** This week [April 9 - 17, 2016] in avant garde cinema

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Other Species, Other Minds 4/17 (#anchor10)

"Bedford Cheese (2012/2016)" by Michael Woods

WNDX Festival of Moving Image (Winnipeg, Manitoba, Canada; Deadline: June 01, 
ARTErra (Portugal; Deadline: April 30, 2016)
X SHORTini Film Festival 2016 (Augusta, Italy; Deadline: May 15, 2016)
Flamingo Film Festival (Fort Lauderdale; Deadline: April 15, 2016)

Video Art Festival Miden (Kalamata, Greece; Deadline: April 10, 2016)
Call for artists: SELF IDENTITIES | Buenos Aires (Buenos Aires, Argentina; 
Deadline: April 15, 2016)
ARTErra (Portugal; Deadline: April 30, 2016)
Flamingo Film Festival (Fort Lauderdale; Deadline: April 15, 2016)

Events are sorted alphabetically BY CITY within each DATE.

This week's programs (summary):
* Experiments In Cinema Festival Continues Through Sunday (#anchor1) [April 9, 
Albuquerque, NM]
* Sacred Ground & Perpetual Motion – the Animated Cosmos of Karen Aqua 
(#anchor2) [April 9, Cambridge, Massachusetts]
* Salise Hughes’ Spaces Between Cities + (#anchor3) [April 9, San Francisco, 
* Points of Departure… Alfred Guzzetti (#anchor4) [April 10, Cambridge, 
* Shapeshifters Cinema Presents Killer Banshee (#anchor5) [April 10, Oakland]
* Stardust/Starman: Dangerous Minds & Pantylines Clif Taylor + Jess Holzworth 
(#anchor6) [April 13, Tucson, AZ]
* Alchemy Artists' Filmmaking Symposium (#anchor7) [April 14, Hawick, Scotland]
* When the Eye Quakes. the Cinema of Paolo Gioli - Filmmaker In Person 
(#anchor8) [April 16, Cambridge, Massachusetts]
* Rick Prelinger's No More Road Trips + (#anchor9) [April 16, San Francisco, 
* Other Species, Other Times: New video Art From India (#anchor10) [April 17, 
Austin, TX]
* When the Eye Quakes. the Cinema of Paolo Gioli - Filmmaker In Person 
(#anchor11) [April 17, Cambridge, Massachusetts]
* Land's Red - Paolo Gioli In Person (Room B-04) (#anchor12) [April 17, 
Cambridge, Massachusetts]
* Cold Worm (Time, Auto-Corrected) (#anchor13) [April 17, Los Angeles, 


Albuquerque, NM: Experiments in Cinema
4pm, Guild Theater

Cambridge, Massachusetts: Harvard Film Archive
7PM, 24 Quincy Street
Drawn to art and fashion design at an early age, Karen Aqua (1954 – 2011) was a 
student of illustration in the 70s at the Rhode Island School of Design when 
she was bewitched during a presentation by visiting animator Frank Mouris. Upon 
witnessing drawings coming to life, Aqua immediately immersed herself in the 
peculiarly magical, labor-intensive world of film animation. Her thesis film, 
Penetralia, features a figure whose eye-opening, transformative journey through 
cosmic innerspace and back beautifully encapsulates what would become a 
lifelong, creative journey through the individual and universal consciousness. 
Introduction by Ken Field and Janeann Dill Vis-á-Vis US 1981, 16mm, color, 12 
min Perpetual Motion US 1992, 16mm, color, 5 min Ground Zero / Sacred Ground US 
1997, 35mm, color, 9 min Roswell: Not Just Aliens Directed by Karen Aqua, Ken 
Field and 3rd & 5th grade students at El Capitan and Military Heights 
Elementary Schools, Roswell, NM US 2008, digital video,
color, 5 min Untitled scratch film US date unknown, digital video, color, 4 min 
In the Shadows of Monadnock Directed by Karen Aqua, Ken Field and the 7th grade 
at Mountain Shadows School, Dubin, NH US 2007, digital video, color, 6 min 
Heavenly Bodies US 1980, 16mm, color, 3 min Kakania US 1989, 16mm, color, 4 min 
Sesame Street films US 1991 – 2004, digital video, color, TRT: 4 min Penetralia 
US 1976, 16mm, color, 4 min Sensorium Directed by Karen Aqua and Ken Field US 
2007, digital video, color, 5 min Taxonomy US 2011, digital video, color, 4 min 
Sympathetic Magic US 1992, 16mm, color, 8 min Night Vision US 1982, digital 
video, b/w, 2 min Insomnia US 1978, digital video, b/w, 2 min Syncopation US 
1975, digital video, color, 2 min

San Francisco, California: Other Cinema
8:30, ATA Gallery 992 Valencia Street
A collaboration, and a celebration, shot in many formats and with a inspiring 
spectrum of styles! Twenty experimental makers across four continents have 
joined, Exquisite Corpse-style, the heads to the tails of their respective 
contributions, towards the compilation of this expansive yet radically 
subjective ”road movie”. Among the cohorts taking up this omnibus challenge are 
Pip Chodorov, Margaret Rorison, Jesse Malmed, Ben Popp, Charles Chadwick, 
Stephen Broomer, Dustin Zemel, Reed O’Beirne, and Salise Hughes and Doug 
Katelus, the latter two slated for intros and Q&A. Locations include Berlin, 
Barcelona, Baltimore, Seoul, Newcastle, Toronto, New York, Chicago, Portland, 
Los Angeles, the Bay Area (Post Costa and Colma!!), and Seattle, where this 
ecumenical project was cooked up by Salise and her EXcinema org—an enlightened 
effort to build our precarious community across national and geographical 
borders. Come early for Doug’s long-haired keyboard flourishes accompanying The
Drifting of the Continents. $6.

SUNDAY, APRIL 10, 2016

Cambridge, Massachusetts: Harvard Film Archive
7PM, 24 Quincy Street
Air Guzzetti takes the pulse of a certain cross-section of the American left in 
the early 1970s and comes up with a complex portrait of a time that Scott 
MacDonald has described as “both exhilarating and frightening.” For example, 
calm, elegant pans are accompanied by radio reports on political torture. The 
elaborate soundtrack often juxtaposes two voices, one in each channel, while a 
collage of documentary footage shot on the streets of Cambridge and Boston 
alternates with staged moments and with tender portraits of Guzzetti’s friends. 
US 1971, digital video, color & b/w, 18 min Evidence If Air is the portrait of 
a group of people in a specific place, Evidence expands to include the whole 
US. During a cross-country road trip with Richard Rogers, Guzzetti placed 
mounts on the car, so the camera could fasten securely to either the front 
fender or the passenger door. He paired the resulting footage with music and 
recordings from the car radio to provide a snapshot of the nation
in the turbulent early 1970s. US 1972, 16mm, color, 16 min Rosetta Stone The 
first in Guzzetti’s “Language Lessons” video cycle, Rosetta Stone may provide a 
kind of key to the others, including The Curve of the World, if only through 
its scrolling mantra, “Within a short time, all knowledge and consciousness of 
this form of writing was lost.” New screens materialize inside the central 
screen; they may be windows or mirrors or both. Guzzetti’s multiple dialects 
intersect yet do not appear to actually touch, while all things solid seem held 
together by motion and the vacillations of memory and interpretation. US 
1993/2001, digital video, color, 10 min The Curve of the World The moving image 
allows Guzzetti to follow simultaneous, separate paths—some through the cryptic 
metaphor of dream, some through ordinary reality, others purely emotional and 
abstract. The paths are also territorial demarcations: flags, borders, the 
Berlin Wall, the edge of the earth, the work of art. These
may be precise boundaries yet they are sometimes invisible, often ephemeral. 
They mark the difference between inside and outside, synthetic and natural, 
past and present, experience and memory. US 1994/99, digital video, color, 6 
min Under the Rain An elliptical journey through China, but which China, whose 
China? The China of the imagination, of memory, of dream, of mediated culture? 
Serene rural landscapes alternate with the clang of city life as Guzzetti’s 
rippling, rhythmic structure displaces and disorients while holding onto 
certain constants, such as movement, change and the moon. US 1997, digital 
video, color, 11 min Time Exposure A return to Guzzetti family history grows 
out of photographs taken by the filmmaker’s father, and one street scene in 
particular. This film/video essay about the tension between still photography 
and the passage of time revisits not only the 1930s but also the 1970s, during 
the making of Family Portrait Sittings. Ultimately, Guzzetti’s
musings spiral out from one photograph to a moving consideration of the 
mysteries of existence. US 2012, digital video, b/w, 11 min

Oakland: Shapeshifters Cinema
7:30-9:30PM, Temescal Art Center, 511 48th St.
“is it safe to go outside?” is a three-part media performance by Killer Banshee 
exploring queer identity in development, question and crisis. Get your head 
busted on the sidewalk, celebrate a relationship that nobody thought would be, 
and fight to finish healthcare 20 years in the making! A live media exploration 
into the obstacles and experience of dedication through video projection, image 
manipulation and sound. Killer Banshee (Eliot K Daughtry and Kriss De Jong) 
interprets technology and identity, combining material from personal and public 
archives to explore gesture, time and place. They expose hidden meanings within 
media constructs in unexpected ways.


Tucson, AZ: Exploded View
7:30, 197 E Toole Ave
Probing into the deep psyche of music, fame and film this evening poses two 
exceptional in-person artist’s forays and genius spins on the infinite 
iterations of Rock & Roll. Jess Holzworth is a visual artist & video maker who 
employs her hyper-collage aesthetic to the making of stunning music videos for 
bands including Beck, Black Bananas, M.I.A., and Deep Valley. These and more of 
Holzworth’s videos will be screened tonight. Next, join meticulous historian 
Clif Taylor/Chick Cashman, dragged through the ashes of glam hell, in live 
discussion on the essence of rock and roll- a cosmological montage and 
performance manifesto, preaching + playing cosmic cowboy bullshit all while 
weaving a web between Cassavetes’ Killing of a Chinese Bookie, Bewitched and 
high heels ad infinitum!


Hawick, Scotland: Alchemy Experimental Film & Moving Image
1pm-6pm, Tower Mill, Heart-of - Hawick, Hawick, TD9 0AE Scotland
The 2016 Alchemy Film and Moving Image Festival, Scotland’s international 
festival dedicated to experimental film and artists’ moving image, will open on 
Thursday 14th April with the Filmmaking Symposium; an unique event that in its 
past 3 years has proven to be immensely successful. Open to all, and aimed at 
both aspiring and established filmmakers or artists working within moving 
image, the Symposium features talks and presentations by revered filmmakers and 
leading industry figures. It provides a rare opportunity to meet and mingle 
with a range of experts closely involved the making, funding, and distribution 
of experimental films and artists’ moving image, along with students and fans 
of the arts. This year’s high calibre of internationally recognized speakers 
that will share their insights and experience are: Leighton Pierce (Los 
Angeles, USA) Filmmaker and Dean of CalArts School of Film/Video.
/ Lucy Reynolds (London, UK) Curator and course leader of the MRes: Moving 
Image at Central Saint Martins.
 Madeleine Molyneaux (New York & Los Angeles, USA) Director of Picture Palace 
Pictures, an international artist’ film Production Company.
 / Steven Bode (London, UK) Director of Film and Video Umbrella, a 
commissioning agency for artists’ film.
 / Bryan Konefsky (New Mexico, USA) Artistic director of Experiments in Cinema.


Cambridge, Massachusetts: Harvard Film Archive
7PM, 24 Quincy Street
Commutations With Mutation (Commutazioni con mutazione) Composed using three 
different formats that have been made to co-exist: super-8, 16mm and 35mm on a 
single 16mm support, clear leader. The variations in size caused the original 
framelines to overlap, subjecting them—and with them their images—to a singular 
diabolical rhythm. – Paolo Gioli Italy 1969, 16mm, b/w & color, silent, 7 min 
According to My Glass Eye (Secondo il mio occhio di vetro) The semi-scientific 
character of this work is in some degree due to the stereo-stroboscopic visual 
mechanism employed in its making. The careful and paradoxical loading up of 
profiles alternating between negative and positive is aligned along the axis of 
a soundtrack of super-synchronized percussions, giving rise to a complexity 
which can be deciphered only by an attentiveness of the degree required for a 
visual psychological test. – PG Italy 1971, 16mm, b/w, 11 min Pinhole-film (The 
Man Without A Movie Camera) [Film stenopeico
(L’uomo senza macchina da presa)] This film, as the Vertovian title indicates, 
was made without a movie camera, more precisely with a device custom-made to 
restore to images freedom from optics and mechanics. The act of substituting my 
device for a traditional movie camera is part of a project I have continued 
from that moment on towards weaning myself from a consumer technology, a toxin 
to pure creativity. This strange movie camera is a simple little hollow tube, 
one centimeter thick, two centimeters wide... with two reels to hold 16mm film 
pulled manually causing alternations of time and space. The images enter 
simultaneous through 150 holes distributed along one side in proximity to each 
frame, that come to make up 150 tiny pinhole cameras, also called stenopeic 
from the Greek stenos = narrow and from the stem op- from oráo = to see. – PG 
Italy 1973/1981/1989, 16mm, b/w & color, silent, 13 min When the Eye Quakes 
(Quando l’occhio trema) It all started with the notorious
Buñuelian sliced eyeball, that surprises us every time! The anxiety of the 
incision is transformed into a saccadic, uncontrolled anxiety precisely of the 
eye and its pupil. – PG Italy 1991, 16mm, b/w, silent, 11 min The Perforated 
Cameraman (L’operatore perforato) Italy 1979, 16mm, b/w, silent, 9 min 
Filmarilyn This brief film, it seems to me to exist, finally, as if it I had 
found it somewhere completely forgotten, as if it had been some unsuccessful 
pre-cinematic experiment. – PG Italy 1992, 16mm, b/w, silent, 9 min

San Francisco, California: Other Cinema
8:30, ATA Gallery 992 Valencia Street
Conscientiously caretaking the Cultural Commons, our Genial Helmsman Rick 
Prelinger graces the gallery once again with his open-hearted 
audience-participatory feature. His Lost Landscapes screenings are legendary 
for their communal memory-sharing and respect for the “human scale” of the 
amateur. Here Rick stitches and hitches a dream-ride through the American 
Century out of a collection of 9,000 personal travelogs filmed 1924-1979, its 
narrative tracing a composite auto journey from Atlantic to Pacific. Viewers 
supply the track with out-loud commentary, not only revealing stories embedded 
in the landscapes, but also speculating on what we do now, with the necessity 
of a fossil-fuel halt at hand. Come early for eye-poppers from OC’s own 
library, including the dazzling Car of Your Dreams, the Grand Canyon in 3-D, 
and the West Coast launch of Incite#6, the “Forever” issue, with free Artists’ 

SUNDAY, APRIL 17, 2016

Austin, TX: Experimental Response Cinema
4:30pm, Alamo Ritz, 320 E 6th St.
Experimental Response Cinema presents Other Species, Other Times: New Video Art 
From India a program curated by UT Professor Lalitha Gopalan and Anuj Vaidya. 
The screening includes videos by Sonia Khurana, Ranbir Kaleka, Munir Kabani, 
Nikhil Chopra, Jana Prepeluh, Neha Choksi, Tejal Shah, Sahej Rahel and 
Shambhavi Kaul. In a reversal of exhibition practices, this program lines up 
single channel video art and installations in a repertory film space, and 
suggests novel ways of considering bodies in movement. These bodies are neither 
discrete nor constant; they challenge borders and boundaries, and prefer 
entanglements with other species and other kinds. Varied in their consideration 
of the digital and in their use of performance practices, the works are 
primarily by artists living in Mumbai, Goa and New Delhi.

Cambridge, Massachusetts: Harvard Film Archive
7PM, 24 Quincy Street
Natura obscura With 45 pinholes distributed along a 50 centimeter long hollow 
tube, I made this film. The purpose was to shoot the seasons... I always shot 
in the crepuscular half-light of dawn and dusk, since there was too much light 
during the day. – PG Italy 2013, 16mm, color, silent, 8 min Anonymatograph 
(Anonimatografo) This film was shot one frame at a time using laborious extreme 
optical close-ups. Anonimatograph: the reanimated image of an unknown amateur 
filmmaker at the beginning of the century who become conventional as he settles 
down, movie camera in hand, indoors and outdoors surrounded by war and by his 
sisters. – PG Italy 1972, 16mm, b/w, 26 min Slit-scan Figures (Il finish delle 
figure) Extracted from rolls of 35mm film on which I had made exposures using 
the photofinish technique. That is, images intended as photography, and 
therefore as still images. – PG Italy 2009, 16mm, b/w, silent, 9 min Children I 
have always been interested in the sequencing of images
in books, where the possibility exists of imposing movement onto still images. 
– PG Italy 2008, 16mm, b/w, silent, 6 min When Bodies Touch (Quando i corpi si 
tòccano) A reflection on the material basis of film. Fragments of figures 
wander, flutter in the swirling kinetic rhythms imposed on them. – PG Italy 
2012, 16mm, b/w, silent, 3 min

Cambridge, Massachusetts: Harvard Film Archive
4PM, 24 Quincy Street
Paolo Gioli will conduct a live experiment and demonstration, "a cinematic 
verification of Edwin H. Land's experiment in color perception." Using two 16mm 
projectors Gioli will explore the pioneering work of Land to understand how 
colors are created and perceived.

Los Angeles, California: Velaslavasay Panorama
7pm, 1122 West 24th Street, Los Angeles, CA 90007
This free program is supported in part by a grant from the Department of 
Cultural Affairs for the City of Los Angeles and the Wende Museum. Interested 
parties should RSVP by sending an email with the subject line "COLD WORM" to Doors will open for this event at 6:30pm. Illuminated 
Lecture begins promptly 7:00pm with garden reception to follow. COLD WORM 
(time, auto-corrected) is a presentation of slides and films from the Cold War 
archives of the Wende Museum, projected in their original formats. This 
illuminated lecture is inspired by the position of the Dutch cultural scientist 
Johan Huizinga, who “described the work of the historian as a performance, 
since the researcher is forced to make conceptions of social life, events and 
entities of the past by himself. A historical book is thereby a script of a 
performance of the historian and his conception of history” (Time, 
Non-representational Theory and the "Performative Turn" by Peter Dirksmeier & 
Helbrecht). The visual material selected for the evening oscillates between 
fictional document and documented fiction: are we seeing sailors on a stage, or 
actors on a ship? Might these be the flags of forgotten nation states or the 
textile project of an ideologically enthusiastic silkworm?

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