** This week [July 22 - 30, 2017] in avant garde cinema

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Collin Leitch’s “Cinema Dorité, "My First 3d Part 3" Organized By Ben Coonley 
(#anchor6) [July 24, Brooklyn, New York]

Some Poetic and Political Currents: Works By Jason Halprin, Jennifer Hardacker, 
Brett Kashmere, Kevin Mccarthy, Jennifer Proctor, Wenhua Shi, and Simon Tarr 
(#anchor13) [July 30, Los Angeles, California]

Coop Microcinema (Nashville, TN; Deadline: August 18, 2017)
Light Field (San Francisco, CA ; Deadline: August 15, 2017)

Events are sorted alphabetically BY CITY within each DATE.

This week's programs (summary):
* Films By Harry Gruyaert (#anchor1) [July 22, New York, NY]
* Light Movement 23: Open Doors. Curated By Ute Aurand (Berlin) and Peter Todd 
(London) (#anchor2) [July 23, Berlin, Germany]
* Beth Block: A Few Things To Share Before I Hit the Road (#anchor3) [July 23, 
Los Angeles, California]
* Jean Gaumy (#anchor4) [July 23, New York, NY]
* 16mm Cyanotype Workshop (#anchor5) [July 23, Washington, District of Columbia 
* My First 3d Part 3" Organized By Ben Coonley (#anchor6) [July 24, Brooklyn, 
New York]
* Newfilmmakers (#anchor7) [July 26, New York, NY]
* Directors Lounge Screening - Bill Brown and Sabine Gruffat - the Other Side 
(#anchor8) [July 27, Berlin, Germany]
* Show &Amp; Tell: Natalie Bookchin: Program 1 (#anchor9) [July 28, New York, 
* Post-Imperfect-Panoptic Trading On Stilts (#anchor10) [July 29, Los Angeles, 
California 90026]
* Show &Amp; Tell: Natalie Bookchin: Program 1 (#anchor11) [July 29, New York, 
* Black Maria Film Festival 36th Annual Festival Tour (#anchor12) [July 29, 
Washington, DC]
* Some Poetic and Political Currents: Works By Jason Halprin, Jennifer 
Hardacker, Brett Kashmere, Kevin Mccarthy, Jennifer Proctor, Wenhua Shi, and 
Simon Tarr (#anchor13) [July 30, Los Angeles, California]
* Show &Amp; Tell: Natalie Bookchin: Program 1 (#anchor14) [July 30, New York, 
* Show &Amp; Tell: Natalie Bookchin: Program 2 (#anchor15) [July 30, New York, 


New York, NY: Anthology Film Archives
7:30 PM, 32 Second Avenue
Harry Gruyaert's moving-image works are not simply films made by an artist 
better known as a photographer but are themselves a kind of hybrid of 
photography and cinema. Whether juxtaposing his own photography and footage 
with imagery from the works of one of his central influences (Michelangelo 
Antonioni), combining still photography with recorded sound, or, as in his 
famous TV SHOTS, photographing news footage off a TV screen and then 
re-presenting the images in the form of a film, Gruyaert's cinematic work 
exists somewhere at the very border of the two media. MOSCOW (1989-2009 2015, 
min, digital) EDGES (RIVAGES) (2007, 4 min, digital) TV SHOTS (2015, 9.5 min, 
digital) SASKIA & MARIEKE (GROWING UP) (2015, 15.5 min, digital) Total running 
time: ca. 60 min.

SUNDAY, JULY 23, 2017

Berlin, Germany: Light Movement
8.00pm, Spektrum, Bürknerstraße 12,
Every year or two Ute Aurand and Peter Todd meet up to continue a filmic 
conversation. OPEN DOORS is their third public program curated together. A film 
by the Orcadian filmmaker Margaret Tait is often shown as a reference to how 
Aurand and Todd's joint interest in her work fIrst brought them together. In 
OPEN DOORS they have selected films in which the filmmakers' observations and 
feelings become visible beyond obvious narratives. Films - Leaden Echo and the 
Golden Echo. Margaret Tait, 1955, 6.5min, 16mm. Part 1 - Room Window Sea Sky, 
Peter Todd, 2014, 3min, 16mm, silent; Among The Eucalyptuses, Robert Beavers, 
2017, 4min, 16mm, silent; Venedig Dezember 2011, Renate Sami, 2012, 4,5min, 
colour, digital; Napkins, Joanna Margaret Paul, 1975, 3,5mins, S8 to digital 
file, silent; For You, Peter Todd, 2000, 2mins, silent. Part Two - 
Mädchen/Girls, Helga Fanderl, 1995, 2 min, S8, silent; Philipp's 60th 
Birthday, Ute Aurand, 2014, 5,5min, 16mm; Envios 26, Jeannette Munoz, 2013,
6min, 16mm, silent; Elegy, Anthea Kennedy, Ian Wiblin, 2001, 3min, digital; 
Four Diamonds, Ute Aurand, 2016, 4.5min, 16mm. Thanks to CIRCUIT, LUX, The 
Estate of Joanna Margaret Paul, Alex Pirie and The Estate of Margaret Tait.

Los Angeles, California: Filmforum
7:30 pm, Spielberg Theatre at the Egyptian, 6712 Hollywood Blvd
Filmforum welcomes back the filmmaker (and our former board president) Beth 
Block for one more grand screening before she relocates to the grand state of 
Hawaii. Starting with her optical printer masterpiece Film Achers, and 
including her digital masterpiece Successive Approximations to the Goal we’ll 
also have a chance to see other recent digital work that has not yet graced our 
screen, and get a sneak preview of a work-in-progress. Hawaii’s gain will be 
our Los Angeles’s loss, but join us as we celebrate her ongoing inspiration and 
relentless innovation. Tickets: $10 general admission; $6 students (with 
ID)/seniors; free for Filmforum members. Tickets available at
 or at the door For more event information:, or 323-377-7238

New York, NY: Anthology Film Archives
6:45 PM, 32 Second Avenue
French artist Jean Gaumy has moved back and forth between still photography and 
filmmaking. These three films suggest the range of subjects he's documented in 
his moving-image works. THE SMOKING HOUSE depicts a group of women in Normandy, 
engaged in filleting and gutting herring. JEAN-JACQUES is the result of two 
years documenting the small farming town of Octeville-sur-Mer, in Normandy, 
through the eyes of the so-called 'village idiot' Jean-Jacques. ON THE ROWANLEA 
TRAWLER reveals the activities taking place on the decks of a trawler, the 
subject of one of Gaumy's photo books as well. THE SMOKING HOUSE / LA BOUCANE 
(1984, 36 min, video) JEAN-JACQUES (1987, 52 min, 16mm) ON THE ROWANLEA TRAWLER 
(1992, 4 min, video, b&w, silent) Total running time: ca. 95 min.

Washington, District of Columbia 20012: Rhizome DC
11am-4pm, 6950 Maple St NW
Sunday July 23rd, 11- 4pm Instructor: Margaret Rorison In this workshop, 
participants will work with this 19th Century photographic process in 
combination with 16mm film to create their own cyanotype film loops. 
Participants will work with 16mm film that has been previously coated in 
cyanotype solution, creating photograms by placing objects over the UV 
sensitive film, exposing the film to sunlight, then rinsing the film in water 
to develop beautiful blue patterns and forms. Participants are encouraged to 
bring their own objects to this workshop. Anything with interesting shapes, 
edges and forms that they would like to use. Examples include leaves, lace, 
safety pins, rubber bands, nails - anything that will create patterns and forms 
- and sound! Along one side of the 16mm filmstrip, there is a margin reserved 
for the optical soundtrack. Through this DIY process, we will be creating 
patterns of light and dark that will spill over onto the margin reserved for 
sound, and the
16mm projector will read these patterns of light and dark and translate them 
into sound. Workshop includes pre-coated cyanotype 16mm film and photogram 
materials, but feel free to bring your own objects to work with! Margeret 
Rorison is the co-founder and curator of Baltimore's Sight Unseen Screening 
series since 2012.

MONDAY, JULY 24, 2017

Brooklyn, New York: Microscope Gallery
7:30pm, 1329 Willoughby Ave, 2B
The third and final biennial installment of the series “My First 3D” organized 
by Ben Coonley, this time with a new lineup of over a dozen artists and the 
widest range of 3D technologies. The artists in the program have been selected 
by Coonley to screen the first 3D project each of them made.“Learning to make 
3D animation and stereoscopic 3D artworks forces artists to forge new 
relationships to space, technology, and composition. An artist’s first 3D 
artwork frequently turns out to be idiosyncratic, playful, raw, personal, and 
messy. “My First 3D Part III” is a summer blockbuster featuring five varieties 
of 3D glasses, crude physics, rainbows, render fireflies, vertigo, snack foods, 
blobs, optical fireworks, brain shear, shapes, ghosts, prismatic separation, 
spiritually advanced technology, neutral density filters, and good old 
red/cyan. This program consists of rarely screened works from ranging from 5 
seconds to 22 minutes in length and several world premieres. A special
16mm presentation of Ken Jacobs’ landmark Pulfrich effect film “Globe” (1971) 
punctuates the screening.” – Ben Coonley Coonley and several of the artists 
will be in attendance and available for Q&A after the screening. RSVP 
recommended to More info:
 General admission $9 Members and students w/ ID $7. Located at Jefferson 
Street L (exit Starr St).


New York, NY: Anthology Film Archives
6:00 PM, 32 Second Avenue
For full program listings, visit


Berlin, Germany: Directors Lounge
21:00, Z-Bar, Bergstraße 2, 10115 Berlin-Mitte, Germany
Bill Brown and Sabine Gruffat, artist couple visiting from North Carolina, 
United States, will present their films. ^°o°^ Being a Flaneur, walking to 
explore the city and the society, exploring modernity and the anachronisms of 
life on foot does not really make sense in the United States. The equivalence 
in Northern America would be the road movie: comprising the change of media, 
change of speed, change of surmounted distances. Bill Brown is one of the 
filmmakers in the US who hit the road many times to make movies. Born in 
Lubbock, Texas, he has lived in many cities, Chicago being one of them. His 
movies, not what you would typically call road movies, have the quality of 
artistic ethnographic research, or one could also say psycho-geography. ^°o°^ 
“The Other Side 2005” started as a coast to coast trip from Texas to California 
similar to a trip Brown undertook some years earlier in the United States, 
along the Canadian border. In the South, the artist was soon confronted with
border control, border activism (helping people in trouble trying to cross the 
border in the desert), abandoned migrant camps and personal stories, walls and 
fences. When finishing the film, the artist thought, this would be a film about 
a short term issue, not that it would rise to a political quarrel until now. 
Bill still narrates the film with the dry humor he used in his earlier film, 
but the film became intrinsically political, even more so when watching it now, 
more than 10 years later. ^°o°^ Sabine Gruffat on the other hand is an artist 
working with two kinds of artistic stance, a rather experimental, almost 
abstract point of view, and a documentary style, mixed with political demeanor. 
“A Return to the Return to Reason” is an astonishing remake of Man Ray's movie 
from 1923 with means of “art and tech”. Even though it almost looks like 
hand-knitted, it is made by laser-carving onto real film. A similar kind of 
hybrid quality between analog and digital also marks
“Headlines” which uses animation software to layer and animate newspaper 
headlines and part of printed articles. Unlike David Gatten, well-known for 
animating letters on analogue film, the project has a less enigmatic, 
mysterious quality about the meaning of letters or words, but is a reaction to 
the discrepancies Sabine found reading the New York Times while living in a 
remote place in North Carolina. ^°o°^ The couple has been working together for 
several year. The most recent and joint project, “Amarillo Ramp” will be a 
German/European Premiere. It is connected with Land Art and specifically Robert 
Smithson. The film is a tribute to Smithsons work at large, while dwelling on 
an earthwork by Robert Smith situated in Texas, which is less known than Spiral 
Jetty in Utah and his last work. It could only be finished with the help of 
Richard Serra, Nancy Holt, and Tony Shafrazi. ^°o°^ Thinking of an American 
Flaneurism, the Land Art by Smithson is not that far off. For Smithson,
his land art was always connected with some kind of industrial use or man-made 
landscape. It creates a specific relation not only between landscape and 
earthwork, but between the work, local people, supporters, land owners, 
visitors and the art public. For the film project at Amarillo, the artist 
couple visited the site of Amarillo Ramp many times over 7 years, and at the 
same time, they undertook a close research to Smithsons ideas and writing. The 
film explores the surrounding of Amarillo, follows a team of local supporters 
for restoration on the ramp and finally undertakes a few interventions with the 
project. It could be seen as a documentary about Smithson, but at the same time 
also as an art project in tribute to Smithson and his ideas to connect the 
landscapes and rural areas with the city, ideas which become even more 
important today, in times of a deeply divided country. ^°o°^ Artists Links:
 ^°o°^ ^°o°^ Links: Directors Lounge
 ^°o°^ Richfilm
 ^°o°^ Z-Bar

FRIDAY, JULY 28, 2017

New York, NY: Anthology Film Archives
8:00 PM, 32 Second Avenue
Born in the Bronx and based in Brooklyn, Natalie Bookchin is an artist whose 
multi-channel installations and films explore the effects of digital 
technologies - everything from online videos to interactive webpages - and 
examine the ways in which people broadcast self-expression on the internet, in 
a 'sharing' economy. Often constructed from moving images found online - from 
YouTube or other social media sites, as well as from webcam surveillance 
(public or private) - her video works demonstrate both the promise and the 
snares inherent in our era of ubiquitous connectivity. The works explore new 
social arrangements shaped within and pushing against the constraints of 
network technologies and forms. We will be presenting two programs of her work, 
including the astonishing LONG STORY SHORT, in which she returns to a format 
she's developed extensively in earlier pieces - conjuring a dizzying 
multiplicity of frames and voices - but here applies it to footage she shot 
deeply moving, unadorned testimony from a range of poverty-stricken men and 
digital. Courtesy Icarus Films.) A riveting polyphonic documentary, this film 
presents a fractured narrative about an unnamed man whose racial identity is 
continually redrawn and contested by clusters of impassioned narrators. 
Bookchin's intricately-edited and deeply political essay film is composed of 
fragments of found online video diaries made in the early days of the Obama 
era, a period many believed would be "post-racial" but instead ushered in a new 
era of racial discord. Bookchin explores this new landscape, one where mass 
media is transformed into social media and where cascades of disinformation, 
rumors, and insinuations spread across global electronic networks. LONG STORY 
SHORT (2016, 45 min, digital. Courtesy Icarus Films.) In the moving and 
immersive LONG STORY SHORT, over 100 people at homeless shelters, food
banks, adult literacy programs, and job training centers in L.A. and the Bay 
Area discuss their experiences of poverty: why they are poor, how it feels, and 
what they think should be done about American poverty and homelessness today. 
While individuals whom Bookchin filmed in separate spaces appear onscreen in 
their own visual spaces, mirroring the isolation of their experiences, words 
flow between them like a musical ensemble. Together in the film for the first 
time, Americans who are rarely acknowledged or listened to form a virtual 
collective. "I was hugely impressed by LONG STORY SHORT, its gripping detail 
and precision. It's a masterpiece of editing, very virtuosic." -Yvonne 
RainerThe screening on Friday, July 28 at 8:00 will be followed by a 
conversation between Natalie Bookchin and film and media curator Sally Berger; 
and following the screening on Sunday, July 30 at 6:00, Bookchin will be joined 
by dancer, choreographer, and filmmaker Yvonne Rainer.


Los Angeles, California 90026: Echo Park Film Center
8pm, 1200 N Alvarado St
FILMS BY JASON HALPRIN AND MICHAEL WOODS The two filmmakers met while 
volunteering for Chicago Filmmakers in the mid '00s, and quickly hit it off. 
Jason was an old-school, super8, 16mm, hand-processing, optical-printing analog 
filmmaker, and Michael was jumping head first into the whole aesthetic of 
experimental film & video, and contemporary art. Fast forward ten years and 
Michael has chewed up and glitched out the experimental film canon, fashioned 
into a conspiracy theory of parasitic nothingness. Meanwhile, Jason has ceased 
shouting at analog windmills and embraced the digital non-event. They share an 
affinity for collage and the political in their work - freely mixing found and 
original footage, gliding between allegory and agitprop, straddling the eras of 
analog and digital, assaulting viewers' senses and serenity, dissecting and 
constructing the media around them. Now based in the Bay Area (Halprin) and LA 
(Woods), both filmmakers relocated to CA in 2015, and are happy
to make their debut at EPFC. Doors 7:30 pm. $5 admission. SCREENING: We Walk On 
Stilts - Halprin (S8, 2 min, silent, 2010) Twin Propellers - Halprin (dual S8, 
3 min, silent, 2010) Post-Panoptic Gazing - Woods (video, 10.5 min, sound, 
2014) No More Silent Protest (video, 6.5 min, sound, 2017) Commodity Trading Pt 
1 of 3: Election Day - Woods (mixed analog on video, 15 min, sound, 2017) Agnes 
& Me (negative chemical bath version) - Halprin (16mm, 3 min, silent- maybe w/ 
sound, 2008) NEW hand painted reel - Woods (16mm, 5 min, 2017) Summer Home - 
Halprin (16mm on video, 6 min, sound, 2001) Dailies from Dumpland part 3 - 
Woods (16mm on video, 7 min, sound, 2017) Imperfect Video - Halprin (VHS - 20 
min, sound, 2001/2013) *lineup will likely change and include brand new works 
on 16mm TRT: 78 min

New York, NY: Anthology Film Archives
8:00 PM, 32 Second Avenue
See July 28.

Washington, DC: Black Maria Film Festival
1:00PM and 3:30PM, National Gallery of Art, East Building Auditorium, 4th 
Street and Constitution Ave., NW
The Black Maria Film Festival returns this year with two programs on Saturday 
afternoon, July 29th, starting at 1:00pm and again at 3:30pm, in the East 
Building Auditorium, the National Gallery of Art in Washington, DC, 4th Street 
and Constitution Ave., NW. Doors open thirty minutes before showtime. Both 
programs, hosted by Curator of Film, Margaret Parsons, will be presented 
in-person by festival director Jane Steuerwald, and will showcase a collection 
of stellar works touring this season. Featured international selections include 
“Ja Passou,” by Sebastião Salgado and Pedro Patrocinio, Lisbon, Portugal; 
“Radiance,” by Fernando Priego Ruiz, Buenos Aires, Argentina; “A,” by Joseph 
Houlberg, Quito, Ecuador; and “Roxy,” by Fabien Colas, Luxembourg City, 
Luxembourg, and Emile Schlesser, Düsseldorf, Germany; and an array of 
animation, narrative, experimental, and documentary shorts chosen by the 
Festival jury this season. Filmmakers Steven Vander Meer and Kay Hannahan will 
present to discuss their work. The Black Maria Film Festival attracts and 
nationally showcases the works of highly accomplished independent film and 
video makers. The Festival is a project of the Thomas A. Edison Media Arts 
Consortium, an independent non-profit organization in residence at New Jersey 
City University’s Department of Media Arts. The Black Maria was founded in 1981 
as a tribute to Thomas Edison’s development of the motion picture at his 
laboratory, dubbed the “Black Maria” film studio, the first in the world, in 
West Orange, NJ. The Black Maria Film Festival was awarded the New Jersey State 
Council on the Arts Citation for Excellence for eight years. For further 
information, contact festival director Jane Steuerwald,, 201-200-2043;, or visit lm, email, or call (202) 842-6799. The National 
Gallery of Art is wheelchair accessible, and large print programs will be 
available at both
Black Maria screenings. Accessibility Information: (202) 842-6690.

SUNDAY, JULY 30, 2017

Los Angeles, California: Filmforum
7:30 pm, Spielberg Theatre at the Egyptian, 6712 Hollywood Blvd
Several fabulous filmmakers are coming to Los Angeles for the University Film & 
Video Association’s 2017 Conference, from July 30-Aug 2. Filmforum is taking 
advantage of the opportunity to host a screening of recent experimental works. 
It’s quite an array of work, with political, poetic, personal, and essayistic 
expressions from around the country. Jason Halprin’s July 8th, 2016 and Brett 
Kashmere’s Cleaning the Glass explicitly address current political and social 
issues. McCarthy’s Official Teaser #2 Reaction!!! returns to Filmforum with its 
humorous and emotional responses to a Star Wars trailer. Jen Proctor’s Am I 
Pretty? raises serious issues of self-image concerns of teenage girls. Jennifer 
Hardacker’s films used varied techniques to express inner questions. Halprin’s 
In Which There Appears Trains, a Carousel, and Rain and Wenhua Shi’s Walking 
Cycle both find more poetic approaches to complicated movements. And Simon 
Tarr’s live cinema performance Blood Lust of the Wolf
dissects the classic “ethnographic” film Nanook of the North, which Filmforum 
screened a couple of years ago in our Polar series.

New York, NY: Anthology Film Archives
6:00 PM, 32 Second Avenue
See July 28.

New York, NY: Anthology Film Archives
8:00 PM, 32 Second Avenue
PROGRAM 2: ZORNS LEMMA2 (2007, 12.5 min, digital) An internet-age remake of 
Hollis Frampton's seminal 1970 structuralist film, ZORNS LEMMA2 consists of 
sets of signs photographed off online webcams and arranged alphabetically in 
one-second intervals. In each subsequent set, one letter of the alphabet is 
replaced by a video clip chosen as representative of the visual language of 
surveillance cameras. LOCATION INSECURE (2006, 11 min, digital) Composed of 
animated screengrabs of private security webcams found by means of a simple 
search engine hack, LOCATION INSECURE depicts the asynchronous time and space 
of the internet. PARKING LOT (2008, 13 min, digital) Appropriations from 
virtual and physical commercial spaces create temporary public space - dismal, 
endlessly reproduced, anonymous spaces where even creative appropriations can 
sometimes appear mass-produced. TESTAMENT (3 CHAPTERS) (2009/16, 7.5 min, 
digital) TESTAMENT presents a series of collective expressions of the
shared self. The series reflects on the peculiar blend of intimacy and 
anonymity, of the simultaneous connectivity and isolation of contemporary 
social relations. MASS ORNAMENT (2009, 7 min, digital) "With a keen eye for 
detail, a terrific sense of timing and a killer instinct for editing, 
[Bookchin] has clipped and combined hundred of vignettes from YouTube and set 
them to the soundtracks from Busby Berkeley's GOLD DIGGERS OF 1935 and Leni 
Riefenstahl's TRIUMPH OF THE WILL. […] To watch the split-screen extravaganza 
is to feel as if you are at once enjoying a god's-eye view of a vast, everyday 
parade of vulnerable human beings and also an intimate part of a democratic 
drama that is deeply moving." -LOS ANGELES TIMES Total running time: ca. 60 min.

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