROGRAM 1
Lately he is famous for all the wrong reasons, but since the mid-1970s Joe
Gibbons has been one of the most exceptional filmmakers around, avant-garde or
otherwise. He is a visual and verbal comedic conceptualist whose entirely
original films and videos center on a character named Joe Gibbons, a guy forced
to deal with all manner of predicaments and impediments as he does his best to
live in the world. A born performer with an unparalleled aptitude for
storytelling and word play, Gibbons’s disturbingly funny fictionalized
self-portrayals have proven to be among the smartest and definitely quirkiest
works of his generation. Truly a legend among his peers, and an artist whose
output has always been too hard to see, Gibbons is a gentle sort of punk who
makes the rarest of things: deeply entertaining experimental films. These four
programs include new and recently completed 16mm blow-ups of classic Super 8
movies, stand-out video productions, and newly digitized works from his
vast back catalog. All proceeds from the screenings will support Joe's health,
food, clothing, and shelter requirements during his time of need. More info on
how to help Joe can be found at:
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“I guess in most drama there’s some kind of flaw that drives the drama and I
think by exaggerating things, I mean, I play pretty messed up characters, but
there are aspects that everybody to a greater or lesser degree exhibits,
especially the psychopathic ones; people can identify with that. So many movies
are made involving these characters. I started out making more abstract films
or structural films and it wasn’t until I discovered using myself as material
that I thought I had something. But I had to keep making more, I needed
content. By finding flaws and working on those that was a goldmine.” –Joe
Gibbons Special thanks to Video Data Bank, Lily Sheng, Anne Turyn, Deborah
Meehan, Bard College, Peggy Ahwesh, Keith
Sanborn, Marj Thomas, and Tony Oursler. PROGRAM 1: PRESENCES (1974-90, 45 min,
Super 8mm-to-16mm blow-up. Preserved by Anthology Film Archives with support
from the Andy Warhol Foundation for the Visual Arts and the National Film
Preservation Foundation.) A long-term project started in the 1970s, PRESENCES
compiles a series of portrait films featuring the filmmaker’s colleagues,
friends, and family. A stepchild of sorts to Andy Warhol’s SCREEN TESTS, in
these silent films Gibbons places each subject in front of a Super 8 camera and
then exits the room, leaving his stars to their own devices. Look out for the
filmmaker’s parents, filmmakers Peter Kubelka and Tony Conrad, and many other
faces from the filmmaker’s past. SPYING (1977-78, 31.5 min, Super 8mm-to-16mm
blow-up. Preserved by Bard College with support from the National Film
Preservation Foundation.) An acknowledged early masterpiece that foreshadowed
many of the ongoing concerns that would arise in later Gibbons films.
“Too controversial to describe in detail, this film reveals the underlying
voyeuristic nature of the cinema-phile.” –Joe Gibbons “An exercise in applied
voyeurism – a hilariously perverse MAN WITH A MOVIE CAMERA – in which the
filmmaker secretly observes his neighbors (and their pets) sunbathing,
gardening, or gazing out of the window.” –J. Hoberman, VILLAGE VOICE Total
running time: ca. 80 min.
4/3
Toronto, Ontario, Canada: Liaison of Independent Filmmakers of Toronto
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7:30pm, Jackman Hall, Art Gallery of Ontario (AGO), 317 Dundas St. West
FANTASMAS CROMÁTICOS- THE FILMS OF CLAUDIO CALDINI
"Behind every experimental filmmaker lies a defence of the still unconquered
liberty of the amateur‹of the unpredictable, infinite twists and turns of an
art form that is, when all is said and done, as varied as the people who engage
it. In his own way rigorous, attentive, sensitive, formal, Claudio Caldini has
constructed one of the most lucid and committed defences of this last,
unconquered and unexploitable cinematic territory, as a personal act in the
face of an outside world in constant tumult." Pablo Marin Claudio Caldini is
one of the most important experimental filmmakers in Argentina. He began making
films during the 1970s at a time of great political upheaval, yet he was able
to work amongst a community of filmmakers like Narcisa Hirsch and Marielouise
Allemann that formed a creative network of like-minded artists. That creative
milieu became a touchstone for Argentina's vibrant filmmaking scene, a scene
that Caldini has continually influenced through his prolific
filmmaking output and a legendary and long-standing Super 8 workshop series in
Buenos Aires. Caldini¹s films, made and shown on Super 8 film, explore
spiritual and philosophical quests through a practice that blends the act of
seeing with the mechanical possibilities of the camera. They are lyrical
masterpieces, transforming vision into lush studies of superimposition, blurred
landscapes and inner mysticism. Caldini will present a short suite of super 8
films followed by a stunning three-projector performance exploring live colour
manipulation of the cityscape. This is a rare chance to see the films
projected, as the unique nature of Super 8 film prints require that Caldini
travel with them.
SATURDAY, APRIL 4, 2015
4/4
Hong Kong: Hong Kong International Film Festival
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6pm, Hong Kong Arts Centre Agnès b. Cinema, 2 Harbour Road, Wan Chai, Hong Kong
PAUL CLIPSON PROGRAMME II
"Urban industrial landscapes create angular canvases in ABSTEIGEND (soundtrack
by Evan Caminiti) and then reemerge as spears of light in the Zagreb train
station in VOID REDUX, with music by Barn Owl. These converge with other poetic
essays of movement and shadow like ORIGIN with its play of body, woods and
waves (and Che Chen's hypnotic score) or the synthetic visions of LANDSCAPE
DISSOLVES with music by Alex Cobb. And then Clipson's striking trilogy –
ANOTHER VOID, BRIGHT MIRROR and OTHER STATES (all collaborations with
sound/artist Jefre Cantu-Ledesma)– where his certainty of color, light, and
sound is anchored by key images of the eye, the dancing figure and erasing
shadow and urgent hands and faces. Culminating with PULSARS E QUASARS, an
explosion of eyes, sun and sea with a soundtrack by ARP. Total: 64min."
Screened on Super 8mm by the filmmaker.
4/4
New York, New York: Anthology Film Archives
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7:30 pm, 32 2nd Ave.
RE-VISIONS: AMERICAN EXPERIMENTAL FILM 1975-80: JOE GIBBONS PROGRAM 2
PROGRAM 2: PUNCHING FLOWERS (1976, 2-min excerpt, Super 8mm-to-16mm blow-up.
Preserved by Bard College with support from the National Film Preservation
Foundation.) Gibbons has no patience for flowers, and here demonstrates what
happens when they get in his way. WELTSCHMERZ (1979, 18 min, Super 8mm-to-16mm
blow-up. Preserved by Anthology Film Archives with support from the Andy Warhol
Foundation for the Visual Arts and the National Film Preservation Foundation.)
The filmmaker wallows in misery at a kitchen table, observes those who enjoy
life at the beach, and watches television. CONFIDENTIAL PART 2 (1980, 26 min,
Super 8mm-to-16mm blow-up. Preserved by Bard College with support from the
National Film Preservation Foundation.) “Overtly a portrait of the filmmaker
confessing his remorse at the scandalous manner in which he gathered material
for his near-classic SPYING, here an eerie interpersonal relationship is
developed between the filmmaker and his camera which culminates
in violence. The ‘sin’ as act of the imagination and its degenerative effect on
the personality.” –Henry Hills GOING TO THE DOGS (1980, 20 min, Super
8mm-to-digital. Digitized by Anthology Film Archives with support from the Andy
Warhol Foundation for the Visual Arts.) A quasi-documentary shot in San
Francisco about some friends who get into drug-related trouble. DROPPING MONEY
(1983, 12 min, Super 8mm-to-digital. Digitized by Anthology Film Archives with
support from the Andy Warhol Foundation for the Visual Arts.) This film is
exactly what the titles says. The filmmaker has described it as a “lark.” Total
running time: ca. 85 min.
4/4
San Francisco, California: Other Cinema
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8:30, 992 Valencia
GILLOOLY'S SUITCASE OF LOVE AND SHAME + RHODY
Tender, erotic, and pathetic, this “reconstructed” feature is a mesmerizing
collage woven from 60 hours of reel-to-reel audiotapes discovered in a suitcase
purchased on eBay. Recorded in the 60s, a Midwestern woman and her lover become
reliant on recording devices to document their affair, generating intriguing
questions about privacy, exhibitionism, and voyeurism. We are compelled to
eavesdrop despite the discomfort of this transgressive scenario, abetted by
Jane Gillooly’s minimal visuals. Opening is Vernacular Visions, from East Bay
wunderkind Justin Clifford Rhody, who re-animates “found” artifacts via the
opposite route, adding his own spoken word and music to anonymous thrift-store
35mm slides. $6.
SUNDAY, APRIL 5, 2015
4/5
New York, New York: Anthology Film Archives
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5:45 pm, 32 2nd Ave.
RE-VISIONS: AMERICAN EXPERIMENTAL FILM 1975-80: JOE GIBBONS PROGRAM 3
ELEGY (1991, 11 min, video) It’s the first day of autumn, and Gibbons can
already smell death in the air. Waxing weirdly philosophical, Gibbons
satirically tries to impress the concept of mortality on his dog; the video,
shot in Pixelvision, approximates his dog’s black-and-white vision. FINAL EXIT
(2001, 5 min, video) In FINAL EXIT, an aged one is confronted with his options
in blunt terms. This video confronts the issues of mortality and advancing
decrepitude that faces even the friskiest. HIS MASTER’S VOICE (1994, 6 min,
video) Gibbons presents a Son of Sam-like relationship between a man and his
dog in which the man takes the dog to task for the terrible things he has made
him do. Shot in Pixelvision. PRETTY BOY (1994, 3 min, video) Tension between a
man and his handsome young rival (a Ken doll) erupts into violence. Their
interaction devolves from a series of tussles to a spanking. CONFESSIONS OF A
SOCIOPATH (2001, 40 min, video) With a nod to Samuel Beckett’s KRAPP’S
LAST TAPE, Gibbons lets the cat out of the bag with a critical self-diagnosis
that is as characteristically funny as it is worrisome. Included in the year’s
best list by both FILM COMMENT and ARTFORUM, this magnum opus interweaves
footage from over 25 years of filmmaking activity into an expertly realized,
truly unforgettable piece that is undoubtedly one of Gibbons’s most significant
achievements. Total running time: ca. 70 min.
4/5
New York, New York: Anthology Film Archives
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=8c22374812&e=4e65756555
7:30 pm, 32 2nd Ave.
RE-VISIONS: AMERICAN EXPERIMENTAL FILM 1975-80: JOE GIBBONS PROGRAM 4
A program featuring selections from the hundreds if not thousands of Super 8
reels that comprise Gibbons’s archive. The screening will include completed
films, work-in-progress footage, and moments where the filmmaker had his camera
in hand. In all cases they are highly revealing, always amusing examples that
prove Joe Gibbons to be one of the true masters of small gauge filmmaking.
HARVARD SQUARE PLUS MUFFIN RITUAL (ca. 1980s, 11 min, Super 8mm-to-digital) SEA
MONKEYS (ca. 1970s, 8 min, Super 8mm-to-digital) WELL I DID IT PT. 2 (ca.
1980s, 3.5 min, Super 8mm-to-digital) DIVERSIONARY TACTICS (ca. 1970s, 5.5 min,
Super 8mm-to-digital) PHASE CHANGES (ca. 1970s, 4.5 min, Super 8mm-to-digital)
POINTS OF INTEREST (PIKE’S PEAK) (ca. 1970s, 8 min, Super 8mm-to-digital)
MEASURING POINTING (ca. 1970s, 9 min, Super 8mm-to-digital) and more Total
running time: ca. 80 min.
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