One Minute Volume 7
Deadline June 7 2013
Call for artists' moving image, duration: 1 minute, for: One Minute Volume 7
One Minute vol.6 included works by Kelvin Brown, The Gluts, Paulo Menezes, Michael Szpakowski, Eleni Xintaras, Leister/Harris, Emily Richardson, My Name Is Scot, Chris Paul Daniels, Alex Pearl, Lumiere et Son, Gordon Dawson, Helen Judge, Michael Woody, Stuart Moore and Kayla Parker, Marty St. James, Janine Schneider, Steven Ball, Tina Keane, Katherine Meynell, Gary Peploe, Nicki Rolls, Priya Sundram, Chris Meigh-Andrews, Louisa Minkin and Alex Shady, Kerry Baldry, Barbara Rosenthal, Riccardo Iacono, Esther Johnson, Stuart Pound, Martin Pickles, Juan Zamora, Ron Diorio, Guy Sherwin, Lynn Loo, Edwin Rostron, Martin Pickles, Rose Butler.
Carte Blanche: Ken Jacobs
May 2–5, 2013
11 West 53 Street, New York, NY 10019|
As one of the founding fathers of American experimental cinema, Ken Jacobs’s impact cannot be overstated. He is a pioneer who, after more than 50 years as a filmmaker, remains as innovative and productive as ever. Correction: at 80 years old he’s more productive than ever, having enthusiastically embraced digital filmmaking. Enormously influential as both a teacher and a font of radical filmmaking ideas, he has prepared several generations of teachers, writers, filmmakers, and discerning audience members to actively engage, with an equal amount of open-minded awe and healthy skepticism, with a media-saturated world. A frequent guest at the Museum—and the subject of a 1996 MoMA retrospective—Jacobs continues to surprise us with amazing inventions that mine the unlimited possibilities of creating with light and moving images. For this installment of MoMA’s Carte Blanche screening series, Jacobs presents films from MoMA’s collection that have influenced and inspired him, alongside selections of his own work—film prints, electronic media pieces, Nervous Magic Lantern performances—that represent key moments in his artistic life. The series also includes the world premiere of Jacobs’s four-part Joys of Waiting for the Broadway Bus cycle of digital works.
All film notes were written by Ken Jacobs, unless otherwise noted.
Scratch Projection: Villes, univers urbains
Tuesday, April 23 2013, 20:30h
Cinéma Action Christine
4 Rue Christine, Odéon ou Saint-Michel, 75006 Paris, France
The city and all its sensations (emotional, olfactory, visual, auditory) has emerged as a major source of inspiration for many artists: writers, painters, photographers, musicians, artists... and filmmakers. After a program devoted to rural landscapes, it seemed natural to continue this exploration of films recently added to the catalogue of Light Cone with a selection of works depicting urban landscapes.
A beautiful journey that will take us to Modena, Lisbon, New York, San Francisco, Toronto, Montreal, Le Croisic, Tréport and Dieppe.
- Saison(s) (Raphaël Maze, 2011-2012, vidéo, b&w, sound, 6' 20)
- Market Street (Tomonari Nishikawa, 2005, 16 mm, b&w, silent, 9' 00)
- Christ Church - Saint James (Stephen Broomer, 2011, 16 mm, colour, sound, 7' 00)
- The soul of things (Dominic Angerame, 2010, 16 mm, b&w, silent, 15' 00
- À l'est des vents (Emilie Serri, 2008, 16 mm, colour, sound, 6' 06)
- Motor (Telemach Wiesinger, 2011, 16 mm, b&w, sound, 20' 30)
- Ville Marie (Alexandre Larose, 2006-2009, 35 mm, colour-b&w, sound, 12' 30)
The cinema is Jonas Mekas
April 19-20 2013
International House Philadelphia
3701 Chestnut Street, Philadelphia, Pennsylvania 19104, USA
"The real history of cinema is invisible history:
history of friends getting together, doing the thing they love."
~ Jonas Mekas, "Anti-100 Years of Cinema"
International House Philadelphia will conclude our yearlong retrospective The Cinema is Jonas Mekas by bringing the renowed director and his friends to the Ibrahim Theater for two days of talks, screenings, and Q&As. Such an event is particularly fitting considering the director's emphasis on documenting his life and the lives of his friends. Many of his films act as extended portraits of artists and the time from which they came, cinematic ruins that provide a stunning compendium for reflection and historical archiving.
Friday April 19 at 7pm: "Friends and Artists" screening with introduction + Q&A with Jonas Mekas
- Film Magazine of the Arts (Jonas Mekas, US, 1963, 16mm, color, 20 min.)
- Scenes of the Life of Andy Warhol (Jonas Mekas, US, 1990, 16mm, color, 36 min.)
- Street Songs (Jonas Mekas, France, 1983, 16mm, b/w, 11 min.)
- Zefiro Torna, or Scenes from the Life of George Maciunas (Jonas Mekas, USA, 1992, 16mm, color, 35 min.)
Saturday April 20 at 2pm: Panel discussion: "My Friends! The Life and Work of Jonas Mekas" (Free admission!)
Panel discussion with Jonas Mekas, film critic Amy Taubin, French filmmaker Jackie Raynal and curator Ed Halter, moderated by curator/filmmaker Andrew Lampert.
This discussion will utilize expert panelists, each of whom has a different connection to Mekas’ life and work. They will share their perspectives on his film and video practice, the influence he has had on moving image culture and how he became the central figure in American independent film.
Saturday April 20 at 7pm: Selections from The 365 Days Project with introduction + Q&A with Jonas Mekas
(Jonas Mekas, US, 2007, digital, 137 min.)
This program features selections of the short digital films Mekas posted daily throughout 2007. Combining brand-new footage with older material unearthed and made public for the first time, The 365 Days Project was both a bold leap into the digital world for Mekas and a natural extension of the approach to cinema–small-scale, intimate, and direct–that he had been practicing in his diary films for decades.
Immagini e Suoni: studi sensoriali e disamine sociali
Thursday April 18 2013, 22h
Via degli Orti d’Alibert 1/c – Roma (Trastevere)
Curated by Piero Pala
On Thursday, April 18, 2013 there continues the themed programming of experimental and artists' films at Filmstudio. "Images and Sounds: sensory studies and social analysis' investigates the fundamental relationship between the two primary components of cinema where the autonomy of the two "languages" is at the service of audiovisual compositions without persuasive intent. Seven unique films (Manon De Boer, Pierre Hébert, Fernand Léger, Dudley Murphy, Karl Lemieux, Bruno Munari and Marcello Piccardo, Bernhard Schreiner, Georges Schwizgebel) that can be appreciated consistently in a movie theater.
- Ballet mécanique (Fernand Léger & Dudley Murphy, 1924, 35mm, b&w and colour, 16’)
- I colori della luce (Bruno Munari & Marcello Piccardo, 1963, 16mm on DVD, music by Luciano Berio, 5’)
- Fugue (Georges Schwizgebel, 1998, 35mm, colour, sound, 7’4’’)
- The Technology of Tears (Pierre Hébert, 2005, 35mm, b&w, 14 min.)
- Dissection (Bernhard Schreiner, 2005, DVD, b&w, sound, 5’50’’)
- Western Sunburn (Karl Lemieux, 2006, b&w and colour, music by Radwan Moumneh, 10’)
- Attica (Manon De Boer, 2008, 16mm,b&w, sound, 9’55’’)
Sarah Pucill: Magic Mirror
Monday 22 April 2013, 18:30h
Tate Modern, Starr Auditorium
Bankside, London SE1 9TG
- Magic Mirror (Sarah Pucill, UK 2013, 16 mm transferred to digital video, 75 min)
This screening features the premiere of Sarah Pucill’s new film exploring the work of surrealist Claude Cahun.
Part essay, part film poem, Magic Mirror translates the startling force of Claude Cahun’s ouvre into a choreographed series of tableaux vivants. Re-staging the French Surrealist’s black and white photographs with selected extracts from her book Aveux Non Avenus (Confessions Untold), the film explores the links between Cahun’s photographs and writings.
Cahun’s multi-subjectivity, as expressed in both her photographs and book, set the scene for the film, where she dresses and makes her face up in many different ways, swapping identities between gender, age and the inanimate. Three women masquerade as Cahun’s characters: often it is hard to tell them apart. The splitting of identity appears as a double which persists throughout; as literal double through super imposition, as shadow, imprints in sand, reflections in water, mirror or distorting glass. Likewise, the voice is split between differently dressed voices, which at times overlap, and at times are in conversation. The kaleidoscope aesthetic that runs through the film serves not only to weave between image and word but also between the work of Cahun and the films of Sarah Pucill, creating a dialogue between two artists who share similar iconography and concerns.
The screening will be followed by a discussion between Sarah Pucill and writer, curator and artist David Campany.
Presented in association with LUX
Sight Unseen presents Contemporary Shorts @ the BMA
Saturday, April 20 2013, 14h
The Baltimore Museum of Art
10 Art Museum Drive., Baltimore, MD 21218
Sight Unseen presents a group program of short films and videos chosen in response to the newly reopened Contemporary Art wing at the Baltimore Museum of Art. Featuring both local and international artists, the screening will be followed (a gallery talk relating pieces from the contemporary collection to the works shown.
- The Hunch that Caused the Winning Streak and Fought the Doldrums Mightily (Stephanie Barber, 2010)
- Journey to a Star (Tom Borax, 2012)
- Growing/Innit (Mark Brown, 2008)
- How to Conduct a Love Affair (David Gatten, 2007)
- Solar Sight II (Larry Jordan, 2012)
- Can't Remember, Can't Forget (William Knipscher, 2012)
- A Lax Riddle Unit (Laida Lertxundi, 2011)
- Andy at Work (Jonas Mekas, 2006)
- lions and tigers and bears (Rebecca Meyers, 2006)
- Dark Windows (Miranda Pfeiffer, 2011)
- The Biscuit Song (Luther Price, 2008)
- Landfill 16 (Jennifer Reeves, 2011)
- Eyecandy (Tasman Richardson, 2005)
- Audition (Karen Yasinsky, 2012)
See full programme here.
Millennium Film Workshop Personal Cinema Series at The New School
Intimate Projections: Experimental Diary Films
Featuring: Barbara Hammer, Peter Hutton, and Amie Siegel
Wednesday, April 17 2013, 19h
65 West 11th Street, 5th floor (enter at 66 West 12th Street), New York
The final program in a three-part series presenting personal visions of cinema’s potential as an artistic medium, “Intimate Projections,” features three internationally exhibited filmmakers whose meditative, insightful, and critical engagements with the diary form speak volumes about the aesthetic, political, and historical dimensions of this cinematic mode. From Peter Hutton’s lyrical reverie in the day-to-day to the charged, poetic feminism of Barbara Hammer’s Psychosynthesis Trilogy to Amy Siegel’s examinations of performed and projected identities in appropriated Youtube videos, the works presented in this program explore the vast reach of the diaristic gesture. The screening will be introduced by Howard Guttenplan and followed by a discussion with the artists.
Presented by the Millennium Film Workshop in partnership with The School of Media Studies and The New School for Public Engagement. The Millennium Film Workshop is a non-profit media arts center located on the Lower East Side. Since 1965 it has promoted the exhibition, production and study of avant-garde and alternative film, video and media art.
Studio Two Three: "Emerging Filmmakers" Event
Deadline: May 3 2013 (postmark)
The Studio Two Three Film + Video Series is now accepting submissions for our "Emerging Filmmakers" event. We are seeking submissions for found footage films and videos. This includes all walks of found footage work, including internet videos, mashups, montage compilations, you name it!
We are seeking short videos, under 10 minutes in length. This is a call for student work as well as established film and video makers, please email with any questions.
The Event will be held on April 25 from 7-9pm, in Richmond, Virginia, USA.
HASENHERZ N° 10: Rose Lowder
Saturday, April 13 2013, 11h
Kulturzentrum bei den Minoriten
Mariahilferplatz 3, 8020 Graz, Austria
Born in 1941, french experimental filmmaker Rose Lowder is considered as one of the most influential European figures in experimental film. Starting as a painter and sculptor, studies took her to Lima and London. After many years of work as an editor at the BBC she intensely turned towards experimental filmmaking in 1976. In 1987 she presented some of her work as her thesis The experimental film as an instrument towards visual research. Along these lines she investigates her environment and its perception with a scientific view, using cinematographic tools.
In 2012 artists Ruth Anderwald + Leonhard Grond start their series HASENHERZ. Imagine the format the following way: International artists are being shown. Duration: Approximately one hour. In the style of Schönberg's Association for private musical performance (founded in 1918) the concept of wanting to understand the new, is now transferred to the medium of experimental film and lyricism:The movies on display are being repeated and in between screenings they are discussed.The same form of presentation applies to readings. As it was the goal of the format`s model “to provide artists and art lovers with a real and profound knowledge of modern music“, similiar should be achieved for the experimental film/video and lyricism. If the artists whose work is being shown, are not present, they can be cut into the discussion via skype or telephone.