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** This week [July 18 - 26, 2015] in avant garde cinema
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NEW CALLS FOR ENTRIES:
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:
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):
* Hot Dogs (#anchor1) [July 18, New York, New York]
* Karen Yasinsky: Shorts Program One: I Choose Darkness (#anchor2) [July 18,
Washington, DC]
* Karen Yasinsky: Shorts Program Two: the Perpetual Motion of My Love For You
(#anchor3) [July 18, Washington, DC]
* Larry Janiak Program (#anchor4) [July 19, New York, New York]
* Read Only Memory (#anchor5) [July 19, New York, New York]
* Early Monthly Segments #74 = Les Blank's Innocents Abroad (#anchor6) [July
20, Toronto, Ontario, Canada]
* Show & Tell: Mason's Lives of Hamilton Fish (#anchor7) [July 21, New York,
New York]
* Bad Asians Pt. 1 + Deux! (#anchor8) [July 21, New York, New York]
* Light Movement 6: Jeannette MuñOz (#anchor9) [July 22, Berlin, Germany]
* Christopher's Chronicles + Trappings of Transhood (#anchor10) [July 22,
Brooklyn, New York]
* Venom and Eternity (#anchor11) [July 22, New York, New York]
* The Doom Generation (#anchor12) [July 23, New York, New York]
* Madison Brookshire: Color Series (#anchor13) [July 23, Toronto, Ontario,
Canada]
* Tongues Untied (#anchor14) [July 24, New York, New York]
* Black Maria Program One (#anchor15) [July 25, Washington, DC]
* Black Maria Program Two (#anchor16) [July 25, Washington, DC]
* Essential Cinema: Hollis Frampton Program (#anchor17) [July 26, New York, New
York]
* John Sex - the True Story (#anchor18) [July 26, New York, New York]
SATURDAY, JULY 18, 2015
7/18
New York, New York: Dirty Looks: ON LOCATION
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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
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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 Yasinsky’s use of puppet stopmotion and
rotoscoping animation techniques, as well as a particular interest in quoting
cinematic moments from two personally significant films: L’Atalante by Jean
Vigo and Robert Bresson’s 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
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4pm, West Building Lecture Hall
KAREN YASINSKY: SHORTS PROGRAM TWO: THE PERPETUAL MOTION OF MY LOVE FOR YOU
Karen Yasinsky in person. Yasinsky’s more recent work integrates analogue video
and rotoscoped fragments from narrative cinema repurposed to play with viewers’
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 —
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
-Drawing directly on film, when approached calmly, reveals the universe.”
–Larry 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 Technology’s 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. It’s hard to believe that Janiak’s 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 Janiak’s singular work to a new audience.
CFA’s Collections Manager, Anne Wells, will be here in-person to present the
program. -Janiak displays an instinctive command of his techniques, an
assuredness of process rivaled only by Pat O’Neill.” –Doug 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.) ADAM’S 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
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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
MONDAY, JULY 20, 2015
7/20
Toronto, Ontario, Canada: Early Monthly Segments
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8:00 PM, Gladstone Hotel, 1214 Queen Street West
EARLY MONTHLY SEGMENTS #74 = LES BLANK'S INNOCENTS ABROAD
In honour of everyone’s planned or longed for summer vacations, we’re happy to
presents Innocents Abroad, Les Blank’s amusing portrait of a group of American
tourists taking the grand tour of Europe. Blank, whose key documentary eye was
often turned towards marginal musical cultures (most notably the Cajun and
zydeco music of Louisiana) here turns his camera to the clash of cultures as
the New World returns to visit the Old. Blank’s documentary team hops the bus
in the tradition of participant observers, taking on the last four seats of a
forty person tour (the doc assignment also doubled as Blank’s honeymoon with
his collaborator and newlywed wife, Chris Simon). The hapless, uncultured, yet
appreciative American tourists are shuttled through Europe by a savvy British
guide, who provides acerbic asides to Blank’s small documentary team yet gently
ushers his charges, and by extension the audience, through the fraught
undercurrents of this European safari. The soundtrack
includes Mozart, Bob Dylan, Sandy Denny, Jonathan Richman and others. From the
LA TImes review 03 July 1992 by Michael Wilmington: Blank tags along with 36
typical middle-class Americans racing through 22 cities and 10 countries in 14
days--the Globus Gateway "European Horizons" tour--and by the whirlwind's end,
we've gained some perspective not only on Europe and its American "invaders,"
but on the synergy between them. . .We see Tour Group KH1009A not as types but
as people--or, more precisely, as the people behind the types: under the corny
bad jokes, the friendly awkwardness and clannishness, the regional boasting.
Programme: Innocents Abroad, Les Blank, 1992, 16mm, 84 minutes, colour, sound,
USA Now in its sixth year, Early Monthly Segments is a monthly film series
named after an early film by Robert Beavers, and is inspired by the immediacy,
vibrancy and experimentation found in that film. Programmed by Scott Miller
Berry, Chris Kennedy and Kate MacKay this series
features historical and contemporary avant-garde 16mm films in a salon-like
setting at the Gladstone Hotel in Toronto, Canada. In this relaxed context with
refreshing beverages and food available, we hope to encourage a convivial
atmosphere for engaged viewing and post-screening dialogue. We do not receive
public funding for our programs. We pay artists from admissions. Special thanks
to Canadian Filmmakers Distribution Centre (CFMDC) andGladstone Hotel
www.earlymonthlysegments.org
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twitter @earlymonthly EMS #75 = August 2015 = TBC
TUESDAY, JULY 21, 2015
7/21
New York, New York: Anthology Film Archives
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7:30 pm, 32 2nd Avenue
SHOW & TELL: MASON'S LIVES OF HAMILTON FISH
by RACHEL MASON 2014, 70 min, digital video and live performance This screening
is part of: SHOW & TELL Film Notes A unique and inspired combination of moving
image and live performance, visual artist, songwriter, and singer Rachel
Mason’s THE LIVES OF HAMILTON FISH is a cinematic meditation on American
history whose story is told entirely through song. The departure point for the
film was Mason’s discovery, while teaching art at Sing Sing prison in upstate
NY, of a very strange coincidence: on January 16, 1936, the Peekskill Evening
Star News published notices on its front page of the unrelated deaths of two
men, both named Hamilton Fish. Though united by their shared name, these two
were otherwise from vastly different worlds: Hamilton Fish II was a descendant
of one of the most prominent families on the East Coast, while Hamilton
-Albert” Fish was a serial killer. For THE LIVES OF HAMILTON FISH, Mason, in
drag, plays the Peekskill Evening Star’s editor, as well as voicing
all the characters in the film, via songs that suggest American murder ballads
with a Brechtian twist. Intercutting scenes filmed at Sing Sing and at the
Morris-Jumel Mansion in upper Manhattan, with others playing out on fabricated
sets imagined as abstract paintings, THE LIVES OF HAMILTON FISH conjures up a
new kind of multimedia storytelling to weave a tale in which supernatural
events and historic facts merge in a wild, musical journey. -A work of artistic
and intellectual genius.” –Phil Hall, FILM THREAT -An unsettling meditation on
the nature of fate and the sanctity of individual identity.” –Jon Gartenberg,
TRIBECA FILM FESTIVAL Mason will be appearing at Joe’s Pub at the Public
Theater on Sunday, July 26, for a special concert version (songs only) of THE
LIVES OF HAMILTON FISH; for more info, visit: www.publictheater.org
7/21
New York, New York: Dirty Looks: ON LOCATION
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8PM, Stonewall Inn | 53 Christopher Street
BAD ASIANS PT. 1 + DEUX!
A program that pays tribute to the original "Bad Asians," coined by film
scholar Eve Oishi, as a pioneering movement of bold and transgressive queer
Asian American artists working in experimental video and film between 1990 -
early 2000s. Oishi's seminal essay identified a new movement of queer Asian
American artists whom "find their voices through a 'perverse' identification
and relationship with popular culture that uncovers, tweaks, and plays with the
racialized fantasies, fears, and representations that make culture popular."
This program highlights the work of queer Asian American artists within the two
"phases" framed by Oishi's publications to offer a historical and aesthetic
contextualization of queer experimental filmmaking within the past 25 years.
From Richard Fung's GMHC commissioned safe sex PSA Steam Clean, to Nguyen Tan
Hoang's experimental documentary and how-to-guide to sticky rice love, "7 Steps
to Sticky Heaven," Erica Cho's hot-for-teacher fantasy School
Boy Art, Patty Chang and Anie Stanley's Las Vegas romp into low glamour and
seedy motel-room encounters, and Lynne Chan's embodiment of midwestern
heartthrob in JJ Chinois - these works are uniquely marked by their formalistic
and aesthetic re-appropriationg of pop culture, politics of representation,
AIDS, camp, and sexual and gender play. Curator: Leeroy Kun Young Kang
WEDNESDAY, JULY 22, 2015
7/22
Berlin, Germany: Light Movement
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20:00, room 492 Atelierhaus Sigmaringer Straße 1, 10713 Berlin
LIGHT MOVEMENT 6: JEANNETTE MUñOZ
Filmmaker Jeannette Muñoz presents some 16mm selections from two ongoing
projects. In ENVÍOS (2005-) we see sequences, incidents, occurrences,
fragments, moments, glimpses, each section realised with and/or for a
particular person, like a gift or dedication. PUNCHUNCAVI (2015) takes us to a
former native American site in Valparaíso, Chile, now host to copper
refineries, steam power plants and a lading port. / Muñoz's films exist, in a
sense, as building blocks for each screening, where individual camera reels
make up a sequence, each time slightly different from the last. She is then
free to pick and choose from these fragments to tailor-make each showing of the
work. / For the ENVÍOS project, which she has been continually developing since
2005, each exposed role of film is subsequently packaged in a cardboard box
with a text expanding and underpinning the films creative impetus. Underlying
this practice is a strict sense of conceptual purpose, although the image
sequences
themselves often depict simple, human spaces, landscapes and journeys, the
thinking process behind both projects is rooted in a philosophical
understanding of a multitude of hypothetical spaces and times, real, imagined,
and alive with filmic presence. / "ENVÍOS don't have objects nor subjects, and
are of heterogeneous provenance and motivations. They are capable of meeting
and coexisting only within the small and singular. ENVÍOS inhabit the intimate
and public at once." / .
7/22
Brooklyn, New York: Dirty Looks: ON LOCATION
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7:30PM, Union Docs | 322 Union Avenue
CHRISTOPHER'S CHRONICLES + TRAPPINGS OF TRANSHOOD
This program highlights the documentary work of late transgender filmmaker and
activist Christopher Lee (1964-2012). Lee's first film, Christopher's
Chronicles, a record of the artist's transition from female to male was among
the very first films made by and about a transgender man of color and premiered
at the 1997 Frameline Festival. Through his use of interviews, video collage,
and music (including transgender artist Chloe Dzubilo's band, Transisters.)
Lee's second feature documentary film, Trappings of Transhood, focuses on the
stories and lived experiences of a multi-racial group of transmen who candidly
share their experiences of negotiating issues of race, ethnicity, sexuality,
gender, and the medical industry within their process of transition. Trappings
of Transhood was the first known feature-length work to document the experience
of transmen, and has been screened internationally. Curator: Leeroy Kun Young
Kang
7/22
New York, New York: Anthology Film Archives
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6:45 pm, 32 2nd Avenue
VENOM AND ETERNITY
See notes for July 17th, 9:15 pm.
THURSDAY, JULY 23, 2015
7/23
New York, New York: Dirty Looks: ON LOCATION
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8PM, Anthology Film Archives | 32 2nd Avenue
THE DOOM GENERATION
Hit the road with Jordan White, Amy Blue, and Xavier Red, when a couple of
angst-fueled teenagers rescue a wayfaring stranger from a gang of homophobic
goons (played by Skinny Puppy). After a pit stop at a quickie mart turns
homicidal, these lovers on the lamb are forced to coast through the candy
colored hell of New Queer Cinema auteur Gregg Araki's first "heterosexual
film." Former lovers emerge - challenging Amy's claims of virginity - and ensue
in hot pursuit of these lusty ones. Blending his early Godardian formal
approaches with an MTV flair for blood, guts, and stunt casting (including
Margaret Cho, Porno For Pyro's Perry Farrell, Heidi Fleiss, and former cast
members of the Love Boat, The Brady Bunch and Herbie, the Love Bug) Araki's
Doom Generation is the penultimate midnight movie of the 90s, a total cult
sensation and the central installment in Araki's Teen Apocalypse Trilogy. There
just is no place for us in the world...
7/23
Toronto, Ontario, Canada: TIFF
tiff.net/cinematheque
8:45pm, TIFF Bell Lightbox, Reitman Square, 350 King Street West
MADISON BROOKSHIRE: COLOR SERIES
Madison Brookshire comes to his filmmaking through his attentiveness to the
practices of contemporary musical composition. Introduction by Madison
Brookshire. "I wanted to make movies that you did not just watch, music that
you did not listen to, but felt and understood and thereby came to know
something useful, true, and beautiful about the world."—Madison Brookshire
Madison Brookshire comes to his filmmaking through his attentiveness to the
practices of contemporary musical composition. Inspired by composers such as La
Monte Young and Éliane Radigue, as well as his studies with James Tenney and
James Benning, Brookshire approaches time experientially, drawing our attention
to the manner of its unfolding. His camera-less Color Series was made by
providing the film laboratory with six written scores that directed the film
timer to change the printing lights from "Red" to "Green" to "Blue." The result
is a series of slow fades from one colour to the next, which, not unlike the
experience of a sunrise, immerses the viewer in the perceptual phenomenon of
gradual change. As Brookshire writes, "The subject of the work is duration, and
color is the medium through which we experience it. The converse is also true:
the subject is color and duration is the medium. The effect is a direct
experience of time and vision." Color Series is preceded by a more recent film,
the ever-evolving Veils, which was made by soaking pieces of celluloid in
paints, urine, and various other liquids, and then allowing the assorted
ravages of time — evaporation, dust, crystallization and mold — to inform the
image. The film's frenetic pace contrasts with the calm gradualism of Color
Series, as Brookshire's attentiveness to time here describes an organic density
of lived experience. Veils is accompanied by a recording of a Brookshire
composition performed at the Exploratorium in San Francisco by Brookshire, Ben
Bracken, Ezra Buchla, Heather Lockie, and Laura Steenberge. Veils
(dir. Madison Brookshire \ USA 2013 \ 15 min. \ 16mm) Color Series (dir.
Madison Brookshire \ USA 2010 \ 74 min. \ 16mm)
FRIDAY, JULY 24, 2015
7/24
New York, New York: Dirty Looks: ON LOCATION
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7:30PM, Maysles Cinema | 343 Malcolm X Blvd.
TONGUES UNTIED
Tongues Untied is a film essay by Marlon Riggs, a Texas-born African American
poet, filmmaker, educator, and gay rights activist. The film, which Riggs
describes as his legacy, celebrates black men loving black men as a
revolutionary act. The film, which features spoken word and poetry by Riggs and
poet Essex Hemphill, is an artful visual statement about the queer black male
experience and embraces authentic and radical notions of black gay identity and
positivity. Riggs was diagnosed with HIV while making the film, and later died
of AIDS-related causes in 1994.
SATURDAY, JULY 25, 2015
7/25
Washington, DC: National Gallery of Art
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12:30, West Building Lecture Hall
BLACK MARIA PROGRAM ONE
The opening program includes, among other titles, James Hollenbaugh’s Self
Portrait Portrait — the story of Bryan Lewis Saunders, who has made a
self-portrait each day of his life for the last twenty years, and Steve
Gentile’s A Pirate Named Ned, an animated essay on opposing versions of the
story of Edward (Ned) Low, a character on the fringes of colonial America,
portrayed in historical texts as both sadistic monster and single-parent hero,
making links to tales of contemporary Somali pirates. (Total running time
approximately 90 minutes)
7/25
Washington, DC: National Gallery of Art
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3pm, West Building Lecture Hall
BLACK MARIA PROGRAM TWO
The second program includes Christopher Upham’s Return to Dak To, on five army
veterans’ journey to contemporary Vietnam; Lynn Tomlinson’s The Ballad of
Holland Island House, a narrative animation based on the story of the last
house on a sinking island in the Chesapeake Bay; Prodigal, a new experimental
documentary by Livia Ungur and Sherng-Lee Huang, shot with a hidden camera on
the streets of Bucharest, Romania, tracking an emigrant’s prickly relationship
with her former home; and Luke Jaeger’s delicate handdrawn animation Fishwife.
(Total running time approximately 90 minutes)
SUNDAY, JULY 26, 2015
7/26
New York, New York: Anthology Film Archives
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5:00 pm, 32 2nd Avenue
ESSENTIAL CINEMA: HOLLIS FRAMPTON PROGRAM
ZORNS LEMMA 1970, 60 min, 16mm. Preserved by Anthology Film Archives. -A major
poetic work. Created and put together by a very clear eye-head, this original
and complex abstract work moves beyond the letters of the alphabet, beyond
words and beyond Freud. If you don’t understand it the first time you see it,
don’t despair, see it again! When you finally ‘get it,’ a small light, possibly
a candle, will light itself inside your forehead.” –Ernie Gehr & HAPAX LEGOMENA
I: (nostalgia) 1971, 36 min, 16mm, b&w. Preserved by Anthology Film Archives.
-In (nostalgia) the time it takes for a photograph to burn (and thus confirm
its two-dimensionality) becomes the clock within the film, while Frampton plays
the critic, asynchronously glossing, explicating, narrating, mythologizing his
earlier art, and his earlier life, as he commits them both to the fire of a
labyrinthine structure; for Borges too was one of his earlier masters, and he
grins behind the facades of logic, mathematics, and
physical demonstrations which are the formal metaphors for most of Frampton’s
films.” –P. Adams Sitney Total running time: ca. 100 min.
7/26
New York, New York: Dirty Looks: ON LOCATION
http://hi-beam.us9.list-manage1.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=0ba14dfc36&e=4e65756555
8:30PM, Pyramid Club | 101 Avenue A
JOHN SEX - THE TRUE STORY
John Sex (1956 - 1990) was a wily and ribald staple of the East Village scene
immortalized in books like Art After Midnight. With his sizzling singles like
"Hustle With My Muscle" and "Bump and Grind It," Sex began his career
developing signature looks and flyers for local bands before inventing his
signature foot-high pompadour. With his busty backing dancers, The Bodacious
Ta-Tas, Sex created a nightclub boylesque sensation equal parts Las Vegas and
Club 57. Curator: Bradford Nordeen
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