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** This week [October 7 - 15, 2017] in avant garde cinema
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Light Movement 24: Giuseppe Boccassini (#anchor12) [October 12, 12047 Berlin,
Germany]
Videos By Cate Giordano (#anchor17) [October 13, Brooklyn, New York]
NEW CALLS FOR ENTRIES:
Bodies (Naples, Italy; Deadline: January 31, 2018)
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=520ad2ef6c&e=4e65756555
Microscope Gallery Event Series 2017-2018 (Brooklyn, NY, USA; Deadline: October
15, 2017)
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=e38c84a211&e=4e65756555
25th Chicago Underground Film Festival (Chicago; Deadline: December 01, 2017)
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=2005564fa9&e=4e65756555
the8fest (Toronto, Ontario, Canada; Deadline: October 15, 2017)
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=01a5e9104e&e=4e65756555
DEADLINES APPROACHING:
Experiments in Cinema (Albuquerque, New Mexico USA; Deadline: November 01, 2017)
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=3a42a9c81c&e=4e65756555
Black Maria Film Festival (Jersey CIty, NJ, USA; Deadline: October 15, 2017)
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=775bce7b8d&e=4e65756555
Microscope Gallery Event Series 2017-2018 (Brooklyn, NY, USA; Deadline: October
15, 2017)
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=5a409300ae&e=4e65756555
the8fest (Toronto, Ontario, Canada; Deadline: October 15, 2017)
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=35b6f99625&e=4e65756555
Events are sorted alphabetically BY CITY within each DATE.
This week's programs (summary):
* Optronica1 (#anchor1) [October 7, San Francisco, California]
* Dear Mark & El Otro Lado (#anchor2) [October 8, Cambridge, Massachusetts]
* Ism, Ism, Ism: David Lamelas: Screening of Three Films (#anchor3) [October 8,
Long Beach, CA]
* Synthestesia (#anchor4) [October 8, Oakland]
* Sight Unseen Presents: Amy Halpern (Los Angeles) (#anchor5) [October 10,
Baltimore, Maryland 21201]
* Scope Presents: Ouananiche - Elsewhere #370 (#anchor6) [October 10, Berlin,
Germany]
* A Ghost Town In Reverse: Films By Steve Polta (#anchor7) [October 10,
Brooklyn, New York 11222]
* Film Screening: Romance and Rage (#anchor8) [October 11, Berkeley, California
94704]
* #anchor9Scope Presents: Ouananiche - Elsewhere #370 (#anchor10) [October 11,
Berlin, Germany]
* Nostalgia For the Light (#anchor11) [October 11, Boston, Massachusetts 02115]
* Light Movement 24: Giuseppe Boccassini (#anchor12) [October 12, 12047 Berlin,
Germany]
* #anchor13Glorious Ravage (#anchor15) [October 12, Brooklyn, New York]
* Procedural Live W. S A H A R / Fax W. andreas Miranda #371 (#anchor16)
* Videos By Cate Giordano (#anchor17) [October 13, Brooklyn, New York]
* Cue Mark (#anchor18) [October 13, New York, New York]
* #anchor19Ryoichi Kurokawa & Novi_sad / Pierce Warnecke & Frank Bretschneider
#372 (#anchor20) [October 14, Berlin, Germany]
* 16mm Mothership (#anchor21) [October 14, San Francisco, California]
* Empire ii Screening Night (#anchor22) [October 15, Berlin, Germany]
SATURDAY, OCTOBER 7, 2017
10/7
San Francisco, California: Other Cinema
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=0901f66f21&e=4e65756555
8:30PM, ATA Gallery 992 Valencia St.
OPTRONICA1
OCT7: MICHAEL GENDREAU + VICKI BENNETT/PLU + The first of Fall’s two Optronica
programs mobilizes an international avant garde of media-performance:
London-based Vicki (People Like Us) Bennett is here to premiere her single
channel special edit Citation City with kindred spirit Michael Gendreau. As
synth ensemble audre, Gendreau and Jorge Bachmann joyfully surf the phase-froth
from two Invisible Manmovies!! ALSO: A special surprise guest (can't be
advertised), Bennett’s British buddies Semiconductor, former Frisco duo Matmos,
John Warren’s In Colors, a Quintron cameo...and a video memoir to dear friend
Owen O’Toole, late of Wetgate. $8.88
SUNDAY, OCTOBER 8, 2017
10/8
Cambridge, Massachusetts:
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=51479e60da&e=4e65756555
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=0a0b411e7a&e=4e65756555
7pm, 24 Quincy Street
DEAR MARK & EL OTRO LADO
Dear Mark In the tone and tenor of a loving note folded over and slipped
beneath a door, Dear Mark shows celebrated sculptor and Lyon’s close friend
Mark di Suvero, in footage shot in 1965 Stony Point, New York and 1975
Chalon-sur-Saône, France, at work (and play) on his sculptures: climbing on,
standing before, swinging from, surveying, assessing, outlining, cutting,
welding, hammering... Much of the film plays through a multiple exposure, one
view close up on the shirtless, bearded sculptor, the other tracing the beams
of his imposing steel combinations, a third expanding to reveal the imposing
structures in their full scale. Not entirely playful, the film touches on
questions of immigration and national identity (di Suvero himself was born in
Shanghai to Italian parents and emigrated to California at the outbreak of
World War II) through the soundtrack, which incorporates samples of a crackling
Gene-Autry-cowboys-versus-illegal-immigrants radio play. Directed by Danny
Lyon. US/France 1981, digital video, color & b/w, 15 min El Otro Lado (The
Other Side) In the mountains of New Mexico, Lyon befriended Eddie Marquez
Rivera, an undocumented Mexican house builder who traveled frequently between
Mexico and the United States. Over the course of several border crossings in
Rivera’s company, Lyon discovered the subjects of his subsequent work,
including the migrant fruit pickers who appear in El Otro Lado. The title
refers to a Mexican designation for the US, where Don Bernabe Garay and his
sons travel annually with their neighbors from an agrarian “ejido” 1,300 miles
south of the border to pick oranges and lemons in the orchards of Arizona. The
heart of the film lies, as in all Lyon’s best work, in his camera’s panoramic
sensitivity to the beauty of the land and the men working it, the hard,
elemental realities of the work itself, and the wider set of historical
meanings leavened by the intense specificity of extended, unsubtitled human
observation narrated by humor, stories, card-playing and song. Beset by the
camera’s insistence on them as men to be seen and celebrated instead of as
labor to be exploited, the Garays and their friends vacillate between awkward
self-consciousness and disarming self-realization as they alternately trudge or
skip, like anyone else, off to work, at times merging with—and then suddenly
erupting again from–brilliant periwinkle and salmon skies. Directed by Danny
Lyon US/Mexico 1978, digital video, color, 60 min. Spanish with English
subtitles
10/8
Long Beach, CA: Filmforum
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=1ba482f343&e=4e65756555
5:00 pm, University Art Museum, Cal State University Long Beach, 1250 N
Bellflower Blvd, Long Beach, CA 90840
ISM, ISM, ISM: DAVID LAMELAS: SCREENING OF THREE FILMS
In Person: David Lamelas. David Lamelas began working in film in the late 1960s
while living in London. Subsequently he created films in continental Europe,
the United States, and Argentina. Place plays an integral role in his film
work, as do the phenomenological experiences of time, space, and narrative. The
University Art Museum presents three films by David Lamelas, including a rare
16 mm screening of Film 18 Paris IV 70 (People and Time-Paris), made with
artist Daniel Buren, journalist Raúl Escari, and filmmaker Pierre Grinberg for
the conceptual exhibition 18 Paris IV.70, curated by Michel Claura and Seth
Siegelaub. The screening will be followed by a Q&A with the artist.
10/8
Oakland: Shapeshifters Cinema
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=348ff053e4&e=4e65756555
8pm, TAC: Temescal Art Center, 511 48th St
SYNTHESTESIA
Synthestesia is a quarterly live A/V show, where modular synthesizers and
16mm/video installation commune for spontaneous performance. Simulated effects
may include feelings of viscous, spacey, dense and/or ethereal transformation.
Sights by Faith Arazi, Linda Scobie & Paul Clipson. Sounds by Jon Carling,
Musical Fungus & Capt J Rab.
MONDAY, OCTOBER 10, 2017
10/10
Baltimore, Maryland 21201: Sight Unseen
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=e60227fd45&e=4e65756555
7:30pm, 5 West North Avenue
SIGHT UNSEEN PRESENTS: AMY HALPERN (LOS ANGELES)
SIGHT UNSEEN presents Two works by Los Angeles filmmaker, Amy Halpern: "By
Halves" and "Falling Lessons" Amy Halpern will be in attendance to present her
work. PROGRAM: By Halves: 16mm film, color, silent, 2012, 7 minutes "This
silent film is derived from material found in pic fill made for sound editing.
Pic fill is an industrial product made from rejected 35 mm film prints. For
16mm use the prints have been split, re-perforated and sold in bulk reels as
spacer for sync film tracks. The films often have huge scratches deliberately
made down their whole length to make sure that they will not be projected. The
movement of the performer is slowed because a halved 35mm film, perforated to
16mm, has twice the number of frames per shot, i.e. is twice as long when
projected at speed. One sees first the top and then the bottom of each frame in
quick succession. Surprises result."- AH Falling Lessons: 16mm film, color,
sound, 1992, 64 minutes "FALLING LESSONS is a film about
eye-contact and fear, and about how nourishment can be gained from a look. It
takes the form of a series of encounters between the individual in the audience
and the individuals on the screen. The film uses faces as an alphabet. The eyes
of almost 200 adults, children and animals are composed, word-like, into
sentences and paragraphs, by look, expression and tone. These images seem to
fall or to ascend, caught with us in a slow maelstrom. One by one they look us
in the eye, and sometimes comment as they pass. We are caught in a complex
tapestry of gestures, sounds and voices. Off-screen dramas are suggested.
Plot-lines form in the mind. The structure of the work follows the spectrum of
visible light. Over the course of the film the predominant tone of lighting,
backgrounds and fabrics progresses from the red end of the scale through
orange, yellow, green and blue and finally to violet. This progression provides
the visual underpinning for the film's emotional progress. The
score of FALLING LESSONS is a composite of virtuoso musicianship, machine
noises and natural sounds. The acoustic jazz bass foundation is provided by
Tony Dumas. South Indian classical singing master Lakshmi Shankar sings to a
classical jazz bass line (for her first time). Mongolian hoomi singing is
contributed by David Hykes and his Harmonic Choir, and tap-dancer Sandman Simms
is joined on percussion by jazz great Billy Higgins. Also contributing to the
original score are Toni Marcus on strings, Kerry Campbell on saxophone, John
Sinclair on Scottish war pipes, Chalo Quintana on drums, Tito Larriva on guitar
and vocals, Jose Lorenzo on berimbao and Marilyn Donadt on The Wing, a 5 foot
long steel construction which is struck with mallets and variously stroked with
violin bow, drumsticks, brushes and rubber balls. The film is designed
according to musical structures older than the film medium. Its shape is based
on the chaconne, an ancient Moorish dance form constructed on a
descending bass line. This descending line finds its visual analogue in the
repeated tilting motion of the camera. This is also played out in various ways
on the sound track. For example, the film opens with an unorthodox rendition of
Tommaso Vitali's Chaconne of 1750. The violin is accompanied by a bass continuo
made up of fog-horn, piano, didgeridoo and sirens. The moaning, keening sound
of the Brooklyn Bridge as traffic crosses its grating is another sinking sound
that works into the descending bass line." - Amy Halpern
10/10
Berlin, Germany: Spektrum
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=2db92b8ddb&e=4e65756555
20:00, Bürknerstraße 12s
SCOPE PRESENTS: OUANANICHE - ELSEWHERE #370
There’s no denying it: we’re travelling more often, and we’re travelling
faster. But what has become of motion and time? What of those moments lost or
gained in simple contemplation, in a state resembling hypnosis, enriching our
imagination, health, and sense of self? With this work – by turns documentary,
electronic music performance and VJ session – audio-visual artist Ouananiche
has created an unconventional and powerful essay on that essential trance
state. Truly a cinematic experience, fully deserving of its title, Autre part
was screened at last fall’s Festival du nouveau cinéma. It’s a journey to the
heart of the unique experience of the moment between departure and arrival. An
exploration at the heart of the stories of immigrants, pilgrims and explorers
in anonymous dialogue, to the heart of our selves and of our world.
10/10
Brooklyn, New York 11222: Light Industry
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=7c49754feb&e=4e65756555
7:30, 155 Freeman St
A GHOST TOWN IN REVERSE: FILMS BY STEVE POLTA
Looking back at the 1990s renaissance of American experimental cinema, it's
clear that one of the most aesthetically advanced scenes emerged in the Bay
Area, during that region's final days of true affordability. Many of the
Northern California filmmakers then active shared a renewed interest in the
material nature of celluloid and the particular mechanisms of camerawork,
exploring the medium's fundamental character at the moment of film's alleged
death, but with a muted lyricism quite unlike either the grand theoretical
projects or underground transgressions of earlier generations. This sensibility
is one that can be found in the work of a wide range of artists, from the
lightly-touched found-footage enigmas of Brian Frye, to the reflexive reveries
of Luis Recoder and the optical toying of Kerry Laitala, not to mention the
meticulously observational cinema of Nathaniel Dorsky. "Long-deferred aesthetic
questions began to reemerge and demand answers," Frye recalls in "The New
Science of Cinema," his 2003 essay on the period, "questions about film, what
it looks like, how it works." Erstwhile taxi driver and current director of
stalwart venue San Francisco Cinematheque, Steve Polta began making and showing
films in the Bay Area while a student of Ernie Gehr. Unlike many of his
contemporaries, Polta has publicly exhibited his prints only rarely over the
years, preferring to keep them out of distribution. More recently, however,
Polta has assembled a roughly hour-long selection of ten individual pieces,
mostly Super-8, that he has screened internationally as a single program. By
shooting urban landscapes and interiors at low exposures, and generating
moments of diffraction, Polta creates compositions of light and color that
slowly mutate to generate fields of abstract shapes, occasionally interrupted
by a flash of recognizable photographic recording. Visually understated in the
extreme, Polta's films nonetheless encourage minimalist rhapsodies on the
part of the dedicated viewer. In Departure, Frye notes, "the elements of a
profoundly defocused lens distort a transit tunnel into a portal between
worlds, traversed by color-spiked forms," while Picture Window "verges on pure
black, the barest hint of an image causing the screen to reverberate between a
window and a surface plane. It's the texture of the image that constitutes the
film, the essence of a film." Frye further notes that Polta's individual films
take the form of "a single, uninterrupted image," and one could say the same of
this program as a whole. Bereft of titles or clear interruptions between works,
presented either silent or set to subdued soundtracks, Polta's compilation
becomes its own kind of continuous low-tech light show, investigating the
expressive possibilities of lensing while simultaneously reveling in the grain
and rhythms of small-gauge formats. Red Sketch (1997c), Steve Polta, 1997,
Super-8, 6 mins interval Oakland 99, 2000, Super-8, 3 mins
Departure (1997c), 1997, Super-8, 7 mins Picture Window (1996a), 1996, Super-8,
10 mins Minnesota Landscape, 1997, 16mm, 10 mins Estuary #1, 1998, Super-8, 10
mins The Berries, 2000, Super-8, 3 mins Summer Rain for LMC, Side A, 2007/2011,
Super-8, 3 mins Summer Rain for LMC, Side B, 2007/2011, Super-8, 3 mins A House
Full of Dust, 2007, Super-8, 10 mins Followed by a conversation with Polta.
Tickets - $8, available at door. Please note: seating is limited. First-come,
first-served. Box office opens at 7pm.
TUESDAY, OCTOBER 11, 2017
10/11
Berkeley, California 94704: Pacific Film Archive
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=db3293bdd3&e=4e65756555
7pm, 2155 Center St
FILM SCREENING: ROMANCE AND RAGE
Jeffrey Skoller has been distributing his 16mm films through Canyon since 1983.
When he served on the board of directors from 1992 to 1994, the biggest issue
the board confronted was whether or not to open Canyon to video distribution,
something the membership was very divided about. (They eventually did.) He has
selected five films, dating from 1978 to 1992, that highlight different
strategies women filmmakers used to look at concerns ranging from romantic love
to political policy, work, and being an artist. FILMS IN THIS SCREENING Recital
Stephanie Beroes, United States, 1978 Sincerely Lynn Marie Kirby, United
States, 1980 Maternal Filigree Sandra Davis, United States, 1980 Fake Fruit
Factory Chick Strand, United States, 1986 Chronicles of a Lying Spirit (by
Kelly Gabron) Cauleen Smith, United States, 1992 For more info
visit:http://bampfa.org/event/ romance-and-rage
10/11
Berkeley, California 94704: Pacific Film Archive
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=fcb77bea3f&e=4e65756555
7pm, 2155 Center St
FILM SCREENING: ROMANCE AND RAGE
Jeffrey Skoller has been distributing his 16mm films through Canyon since 1983.
When he served on the board of directors from 1992 to 1994, the biggest issue
the board confronted was whether or not to open Canyon to video distribution,
something the membership was very divided about. (They eventually did.) He has
selected five films, dating from 1978 to 1992, that highlight different
strategies women filmmakers used to look at concerns ranging from romantic love
to political policy, work, and being an artist. FILMS IN THIS SCREENING
Recital, Stephanie Beroes, United States, 1978; Sincerely, Lynn Marie Kirby,
United States, 1980; Maternal Filigree, Sandra Davis, United States, 1980; Fake
Fruit Factory, Chick Strand, United States, 1986; Chronicles of a Lying Spirit
(by Kelly Gabron), Cauleen Smith, United States, 1992.
10/11
Berlin, Germany: Spektrum
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=edcfb07118&e=4e65756555
20:00, Bürknerstraße 12s
SCOPE PRESENTS: OUANANICHE - ELSEWHERE #370
There’s no denying it: we’re travelling more often, and we’re travelling
faster. But what has become of motion and time? What of those moments lost or
gained in simple contemplation, in a state resembling hypnosis, enriching our
imagination, health, and sense of self? With this work – by turns documentary,
electronic music performance and VJ session – audio-visual artist Ouananiche
has created an unconventional and powerful essay on that essential trance
state. Truly a cinematic experience, fully deserving of its title, Autre part
was screened at last fall’s Festival du nouveau cinéma. It’s a journey to the
heart of the unique experience of the moment between departure and arrival. An
exploration at the heart of the stories of immigrants, pilgrims and explorers
in anonymous dialogue, to the heart of our selves and of our world.
10/11
Boston, Massachusetts 02115: MassArt Film Society
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=5407dcff27&e=4e65756555
8pm, 621 Huntington Ave
NOSTALGIA FOR THE LIGHT
MASSART FILM SOCIETY presents, NOSTALGIA FOR THE LIGHT and MERCY Program: MERCY
by Abigail Child 1989, 16mm, 10min, color, sound Child masterfully composes a
rhythmic collage of symmetries and asymmetries in a fluid essay that forefronts
the treatment of the body as a mechanized instrumentÑplacing the body in
relation to the man-made landscape of factories, amusement parks and urban
office complexes. Vocals performed by Shelley Hirsch. NOSTALGIA FOR THE LIGHT
dir. Patricio Guzmán 2010, Digital, 90min Nostalgia for the Light is a
documentary released in 2010 by Patricio Guzmán to address the lasting impacts
of Augusto Pinochet's dictatorship. Guzmán focuses on the similarities between
astronomers researching humanity's past, in an astronomical sense, and the
struggle of many Chilean women who still search, after decades, for the
remnants of their relatives executed during the dictatorship. Patricio Guzmán
narrates the documentary himself and the documentary includes
interviews and commentary from those affected and from astronomers and
archeologists. MASSART FILM SOCIETY Entrance is now through the new DMC
Building on Huntington Ave. Enter through the glass doors, to get to the film
area-turn left and go into the South Building, turn right into the East
building and go down the 1/2 flight of stairs, through the hall, back up the
next 1/2 flight, keep straight and Screening Room 1 will be on your left.
Suggested donation is $4 at the door and free to the MassArt community with
their ID. Donations are used to give visiting artist something for their
expenses of coming to show their work. MASSART 621 Huntington Ave. Boston MA
02115
WEDNESDAY, OCTOBER 12, 2017
10/12
12047 Berlin, Germany: Spektrum - art science community
8 PM, Bürknerstr 12
LIGHT MOVEMENT 24: GIUSEPPE BOCCASSINI
Light Movement 24 Thursday 12th October, 8pm Spektrum Giuseppe Boccassini We
are delighted to welcome Giuseppe Boccassini - a filmmaker working with found
and archival footage to work a visual language to surreal affect. In a mannor
that suggests films inner breathing, as if it had a conciousness, or the media
dreaming of itself, these images circulate and pulsate in reflection of their
own problematic being. By Boccassini's definition, "film is a phallic conquerer
that, folding in on itself, now flaccid deus ex machina, observes itself from
the inside like a lysergic membrane that slowly founders between the folds of
its own material." The resulting vision seems to throw our gaze deep inside the
medium of moving images, towards extremes of close-up, loudness, or slowness,
silence, in unexpected and uncanny meanderings of meaning. This program will
showcase a selection of recent works as well as the German premiere of his
brand new film, Debris (2017), which consists of
decayed fragments from Instagram, youtube, videogames, public archives, mostly
reshot with a mini-dv camera. MORE INFO:
light-movement.blogspot.defacebook.com/ lightmovementseries
10/12
Brooklyn, New York: Roulette
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=fa48ee9790&e=4e65756555
8 PM, 509 Atlantic Avenue
GLORIOUS RAVAGE
New York premiere of Glorious Ravage, a panoramic song cycle with experimental
film, a collaboration between composer Lisa Mezzacappa and film artists Janis
Crystal Lipzin, Konrad Steiner, Kathleen Quillian, and Alphonso Alvarez.
Glorious Ravage was inspired by the adventures of turn- of- the- 20th-century
women explorers and features a live 15-musician ensemble and vocalist Fay
Victor. more info and tickets here:
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=9c8454e3b5&e=4e65756555
THURSDAY, OCTOBER 13, 2017
10/13
Berlin, Germany: Spektrum
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=bacce86cfc&e=4e65756555
20:00, Bürknerstraße 12s
PROCEDURAL LIVE W. S A H A R / FAX W. ANDREAS MIRANDA #371
PRCDRL aka Procedural live with visuals by S a H a R :-: Andrea Familari ///
FAX w. Andreas Miranda - A/V Impro
10/13
Brooklyn, New York: Microscope Gallery
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=cdb3eca2a4&e=4e65756555
7:30pm , 1329 Willoughby Avenue, #2B
VIDEOS BY CATE GIORDANO
Microscope presents a screening of video works by Cate Giordano, culminating
with the premiere of her 33-minute single-channel video "After the fire is
gone”. The five works in the program - spanning nearly a decade from “Hunter in
the Woods” made when the artist was an undergrad student to a second new work
“Prelude” - typically find Giordano in wigs and mustaches assuming the role of
the main characters and singing soundtracks in music video-like sequences.
Crudely made sculptures of everyday objects, furniture, animals and people
including non-speaking and still incarnations of the main characters are
integrated into story lines that often play with and subvert the portrayals of
familial, romantic, and sexual relationships that we see in the movies and on
TV. Giordano will be in attendance and available for Q&A following the
screening. Cate Giordano works primarily in moving image, often playing
multiple roles in her videos, and sculpture in the form of sets or characters
made in a way that highlights their otherness and materiality. Her work has
previously appeared in solo screenings at Film Society at Massachusetts College
of Art and Design, Boston, MA and Spectacle Theater, Brooklyn, NY. Group
screenings include Flaherty Seminar at Anthology Film Archives, New York and
Millennium Film Workshop, Brooklyn, NY among others. Cate Giordano lives and
works in Brooklyn, NY. General Admission $8, Members & Students $6. Advanced
tickets highly recommended as seating is limited. More info & full program:
www.microscopegallery.com. Nearest subway: Jefferson Street L (exit Starr
Street).
10/13
New York, New York: Hercules Art Studio Program
7:30 PM, 25 Park Avenue, 3rd floor
CUE MARK
Cue Mark brings together nine films by seven artists who share an affinity for
the poetics of movement and a reverence for analogue cinema. These artists use
their cameras to record and bring to light both object and performance and make
permanent via photo-chemical processes. Film artists who work will be featured
are Stephanie Barber, Laura Bartczak, Lucy Kerr, Aglaia Konrad, Janis Crystal
Lipzin, Ellie Parker, and Jenna Westra. Seating is limited so please RSVP to
i...@herculesart.com
10/13
New York, New York: Hercules Art Studio Program
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=5ca5ed17af&e=4e65756555
7pm, 25 Park Place, 3rd Floor
CUE MARK
Cue Mark brings together nine films by seven artists who share an affinity for
the poetics of movement and a reverence for analogue cinema. These artists use
their cameras to record and bring to light both object and performance and make
permanent via photochemical processes. Janis Crystal Lipzin considers film to
be a material located in the painterly realm, and engages with the material's
sensory and optical qualities. Through hand processing her film and
manipulating the emulsion, she reveals an expansion of the industrial Kodak
color palette, alluding to the natural world where possible color expressions
are enhanced. Her subjects in De Luce 1 & 2 include plant life and
architecture, natural and built environments that dance with their recordings
in modernist color field tableaus. The work of Aglaia Konrad is similarly
concerned with the built environment, her film La Scala is a spatio-temporal
continuum of the Brutalist residential building designed by Vittoriano Vigano
for Andre Bloc (1956-1958, La Garda, San Felice, Italy). The camera pans in a
soothing slow motion and traverses interior and exterior space fluidly, with
reflections in the glass façade reading as double exposures. Her material
concerns are in the apparatus; the optical system, aiming and reframing. She
proposes the potential for film to embody the experience of architecture as
sculpture. Where the moving camera animates the static sculptural architecture
in La Scala, Jenna Westra's portrait of a dancer titled Static Movement Sundown
insists on slowing down movement of the human body and allowing external forces
of the camera, wind, and sun to intervene. Lucy Kerr's Bridge Piece and Laura
Bartczak's Viscera are similarly grounded in choreography and performance,
though the technical possibilities of stop motion and advanced editing effects
pay homage to the "magic" of filmmaking. While Bridge Piece follows a dancer's
sequence of lethargic efforts to stand up right,
Bartczak's imagery offers frantic, strobe-like portraits of desert landscapes
contrasted by split screen close-ups of a bouncing torso. Stephanie Barber's
work 3 Peonies traverses ground that reads both violent and nurturing, where
cut pink flowers are progressively covered with blue painters tape on a blood
red ground. What begins as a reverence for natural beauty ends up pointing
towards the abstract expressionism and color field work of high modernism
which, in many cases eschewed the banality of such "natural" beauty. Mirroring
by Ellie Parker reflects on the camera's ability to act as a Barthesian mirror
to the past. Program: De Luce 1: Vegetare by Janis Crystal Lipzin (2009), Super
8mm transfer to HD video (color, sound), 4:58 mins De Luce 2: Architectura by
Janis Crystal Lipzin (2013), Super 8mm transfer to HD video (color, sound),
8:34 mins La Scala by Aglaia Konrad (2016), 16mm transfer to HD video (color),
split-screen, 12:24 mins Static Movement Sundown by Jenna
Westra (2017), 16mm transfer to HD video (color), 8:11 mins Bridge Piece by
Lucy Kerr (2017), Super 8mm transfer to HD video (color), 3:09 mins Viscera by
Laura Bartczak (2016), Super 8mm transfer to HD video (color), split-screen,
3:42 mins The Forest is Offended by Stephanie Barber (2017), 16mm transfer to
HD video (b&w/color, sound), 2:25 mins 3 Peonies by Stephanie Barber (2017),
16mm transfer to HD video (color, sound), 3:13 mins Mirroring by Ellie Parker
(2016), 16mm transfer to HD video (color), 2:55 mins
FRIDAY, OCTOBER 14, 2017
10/14
Berlin, Germany: Spektrum
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=3619e06f05&e=4e65756555
19:00, Bürknerstraße 12s
RYOICHI KUROKAWA & NOVI_SAD / PIERCE WARNECKE & FRANK BRETSCHNEIDER #372
Sirens: Ryoichi Kurokawa & Novi_sad (Berlin premier) Sirens is a project which
explores the aesthetics of information on sound. Initially based on multiple
ways of analysis in various types of recordings, the project uses numerical and
quantitative data from periods of economic panic and major stock market crashes.
10/14
San Francisco, California: Other Cinema
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=96d593d05f&e=4e65756555
8:30PM, ATA Gallery 992 Valencia St.
16MM MOTHERSHIP
OCT14: CANYON CINEMA'S 50th: LOOSE ENDS ZINE RELEASE! The 50th Anniversary of
our beloved Bay Area film co-op, Canyon alums Courtney Fellion and Linda Scobie
twirl a whirlygig of illusory narratives and critical thoughts. The luv-fest
features rarely seen 16mm prints from the legendary collection, including Diana
Krumins’ surrealist assemblage Babobilicons and Mark Lapore’s The Glass System,
a cross-cultural mediation on the “impact of globalization and the hegemony of
Western-style capitalism”. Local light Greta Snider’s street-poetic Blood Story
precedes headliner Loose Ends, Chick Strand’s kaleidoscopic collage on media
oversaturation and psychological entropy. And tying up a final loose end,
tonight’s party also sees the release of the fifth, consummating issue of the
current configuration of Canyon Cinemazine, as editors Fellion and Scobie
return the baton to director Antonella Bonfanti for future incarnations. All
five editions of their project are available for
purchase, along with a raffle of color posters, test prints, plus free cake and
champagne!!
SATURDAY, OCTOBER 15, 2017
10/15
Berlin, Germany: Spektrum
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=c980bd50de&e=4e65756555
19:00, Bürknerstraße 12s
EMPIRE II SCREENING NIGHT
EMPIRE II is an artist led satellite project, originally devised and curated by
Vanya Balogh for 57th La Biennale di Venezia This intimate, immersive film hub
space will feature three chambers; beginning with an extensive library,
engaging in film history and theory, curated attentively by participating
artists from their personal book collections and intended for browsing and
perusing; leading...
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