** This week [March 28 - April 5, 2015] in avant garde cinema

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CineSpace (Houston, TX, USA; Deadline: July 31, 2015)
The Center for Fine Art Photography (Fort Collins, Colorado US; Deadline: May 
13, 2015)
Creative Commons Festival Barcelona (Barcelona,Spain; Deadline: April 06, 2015)

Magmart Festival 9th Edition (2014-15) (Naples, Italy; Deadline: March 31, 2015)
INTERNATIONAL VIDEO ART REVIEW THE 03 (Krakow, Poland; Deadline: April 01, 2015)
Winnipeg Underground Film Festival (Winnipeg, MB, Canada; Deadline: March 31, 
SiciliAmbiente Documentary Film Festival San Vito Lo Capo (San Vito lo Capo, 
Italy; Deadline: April 30, 2015)
Art in the Dark @ Isadore gallery (Lancaster, PA USA; Deadline: April 01, 2015)
FLEFF (Ithaca, NY, USA; Deadline: May 01, 2015)
Haverhill Experimental Film Festival (Haverhill, MA, USA; Deadline: April 11, 
Creative Commons Festival Barcelona (Barcelona,Spain; Deadline: April 06, 2015)

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, 
* 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]


New York, New York: Anthology Film Archives
5:30 pm, 32 2nd Avenue
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.”

New York, New York: Anthology Film Archives
7:30 pm, 32 2nd Avenue
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.

San Francisco, California: Other Cinema
8:30, 992 Valencia
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

Cambridge, Massachusetts: Harvard Film Archive
5pm, 24 Quincy Street
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

New York, New York: Anthology Film Archives
6:45 pm, 32 2nd Avenue
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, 
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.

New York, New York: Anthology Film Archives
8:30 pm, 32 2nd Avenue
104 min, Super 8mm-to-video. Digitized by Anthology Film Archives.)

Oakland, California 94609: The Omni
7:00pm - 10:00pm, 4799 Shattuck Ave
"IN GIRUM IMUS NOCTE ET CONSUMIMUR IGNI" Sunday, March 29, 7:00 p.m. Omni 
Building, 4799 Shattuck, Oakland.
 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" 
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

Cambridge, Massachusetts: Harvard Film Archive
7pm, 24 Quincy Street
$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

Los Angeles, California: Redcat
8:30pm, 631 West 2nd Street
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 for the full program and in-person guests. Presented as part of the 
Jack H. Skirball Series. Curated by Steve Anker and Bérénice

San Francisco, California 94103: New Nothing Cinema
7:00pm - 9:00pm, 16 Sherman St
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.


Brooklyn, New York 11222: Light Industry
7:30pm, 155 Freeman St
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

Naples, Italy: Magmart Festival
2015 April, CAM Casoria Contemporary Art Museum
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; 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.

New York, New York: Anthology Film Archives
7:00 pm, 32 2nd Avenue
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.


Chicago, Illinois: Conversations at the Edge
18:00, Gene Siskel Film Center, 164 N. State
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.

New York, New York: Anthology Film Archives
7:30 pm, 32 2nd Ave.
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.


Hong Kong: Hong Kong International Film Festival
5:15pm, Hong Kong Arts Centre Agnès b. Cinema, 2 Harbour Road, Wan Chai, Hong 
"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.

New York, New York: Anthology Film Archives
7:30 pm, 32 2nd Ave.
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:
 “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.

Toronto, Ontario, Canada: Liaison of Independent Filmmakers of Toronto
7:30pm, Jackman Hall, Art Gallery of Ontario (AGO), 317 Dundas St. West
"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.


Hong Kong: Hong Kong International Film Festival
6pm, Hong Kong Arts Centre Agnès b. Cinema, 2 Harbour Road, Wan Chai, Hong Kong
"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.

New York, New York: Anthology Film Archives
7:30 pm, 32 2nd Ave.
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.

San Francisco, California: Other Cinema
8:30, 992 Valencia
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.


New York, New York: Anthology Film Archives
5:45 pm, 32 2nd Ave.
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.

New York, New York: Anthology Film Archives
7:30 pm, 32 2nd Ave.
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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