This week [April 15 - 22, 2018] in avant garde cinema
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This week [April 15 - 22, 2018] in avant garde cinema
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Yes: Lili Chin / Gautam Kansara <#anchor6> [April 16, Brooklyn, New York]
NEW CALLS FOR ENTRIES:
Compassion Film Festival (Carbondale, CO, USA; Deadline: May 17, 2018)
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DEADLINES APPROACHING:
Festival of (In)appropriation (Los Angeles, CA, USA; Deadline: May 01,
2018)
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5th Annual Flamingo Film Festival (Fort Lauderdale, FL USA; Deadline: April
15, 2018)
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Compassion Film Festival (Carbondale, CO, USA; Deadline: May 17, 2018)
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Events are sorted alphabetically BY CITY within each DATE.
This week's programs (summary):
* Lightning and Thunder: 16mm Films By Fern Silva <#anchor1> [April 15,
Austin, TX]
* Stan Brakhage: Life, Death, and the Elements <#anchor2> [April 15, Los
Angeles, California]
* Harun Farocki: Program 2 <#anchor3> [April 15, New York, NY]
* The Films of Larry Gottheim: Program 5 <#anchor4> [April 15, New York,
NY]
* The Films of Larry Gottheim: Program 6 <#anchor5> [April 15, New York,
NY]
* Yes: Lili Chin / Gautam Kansara <#anchor6> [April 16, Brooklyn, New
York]
* The Films of Larry Gottheim: Program 7 <#anchor7> [April 16, New York,
NY]
* History, Memory, Texture: Material Inscriptions <#anchor8> [April 16,
Oberlin, OH]
* Note To Self: Films of Nazli DinÇel <#anchor9> [April 17, Baltimore,
Maryland]
* The Films of Larry Gottheim: Program 8 <#anchor10> [April 17, New York,
NY]
* Trans Film: To Speak, To Find: Program 1 <#anchor11> [April 18, New
York, NY]
* Trans Film: Near Futures <#anchor12> [April 18, New York, NY]
* Traveling the Space Ways <#anchor13> [April 18, New York, New York]
* Trans Film: Teknolust <#anchor14> [April 19, New York, NY]
* Trans Film: FluidØ <#anchor15> [April 19, New York, NY]
* School of Chairs: Your Eye Would Glide Over the Grey <#anchor16> [April
19, San Francisco, California]
* Videons: visions Through Time, 1968–2018 <#anchor17> [April 19, San
Francisco, California]
* Bradley Eros Eros.Ion <#anchor18> [April 20, Brooklyn, New York]
* Inexistent Time: A Retrospective of Malena Szlam <#anchor19> [April 20,
Los Angeles, California]
* Trans Film: Rukus <#anchor20> [April 20, New York, NY]
* Trans Film: When This World Ends: Dandy Dust <#anchor21> [April 20, New
York, NY]
* Peripheral visions Program 1: Rhythm <#anchor22> [April 20, New York,
New York]
* Peripheral visions Program 2: Sequence <#anchor23> [April 20, New York,
New York]
* Through the Margin of Mirrors: A Lecture/Performance By Malena Szlam
<#anchor24> [April 21, Los Angeles, California]
* Ec: Stan Brakhage Pgm 2 <#anchor25> [April 21, New York, NY]
* Trans Film: To Speak, To Find: Program 2 <#anchor26> [April 21, New
York, NY]
* Trans Film: Kate Bornstein Is A Queer and Pleasant Danger <#anchor27>
[April 21, New York, NY]
* Peripheral visions Program 3: Texture <#anchor28> [April 21, New York,
New York]
* Peripheral visions Program 4: Texture | Space <#anchor29> [April 21, New
York, New York]
* Peripheral visions Program 5: Space <#anchor30> [April 21, New York, New
York]
* X~Peri~Mental Animation: Colburn + Gallagher + Geiser + Quillian +
<#anchor31> [April 21, San Francisco, California]
* Harun Farocki: Program 3 <#anchor32> [April 22, New York, NY]
* Trans Film: Pay It No Mind: &Quot;Archival Footage&Quot; As the Main
Attraction <#anchor33> [April 22, New York, NY]
* Trans Film: T4t: Films By Jules Rosskam <#anchor34> [April 22, New York,
NY]
SUNDAY, APRIL 15, 2018
4/15
Austin, TX: Experimental Response Cinema
http://ercatx.org
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8pm, grayDUCK Gallery, 2213 E Cesar Chavez St
LIGHTNING AND THUNDER: 16MM FILMS BY FERN SILVA
FILMMAKER IN PERSON! Experimental Response Cinema is proud to
welcome Fern Silva for an in-person screening of a selection of his 16mm
works. With his distinct sonic and cinematographic language, Silva's films
describe the hybrid mythologies of globalism. His films consider methods of
narrative, ethnographic, and documentary filmmaking as the starting point
for structural experimentation. Ride Like Lightning, Crash Like
Thunder-2017-8.5mins: Framed within the vision of the Hudson River School
and the legend of Rip Van Winkle, Ride Like Lightning, Crash Like Thunder
unfolds as a storm approaches on the horizon. An uncertain future is in
store as the creeping hand of history disrupts nature and civility in the
Hudson River regions of Upstate New York. The Watchmen-2017-10mins.: In
The Watchmen, pulsating orbs, panopticons, roadside rest stops, and
subterranean labyrinths confront the scope of human consequences and the
entanglement of our seeking bodies. Wayward Fronds -2015-13.5mins:
Mermaids flip a tale of twin detriments, domiciles cradle morph invaders,
crocodile trails swallow two-legged twigs in a fecund mash of nature's
outlaws… down in the Everglades. Tender Feet-2013-10.5: Tender Feet was
shot on the road in the southwest leading up to the not quite so cataclysmic
and transformative events anticipated to take place around Dec. 21st 2012.
As digits flipped on the odometer, so did the days in the Mayan calendar
shedding light and darkness on charred forests, arid landscapes, falling
stars, destructive vortexes, fortune telling traffic signs, and ticking
time bombs… Concrete Parlay-2012-18mins.: Carried by the frenetic energy
of a magic carpet, Concrete Parlay is a metaphysical flight that weaves
among visual kernels of the anthropic and biological worlds. From
prehistoric horseshoe crabs strewn among modern refuse, stoic pyramids
foregrounded by golf course maintenance, mystic rituals evoking avian
gestures, to contemporary political upheaval equalized by natural
phenomena-the poetic equivalence among images transcends particular
umwelten, as the disorienting whirl of the compass connotes the kinetic
nature of existence. -Aily Nash Passage Upon the Plume-2011-6.5mins.:
"Those who go thither, they return not again." Plumes dust the arid land,
east to west, shapeshifting as they lift in ascension. Something lowers. An
ark ran aground where revolution took root: ropes raise stones in baskets.
Hearts heavier and lighter than the feather, permitted passage. Tethered or
freed, resting from life or dawning anew. -Charity Coleman
4/15
Los Angeles, California: Filmforum
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7:30 pm, Echo Park Film Center, 1200 N. Alvarado St.
STAN BRAKHAGE: LIFE, DEATH, AND THE ELEMENTS
Los Angeles Filmforum and Acropolis Cinema present Stan Brakhage: Life,
Death, And The Elements New Restorations From The Academy Film Archive
Sunday, April 15, 2018, 7:30 pm At the Echo Park Film Center, 1200 N.
Alvarado St., Los Angeles CA 90026 All 16mm prints of restored films! With
Mark Toscano and others in person. Touching on some of Stan Brakhage’s
(1933-2003) most recurring and fundamental themes, this selection of five
films pairs an early, celebrated masterpiece (Scenes From Under Childhood)
and a truly monumental but neglected work made the year before his death
(Panels for the Walls of Heaven). Three other short films - all distinctly
visually striking and reflecting a palpable viscerality - balance out this
program of new restorations from the Academy Film Archive, the majority
appearing here in their first public screenings in the Academy’s new 16mm
prints. INFO: www.lafilmforum.org , 323-377-7238 Tickets: $10 general; $6
students/seniors; free for Filmforum members. Available in advance at
https://brakhagelife.bpt.me or at the door.
4/15
New York, NY: Anthology Film Archives
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2:00 PM, 32 Second Avenue
HARUN FAROCKI: PROGRAM 2
BEDTIME STORIES: SHIPS / EINSCHLAFGESCHICHTEN (1977, 3 min,
16mm-to-digital. In German with English subtitles.) AS YOU SEE / WIE MAN
SIEHT (1986, 72 min, 16mm-to-digital. In German with English subtitles.)
"[This] is an action-filled feature film. It reflects upon girls in porn
magazines to whom names are ascribed and about the nameless dead in mass
graves, upon machines that are so ugly that coverings have to be used to
protect the workers' eyes, upon engines that are too beautiful to be hidden
under the hoods of cars, upon labor techniques that either cling to the
notion of the hand and the brain working together or want to do away with
it. My film AS YOU SEE is an essay film. The contemporary opinion industry
is like a huge mouth, or maybe a paper shredder. I compose a new text out
of these scraps and thus stage a paper-chase. My film is made up of many
details and creates a lot of image-image and word-image and word-word
relationships among them. So there's a lot to chew on. I searched for and
found a form in which one can make a little money go a long way." -Harun
Farocki
4/15
New York, NY: Anthology Film Archives
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5:00 PM, 32 Second Avenue
THE FILMS OF LARRY GOTTHEIM: PROGRAM 5
FOG LINE (1970, 10.5 min, 16mm, b&w) The fog lifts on a scene. The trees
stand there, manifesting their being. They have a soft shape without
outline. The power lines relate to drawing rather than painting, the
controlling mind rather than the imagination. The viewer is invited to
explore the screen, looking here and there, each person following a
different path. DOORWAY (1970, 7.5 min, 16mm, b&w) Finally I moved the
camera, in a slow pan from one side of the wide door of my wife's pottery
studio to the other. The doorway separates inside from outside. There is a
pulse of vision that emanates out from the camera, making a moving cow
stand frozen behind another. NATURAL SELECTION (1983, 35 min, 16mm)
Alfons Schilling uses his sculptural viewing devices to experience
landscapes. My students film him. Translation issues lead us to think about
glossolalia, speaking in tongues. We are invited to the laboratory of
André Roch Lecours, who studies the relationship between glossolalia and
the brain. I edited the film adding my own material. Alfons and Roch become
avatars of my self. SORRY/HEAR US (1984, 8 min, 16mm) We deconstruct a
poem's language by playing it backwards until some words emerge from the
backward text. The students create images that illustrate this new text.
Total running time: ca. 65 min.
4/15
New York, NY: Anthology Film Archives
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7:30 PM, 32 Second Avenue
THE FILMS OF LARRY GOTTHEIM: PROGRAM 6
THE RED THREAD (1987, 17 min, 16mm) My actual image appears as an ironic
avatar of my real filmmaker self. It is challenged by a weaver with whom I
fell into a relationship. The real me, the filmmaker me, is there, for
example in the piano passages and above all with the children in the
schoolyard, a ceremonial dance. TREE OF KNOWLEDGE (ELECTIVE AFFINITIES,
PART 4) (1980, 60 min, 16mm) A documentary film about paranoid conditions
is matched to a flow of images of an apple tree in my back yard filmed
wildly and without forethought. The radical breaking of the previous
passivity of the camera had deep psychological dimensions. Stockyard sounds
are inserted, as are images of children from a film about the seasons. They
are the ones who are learning and also part of the didactic mechanics of
the film. So are the paranoid patients.
MONDAY, APRIL 16, 2018
4/16
Brooklyn, New York: Microscope Gallery
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7:30pm, 1329 Willoughby Avenue, #2B
YES: LILI CHIN / GAUTAM KANSARA
Screening night of videos by New York based artists Lili Chin and Gautam
Kansara as part of the gallery’s series YES.The two artists, who have
previously appeared in group screening programs presented by the gallery,
not only work with single-channel works but have expanded their practices
over the years to include split-screen and multiple channels as well as
multi-media installation, often questioning and challenging the traditional
concept of screen, incorporating various surfaces and textures including
paper, glass, mulch, and others. Storytelling, memory, nature, and current
affairs and post 9/11 politics in the context of personal history and
culture are also areas of interest for both artists, who despite their
similarities take different approaches in their works. Kansara frequently
employs layering of imagery, revealed through erasure and other techniques
involving the use of green screen, and incorporating actual conversations of
himself with family members about various personal and political subject
matters. Chin, on the other hand, remains behind the camera as an observer,
recruiting friends as actors in some of the works, while in others animating
or engaging with ceramics and artworks in other mediums by the artist. Many
of her works are shot on film – Super 8mm and 16mm – and the materiality of
the medium plays a critical role. Additional info & program
www.microscopegallery.com. Nearest subway: Jefferson St. L (exit Starr St).
4/16
New York, NY: Anthology Film Archives
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7:30 PM, 32 Second Avenue
THE FILMS OF LARRY GOTTHEIM: PROGRAM 7
BARN RUSHES (1971, 34 min, 16mm) I filmed a simple barn I passed every
day using the fastest camera speed. The film is made of eight passes across
the barn, each the length of a 100-foot roll of film. The repetition became
a fruitful element. A miracle occurs at the end, as the foreground grasses
seem to pass behind the barn. The film is a vision. MACHETE GILLETE… MAMA
(1989, 45 min, 16mm) Filmed during three trips to the Dominican Republic.
My interest in the superimposition of identities led to a focus on
ceremonies that involved possession. While filming at a batey (a sugar
workers' settlement), a friend made off with the rental car. He had an
accident on a rural road. A Haitian worker on a motorcycle was killed. As
part of a convoluted arrangement to spare him I said I had been the driver
and so spent two days in jail. This was a major superimposition of my
identity with his. A Dominican friend narrates a version of my experiences.
The film is in no way a travel documentary. Many scenes reveal the cinematic
ceremony outside the performed ceremonies.
4/16
Oberlin, OH: Oberlin College
7:00 PM, 91 N. Main St., Art Building, Classroom 1
HISTORY, MEMORY, TEXTURE: MATERIAL INSCRIPTIONS
Screening of seven 16mm short films: David Gatten's What the Water Said Nos
1-3 (1998), Jodie Mack's Blanket Statement #2 (2013), Nina Fonoroff's
Department of the Interior (1986), Kerry Laitala's Secure the Shadow... 'Ere
the Substance Fade (1997), Jennifer Reeves's The Girl's Nervy (1995), Phil
Solomon's Remains to be Seen (1989/1994), and David Gatten's Film for
Invisible Ink, case no. 323: ONCE UPON A TIME IN THE WEST (2010). All films
screened on 16mm. This evening will feature seven short
films, all on 16mm, moving us from the tactile, physical world toward
ephemeral, psychological, and interpersonal memory traces. From inscriptions
of the sea engraved into film stock to 19th century stereoscopic images of
pathology to family home movies swirling on the precipice of disappearance,
these rarely screened films reflect on what is seen, how it takes shape, and
what is remembered as it fades.
TUESDAY, APRIL 17, 2018
4/17
Baltimore, Maryland: Sight Unseen
http://sightunseenbaltimore.com
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7:30pm, Parkway Theatre 3
NOTE TO SELF: FILMS OF NAZLI DIN&CCEDILEL
An evening of visceral and provocative handmade films that explore bodies,
acts of the solitary, text, language, visual information and personal
exposure. Nazlı Dinçel’s work reflects on experiences of disruption. She
records the body in context with arousal, immigration, dislocation and
desire in juxtaposition with the medium’s material: texture, color and the
passing of emulsion. Her use of text as image, language and sound attempts
the failure of memory and her own displacement within a western society.
TRT: 62 minutes
4/17
New York, NY: Anthology Film Archives
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7:30 PM, 32 Second Avenue
THE FILMS OF LARRY GOTTHEIM: PROGRAM 8
BLUES (1969, 8.5 min, 16mm) A close-up, unedited view of a bowl of
blueberries and milk. A spoon enters and scoops up some berries, presumably
to be eaten, until they are all gone. The milk, which is there from the
beginning, manifests itself more and more as the berries are removed, and
finally seems to rise up and become awash in the light generated when the
camera roll is removed from the camera. This is my first real film; all the
others rise out of it. YOUR TELEVISION TRAVELER (1991, 15 min, 16mm) The
core material is space footage paired with audio of an intimate discussion
with a Cuban woman. Then images taken in Cuba are superimposed with sounds
from a documentary about space flight. Astronauts internalize an identity
with the racist comic character of a Hispanic astronaut, Jose Jimenez, and
Castro comes to power. Finally we see material from a TV series in which
the "TV Traveler" speaks about the Florida turpentine industry, a
counterpart to the sugar industry run by slaves and former slaves across the
Caribbean. CHANTS AND DANCES FOR HAND (1991-2017, 40 min, digital) This
work comprises material shot in Haiti. There are scenes of Vodou ceremonies,
a violent uprising, of movie theaters, and images from my personal life that
include my Haitian son Hand. The soundtrack is simply what accompanied the
images. This is far from a "documentary" about Vodou. The ceremony of
possession extends into politics, war, cooking, the movies, and the
electronic nature of video. This is also a meditation on death. The most
important dance takes place in the viewer's mind. Total running time: ca.
70 min.
WEDNESDAY, APRIL 18, 2018
4/18
New York, NY: Anthology Film Archives
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6:45 PM, 32 Second Avenue
TRANS FILM: TO SPEAK, TO FIND: PROGRAM 1
SELECTED FILMMAKERS IN PERSON! "To Speak, To Find" comprises two programs
of short films that probe identity construction, embodiment, and the making
and unmaking of the human form using language and words as both a surface
and an undertone. Sky Hopinka's incomplete portrait of life at Standing
Rock, DISLOCATION BLUES explores a two-spirit person's complex experience of
occupying and leaving the camp. Filmmaker Chase Joynt and his Orthodox
Jewish mother navigate silent secrets of a shared past in AKIN, while Dani
and Sheilah Restack meditate on the viscerality of desire, fantasy, and
national fear in STRANGELY ORDINARY THIS DEVOTION. Malic Amalya and Nathan
Hill's VASELINE is a transfag treatise on the state of surveillance and the
eroticization of resistance, and ANTHOLOGY FOR AN AMERICAN FOLK SONG
approaches the paranoid mystical landscape of human desire as an
investigation into genital construction and abject relationality. Sky
Hopinka DISLOCATION BLUES (2017, 17 min, digital) Chase Joynt AKIN (2012, 8
min, digital) Dani and Sheilah Restack STRANGELY ORDINARY THIS DEVOTION
(2017, 26 min, digital) Malic Amalya & Nathan Hill VASELINE (2016, 6 min,
16mm) Steve Reinke ANTHOLOGY OF AN AMERICAN FOLK SONG (2004, 29 min,
digital) Total running time: ca. 90 min.
4/18
New York, NY: Anthology Film Archives
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9:15 PM, 32 Second Avenue
TRANS FILM: NEAR FUTURES
FILMMAKER MADSEN MINAX IN PERSON! "Near Futures" is a duet of mid-length
films featuring THE YEAR I BROKE MY VOICE by Madsen Minax and CIRCLE IN THE
SAND by Michael Robinson. Both films position groups of mystical beings
amid crumbling landscapes, where they must forge for the leftovers of their
previous cultures. Feel the breeze in your hair, and the world crumbling
through your fingers. In the broken near future of Robinson's CIRCLE IN
THE SAND, a band of listless vagabonds ambles across a war-torn coastal
territory, supervised and sorted by a group of idle soldiers. These ragged
souls conjure an unstable magic, fueled by their own apathy. Minax's THE
YEAR I BROKE MY VOICE is based upon interpretations and reenactments from
the 1980s coming-of-age films THE OUTSIDERS, STAND BY ME, and THE YEAR MY
VOICE BROKE. Trans and gender-nonconforming adults occupy the roles
traditionally reserved for the coming-of-age boy, to re-approach the master
narrative of childhood's transition into adulthood from a subversive, yet
altogether fragile and uncertain vantage point. Madsen Minax THE YEAR I
BROKE MY VOICE (2012, 47 min, digital) Michael Robinson CIRCLE IN THE
SAND (2012, 46 min, Super-16mm-to-digital)
4/18
New York, New York: Another Experiment by Women Film Festival
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6 PM, Anthology Film Archives, 32 2nd Ave, New York, NY 10003
TRAVELING THE SPACE WAYS
LIGHT PLAYS: Anne-Marie Bouchard; MUSIC: Lyne Goulet; 16mm to digi; Canada;
7.00; TSCHAIKA; M. Kardinal; Germany; 10.49; NATURE SPEAKS TO SELF. ONLY.;
Ann Oren; Israel; 8.00; THE MAN IN THE BUSHES; Emma Piper-Burket and
Vasilios Papaioannu; USA; 5:46; UUFO; Yun Chen; CHINA/USA; 21.00 THE CHTHULU
AND THE FINAL GIRL; Animation by Meredith Drum; USA; 1:40
THURSDAY, APRIL 19, 2018
4/19
New York, NY: Anthology Film Archives
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7:00 PM, 32 Second Avenue
TRANS FILM: TEKNOLUST
GUEST CURATED AND PRESENTED BY S. H. VARINO DOUBLE LUST: PART 1: Lynn
Hershman Leeson TEKNOLUST (2001, 82 min, 35mm-to-digital. With Tilda
Swinton, Jeremy Davies, John O'Keefe, Josh Kornbluth, and Karen Black.)
"Loneliness breeds strange bedfellows. Rosetta Stone (played to a timorous
't' by Tilda Swinton), a bashful biogeneticist, downloads her own DNA into
an experimental A.I. program, creating a trio of Self-Replicating
Automatons (SRAs). Olive, Marine, and Ruby (Swinton3) live in seclusion in a
color-coordinated condo where they spend their time Web-surfing, mainlining
protein, and being inundated by motivational tapes that shape their sense of
the 'human.' Ensconced like priestesses in shimmering robes, the SRA sisters
oscillate between machine superiority - 'We're self-replicating' - and
devolution - 'When you are defensive and regressive you seem completely
human.' Beyond their jacked-in consciousness, they yearn for attachments,
but not the e-mail kind. Hershman Leeson has modified the gene for humor,
creating a franken-farce wired for witticisms. Designed with sleek
graphical interfaces, TEKNOLUST bodes of a future when we will rise through
'flesh, spirit' to 'soul, icon.' Yet the film is also about something more
fundamentally human - the impulse to fill the world with progeny as a
gesture of existence." -Steve Seid, PACIFIC FILM ARCHIVE
4/19
New York, NY: Anthology Film Archives
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9:15 PM, 32 Second Avenue
TRANS FILM: FLUIDØ
GUEST CURATED AND PRESENTED BY S. H. VARINO DOUBLE LUST: PART 2:Shu Lea
Cheang FLUIDØ (2017, 99 min, digital) Set in the post-AIDS future of
2060, where the Government is the first to declare the era AIDS FREE,
mutated AIDS viruses give birth to ZERO GEN - humans that have genetically
evolved in a very unique way. These gender fluid ZERO GENs are the bio-drug
carriers whose white fluid is the hypernarcotic for the 21st century, taking
over the markets of the 20th century white powder high. The ejaculate of
these beings is intoxicating and the new form of sexual commodity in the
future. The new drug, code named DELTA, diffuses through skin contact and
creates an addictive high. A new war on drugs begins and the ZERO GEN are
declared illegal. The Government dispatches drug-resistant replicants for
round-up arrest missions. When one of these government android's immunity
breaks down and its pleasure centers are activated, the story becomes a
tangled multi-thread plot and the ZERO GENs are caught among underground
drug lords, glitched super agents, a scheming corporation, and a corrupt
government.
4/19
San Francisco, California: San Francisco Cinematheque
http://www.sfcinematheque.org
<https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3
&id=bbff1c5630&e=f36020cad0>
7:00, 500 Capp Street/The David Ireland House // 500 Capp Street, San
Francisco, CA 94110
SCHOOL OF CHAIRS: YOUR EYE WOULD GLIDE OVER THE GREY
Presented in association with The David Ireland House // Admission: $25
General Admission // Your eye, first of all, would glide over the grey… —
George Perec // This screening is presented in the context of School of
Chairs, the first group exhibition presented at The David Ireland House, on
view February 17–June 9 . Curated by Bob Linder and Diego Villalobos, School
of Chairs presents works in diverse media from a wide-ranging coterie of
artists (including Forrest Bess, Jo Hanson, Los Jaichackers, K.r.m. Mooney,
Anicka Yi and others) who “through expanding and redefining their respective
mediums, have by consequence reshaped how we think about social and gender
politics, the environment, and the role institutions play in shaping art
history” while (in the spirit of David Ireland) creating relationships
between artworks, domestic and non-domestic spaces, and devalued artifacts.
In sympathetic resonance with this ambitious exhibition, Your Eye Would
Glide Over the Grey presents film/video works which explore the secret lives
of objects; the interplay of intimacy, identity and consciousness as
modulated by constructed (and deconstructed) space; and conceptual contrasts
between art and non-art objects. Program opener Ken Kobland’s The Toy Sun
(2011) is a despairing ode to T.S. Eliot, Gordon Matta-Clark, old friends
and the ravages of time. As counterweight, cryptic fragmentary works by
Julia Dogra-Brasell (Mirror Without LIkeness, 2016) and Karissa Hahn (In
Nothing Flat and Reveries, both 2013) talk back and question notions of
completion and the fixity of identity. Jean-Paul Kelly’s Movement in Squares
(2013) contrasts the eloquent expressivity of Bridget Riley with the
devastation of 2011 home foreclosures, ruined lives and disgorged homes.
Bettina Hoffmann’s choreographic Myopia foregrounds sounds in a strangely
lush and attenuated interior while Coral Short’s similarly dance-like
between us presents a polymorphous genderfuck fusion of flesh and furniture.
Finally, Dana Berman Duff’s post-Warholian Catalogue Volume 10 (2017)—part
of the artist’s ongoing post-Warholian examination of advertising and home
decor—layers the cryptic text of Georges Perec’s Things: A Story of the
Sixties (1965) over a tragically submerged flock of Arne Jacobsen
knock-offs, a drowning flock of schooling chairs. (Steve Polta)
4/19
San Francisco, California: Exploratorium
https://www.exploratorium.edu/visit/calendar/after-dark/april-19-2018
<https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3
&id=0e6ae7e3e6&e=f36020cad0>
7:30 p.m., Pier 15
VIDEONS: VISIONS THROUGH TIME, 1968–2018
Featuring a retrospective and current work of pioneering video artist Steve
Beck, we highlight the hypnotic and transcendent visuals created through
analogue video synthesizers, live moment, and film/video hybrids. Beck will
join us for a conversation about his work, vision, and the convergence of
art and technology. Among the works to be shown are CYCLES and UNION, two
video-film fusions recently acquired by The Smithsonian Museum of American
Art for their permanent collection of The Moving Image. Featuring:
Illuminated Music 1 (1972, 7 min.); SHIVA (1973, 4 min.); CYCLES (1974, 11
min.), co-directed by Jordan Belson; Video Weavings (1973–1976, 9 min.);
UNION (1975, 10 min.); Video Ecotopia (1976 ,7 min.); Voodoo Child (1982, 8
min.); The Lone Breaker (1985, 5 min.); Bieru Nippon Part 2 (2012, 3 min.);
NOOR (2011, 7 min.), part 1 of a trilogy. Excerpts from some of these works
can be viewed at http://stevebeck.tv/clips.html.
FRIDAY, APRIL 20, 2018
4/20
Brooklyn, New York: Microscope Gallery
http://www.microscopegallery.com
<https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3
&id=e76a0936e4&e=f36020cad0>
7:30pm, 1329 Willoughby Avenue, #2B
BRADLEY EROS EROS.ION
A night of rare ephemeral cinema performance and films by Bradley Eros in
connection with his current solo exhibition at the gallery “All that is
solid melts into eros”. The works in the program, spanning nearly two
decades – from “eros.ion” (1999), a shutter-less Super8mm projection
performance, to Eros’ most recent and never-before-seen “Flick or Film”
(2017) – revolve primarily around the artist’s investigation of film as an
ephemeral, physical medium and the ways of transforming it to in effect
extend its life, including through collaging, spray paint, burning, burial,
and various manually activated means of projection. Among the other works in
the program are Eros’ new iteration of his 2002 “Aurora Borealis” a
cinematic homage to Joseph Cornell and Jean Painlevé shown this time in its
original 16mm format with live foley and electronics soundtrack by Rachael
Guma and Gabriel Guma (aka Gestalt Tone Color); “Liquid Crystal” (2000), a
film-less projection performance with light beams passing through cut
crystal drinking glasses, lenses, whiskey and water; and one of Eros’ best
known works “burn (or, The 2nd Law of Thermodynamics)”, a video in which a
found Super8mm filmstrip of 1970s bondage porn burns frame-by-frame as it is
pulled through a damaged projector to a soundtrack from Martin Scorsese’s
Taxi Driver. Eros will be available for Q&A following the screening and
performance. Additional Info on artist and program notes:
www.microscopegallery.com Jefferson St, L (exit Starr St)
4/20
Los Angeles, California: Filmforum
http://www.lafilmforum.org/
<https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3
&id=b1d6b73504&e=f36020cad0>
8:00 pm, Echo Park Film Center, 1200 N. Alvarado St.
INEXISTENT TIME: A RETROSPECTIVE OF MALENA SZLAM
Los Angeles Filmforum is pleased to present a retrospective of Chilean-born
Montréal-based filmmaker Malena Szlam’s film works with the artist in
attendance. Working in 35mm, 16mm, Super 8mm, and digital formats Szlam’s
silent, poetic, and ethereal compositions explore notions of time, self, the
natural world and materiality. Each of her films are meticulously assembled
using a menagerie of techniques to physically alter the film elements
resulting in dreamlike, collaged, flickering images leaving viewers with a
sense of wonderment, displacement and an expanded sense of time. Szlam’s
careful construction of her works serves to ground and guide viewers on a
serene journey through these brief and powerful cinematic experiences. This
is Szlam’s first retrospective in Los Angeles. Malena Szlam’s visit made
possible by a generous grant from the Mike Kelley Foundation for the Arts.
Tickets: $10 general; $6 students/seniors; free for Filmforum members.
Available in advance at https://bpt.me/3375731 or at the door.
4/20
New York, NY: Anthology Film Archives
http://www.anthologyfilmarchives.org/
<https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3
&id=6007d6235c&e=f36020cad0>
7:00 PM, 32 Second Avenue
TRANS FILM: RUKUS
NYC PREMIERE! FILMMAKER IN PERSON! Brett Hanover RUKUS (2018, 87 min,
digital) Brett Hanover's raw documentary/fiction hybrid film locates the
queer coming-of-age story amid dated hotel furry conventions, steamy
southern punk houses, and unending virtual worlds. Rukus is a 20-year-old
furry artist living with his boyfriend Sable in the suburbs of Orlando,
Florida. Through his sprawling graphic novels, Rukus constructs an imaginary
universe where painful childhood memories are restaged as epic fantasies.
Brett is a 16-year-old filmmaker with OCD trying to figure out his position
in kinky subcultures. The two develop an unexpected online friendship which
propels an exploration and reimagining of who they are and who they want to
be.
4/20
New York, NY: Anthology Film Archives
http://www.anthologyfilmarchives.org/
<https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3
&id=8f141281d7&e=f36020cad0>
9:30 PM, 32 Second Avenue
TRANS FILM: WHEN THIS WORLD ENDS: DANDY DUST
Kelley Meister's short hand-drawn animation NOW I AM BECOME DEATH explores
the queer realities of living in the nuclear age, while Ashley Hans
Scheirl's DANDY DUST creates another dimension of crude sets and clay
planets in the year 3075. In a cyberpunk, crustcore, stop-motion, and
live-action coming-of-age extravaganza, the character Dandy Dust must go to
different planets to boost his/her sex drive and defeat a depraved villain.
Disparate characters and explicit scenarios pepper the narrative as a spider
vagina humanoid named "SpiderCuntBoy" arrives, strange twins appear and
disappear, and a scene featuring a giant strap-on drill pushes erotics and
violence to the max. Ashley Hans Scheirl DANDY DUST (1998, 92 min,
digital) Preceded by: Kelley Meister NOW I AM BECOME DEATH (2017, 8 min,
digital)
4/20
New York, New York: Qubit
https://qubitmusic.com/visions
<https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3
&id=95e4d430a6&e=f36020cad0>
7:00 PM, Project Q, 1850 Amsterdam Ave
PERIPHERAL VISIONS PROGRAM 1: RHYTHM
Emotive fragments, wayward gestures, and ephemeral music collide in the
works of Abigail Child, Laure Prouvost, and Henry Hills. Expressive
combinations of image, sound, and language fuse together and jolt in
opposition, creating novel sensations and fractured narratives that expand
the vocabulary of cinema. Screening will include SSS (1988, 5m) and Money
(1985, 15m) by Henry Hills, Prefaces (1981, 10m), Mutiny (1983, 10m), and
Mercy (1989, 10m) by Abigail Child, and Burrow Me (2009, 13m), It Heat Hit
(2010, 7m) and How to Make Money Religiously (2014, 9m) by Laure Prouvost.
Tickets: $7, available online at http://bit.ly/rhythmvisions.
4/20
New York, New York: Qubit
https://qubitmusic.com/visions
<https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3
&id=5ca2a04cdc&e=f36020cad0>
9:00 PM, Project Q, 1850 Amsterdam Ave
PERIPHERAL VISIONS PROGRAM 2: SEQUENCE
Visceral cadences, stochastic data, oedipal loops, and vivid sequences
abound in these works that interrogate the process of image making and the
patterns that surround us. Featuring films by Peter Burr, Ryoichi Kurokawa,
Thorsten Fleisch, Scott Stark, Martin Arnold, Peter Tscherkassky, Michael
Fleming, iloobia, Julie Murray, Tomonari Nishikawa, and Jodie Mack. For a
full listing of films and ticket information visit:
http://bit.ly/sequencevisions (Tickets $7) The second screening of the
Peripheral Visions Film Festival presented by Qubit.
SATURDAY, APRIL 21, 2018
4/21
Los Angeles, California: Filmforum
http://www.lafilmforum.org/
<https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3
&id=4e06c08e4c&e=f36020cad0>
8:00 pm, Echo Park Film Center, 1200 N. Alvarado St.
THROUGH THE MARGIN OF MIRRORS: A LECTURE/PERFORMANCE BY MALENA SZLAM
Los Angeles Filmforum presents Through the Margin of Mirrors: a
Lecture/Performance by Malena Szlam (with additional films to be announced)
Saturday, April 21, 2018, 8pm At Echo Park Film Center, 1200 N. Alvarado
St., Los Angeles CA 90026 With filmmaker Malena Szlam in person from
Montréal! In this lecture/performance, Szlam will draw from her writing and
personal visual film archive to compose an ephemeral re-enactment of her
2010 installation piece Through The Margin Of Mirrors. Fueled by experiences
of displacement and migration between the Northern
and Southern
Hemispheres, Szlam will disclose aleatory links forged through dreams,
language(s) and desire. An evening of reading and projection will form a
vivid collage in dialogue with texts and recordings from friends, artists,
and filmmakers. The performance will be followed by a special screening of
short experimental works by international filmmakers, curated by Szlam.
Details to be announced at the show. INFO: www.lafilmforum.org ,
323-377-7238 Tickets: $5 general/students/seniors; free for Filmforum
members. Available in advance at https://szlamperformance.bpt.me or at the
door.
4/21
New York, NY: Anthology Film Archives
http://www.anthologyfilmarchives.org/
<https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3
&id=9c81a5d1d2&e=f36020cad0>
3:00 PM, 32 Second Avenue
EC: STAN BRAKHAGE PGM 2
Unless otherwise noted, all films are silent. THE DEAD (1960, 11 min,
16mm) PASHT (1965, 5 min, 16mm) THREE FILMS: BLUEWHITE, BLOOD'S TONE, VEIN
(1965, 10 min, 16mm) FIRE OF WATERS (1965, 10 min, 16mm, b&w, sound) THE
HORSEMAN, THE WOMAN AND THE MOTH (1968, 19 min, 16mm) Total running time:
ca. 60 min.
4/21
New York, NY: Anthology Film Archives
http://www.anthologyfilmarchives.org/
<https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3
&id=0204d8d5d4&e=f36020cad0>
5:00 PM, 32 Second Avenue
TRANS FILM: TO SPEAK, TO FIND: PROGRAM 2
SELECTED FILMMAKERS IN PERSON! "STRANGER BABY is Lana Lin's exploration of
the meaning of the term "alien" through fiction, non-fiction, and science
fiction. In OPERATION INVERT, Tara Mateik exposes the absurdities of
medical regulations that seem to fear gender outlaws as the new biological
terrorists seeking weapons of mass bodily destruction. Vika Kirchenbauer's
essay film LIKE RATS LEAVING A SINKING SHIP uses text from the DSM combined
with intimate personal writings that reflect upon the nature of memory and
the present interpretation of the past to question the possibility of any
coherent narrative. Joey Carducci uses the language of film, feminism, and
outtakes to come out to his longtime mentor in A VIDEO LETTER TO BARBARA
HAMMER. Tiona Nekkia McClodden's THE LABYRINTH 1.0 revisits Brad Johnson's
1995 poem of the same title to create a poetic essay film exploring the
HIV/AIDS crisis and surveillance culture. Zackary Drucker's AT LEAST YOU
KNOW YOU EXIST uses the home of legendary performer Flawless Sabrina to tell
a story of intergenerational companionship and trans legacy. Lana Lin
STRANGER BABY (1995, 12 min, 16mm) Tara Mateik OPERATION INVERT (2003, 12
min, digital) Vika Kirchenbauer LIKE RATS LEAVING A SINKING SHIP (2012, 25
min, Super-8mm-to-digital) Joey Carducci A VIDEO LETTER TO BARBARA HAMMER
(work in progress) (2017, 16 min, 16mm-to-digital) Tiona Nekkia McClodden
THE LABYRINTH 1.0 (2017, 6 min, digital) Zackary Drucker AT LEAST YOU KNOW
YOU EXIST (2011, 16 min, 16mm-to-digital) Total running time: ca. 90 min.
4/21
New York, NY: Anthology Film Archives
http://www.anthologyfilmarchives.org/
<https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3
&id=bf26c78c13&e=f36020cad0>
7:30 PM, 32 Second Avenue
TRANS FILM: KATE BORNSTEIN IS A QUEER AND PLEASANT DANGER
FILMMAKER IN PERSON! Sam Feder KATE BORNSTEIN IS A QUEER AND PLEASANT
DANGER (2014, 73 min, digital) Performance artist and writer Kate
Bornstein explodes binaries while deconstructing gender - and her own
identity. Trans-dyke. Reluctant polyamorist. Sadomasochist. Recovering
Scientologist. Pioneering gender outlaw. Sam Feder's playful and meditative
portrait of Bornstein captures rollicking public performances and painful
personal revelations as it bears witness to Kate as a trailblazing
artist-theorist-activist who inhabits a space between male and female with
wit, style, and astonishing candor.
4/21
New York, New York: Qubit
https://qubitmusic.com/visions
<https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3
&id=189e66db48&e=f36020cad0>
1:00 PM, Project Q, 1850 Amsterdam Ave
PERIPHERAL VISIONS PROGRAM 3: TEXTURE
The screen is transformed into a surface, channeling a myriad of textures
from vibrant fabrics, verdant fields, and prismatic crystallography to the
materiality of the image itself: the film strip and the pixel. Featuring
films by Jodie Mack, Maria Constanza Ferreira, Johan Rijpma, Jake Fried,
Ryoichi Kurokawa, Peter Burr, Thomas de Rijk, Yoshihide Sodeoka, Sabrina
Ratte, Nic Hamilton, Evan Boehm, Parag K. Mital, Mateo Amaral, Simon Liu,
Thorsten Fleisch, and Sam Speckley. For a full listing of films and ticket
information visit: http://bit.ly/texturevisions (Tickets $7) The third
screening of the Peripheral Visions Film Festival presented by Qubit and
programmed by Bernhard Fasenfest.
4/21
New York, New York: Qubit
https://qubitmusic.com/visions
<https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3
&id=8fddb900aa&e=f36020cad0>
3:30 PM, Project Q, 1850 Amsterdam Ave
PERIPHERAL VISIONS PROGRAM 4: TEXTURE | SPACE
Explore the scenic hills of the Scottish Borders through stunning digital
disintegration in Jacques Perconte’s mind-bending film “Ettrick”. “Slipping
through poetry, between the brutality of matter and the sublime landscape,
we experience a penetrating vision that embodies the stability of our deep
desire to live in peace.” -- Jacques Perconte. For tickets visit:
http://bit.ly/ettrickvisions (Tickets $7) The fourth screening of the
Peripheral Visions Film Festival presented by Qubit and programmed by
Bernhard Fasenfest.
4/21
New York, New York: Qubit
https://qubitmusic.com/visions
<https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3
&id=1080af5eab&e=f36020cad0>
5:00PM, Project Q, 1850 Amsterdam Ave
PERIPHERAL VISIONS PROGRAM 5: SPACE
Portraits of interior and exterior spaces, exploring our visions of the
city, our work, our dreams, and our selves. Featuring Films by Alan
Warburton, Michael Robinson, Emily Drummer, Ryan Ferko, Parastoo / Faraz
Anoushahpour, Kevin Jerome Everson, Zach Hart, Alexandra Wilson, Philippe
Leonard, Jodie Mack, and Simon Liu. "R-15" by Kevin Jerome Everson and
"Histories of Simulated Intimacy No. 1" by Emily Drummer will receive their
New York Premieres. "Heart of a Mountain" by Ryan Ferko and Parastoo / Faraz
Anoushahpour will receive its US Premiere and "Conenct Haven - Interior" by
Zach Hart and Alexandra Wilson will receive its World Premiere. For tickets
and more information: http://bit.ly/spacevisions (Tickets $7). The fifth and
final screening of the Peripheral Visions Film Festival presented by Qubit
and programmed by Bernhard Fasenfest.
4/21
San Francisco, California: Other Cinema
http://www.othercinema.com/
<https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3
&id=2766b8767b&e=f36020cad0>
8 PM, 992 Valencia Street
X~PERI~MENTAL ANIMATION: COLBURN + GALLAGHER + GEISER + QUILLIAN +
For the second of our SisPics diptych, we’ve assembled a veritable
mothership of animators--almost all women—making this showcase a regular on
OC calendars! Featured is the Cali debut of Martha Colburn’s
Rotterdam-selected Western Wilds, her account of Karl May--the German writer
who made the Western novel a fixture on European bookshelves--that turns
into an auto-bio revelation of Martha’s own upbringing as a hick kid
surrounded by guns. ALSO premiering are Kathleen Quillian’s (in person)
Confidence Game, Kelly Gallagher’s Your Gossip, Ellie Vanderlip’s (in
person) Egg Tree, Salise Hughes’ Eldorado, Leslie Supnet’s The Peak
Experience, and the recent Silent Sister by none other than Janie Geiser!
PLUS chestnuts from Helen Hill, Sally Cruikshank, and Mary Ellen Bute...and
a couple from the boys--Ben Popp’s Sexy Noir and Winston Hacking/Andy
Shauf’s The Worst in You.
SUNDAY, APRIL 22, 2018
4/22
New York, NY: Anthology Film Archives
http://www.anthologyfilmarchives.org/
<https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3
&id=88fb0c6ca9&e=f36020cad0>
2:00 PM, 32 Second Avenue
HARUN FAROCKI: PROGRAM 3
BEDTIME STORIES: BRIDGES / EINSCHLAFGESCHICHTEN (1977, 3 min,
16mm-to-digital. In German with English subtitles.) HOW TO LIVE IN THE FRG
/ LEBEN - BRD (1990, 79 min, 16mm-to-digital. In German with English
subtitles.) Before the fall of the Berlin Wall, Farocki sharply dissects
life in West Germany. Composed entirely of short scenes taken from
instructional and training classes, the film reveals West Germany as a
country where nothing happens without rehearsal, training, or preparation.
"I filmed games, because games have rules and establish rules. There are all
too few rules determining the speech and actions of people in documentary
films today. […] The plasticity of life and work processes decreases
everywhere. At the same time, more and more games are played which are
intended to expose what lies hidden within human beings. The rules by which
we are supposed to live are increasingly uncertain, and there are more and
more games where life is trained, like a sport. Instruction manuals for
life: in the commodity society, the instruction manual is the only record
of theory." -Harun Farocki
4/22
New York, NY: Anthology Film Archives
http://www.anthologyfilmarchives.org/
<https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3
&id=471a70b5f2&e=f36020cad0>
5:00 PM, 32 Second Avenue
TRANS FILM: PAY IT NO MIND: "ARCHIVAL FOOTAGE" AS THE MAIN ATTRACTION
FILMMAKERS IN PERSON! For this program, films that have been cut into
other features as "archival footage" are featured in their own right.
Michael Kasino & Richard Morrison PAY IT NO MIND: THE LIFE AND TIMES OF
MARSHA P. JOHNSON (2012, 54 min, digital) This documentary focuses on
legendary transgender activist, Marsha "Pay It No Mind" Johnson, who was a
Stonewall instigator, Andy Warhol model, drag queen, sex worker, and Saint.
In Johnson's final interview before her death in 1992, Kasino and Morrison
capture the queen of the revolution recounting her life at the forefront of
the Stonewall Riots in the 1960s, the creation of S.T.A.R. (Street
Transvestite Action Revolutionaries) with Sylvia Rivera in the 1970s, and
her life as an activist in the New York City of the 80s and early 90s.
Zavé Martohardjono CHANGING HOUSE (2009, 18 min, digital) Rusty and
Chelsea are a transgender lesbian couple who, for fifteen years, opened
their home to transgender women in need. Among these women was Stonewall
veteran Sylvia Rivera, who spent the last years of her life there. The film
celebrates the long and vibrant activist history of the house, the
difficulties and triumphs of communal living, and the ongoing
discrimination faced by the transgender community.
4/22
New York, NY: Anthology Film Archives
http://www.anthologyfilmarchives.org/
<https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3
&id=4fce5183fd&e=f36020cad0>
7:30 PM, 32 Second Avenue
TRANS FILM: T4T: FILMS BY JULES ROSSKAM
FILMMAKER IN PERSON! SOMETHING TO CRY ABOUT (2018, 12 min, digital. World
Premiere!) In this film three transmasculine-identified people watch a
movie or television show that makes them cry. The result is a touching and
humorous short documentary that explores the difficulty of expressing
intimacy between men, the complexities of desire, and the gift of a good
cry. AGAINST A TRANS NARRATIVE (2009, 60 min, digital) In a genre-busting
combination of intimate diary footage, stylized dramatic scenes, spoken word
performance, faux audition tapes, and roundtable interview footage, Rosskam
explores and initiates a dialogue between feminists, queers, and transfolk
about the way we construct personal and historical narratives. Careful
attention is given to the ways generation, race, class, and culture impact
our understandings of gender.
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