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** This week [July 2 - 11, 2016] in avant garde cinema
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Arthur Dong's Licensed To Kill (#anchor4) [July 5, Brooklyn, New York 11222]
JOB AVAILABLE:
Associate Director of Programs, Ann Arbor Film Festival (Ann Arbor, MI)
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NEW CALLS FOR ENTRIES:
Grenada Afterglow Film Festival (Grenada, MS, USA; Deadline: July 15, 2016)
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DEADLINES APPROACHING:
Shriekfest Film Festival (Los Angeles, CA USA; Deadline: July 10, 2016)
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Punto y Raya Festival (Barcelona, Spain; Deadline: July 31, 2016)
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Auckland Underground Film Festival (Auckland, New Zealand; Deadline: August 01,
2016)
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Antimatter [Media Art] (Victoria, BC, Canada; Deadline: July 22, 2016)
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UNXFEST 1.2 (Durham; Deadline: August 01, 2016)
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Light Field (San Francisco, California USA; Deadline: August 01, 2016)
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ARTErra (Tondela; Deadline: July 31, 2016)
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2016 Transient Visions: Festival of the Moving Image (Johnson City, NY, USA;
Deadline: July 31, 2016)
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Consumer Grade Film Fest (Carbondale, IL, USA; Deadline: August 01, 2016)
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Grenada Afterglow Film Festival (Grenada, MS, USA; Deadline: July 15, 2016)
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Events are sorted alphabetically BY CITY within each DATE.
This week's programs (summary):
* Star-Spangled To Death, Parts 1 & 2 (#anchor1) [July 2, New York, New York]
* Risco Cinema - Trans(A)Bordagens/Films By Joel Pizzini (#anchor2) [July 2,
Rio de Janeiro - Brazil]
* Star-Spangled To Death, Parts 3 & 4 (#anchor3) [July 3, New York, New York]
* Arthur Dong's Licensed To Kill (#anchor4) [July 5, Brooklyn, New York 11222]
* Through the Looking Glass: Menken, Kobland, Huot, Palazzolo &Amp; Kreines //
Eye On A Director: Canyon Cinema (#anchor5) [July 7, New York, NY]
* The Misbehaving Image: Carl Elsaesser In Person (#anchor6) [July 8, Buffalo,
New York 14203]
* Lightship 103 Anna Kipervaser and Alex Cunningham In Person! (#anchor7) [July
8, Denver, CO]
* Ontic Antics (#anchor8) [July 8, New York, New York]
* Two Wrenching Departures (#anchor9) [July 8, New York, New York]
* The Devil's Garden (#anchor10) [July 8, Portland, Oregon]
* I Am Eye Independent Film Forum (1982-1991): A Moment From the Temporary
Autonomous Zone (#anchor11) [July 9, Brooklyn, New York]
* Essential Cinema: Tom, Tom, the Piper's Son (#anchor12) [July 10, New York,
New York]
* Ken Jacobs Short Films Program 1 (#anchor13) [July 10, New York, New York]
* Tentatively A Convenience Program 1 (#anchor14) [July 10, New York, New York]
* Shapeshifters Cinema: Sweeping, Swept, Out of My Head (#anchor15) [July 10,
Oakland, CA]
* Tentatively A Convenience Program 2 (#anchor16) [July 11, New York, New York]
SATURDAY, JULY 2, 2016
7/2
New York, New York: Anthology Film Archives
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32 2nd Ave., New York, NY.
STAR-SPANGLED TO DEATH, PARTS 1 & 2
by Ken Jacobs 1956-60/2003-04, 209 min + 30 min intermission, digital, b&w/color
7/2
Rio de Janeiro - Brazil: Risco Cinema
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17h, Cinematheque of MAM
RISCO CINEMA - TRANS(A)BORDAGENS/FILMS BY JOEL PIZZINI
Program with four short films made by one of the most important contemporary
filmmakers in Brazil, Joel Pizzini. The session will be followed by a
discussion with Joel Pizzini and the film researcher Fernanda Rocha Miranda.
Trans(a)bordagens/Films by Joel Pizzini: Glauces - Estudo de um rosto (2001);
Elogio da Graça (2006); Mar de Fogo (2014); Último Trem (2014). Organization:
Risco Cinema, Poló Filmes and Cinemateca do Museu de Arte de Moderna do Rio de
Janeiro.
SUNDAY, JULY 3, 2016
7/3
New York, New York: Anthology Film Archives
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6:00 pm, New York, NY.
STAR-SPANGLED TO DEATH, PARTS 3 & 4
by Ken Jacobs 1956-60/2003-04, 222 min + 30 min intermission, digital,
b&w/color This screening is part of: HIS FAVORITE FILMS IMPROVED: THE FOUND
FOOTAGE FILMS OF KEN JACOBS “An epic film shot for hundreds of dollars!
Combining found-films with my own more-or-less staged filming, it pictures a
stolen and dangerously sold-out America, allowing examples of popular culture
to self-indict. Racial and religious insanity, monopolization of wealth and the
purposeful dumbing down of citizens and addiction to war oppose a Beat
playfulness. A handful of artists costumed and performing unconvincingly appeal
to audience imagination and understanding to complete the picture. Jack Smith’s
pre-FLAMING CREATURES performance as The Spirit Not Of Life But Of Living (the
movie has raggedly cosmic pretensions), celebrating Suffering (rattled
impoverished artist Jerry Sims) at the crux of sentient existence, is a
visitation of the divine.” –K.J. “Ken Jacobs’s monumental, monstrous STAR
SPANGLED
TO DEATH…is a [seven-plus-hour] assemblage of found audio-visual material
ranging from political campaign films to animated cartoons to children’s
phonograph records, interwoven with gloriously eccentric original footage shot
mainly on the streets (and in the dumps) of late-50s New York. […] The movie is
a vast, ironic pageant of 20th-century American history and consciousness.
Fantastic street theater alternates with classroom hygiene films or dated
studies of behavioral modification; Jacobs’s performers, notably the young Jack
Smith, hobnob with Mickey Mouse, Al Jolson, and American presidents from
Franklin Roosevelt to George W. Bush. Obsession overflows as Jacobs’s private
mythology and outspoken cultural criticism merge with relentless documentation
of America’s ongoing military mobilization and institutionalized racism. […] As
a work of art, STAR SPANGLED TO DEATH has as much in common with the Watts
Towers or the Barnes Foundation as with cinema as we know it….” –J.
Hoberman
TUESDAY, JULY 5, 2016
7/5
Brooklyn, New York 11222: Light Industry
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7:30 PM - 9:30 PM, 155 Freeman St
ARTHUR DONG'S LICENSED TO KILL
Licensed to Kill, Arthur Dong, 1997, 16mm, 77 mins Introduced by Matt Wolf In
the 1970s, documentary filmmaker Arthur Dong was attacked by a group of gay
bashers in San Francisco. Two decades later in 1997, a year before the murder
of Matthew Shepard, Dong set out to better understand his own assault by
interviewing men convicted of murdering gay men. These shockingly even-tempered
and honest conversations from prisons are illustrated with brutally explicit
crime scene documentation. There are no expert commentators, nor the points of
view of the victims. Instead Dong produced an unflinching portrait of
homophobic violence by holding a mirror up to the society that breeds it. "I
did this film because I refuse to be a victim," Dong remarked in an interview.
He grappled over the decision to show graphic images of violence, ultimately
deciding that it "was very necessary for the audience to see the horror of the
acts."
THURSDAY, JULY 7, 2016
7/7
New York, NY: MAD | Museum of Arts and Design
7 PM, 2 Columbus Circle
THROUGH THE LOOKING GLASS: MENKEN, KOBLAND, HUOT, PALAZZOLO & KREINES //
EYE ON A DIRECTOR: CANYON CINEMA
"Glimpse of the Garden" (Marie Menken, 1957, 8 min) "Snow" (Robert Huot, 1971,
3 min) "Landscape and Desire" (Ken Kobland, 1981, 55 min) "Ricky & Rocky" (Tom
Palazzolo & Jeff Kreines, 1972, 15 min) 78 min, 16mm Projection. Avant-garde
cinema in America was born just after World War II, and an early subject for
many experimental filmmakers was the changing American landscape. Under the
influence of Maya Deren, Marie Menken's "Glimpse of the Garden" is an early
instance of non-narrative filmmaking within the movement. A sensuous Ektachrome
tour through a colorful landscape, the film elevates still life into a
choreographed gesture. Robert Huot's "Snow" depicts a landscape completely
different from Menken's: a field of falling snow as it transforms, depicted
through three different sectors of the images edited with varying density and
speed. The program's centerpiece is Ken Kobland's "Landscape and Desire," which
the director calls a "mordantly nostalgic" road trip across the
United States that offers a vision of a country without the people who populate
it. The program ends with a change of pace in Tom Palazzolo and Jeff Kreines'
"Ricky and Rocky," which eavesdrops on a wedding reception in an Italian
family's backyard in Chicago. Where Kobland creates a landscape void of people,
Palazzolo and Kreines re-populate it with a cast of eccentric family members.
FRIDAY, JULY 8, 2016
7/8
Buffalo, New York 14203: Squeaky Wheel
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7:00 PM - 8:30 PM, 617 Main St
THE MISBEHAVING IMAGE: CARL ELSAESSER IN PERSON
Squeaky Wheel presents a screening by our first Workspace Resident of the
summer! Carl Elsaesser is a film maker from Maine currently residing in Iowa.
His short films have screened internationally at festivals such as Antimatter
and Ann Arbor where he won the Barbara Aronofsky Latham Award for Emerging
Experimental Video Artist. His work is concerned with how images are
constructed, encountered and interpreted. While these questions of
representation are steeped in that age-old, impossible "art question" of what
is real and fantasy, his work is far more interested in what is allowed to be
real, and who is allowed to speak for this real. Project Gasbuggy 7 min,
digital video, sound, 2014 I reconcile the violent act. The Misbehaving Image
15 min, digital video, sound, 2016 A suspended portrait. Vague Images at the
Beginning and End of the Day 9 min, multiple formats on digital video, sound,
2015 A hug/punch eulogy for all things impossible now. Work in Progress 8 min,
digital
video, sound, 2016
7/8
Denver, CO: GLOB
8 PM - 10 PM, 3551 Brighton Blvd.
LIGHTSHIP 103 ANNA KIPERVASER AND ALEX CUNNINGHAM IN PERSON!
Kipervaser and Cunningham take their recent short films on the road together in
the experimental cinema salon tradition. Showing recent experimental film and
video work, Alex and Anna explore intersections between realities, between
abstraction and translation, structure and poetry, internal and external.
7/8
New York, New York: Anthology Film Archives
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6:30 pm, New York, NY.
ONTIC ANTICS
by Ken Jacobs 2005, 90 min, digital, b&w/color This screening is part of: HIS
FAVORITE FILMS IMPROVED: THE FOUND FOOTAGE FILMS OF KEN JACOBS ONTIC ANTICS
extends Jacobs’s ongoing exploration of the teeming depths of life contained
within individual frames of film. In the first section of this three-part film,
he radically reworks a sequence from Laurel and Hardy’s BERTH MARKS (1929), so
that they end up flipping and twirling around each other. The second section
plays back the original film in its entirety, demonstrating how movement,
space, and time have been radically transformed by Jacobs’s intervention. In
the final part of the film, the iconic images of Laurel and Hardy struggle to
resolve themselves against the prominence of the digital pixels, heightened by
the Pulfrich 3D technique. “Hardy walked a thin line between playing heavy and
playing fatty. Laurel adopted a retarded squint, with suggestions of idiot
savant. Their characters were at sea, clinging to each other
as industrial capitalism was breaking up and sinking. Beautiful losers, they
kept it funny, buoying our spirits. Laurel and Hardy…forever.” –K.J.
7/8
New York, New York: Anthology Film Archives
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9:00 pm, New York, NY.
TWO WRENCHING DEPARTURES
by Ken Jacobs 2006, 90 min, digital, b&w This screening is part of: HIS
FAVORITE FILMS IMPROVED: THE FOUND FOOTAGE FILMS OF KEN JACOBS In October 1989,
estranged friends Bob Fleischner and Jack Smith died within a week of each
other. Ken Jacobs met Smith through Fleischner in 1955 at CUNY night school,
where the three were studying camera techniques. This feature-length work,
first performed in 1989 as a live Nervous System piece is a “luminous threnody”
(Mark McElhatten) made in response to the loss of Jacobs’s friends.
7/8
Portland, Oregon: Oregon Department of Kick Ass
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5-10 p.m., Portland Art Museum 1219 SW Park Avenue Portland, OR 97205
THE DEVIL'S GARDEN
The Devil’s Garden: Vanessa Renwick, Colleen Plumb, Sam Coomes and Marisa
Anderson In connection with her current exhibition, Next Level Fucked Up
(NLFU), Vanessa Renwick and the Portland Art Museum welcome artist Colleen
Plumb along with musicians Sam Coomes and Marisa Anderson for an evening of
video projections accompanied by live music in the Museum’s outdoor sculpture
garden/courtyard. Plumb will showcase work from her video series Removed from
the Domain of Struggle in which she documents captive tigers, jaguars, and
polar bears pacing in their zoo enclosures. Plumb’s work will be layered with
an improvised live music score composed by Coomes and Anderson, longtime
Renwick collaborators. Throughout the evening, Renwick will be on hand to share
information on advance directives while also passing out free NLFU stickers and
sweet treats from Voodoo Donuts. If it’s possible for an event to be
simultaneously gut-wrenching, fun, tasty, deadly serious and beautiful, Renwick
will be the one to pull it all together. Drop-in for all or part of this NLFU
evening. The program will conclude before 10:00. Program Schedule 5-8:30 PM:
Visit Next Level Fucked Up exhibition. Museum admission is $5 after 5 PM every
Friday. 8:00 PM: Visit with Vanessa Renwick as she distributes advance
directives, donuts, and free stickers in the Museum’s outdoor sculpture garden.
8:15 PM: Music performances by Sam Coomes and Marisa Anderson begin. 8:45 PM:
Colleen Plumb projections together with improvisational music by Sam Coomes and
Marisa Anderson begin. Food and drink will be available for purchase from
5-9:30.
SATURDAY, JULY 9, 2016
7/9
Brooklyn, New York: Microscope Gallery
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7:30pm, 1329 Willoughby Ave., #2B
I AM EYE INDEPENDENT FILM FORUM (1982-1991): A MOMENT FROM THE TEMPORARY
AUTONOMOUS ZONE
(Repeat program from 6/26.) Super 8 and 16mm films from the co-founders and
main participants of former Washington DC underground screening series founded
in 1982 by Pam Kray, Paul Bishow and Pierre Devaux. “I AM EYE” held its first
screening in March of that same year at dc space, a bar and performance venue
in downtown DC, where Kray worked at the time and which she had approached
about presenting “screenings that would be noncommercial nor hierarchical in
nature”. With a founding principle that no one bringing a movie to screen would
be turned away, I AM EYE’s low-key and inclusive atmosphere allowed for a
maverick programming that quickly expanded from locals to under-the-radar
filmmakers from New York such as Nick Zedd and Richard Kern’s “Cinema of
Transgression” movement, as well as from Baltimore, Boston, San Francisco, and
even France and Germany. It was also there that Jeff Krulick and Joyn Heyn's
"Heavy Metal Parking Lot" made its debut in 1986. Over the course of 9
years, two Mondays per month, I AM EYE provided a quintessential outlet for DC
based and visiting filmmakers to show their freshly completed films to friends
and a wider audience at a time when the city was an extremely prolific
laboratory of music, film, and theater. I AM EYE came to an halt in 1991 upon
the closing of dc space, despite an attempt at keeping the series alive at
other DC venues. Full Program: www.microscopegallery.com. Admission $8,
Students $6 w/ valid ID. tel:347.925.144, i...@microscopegallery.com. Jefferson
St L (exit Starr St)
SUNDAY, JULY 10, 2016
7/10
New York, New York: Anthology Film Archives
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2:45 pm, New York, NY.
ESSENTIAL CINEMA: TOM, TOM, THE PIPER'S SON
by Ken Jacobs 1969, 115 min, 16mm, b&w/color, silent An absolute masterpiece
from one of the most inspiring innovators of modern cinema. “Original 1905 film
shot and probably directed by G.W. ‘Billy’ Bitzer, rescued via a paper print
filed for copyright purposes with the Library of Congress. It is most
reverently examined here, absolutely loved, with a new movie, almost as a side
effect, coming into being.” –K.J
7/10
New York, New York: Anthology Film Archives
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5:30 pm, New York, NY.
KEN JACOBS SHORT FILMS PROGRAM 1
PERFECT FILM (1986, 22 min, 16mm, b&w) THE DOCTOR’S DREAM (1977, 24 min, 16mm,
b&w. Preserved by SUNY Binghamton through the Avant-Garde Masters program
funded by The Film Foundation and administered by the National Film
Preservation Foundation.) KEATON’S COPS (1991, 23 min, 16mm) GLOBE (1969, 22
min, 16mm. Preserved by Anthology Film Archives through the Avant-Garde Masters
Program funded by The Film Foundation and administered by the National Film
Preservation Foundation.) HIS FAVORITE WIFE IMPROVED (2008, 2 min, digital)
Total running time: ca. 95 min.
7/10
New York, New York: Anthology Film Archives
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=fdf935ff4f&e=4e65756555
6:30 pm, New York, NY.
TENTATIVELY A CONVENIENCE PROGRAM 1
FILMMAKER IN PERSON! Coming to us from Pittsburgh, PA, tENTATIVELY, a
cONVENIENCE is the greatest Sprocket Scientist alive according to absolutely
no-one. That’s quite a rep to live up to. Don’t worry about it. Worry, instead,
about the possibility of missing his 2 programs, he’s not planning to live
forever no matter how many attractive offers he gets along those lines. He’s
made 422 movies & that ain’t the half of it. Don’t expect ‘beautiful’ hi-def
movies lacking content but abounding in budgets. Expect movies so packed with
conceptual loudness that you’ll be hi-def-ened without having a single voice
raised. tENTATIVELY, a cONVENIENCE is one stubborn cuss, too much to mishandle,
& three’s a crowd. Making matters worse, he’ll present not 3 but SEVENTEEN
shorts from a 37-year period starting with COMPUTER INTERVIEW (1977) & ending
with I WOULDN’T MAKE A MOVIE LIKE THIS IF YOU FUCKING PAID ME. (2014). One
could say that these are a bit off – as in he bit off more than he
could eschew. COMPUTER INTERVIEW (w/Steve Estes) (1977, 3.5 min, digital) 3
MILE ISLAND (w/B.O.M.B.) (1979, 4 min, digital) PAPER DOLLS IN DAVA’S CLASS
(1981, 2.5 min, digital) A DOUBLE NEGATIVE AS NOT A POSITIVE (w/Hannah Aviva)
(1982, 2 min, 8mm-to-digital) NEOIST GUIDE DOG (w/Litvinov) (1984, 2.5 min,
Super 8mm-to-digital) BALLING TIM ORE IS BEST (w/Dick Hertz) (1985, 16 min,
Super 8mm-to-digital) PHILOSOPHER’S UNION MEMBER’S MOUTHPIECE: RICHARD TRYZNO
ELLSBERRY (1988, 6 min, digital) A CUE STICK GUITAR DUET (w/Neil Feather)
(1992, 3.5 min, digital) NATIONAL CANCER INSTITUTE DOCUMENTARY (1993, 3.5 min,
16mm-to-digital) DISZEY SPOTS (1993-95, 11.5 min, digital) DEPARTMENT OF
FAILURES (1995, 2.5 min, digital) HOW ORGONE CINEMA TREATS ITS VISITING
FILMMAKERS (1995, 5.5 min, 16mm-to-digital) BACKGROUND MOVIE 2 (w/etta cetera &
Dave Lahn) (1997, 1.5 min, digital) ANTI-NEOIST RALLY (w/etta cetera & Karen
Eliot) (2000, 2 min, digital) HARPS & ANGLES (w/Michael Pestel) (2003, 28.5
min, digital) MULTIPLE PROJECTIONS (1978-2009, 10 min, digital) I WOULDN’T MAKE
A MOVIE LIKE THIS IF YOU FUCKING PAID ME. (2014, 9 min, digital) Total running
time: ca. 120 min.
7/10
Oakland, CA: Shapeshifters Cinema
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=66fb0c5d90&e=4e65756555
8pm, 511 48th Street
SHAPESHIFTERS CINEMA: SWEEPING, SWEPT, OUT OF MY HEAD
Expanded cinema performance of sound, vision, movement, and brooms == Suki
O'Kane is presenting new, site-specific work for Shapeshifters at her familiar
intersection of film, music and public art, this time with new inventions in
microcinema, movement, and a powerful desire to banish imagery that exists in
her subconscious == with improvised indoor and outdoor projection by Alfonso
Alvarez, video processing by Ian Winters, live sound by musician-composers
Wayne Grim and Adria Otte, and swept cinema by filmmaker Jeremy Rourke, poet
and performance artist Sasha Hom and special guests.
MONDAY, JULY 11, 2016
7/11
New York, New York: Anthology Film Archives
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=b6a3852b1d&e=4e65756555
9:00 pm, New York, NY.
TENTATIVELY A CONVENIENCE PROGRAM 2
THIS WILL EXPLAIN 2013, 84 min, digital
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