Dear Frameworkers, Julie Perini and I are pleased to announce that our curated program "Collaborating with Nature" will be screening at two venues so far this year:
Exploded View<http://explodedviewgallery.org/event/collaboration-with-nature-films-made-with-natural-processes/> (a microcinema in Tucson) in March and Experimental Film Festival--Portland <http://effportland.com>in May Thanks to Julie for finding these opportunities for the filmmakers and getting us back together. Thanks to Bryan Konefsky and Michelle Mellor and the wonderful folks at Experiments in Cinema, Albuquerque for giving us the opportunity to put a version of this show together in the first place (at EIC 2013). Here is the program (and it could be available to tour to a microcinema or festival near you): Collaborating with Nature: Films Made with Natural Processes ------------------------------ 2014 Screenings Saturday, March 22, 2014 - Exploded View, Tucson, Arizona Sunday, June 1, 2014 - EFF Portland, Portland, Oregon Description Direct filmmaking meets environmental action in a program of films using organic and inorganic material to alter the film surface. Collaborations with Nature is co-presented by Signal Fire, an organization engaging artists in our remaining wild and open spaces. This collection shows a range of effects used to intervene on the actual film exposure and processing; decay, spore hosting, compost, exposure to bioluminescent plants, processing in polluted lakes, magnetic alteration, and more. The program included work by Dorothea Braemer & Brian Milbrand, Cade Bursell, Dagie Brundert, Caryn Cline, Devon Damonte, Lori Felker, Melissa Friedling, Eva Kolcze, Robbie Land, Christine Lucy Latimer, Julie Perini, Jeremy Rendina, Ken Paul Rosenthal, Eric Stewart, and Steve Woloshen. Program Notes and Screening Order S'more Spores (screening on film) Devon Damonte, 16mm, color, silent, looped, 2011 An optically-printed loop of spores / sporangia / sori from a Resurrection Fern frond collected in Florida by Linda Busta. Linda brought the idea of putting 'more spores' directly onto film with her movie of mushroom spores made at the Crackpot Crafters in Olympia, WA in Spring 2011. I used clear sticky tape to lift the spores off the underside of the leaf and stuck that right onto clear leader. The Resurrection Fern is also the subject of a lovely song by Iron and Wine. --DD Collaboration with the Earth (screening .mov) Julie Perini, 1 minute & 12 seconds, 16mm film transferred to digital video, 2011 During the summer of 2011, I created Collaboration with the Earth, which involved cutting a 1970s era 16mm moving-picture advertisement for General Electric into two-second strips, burying it in the groud, and then unearthing one strip of film each day for twenty days. I then pieced the film back together so viewers can witness the gradual decay of the image and sound in the film. The result is an array of brightly colored abstract compositions borne of my collaboration with dirt, worms, water, and other earthly forces. The Magic Soup (screening .mov) Dagie Brundert, .mov/B&W/Sound, 2:45 minutes, 2012 I'm in Toronto. They have a gigantic lake here - Lake Ontario - and I thought: why not use its water for my developing chemicals? Lake water plus instant coffee, vitamin c and washing soda, it makes a real good soup. And I poured some magic senseless something - you will see it in the end of this film - a squirrel drink - which might have made the film solarize a little bit. Magic soup! Try this at home! Use local water! Take care and enjoy! --DB Matters of Bioluminescence (screening 16mm) Robbie Land, 16mm/Color/Sound, 7:00 minutes, 2012 Matters of Bioluminescence is a personal documentation of the bioluminescent phenomena. The film begins with a time-lapse of fireflies and various raw film stocks contained in a glass jar. The second portion of the film is the abstract result the bioluminescent insects create with the light sensitive film. The film then focuses on foxfire, glowing mushrooms filmed in their environment using time-exposure cameras. The mushrooms are also placed directly onto various raw film stocks. --RL Fruit Flies (screening 16mm) Christine Lucy Latimer, 16mm/Color/Silent (18fps), 1:23 minutes, 2010 This film seals under perforated 16mm splicing tape all of the fruit flies that drowned in the vinegar trap on my kitchen counter last summer. --CLL Seaweed (screening 16mm) Jeremy Rendina, 16mm/Color/Sound, 3:00 minutes, 2002 Dried seaweed panes are photographed as light passes through. Printing reveals an interior chasm of the sea's markings. --JR Fe (screening 16mm) Eric Stewart, 16mm/B&W/Silent, 2:25 minutes, 2012 The ebb and flow of iron filings in a magnetic field.--ES Garden Roll Bounce Parking Lot (screening .mov) Mel Friedling, 16mm/Color/Sound (found footage), 5:25 minutes, 2010 Pop culture and land-use practices converge in Brooklyn, NY where a Bangladeshi family recalls the found film that formed the overhead lattice support for their urban garden - before it was leveled to make a parking space for the father's livery car. --MF Zwischen (screening .mov) Lori Felker, 16mm/B&W/Sound, 2:00 minutes, 2006 Zwischen ("Between") exists on the thin line between opposing forces. There is no grey between black and white, as Zwischen jumps from earth to space, mixes matter with air, and materializes inspiration at the insistence of the hand. Dirt moves over light to a hand-drawn soundtrack of noise and space. --LF Spring Flavor (screening .mov) Ken Paul Rosenthal, 16mm/Color/Silent, 3:00 minutes, 1996 The alchemy and texture of film is celebrated with images of sun-splintered reeds that have been re-photographed, hand-processed, buried beside a pond, and soaked in cooked wild berries. --KPR Earl Butz (screening .mov) Dorothea Braemer/Brian Milbrand, .mov/Color/Sound, 2:35 minutes, 2004 A partially decomposed instructional film about farm life in the 1970's. The film was exposed to farm products such as grain and beef over lengthy periods of time. It serves as a metaphor for the destruction of the American family farm. Earl Butz received the Director¹s Choice award at the 2011 Black Maria Film Festival. -DB Compost Confidential (screening .mov) Caryn Cline, .mov/Color/Sound, 4:00, 2012 A recycled film that addresses our culture of waste. According to a Cornell University research report, eleven thousand tons of trash a day are discarded in New York City, and 15 to 40% is food scraps that could and should be composted. In "Compost Confidential," handmade botanicollage film frames, saved from unrealized projects, were put in a compost bin, left for several weeks, then retrieved and optically-printed. In the printing process, the sprocket holes themselves, usually outside of the frame, were intentionally revealed as an element inside the frame. The soundtrack, recycled from an audio project, features interviews with urban composters at the Union Square Greenmarket in New York City.--CC Salt Lines (screening .mov) Cade Bursell, HD/Color/Silent, 4:49 minutes, 2012 A haptic, visceral response to discordant lines of text associated with Himalayan salt extraction --CB Markings 1-3 (screening .mov) Eva Kolcze, .mov/Color/Sound, 7:00 minutes, 2011 An emotional journey in three parts. Markings 1-3 is an attempt to connect with nature through the surface of celluloid, using such techniques as tinting, toning, painting and scratching. --EK Zero Visibility (screening .mov) Steve Woloshen, 35mm/color/silent (found footage), 2:15 minutes, 2010 This film explores the possibility of being blind under the conditions of distance, light, and atmosphere while attempting to cross Montreal's Victoria Jubilee Bridge during a blinding nighttime snowstorm. My aim was to create a sense of severe structural damage, giving the look of a snowy white out by fermenting the film prints in yeast, sugar and water. To further increase the sense of unease, I froze the decayed images in ice and then reconstructed the sequence by gluing each frame back onto 35 mm clear leader. --SW -- Caryn Cline co-producer, *Acts of Witness* www.actsofwitness.com vimeo.com/carynyc
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