<https://gallery.mailchimp.com/e4e99825c1d97f8de6eaffad3/images/c6a4b757-b14c-4ec9-b8c6-9553961a080e.gif> This week [August 31 - September 8, 2019] in avant garde cinema Enter your event announcements by going to the <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=db4ee266c8&e=f36020cad0> Flicker Weekly Listing Form. To receive the weekly listing via email: <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=8a8ffc46c7&e=f36020cad0> Subscribe. <http://www.lightindustry.org/hardcorehomemovie.jpg> Seven Films By Greta Snider [September 3, Brooklyn, NY United States] <https://bamlive.s3.amazonaws.com/styles/program_slide/s3/Ruiz_Suitcase_La_maleta_001_1200.jpg?itok=4Yy22gqh> Dreams of Suitcases and a Blue Lobster: Latin Surrealism [September 4, Berkeley, CA United States] Events are sorted alphabetically BY CITY within each DATE. This week's programs (summary): * Funny:Looking [September 1, Internet] * Films By andy Warhol // Part 3 of 3 [September 1, San Francisco, CA United States] * Seven Films By Greta Snider [September 3, Brooklyn, NY United States] * Ismo Ismo Ismo--"ArmoníAs Urbanas/Ciudades Disonantes" [September 3, Mexico City] * Dreams of Suitcases and a Blue Lobster: Latin Surrealism [September 4, Berkeley, CA United States] * Ruins In Reverse [September 5, Brooklyn, NY United States] * Andy Warhol's Poor Little Rich Girl [September 6, Philadelphia, Pennsylvania] * De-Generated Films [September 6, San Francisco] * Films In the Garden Curated By Lili White [September 7, New York, NY United States] SUNDAY, SEPTEMBER 1, 2019 9/1 Internet: ACRE TV [nid:214283] 24/7, ACRETV.org FUNNY:LOOKING As creative devices, humor and play have the power to both soothe and subvert. When juxtaposed with serious themes in art, humor and play may create cognitive dissonance in the viewer where, amidst their internal conflict, viewers can often laugh at their own discomfort. Henri Bergson noted in “Laughter: An Essay on the Meaning of the Comic,” there is an “…absence of feeling which usually accompanies laughter.” This absence creates a space for viewers to unpack the deeper conceptual underpinnings of the work. /// Curated by Carrie Fonder "Funny:Looking" features the work of artists who use humor or play based in language, aesthetics, or both, as they delve into weighty topics of family, achievement, love, loss, dysfunction, pain, and power. /// Featuring works by Tommy Becker, Ashley Teamer, Brittany M. Watkins, Marta Rodriguez Maleck, Carrie Fonder, Christy Chan, Eric Simmons, Zach Hill, Peder & Hendrik, and Stephanie Patton. /// Airing September 1-October 31, 2019 /// More information: www.acretv.org/funnylooking <http://www.acretv.org/funnylooking> 9/1 San Francisco, CA United States: SFMOMA San Francisco Museum of Modern Art 1:00 PM, 151 3rd St. FILMS BY ANDY WARHOL // PART 3 OF 3 Out of circulation for much of the 1970s and ’80s, and gradually restored and reconsidered since, Andy Warhol’s films remain a singular theatrical experience. In tandem with the retrospective Andy Warhol — From A to B and Back Again, this series invites a closer look at the stylistic arc of Warhol’s prolific film practice from 1963–1968. This series of Andy Warhol films concludes with two West Coast creations. California seemed to have an effect on Warhol and his collaborators, as the artist noted in his memoir, POPism, when describing the filming of San Diego Surf: “Everybody was so happy being in La Jolla that the New York problems we usually made our movies about went away — the edge came right off everybody…From time to time I’d try to provoke a few fights so I could film them, but everybody was too relaxed even to fight. I guess that’s why the whole thing turned out to be more of a memento of a bunch of friends taking a vacation together than a movie.” Following this feature-length beachside melodrama, the day’s program closes with two showings of the rarely screened Sunset, considered an unfinished work. Sunset parallels his early studies of everyday subjects and the passage of time, like Empire and Sleep. In this case, his camera gazes at the sun as it sets, capturing the transition to dusk on the California coast. As to why the film remained incomplete, Warhol said: “I filmed so many sunsets for that project, but I never got one that satisfied me.” In the early 1970s, Warhol depicted sunsets again in a series of more than 600 screen prints featuring soft, candy-colored gradients, achieved through an intricate process of ink variations and applications. A selection of these works is on view in the galleries of Andy Warhol—From A to B and Back Again. This event is free and open to the public. Tickets are available on a first come, first served. TUESDAY, SEPTEMBER 3, 2019 9/3 Brooklyn, NY United States: Light Industry <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=ee4991556a&e=f36020cad0> http://www.lightindustry.org/ 7:00 PM, 155 Freeman St SEVEN FILMS BY GRETA SNIDER Hard Core Home Movie, Greta Snider, 1989, 16mm, 5 mins. Futility, Greta Snider, 1989, 16mm, 9 mins. Our Gay Brothers, Greta Snider, 1993, 16mm, 9 mins. No-Zone, Greta Snider, 1993, 16mm, 19 mins. Flight, Greta Snider, 1996, 16mm, 5 mins. Urine Man, Greta Snider, 2000, 16mm, 6 mins. The Magic of Radio, Greta Snider, 2001, 16mm, 23 mins. Writing about her 90s zine Mudflap, Greta Snider characterized its makeup as “equal parts comic book, scrapbook, reviews, interviews and accounts of my personal adventures as a punk-rock bicyclist.” Her publication, she recalled, “was one of many fanzines that emerged in a weird spike, during the death throes of the Xerox era. This kind of thing happens in waves—an economy of ‘arte povera’ provides a fertile wrack line of outdated technology, and magic can happen.” Such a sentiment could also describe her remarkable 16mm works, made between the late 80s and the turn of the millennium, which now stand as some of the most essential efforts to have emerged from the Bay Area’s fertile alternative cinema culture. At once assertive and ambivalent, down-beat and agitational, Snider’s films offer Gen-X updates to a history that includes the experimental ethnographies of Chick Strand and the creative compilation tactics of Bruce Conner. Craig Baldwin has praised her work for its formal ingenuity, citing her deployment of “optical printing (and hand-processing and ‘photo-gramming’ and superimposition and subtitles and direct address, and a dozen other methods)” in his definitive analysis of the San Francisco avant-garde, “From Junk to Funk to Punk to Link.” Snider circles around the concerns of documentary, but always approaches her subjects with an unabashedly subjective lens, deftly combining appropriated sequences, audio interviews, portraiture, and autobiography. Hard Core Home Movie, for instance, distills the riotous energy of a punk show via harsh cut-and-paste montage, while the episodic No-Zone spends time with urban foragers, freight hoppers, and BMX thrashers. Snider captures the wild philosophies of an outsider vagrant in Urine Man, then tunes in to a mellower wavelength for The Magic of Radio, a paean to pirate broadcasting and do-it-yourself media. For Our Gay Brothers, Snider recorded a candid conversation between gay men about their baffled perspectives on women's bodies, counterposing the audio with stock footage from science films and commercials; Futility adds visual accompaniment to two female-narrated stories, one about the frustrations faced trying to get an abortion, the other a plangent love letter. In a note on Futility, Snider explains that “the images are never an illustration of the voice-over, nor do they constitute a narrative of their own, but blow in and out randomly, constituting a kind of peripheral vision.” Perhaps her most personal film in the program, Flight forgoes the traditional strategies of nonfiction cinema altogether, locating a poetics within the physical objects at hand: she made the film without a camera, contact-printing negatives of her late father’s photographs and other elements directly onto 16mm. “I wanted to materialize what spirit ephemera I have remaining from him. His family photographs, his hobbyist pictures of trains and roses, his airplanes and his obsession with birds circling...this material is shot through his eyes,” Snider says. “Flight is my father’s photographic legacy, compiled and transformed into light.” 9/3 Mexico City: Filmforum <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=885601b39d&e=f36020cad0> http://www.lafilmforum.org/ 10AM-6PM, Tuesday-Sunday, Paseo de la Reforma 51, Col. Bosque de Chapultepec ISMO ISMO ISMO--"ARMONíAS URBANAS/CIUDADES DISONANTES" Ismo Ismo Ismo: Experimental Film in Latin America/Cine experimental en América Latina Urban Harmonies/Dissonant Cities At the end of the silent era, an international cycle of films celebrated the modern city as modern utopia. These films, known as city symphonies, were edited ato a musical score. The rhythm and succession of the images were immensely important for the filmmakers. In Latin America, some of the earliest experimental films participated in this cycle of city symphonies. For example, 'São Paulo: a Sinfonia da Metrópole,' by Rodolfo Rex Lustig and Adalberto Kemeny, and Humberto Mauro’s film-poem about his home town in Minas Gerais, Brazil, 'Sinfonia de Cataguases.' Ever since those early efforts many filmmakers have maintained a fascination with the city, as Latin American cities were transformed by unfettered growth, industrialization, and massive rural to urban migrations. This program offers a range of urban visions—some more celebratory, others more critical—of the architecture, daily life, public spaces, and transportation of cities such as Buenos Aires, Havana, Lima, Cali, Los Angeles, Prague Sao Paulo, and London. Armonias Urbanas / Ciudades Disonantes A finales de la época del cine silente, hubo a nivel internacional una tendencia por realizar filmes que retrataran la ciudad moderna. El montaje de estas películas, conocidas como sinfonías urbanas o sinfonías fílmicas, se realizaba como si se tratara de una partitura: el ritmo y la sucesión de las imágenes eran muy importantes para los cineastas. En América Latina, algunas de las primeras películas experimentales se sumaron a esta suerte de género de sinfonías urbanas, por ejemplo, 'São Paulo: a Sinfonia da Metrópole' (1929) de Rodolfo Rex Lustig y Adalberto Kemeny, así como 'Sinfonia de Cataguases' (1929), el cine-poema de Humberto Mauro sobre su pueblo natal en Minas Gerais, Brasil. Desde estas primeras obras, muchos cineastas han mantenido una fascinación por la ciudad, a la par que las urbes latinoamericanas se han ido transformando debido a un rápido e irrefrenable crecimiento, la industrialización y la migración masiva del campo a la ciudad. Este programa ofrece una gama de visiones —algunas más celebratorias, otras más críticas— sobre la arquitectura, el transporte, la cotidianidad, los desechos, el uso de los espacios públicos en ciudades como Buenos Aires, La Habana, Lima, Cali, Los Ángeles, Santiago de Chile, São Paulo, Praga y Londres. WEDNESDAY, SEPTEMBER 4, 2019 9/4 Berkeley, CA United States: Pacific Film Archive <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=76c3197871&e=f36020cad0> http://www.bampfa.berkeley.edu/ 7:00 PM, 2155 Center St Dreams of Suitcases and a Blue Lobster: Latin Surrealism This program brings together short films that share an interest in exploring cinema’s oneiric, disturbing, and irrational potential. Within The Blue Lobster, a lost treasure from Barranquilla, Colombia, about a foreign secret agent investigating radioactive lobsters, one can detect the roots of what would later become magic realism. Álvaro Cepeda Zamudio [and co-filmmaker Gabriel García Márquez] avoid the literary, the theatrical, and the picturesque. Luis Ernesto Arocha, also from Barranquilla, is represented with a work about the sculptures of Bernardo Salcedo. The frenetic editing and dense and fragmented soundtrack bewilder the viewer’s perception. Photographer Horacio Coppola created the short Freudian exercise Traum while a student at the Bauhaus. Raúl Ruiz’s first film, a surreal mix of suitcases and somnambulists, was lost for decades in a Chilean archive during Pinochet’s military rule. Mariana Botey’s The Magic of the Smoked Mirror, made in collaboration with the actor-director-artist Juan José Gurrola, represents an intersection between two generations of Mexico’s avant-garde. THURSDAY, SEPTEMBER 5, 2019 9/5 Brooklyn, NY United States: UnionDocs <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=72425c6939&e=f36020cad0> http://www.uniondocs.org 7:30 PM, 322 Union Ave RUINS IN REVERSE unbag intro 15 min. EURITAN 21 min., 2017 Arantza Santesteban Pérez and Irati Gorostidi Agirretxe A review of the narrative Klara eta biok, written by Itxaro Borda in 1985. Pitting the author against the words of her past, it updates her view on the peripheral relationship around the Basque character. The Reunion 6 min., 2018 Suneil Sanzgiri An uncanny vision of power in the age of climate disaster, a narrator reconciles the radical possibilities of resilience and creation out of the ruins of a former utopian society in 1850’s Texas, sparking questions of what becomes of our dreams for a better world. Galka 10 min., 2014 Ishmael Marika In Arnhem Land, people believe that galka (dark heart person) is still living with us. You will find them in the bushes with painting on their body. Galka is the second film by Yolŋu film maker Ishmael Marika. It brings to the screen a character and a danger long since spoken of in Yolŋu culture, and heralds a warning to all who may find themselves in the presence of Galka. TRT: 55 min FRIDAY, SEPTEMBER 6, 2019 9/6 Philadelphia, Pennsylvania: Nightletter <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=589b7ed084&e=f36020cad0> http://nightletter.org 7:30pm, 5213 Grays Ave ANDY WARHOL'S POOR LITTLE RICH GIRL Poor Little Rich Girl / Andy Warhol / 1965 / 66 min / 16mm "The film opens with almost no sound, Edie Sedgwick’s head in an awkward and very out-of-focus close-up. Her eyes are closed; she appears to be sleeping; nothing is happening. And while there is sound after a few minutes, the black-and-white film remains resolutely out of focus for the entire first half of its 66 minutes. An unscripted "portrait" of Sedgwick, the beautiful young heiress who left her family and joined Warhol’s entourage, the film is by turns provocative, boring, erotic, unpleasant, passively voyeuristic, and agressively manipulative. It is also a profound meditation on issues Warhol is known for dealing with—surface appearances, fetishism—and issues he is less often associated with: loneliness, emptiness, vanity. Here, as elsewhere in his art, Warhol argues that all things are equally beautiful, every surface a potential object of desire, and that therefore the distinctions between things dissolve into nothingness. The viewer of Poor Little Rich Girl sees not only a self-destructive young woman but a more generalized vision of beauty so nonspecific that it's poised at the brink of its own annihilation...But by pushing voyeurism and an obsession with surfaces to an extreme, he expresses a deep truth about the nature of consciousness—that any experience will, if pushed to its limits, bring one to the edge of the void. In this he speaks to all of us: who has never felt an emptiness at the heart of reality, or within his own soul?" —Fred Camper 9/6 San Francisco: Mule Gallery <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=614ea65db5&e=f36020cad0> http://mulegallery.com 7pm and 8:15, 20 Romolo Place #4 DE-GENERATED FILMS Film screening Revelations and Consume by Dominic Angerame 7pm and 8:15 FREE SATURDAY, SEPTEMBER 7, 2019 9/7 New York, NY United States: 6th Street and Avenue B Community Garden 7:00 PM, Corner of 6th Street and Avenue B, Manhattan FILMS IN THE GARDEN CURATED BY LILI WHITE Lili White curates experimental films from the East Village: BEYOND NOSTALGIA [prologue] (M. Niederland), #7 COLLECTIVE FORCE / ARMY (L. White), THE KEY CEREMONY (J. Cyphers Wright). _____ Let us know about your alternative film/video event! Enter your event announcements by going to the <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=8f84623894&e=f36020cad0> Flicker Weekly Listing Form. To receive the weekly listing via email, send a message to <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=33911b3359&e=f36020cad0> Subscribe. <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=038e1b5745&e=f36020cad0> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=4a508d6a08&e=f36020cad0> Copyright © 2019 Flicker, All rights reserved. Longtime recipient of This Week in Avant Garde Cinema <https://hi-beam.us9.list-manage.com/track/open.php?u=e4e99825c1d97f8de6eaffad3&id=7285209c4e&e=f36020cad0>
_______________________________________________ FrameWorks mailing list [email protected] https://mailman-mail5.webfaction.com/listinfo/frameworks
