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** This week [July 11 - 19, 2015] in avant garde cinema
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NEW CALLS FOR ENTRIES:
ACRE TV (Chicago; Deadline: July 25, 2015)
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The Center for Fine Art Photography (Fort Collins, Colorado US; Deadline: July
22, 2015)
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Ann Arbor Film Festival (Ann Arbor, MI USA; Deadline: October 10, 2015)
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DEADLINES APPROACHING:
Strange Beauty Film Festival (Durham, NC, USA; Deadline: July 15, 2015)
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Art in the Dark @ Isadore Gallery (Lancaster, PA, USA; Deadline: August 01,
2015)
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Antimatter [media art] (Victoria, BC, Canada; Deadline: July 24, 2015)
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CineSpace (Houston, TX, USA; Deadline: July 31, 2015)
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INTE CINEMA FESTIVAL (Rome, Italy; Deadline: August 10, 2015)
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2015 Transient Visions: Festival of the Moving Image (Johnson City, NY USA;
Deadline: August 08, 2015)
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Maumee Film Festival (Maumee, Ohio USA; Deadline: July 26, 2015)
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Gallery 263 (Cambridge,MA,USA; Deadline: July 19, 2015)
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ACRE TV (Chicago; Deadline: July 25, 2015)
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The Center for Fine Art Photography (Fort Collins, Colorado US; Deadline: July
22, 2015)
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Events are sorted alphabetically BY CITY within each DATE.
This week's programs (summary):
* Invocations of the Luminiferous ∆Ther: Expanded Cinema @ the Ica // Paul
Clipson + Brendan Murray // Magical Approach (#anchor1) [July 11, Boston,
Massachusetts]
* Dzi Croquettes (#anchor2) [July 11, Brooklyn, New York]
* New Works Salon Xxvii (#anchor3) [July 11, Los Angeles, California]
* Presents Preceded By Prelude (#anchor4) [July 11, Toronto, Ontario, Canada]
* Beth Block: Successive Approximations To the Goal (#anchor5) [July 12, Los
Angeles, California]
* Shapeshifters Cinema Presents Kerry Laitala With Voicehandler (#anchor6)
[July 12, Oakland]
* Your Words Give Me A Headache (#anchor7) [July 13, New York, New York]
* Breeden (#anchor8) [July 14, New York, New York]
* History Doesn't Have To Repeat Itself (#anchor9) [July 15, New York, New York]
* The Practice of Everyday Freedom: Wave, Womanism and villanelle (#anchor10)
[July 16, New York, New York]
* She Said Boom: the Story of Fifth Column (#anchor11) [July 17, Brooklyn, New
York]
* Venom and Eternity (#anchor12) [July 17, New York, New York]
* Screening (#anchor13) [July 17, San Francisco, California]
* Hot Dogs (#anchor14) [July 18, New York, New York]
* Karen Yasinsky: Shorts Program One: I Choose Darkness (#anchor15) [July 18,
Washington, DC]
* Karen Yasinsky: Shorts Program Two: the Perpetual Motion of My Love For You
(#anchor16) [July 18, Washington, DC]
* Larry Janiak Program (#anchor17) [July 19, New York, New York]
* Read Only Memory (#anchor18) [July 19, New York, New York]
SATURDAY, JULY 11, 2015
7/11
Boston, Massachusetts:
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=35e4d484ca&e=4e65756555
12pm, ICA, The Institute of Contemporary of Art, Boston /100 Northern Ave,
Boston, MA 02210
INVOCATIONS OF THE LUMINIFEROUS ∆THER: EXPANDED CINEMA @ THE ICA // PAUL
CLIPSON + BRENDAN MURRAY // MAGICAL APPROACH
Balagan is pleased to present ñ along with Ricardo De Lima and the ICA, Boston
ñ a program of two expanded cinema performances that challenge the perception
of film as a static and unchanging medium or mere document of past artistic
efforts. By introducing chance elements, both in the filming and the exhibition
(which pairs live improvised sound to multi-layered 16mm projections), the
performers draft the audience into the role of active participants; Unexpected
mental connections are drawn between the disparate elements, mined from the
depths of our collective unconscious and manifested as veritable waking dreams.
The program will begin with Magical Approach (comprised of Brittany Gravely and
Ken Linehan, who have previously worked together as 'Architecture of the Sun'
with Jenn Pipp) presenting a unique amalgamation of material shot both locally
and abroad (in England and France) for their upcoming film cycle, The Telepathy
Sessions. This will be a two projector performance
with live sound. Following this, San Francisco-based filmmaker Paul Clipson
will screen roughly an hour of recently shot 16mm accompanied by the music of
local electronic experimentalist Brendan Murray (in his first performance in
several years). Clipson regularly presents his films as collaborative pieces
with different musicians, with the assertion that the musicians don't see the
work beforehand. Just as with his actual filming practice, largely based around
the chance layering of multiple exposures in-camera, this calls upon the magic
of luck to surprise and awe.
7/11
Brooklyn, New York: Dirty Looks: ON LOCATION
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8PM, Secret Project Robot | 389 Melrose Street
DZI CROQUETTES
Rafael Alvarez and Tatiana Issa, Dzi Croquettes, video, 110min., 2009. The
documentary Dzi Croquettes examines the national and global impact of this
1970s theater-dance troupe on queer visibility, and the subversive
possibilities of dance, theater, and performance in the context of Brazil's
military dictatorship. Secret Project Robot is a dynamic cultural space that
encourages communal, convivial, interactive engagement with art and
performance. The venue seeks to emphasize the importance of artistic creation
and reception in a broader social context. Secret Project Robot also hosts the
annual Bushwig drag festival! Curator: Vivian Crockett
7/11
Los Angeles, California: Echo Park Film Center
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8 pm, 1200 N. Alvarado St.
NEW WORKS SALON XXVII
Returning after a hiatus, the New Works Salons series is a casual forum for the
presentation and discussion of new works in film, video, sound, and performance
with local and visiting artists in-person to introduce their work. Margo Victor
will present her new work Moon Phases, a short 16mm film that takes a whimsical
and casual approach to capturing different phases of the moon from unlikely
vantage points in Los Angeles, literally chasing the moon into the night,
during and after some of the moon cycles of spring and summer, catching what
she could. She will also show Astronauts, picture completed in 2014 and music
just recently composed for the film by Pat Gleeson. This will debut the music
with the film as a test run. Margoís work in 16mm and 35mm have been exhibited
both nationally and internationally in galleries, institutions, and festivals
since the late nineties. Minjung Kim will screen two recent works: Footage, in
which the physical length of our body turns into
the temporal measurement on film, and Australian Paper, in which 1400 tints
printed onto paper in 2005 are transferred to emulsion to be seen in a new
light. EPFC LA AIR alum Eve Fowler will show her new work Many Many Women, a
film that pairs artists and friends in their studios and homes with an audio
track of artists reading from Gertrude Stein's Many Many Women. Shannon Ebner
will show the video An Unrested Image (2013), in which a classical image of a
rotating and stammering torso suggests a resistant grammar that is neither male
nor female, formed nor unformed. This video is looped and was originally part
of the exhibition ëA Language of Exposuresí in which it was displayed alongside
a body of work comprised of photographic images. Another EPFC LA AIR alum, Kate
Brown will screen later chapters of the film Vilas Kortas, filmed at the Long
Beach Grand Prix and the Port of Los Angeles. After a loud, fast road race on
city streets, the film looks to the sea, to the tail
end of a traffic jam at the Port of Los Angeles and life near the water. Kate
Alexandrite, who will show a collection of recent videos including Real Estate
of Being, is an artist interested in the role social and architectural spaces
play towards identity creation. Currently she is working on a project focused
on Southern California landscapes, with a special focus on how they can be
portrayed through sound. Katherine is about to start her last year of the MFA
program at UC Riverside. $5 requested donation.
7/11
Toronto, Ontario, Canada: TIFF
tiff.net/cinematheque
1pm, TIFF Bell Lightbox, Reitman Square, 350 King Street West
PRESENTS PRECEDED BY PRELUDE
Presents, like many of its predecessors in Snow's filmography, is essentially
an investigation of camera movement, but from a more humorous and lyrical
perspective. Prelude Commissioned for the Toronto International Film Festival's
twenty-fifth anniversary, Prelude shows six people are in a rush to get to a
film screening, but Snow's editing ensures that "everything in this film is
either early or on time or late." Presents Presents, like many of its
predecessors in Snow's filmography, is essentially an investigation of camera
movement, but from a more humorous and lyrical perspective. Presents, like many
of its predecessors in Snow's filmography, is essentially an investigation of
camera movement, but from a more humorous and lyrical perspective. The first
section is an extended sight gag: shot from a fixed camera, the scene focuses
on a one-bedroom apartment where a woman is entertaining a visitor. As the pair
move around the space, their wobbly movements and seemingly
inexplicable attempts to maintain balance gradually reveal that the set itself
is moving, being pulled back and forth by an off-screen truck. When the camera
finally does move, it dollies onto the set and begins to smash into everything
in front of it, in a hilarious extension of the visual violence previously
explored in Breakfast (Table Top Dolly) . As the set falls away, the film
suddenly transforms into an extended compendium of moving shots, all of them
filmed with a handheld Bolex camera by Snow over the course of his
international travels. For Snow to abandon the support of a tripod was a
revelation, after a decade where his work had come to define the heady
structuralist school of experimental film, with Brakhage's tactile poesis at
the opposite pole. But just as the eighties saw Brakhage experimenting with
uncharacteristic techniques (e.g., occasionally adding soundtracks to his
films), the diary of lush, gestural imagery in the second half of Presents
undercuts the
rigour and order we have come to expect of a "typical" Snow film; as Phillip
Monk notes, "Snow pushes us into acceptance of present moments of vision, but
the single drumbeat that coincides with each edit in this elegiac section
announces each moment of life's disappearance."
SUNDAY, JULY 12, 2015
7/12
Los Angeles, California: Filmforum
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7:30 pm, Spielberg Theatre at the Egyptian, 6712 Hollywood Blvd.,
BETH BLOCK: SUCCESSIVE APPROXIMATIONS TO THE GOAL
Beth Block in person! One World and one West Coast premiere! Filmforum welcomes
back the filmmaker (and our former board president) Beth Block with a smashing
set of recent digital works. Her recent work, including THE 108 MOVEMENTS
(2013) and SUCCESSIVE APPROXIMATIONS TO THE GOAL (2015) exploit the ability of
digital technology to be re-photographed multiple times without generational
loss, enabling her to more fully explore her fascination with capturing motion
depicted over time. The resulting pieces are hypnotic, beautiful, personal,
political, abstract, precise, humorous, smart ñ works to dive into and float in
for a while. 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.
7/12
Oakland: Shapeshifters Cinema
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7:30-9:30PM, Temescal Art Center, 511 48th St.
SHAPESHIFTERS CINEMA PRESENTS KERRY LAITALA WITH VOICEHANDLER
Optical magician Kerry Laitala returns to Shapeshifters to present The City
Luminous, a new body of work inspired by the 1915 Panama Pacific International
Exposition to which cultural historians attribute, among other things, the
first light show in the Bay Area. Inspired by the innovations developed for
this year-long celebration one hundred years ago, Laitala will be showing
several works that mix historical footage with new technology to re-ignite the
magic of the World's Fair that marked the return of San Francisco after the
devestating earthquake and fire that nearly destroyed the city. The program
will include three new 16mm dual-projection performances in collaboration with
Voicehandler (Jacob Felix Heule and Danishta Rivero): "The City Luminous:
Spectacle of Light Variation," "The City Luminous: Aladdinís Lamp Variation"
and "The City Luminous: Electric Salome" along with three chromadepth (3D)
works: "Afterimage: A Flicker of Life" (sound collaboration between K.
Laitala and Wobbly), "Chromatic Frenzy" and "Nine Lives Measured in Mercury"
(sound by Neal Johnson).
MONDAY, JULY 13, 2015
7/13
New York, New York: Dirty Looks: ON LOCATION
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7PM, Bureau of General Services Queer Division | 208 West 13th Street #210
YOUR WORDS GIVE ME A HEADACHE
Kajsa Dahlberg, Female Fist, 20 min, HD video, 2006. Dylan Mira, Untitled (Agua
Viva), 13min, HD video, 2013. Mariah Garnett, Picaresques, 20min, 16mm
transferred to HD video, 2011. Your Words Give Me a Headache is a group program
that brings together the work of contemporary feminist filmmakers thinking
about language, the fluxes between literature and moving image, matters of
expression, experience, representation and communication's failure. The films
tackle social relationships and unconventional story-telling, ranging from the
unlikely relationship between a grown up filmmaker and the infant she's trying
to work with in her movie (Garnett), to family's lack of communication mediated
by Clarice Lispector's master piece Agua Viva (Mira) and the unfulfilled
promise of a feminist, anarchist, queer porn project that can't even be
represented on camera by a spokesperson (Dahlberg). Curator: Clara LÛpez
MenÈndez
TUESDAY, JULY 14, 2015
7/14
New York, New York: Dirty Looks: ON LOCATION
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=eda17c66d6&e=4e65756555
Time announced via email., Email [email protected] for this secret
screening
BREEDEN
Vincent Chevalier, Breeden, video, 20min., 2014. "A cheap hotel room is the
spatial analogue of a whore. And the whore is the basic identity unit of any
pornographic utopia," so quotes Vincent Chevalier from Risk and Utopia: A
Dialogue on Pornography by Paul Morris and Susanna Paasonen. In Breeden,
Chevalier layers a mixture of appropriated material and scripted reenactments
to examine questions around queer representation, anonymity, biography, and
authorship. The screening in a Manhattan midtown hotel room adds to the
layering, bringing in the uncanny and the implicit. Screenings will take place
every hour on the hour between 8pm and 11pm with a short talkback with the
artist and the curator. To reserve a spot email Theodore with your name,
preferred viewing time and contact number. Location will be shared upon RSVP.
Curator: Theodore Kerr
WEDNESDAY, JULY 15, 2015
7/15
New York, New York: Dirty Looks: ON LOCATION
http://hi-beam.us9.list-manage1.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=12e147c36d&e=4e65756555
7:30PM, Bronx Academy of Arts and Dance | 2474 Westchester Avenue
HISTORY DOESN'T HAVE TO REPEAT ITSELF
What does history sound like? look like? feel like? The genre of the
educational documentary is queered in StÈphane GÈrard's History Doesn't Have to
Repeat Itself in which Sylvia Rivera's battle cry in the Stonewall era is used
to crack open what we think we know about how we got to this moment of
queerness and assimilationist politics, making space for new agendas to emerge.
Between 2012 and 2013, filmmaker StÈphane GÈrard recorded conversations with
prominent queer New York artists and public figures: Perry Brass (Gay
Liberation Front), Deborah Edel (Lesbian Herstory Archives), Cara Page, Chelsea
Johnson Long and Elliot Fukui (Audre Lorde Project), Arthur Aviles and Charles
Rice-Gonzalex (Bronx Academy of Arts and Dance [BAAD!]), Camilo Godoy, Megan
Mulholland, Michael Tikili and Reginald Brown (Queerocracy), Sarah Schulman and
Jim Hubbard (MIX NYC). The film's remix of oral history, archival footage, and
manipulated video finds generations of activists hugging, marching,
looking beautiful, pontificating and working / twerking for a better tomorrow.
Curator: Theodore Kerr
THURSDAY, JULY 16, 2015
7/16
New York, New York: Dirty Looks: ON LOCATION
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=818f99056f&e=4e65756555
7:30PM, Hub, Union Theological Seminary | 3041 Broadway
THE PRACTICE OF EVERYDAY FREEDOM: WAVE, WOMANISM AND VILLANELLE
In 1994 WAVE, a group composed largely of women of color, (Marcia Edwards,
Alexandra Juhasz, Aida Matta, Juanita Mohammed, Sharon Penceal, Glenda Smith,
Carmed Velasquez) came together to support each other and explore their roles
as caregivers within the HIV/AIDS crisis. WAVE produced videos, including a
series of self portraits, to be shown in communities. Almost twenty years later
Hayat Hyatt went looking for black queer history and found new friends, the
ongoing impacts of HIV/AIDS, and guiding ghosts. Together these films
illustrate the practice of everyday freedom through the creation of counter
memory and service that folks engage in to save their own lives and others when
the world has turned its back and the ways which when there is no approved
narratives or history, people have to make up their own. Curator: Theodore Kerr
FRIDAY, JULY 17, 2015
7/17
Brooklyn, New York: Dirty Looks: ON LOCATION
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=9a749997f9&e=4e65756555
9PM, The Spectrum | 59 Montrose Avenue
SHE SAID BOOM: THE STORY OF FIFTH COLUMN
She Said Boom: The Story of Fifth Column is a documentary about the pre-riot
girl, all women, Canadian, queer, experimental punk band, Fifth Column. Fifth
Column was formed in Toronto in the early 1980s by a group of women who didn't
know how to play or write music. Their raw but determined D.I.Y. approach
created powerful punk music from their very first album, "To Sir With Hate."
She Said Boom tells the untold story of Fifth Column, featuring archival
footage, photographs, and interviews with band members and friends, including
Kathleen Hanna, Bruce La Bruce, Vaginal Davis, and Anita Smith. Curator: Carmel
Curtis
7/17
New York, New York: Anthology Film Archives
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9:15 pm, 32 2nd Avenue
VENOM AND ETERNITY
by Isidore Isou 1951, 123 min, 35mm, b&w This screening is part of: ONE-FILM
WONDERS (TRAIT… DE BAVE ET Dí…TERNIT…) With Isidore Isou. In 1942 at only 16,
Isidore Isou founded Lettrism, an avant-garde movement devoted to purely
formalist poetry stripped of all semantic meaning. After a prolific decade of
writing and theorizing, Isou brought his radical ideas to cinema in VENOM AND
ETERNITY, a filmic manifesto for ìdiscrepancy cinema,î where the visuals and
soundtrack are treated as two separate channels, bearing little relation to one
another. Over shots of Isou himself walking through the Left Blank, he intones,
ìI announce the destruction of the cinemaî ñ and his images begin to turn
upside down and become violently scratched. It proved a succËs de scandale at
Cannes, winning a made-up prize from Jean Cocteau. By 1953, Isou had begun his
deconstruction of the tenets of photography, painting, dance, and theater and
never returned to film, but his solitary work behind the
camera became a crucial touchstone for Guy Debord, Stan Brakhage, and Olivier
Assayas.
7/17
San Francisco, California: ANALOGICA
analogica.org
8PM, ATA Artists' Television Access, 992 Valencia Street 94110
SCREENING
ANALOGICA FILM SELECTION /// shorts films screening / experimental / fiction /
animation / no fiction / 58' /// ANALOGICA FILM SELECTION is the annual short
film program promoted by ANALOGICA. ANALOGICA is a yearly international
festival for disseminating and learning about analog technologies (film, music,
photography). It takes place during the first weekend of October in northern
Italy, in Ora (BZ) a small town in the Alps.
SATURDAY, JULY 18, 2015
7/18
New York, New York: Dirty Looks: ON LOCATION
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=c0c3009b09&e=4e65756555
9PM, Callicoon Fine Arts | 49 Delancey Street
HOT DOGS
Toronto punk icon G.B. Jones' Hot Dogs is a short, bite-sized video of juicy
wieners slowly turning on their warming spigots, here looped in tantalizing and
mundane perpetuity. Hot Dogs can be seen as a wry meditation on our society's
phallocentrism and in dialogue with the Lower East Side's rich history of
sidewalk vending and cruising (two activities which intermingle outside the
public washrooms of near-by intersection Delancey and Allen). Callicoon Fine
Arts Gallery is owned and operated by Photios Giovanis. The gallery is in
dialectic proximity to the public washrooms of Delancey and Allen, a historic
intersection sidewalk of vending and cruising. Curator: Videofag
7/18
Washington, DC: National Gallery of Art
http://hi-beam.us9.list-manage2.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=004ef6c455&e=4e65756555
2:30, West Building Lecture Hall
KAREN YASINSKY: SHORTS PROGRAM ONE: I CHOOSE DARKNESS
Karen Yasinsky in person. This selection of ten short animations, produced
between 1999 and 2011, highlights Yasinskyís use of puppet stopmotion and
rotoscoping animation techniques, as well as a particular interest in quoting
cinematic moments from two personally significant films: LíAtalante by Jean
Vigo and Robert Bressonís Au Hasard Balthazar. Small gestures and moments of
reflection after inferred acts reverberate throughout this program that
includes La Nuit (2008) and I Choose Darkness (2009), among other titles.
(Total running time approximately 55 minutes)
7/18
Washington, DC: National Gallery of Art
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=2dcc63c926&e=4e65756555
4pm, West Building Lecture Hall
KAREN YASINSKY: SHORTS PROGRAM TWO: THE PERPETUAL MOTION OF MY LOVE FOR YOU
Karen Yasinsky in person. Yasinskyís more recent work integrates analogue video
and rotoscoped fragments from narrative cinema repurposed to play with viewersí
expectations of plot, story, character development, and other mainstays of the
traditionally cinematic. Titles include Life Is an Opinion, Fire a Fact and
Audition (both 2012); The Lonely Life of Debby Adams and After Hours (both
2013); and a work in progress, The Perpetual Motion of My Love for You, about
the forming of narration and how it is involved with the making of images ó
particularly, in this case, with the maternal self. (Total running time
approximately 66 minutes)
SUNDAY, JULY 19, 2015
7/19
New York, New York: Anthology Film Archives
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7:30 pm, 32 2nd Avenue
LARRY JANIAK PROGRAM
ìDrawing directly on film, when approached calmly, reveals the universe.î
ñLarry Janiak Between 1960-70 Chicago filmmaker Larry Janiak crafted a stunning
body of work filled with personal images, dynamic shapes, and overarching
spiritual quests. The images are often intimate, yet the overall moods and
themes echo well beyond the self. Janiak has been making experimental films as
a means of personal and aesthetic expression since the age of 15. He studied
and then taught at the Illinois Institute of Technologyís Institute of Design,
an environment steeped in Bauhaus traditions and one of the first schools in
the U.S. to develop an art-film program. His filmmaking techniques include live
action film and visual experiments in abstract image via direct chemical
manipulation of the film emulsion and scratching or drawing images directly on
the film surface itself. Itís hard to believe that Janiakís films are so little
known outside small circles in his hometown of Chicago. This
long overdue retrospective, presented in collaboration with Chicago Film
Archives (CFA), aims to introduce Janiakís singular work to a new audience.
CFAís Collections Manager, Anne Wells, will be here in-person to present the
program. ìJaniak displays an instinctive command of his techniques, an
assuredness of process rivaled only by Pat OíNeill.î ñDoug McLaren, CINE-FILE
ALLEGRO (1960, 3 min, 16mm) DISINTEGRATION LINE #1 (DL1) (1960, 9 min, 16mm,
b&w, silent. Preserved by Chicago Film Archives with support from the National
Film Preservation Foundation.) ADAMíS FILM (1963, 9 min, 16mm. Preserved by
Chicago Film Archives with support from the National Film Preservation
Foundation.) GLASSHOUSE (1964, 7 min, 16mm, b&w) AGAMEMNON IN NEW YORK (1964,
4.5 min, 16mm, b&w. Made in collaboration with Wayne Boyer.) LIFE & FILM (1965,
4.5 min, 16mm, b&w. Made in collaboration with Robert Stiegler and Jeffrey
Pasco.) HALE HOUSE (1965, 11 min, 16mm, b&w) HOMAGE #5 (1970, 6 min, 16mm)
DISINTEGRATION LINE #2 (DL2) (1970, 12 min, 16mm. Preserved by Chicago Film
Archives with support from the National Film Preservation Foundation.) Total
running time: ca. 70 min.
7/19
New York, New York: Dirty Looks: ON LOCATION
http://hi-beam.us9.list-manage1.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=7c30c7f1ba&e=4e65756555
7PM, Le Petit Versailles | 346 East Houston Street
READ ONLY MEMORY
Filmmaker John Maybury (perhaps best known for Love is the Devil or the
"Nothing Compares 2 U" music video) creates a portrait of his friend Leigh
Bowery (who died four years before this video was completed) in this trip elegy
to club culture. As Gary Morri writes, the epic dance/trance video takes in
"gender politics, anticonsumerism, cultural imperialism, AIDS, bizarre computer
art, trance music and imagery." Le Petit Versailles is a public community
garden in the East Village and a hub of activity in the queer community of the
city, presenting art exhibitions, music, film and video, performance, theater,
workshops, and community projects. It is located across the street from the
former site of The World nightclub in the mid-to-late 80s and early 90s, an
early incubator of the house and club kid scenes. Curator: Karl McCool
------------------------------------------------------------
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