Friday, April 12 2013, 20h
1084 N. Milwaukee, Chicago, Illinois 60642
Curated by Amelia Ishmael
.blacK~SSStaTic_darK~fuZZZ_dOOm~glitCH. is a screening program inspired by storms and digital sorcery or, more pointedly, it is an assemblage of lights and sounds to elicit a chaotic vortex of smudgy black charcoal that is streaked with freezing water, painted on celluloid, stained by sea creatures, hexed through new media, and entranced by guitar riffs. Artists included are Aldo Tambellini, Cultus Sabbati, Gast Bouschet and Nadine Hilbert, jonCates, mojo (for Aluk Todolo), Reto Mäder and Daniel Steffen (for Ural Umbo), Alexander Stewart, and Semiconductor.
- White God (Gast Bouschet and Nadine Hilbert (in collaboration with Xavier Massaut), 2002-2010, 5:47)
- ERRORRUNNINGWWWATERNOISES (RE:MIXXX for Amelia Ishmael) (jonCates, 2012, 6:44)
- Descent into the Maelstrom (Cultus Sabbati, 2011, 8:12)
- Black is (Aldo Tambellini, 1965, 3:38)
- Unground: Phase 6 (Gast Bouschet and Nadine Hilbert, 2012, 5:37)
- CH405_M4J1K meets GL!TTER GLØØM (jonCates, 2012, 2:16)
- Black Rain (Semiconductor, 2009, 3:02)
- Aluk Todolo live at Cave 12 in Ecuries de l’Ilôt 13, Geneva 12.05.2010 [I] (Michel Pennec, 2010), 8:42)
- Black Trip (Aldo Tambellini, 1965, 4:07)
- Errata (Alexander Stewart, 2005, 6:05)
- Ural Umbo - Self Fulfilling Prophecy (Reto Mäder and Daniel Steffen, 2011, 5:14)
This Chicago screening will also include an additional chapter, with video by Sandra Gibson and Luis Recoder and sound by Olivia Block.
Balagan presents... An Evening with Sami van Ingen
Monday, April 1st 2013, 19:30h
40 Brattle Street, Cambridge, MA 02138
Filmmaker in attendance!
We are thrilled to present, in person, the Finland-based experimental filmmaker, installation artist, curator, and educator Sami van Ingen!
In his work, Sami distills meaning from fleeting moments of footage -- be it home movies, travelogue scenes, mainstream blockbusters, or archival discoveries -- by physically deconstructing, manipulating and rephotographing the film strip. A passionate proponent of analog film, he is also interested in the ways digital technology can add new qualities to experimental filmmaking. He has recently published a book on the subject, Moving Shadows: Experimental Film Practices in a Landscape of Change (2012). Together with filmmaker Mika Taanila, Sami co-curates the new Helsinki-based screening series, Pakopiste (Vanishing Point).
GAZE #4: Bodies Rest and Motion
Friday, April 5 2013, 20h
Artists' Television Access
992 Valencia Street, San Francisco, CA 94110
As San Francisco’s dank and verdant spring arrives, GAZE presents a kinetic program of short moving image works that lay bare both streams of consciousness and visceral embodiment. Absurdity, queerness, and melodrama collide; the camera is a mirror, the screen is a diary.
Featuring film, video and animation by local and international women filmmakers:
GAZE is a film series dedicated to screening independent film and video made by women. GAZE promotes women’s artistic expression and creates dialogue related to the influence of this powerful medium.
Fifty years of experimental filmmaking:
FILMnight with David Rimmer
Wednesday, March 27th, 2013, 20h
WORM, Boomgaardsstraat 71, 3011 XA Rotterdam, The Netherlands
Organized by Filmwerkplaats, a DIY film lab community at the artist-run venue WORM in Rotterdam, The Netherlands
We are delighted to announce an evening with David Rimmer. He will talk about his work and show a broad selection of his films and videos.
David Rimmer is recognised as one of the most important experimental filmmakers working today. Recipient of the Canadian Governor General’s Award in 2011, Rimmer has produced over 50 films ranging from purely experimental forms, documentary, hand-painted animation as well as a number of immersive dance and music videos. His work has been screened at many prestigious festivals around the world, and is held in the permanent collections of the Museum of Modern Art in New York, the Centre George Pompidou in Paris, the National Gallery of Canada and many more.
- Variations on a Cellophane Wrapper (1970, 8min, 16mm)
- Surfacing on the Thames (1970, 10min, 16mm)
- As Seen on TV (1986, 14min 16mm)
- Divine Mannequin (1989, 7min, video to film transfer)
- Bricolage (1984, 11min, 16mm)
- Canadian Pacific 1 (1974, 10min, 16mm)
- Real Italian Pizza (1971, 10min, 16mm)
- Seashore (1971, 10min, silent, 16mm)
- Tiger (1994, 5min, 35mm)
- The Dance (1970, 5min, 16mm)
- Digital Psyche (2007, 12min, hand-painted film transferred to video)
- Padayatra - a walking meditation (2005, 12min, hand-painted film transferred to video)
- Eye for an Eye (2003, 12min, hand-painted film transferred to video)
More information and tickets: http://www.worm.org/home/view/event/5995
Oporto apresenta #30: From the Age of Recklessness
Saturday, March 23 2013, 22:30h
Oporto, Salvador Correia de Sá, 42, 2 frente, 1200-399 Lisboa
"From the Age of Recklessness" by Klaus Wyborny
16 mm film transfered to video, color, sound, 70', 1994
Oporto is finally presenting the seventy-minute-long autobiographical film by Klaus Wyborny. In this film the film-maker, a former quantum physicist, talks about memory and traveling along with history and geometry, all seen from his adventurous past relationships. The film is an eternal flow of memories presented alongside a cocktail of extremely dry humor and melancholia. Wyborny approaches film as a scientific experiment in fiction and truth, and his goal is to capture (with a special camera device) the untenable flux of life in order to trigger the untenable flow of memories.
"Instructions on death avoidance and the eternal energy flow" - Alexandre Estrela
Xcèntric: Visions of the Body III: Dwoskin
Sunday March 24 2013, 18:30h
Xcèntric CCCB, Montalegre, 5, 08001 Barcelona
Stephen Dwoskin’s body (1939-2012) is framed in all his films, in which he delimits a film space that makes his inability to move visible, thereby creating an extensive body of film in intimate proximity with his own partially paralysed body. His cinema, physical and visceral, centres on the flesh, nakedness, “corporeal subjectivity” and the voyeuristic obsession with the female body as an object of desire and the embodiment of his scopic drive. Times For, his first full-length film, is a claustrophobic study of the latent sensuality of four women and a frustrated man. This film is a metaphor of the intensity of sexual experience, which Jonas Mekas considers one of the most solid and original works of erotic cinema.
- Times For (Stephen Dwoskin, 1970, 16 mm, 80 min.)
Dirty Looks: Tom Rhoads (Luther Price)
Tuesday, March 26 2013, 19h
512 West 19th Street, New York, NY 10011
Luther Price in attendance
Tom Rhoads was one of the artistic alter egos of Boston filmmaker Luther Price, whose films were recently described in the New York Times as "entrancingly delicate, implicitly violent works, [where] life, chance, obsessive art making and an intense artistic psyche... flashes before your eyes." Before his infamous film Sodom (1989), Price invented different personae, living these roles in order to execute a breadth of artistic projects. Tom Rhoads marked his first foray into filmmaking. An infantile psyche in the body of an adult, Rhoads was the vessel for some of the artist's most introspective and psychodramatic films. Working in the small-gauge Super 8 format, Rhoads' projects are visceral explorations of trauma, "home movies from hell," repetitive explosions of personal memory and familial guilt. "A nice guy," Price describes Rhoads as the kind of man, "who would buy you an ice cream cone." Tom Rhoads is dead. Long live Luther Price.
- Green (Super 8, 30 min., 1988)
- Mr. Wonderful (Super 8, 10 min., 1988)
- Warm Broth (Super 8, 36 min., 1987/88)
Grahame Weinbren: 70 Letters
Sunday March 24th 2013, 21h
224 Centre Street at Grand, Third Floor, New York 10013
Grahame Weinbren will screen the latest version of his Letters project at Experimental Intermedia. Letters consists of an indeterminate number of films, each one minute in duration, and connected 'in one way or another' with a letter of the alphabet. It is a kind of test-ground for ideas about cinema, both technical and conceptual, but also for another kind of idea, the externalization of an inner life, inasmuch as that tired phrase describes anything.
Letters is 'interactive' in the dumbest sense -- the audience determines, by acclamation, which of the films will be screened next. This means that every screening is fresh and different: not only are there new films each time, but the sequence is never the same, which this casts the whole event in a different light. 'Experimental' in the sense that each screening is an experiment.
Light Industry: Two Films by Marjorie Keller
Tuesday, March 19 2013, 19:30h
155 Freeman Street, Brooklyn, New York 11222
Writing in Artforum in 1981, Amy Taubin praised Marjorie Keller as “perhaps the only major filmmaker that the American independent film has produced since the end of the Sixties.” At the time of her sudden death in 1994 at age 43, she would leave behind twenty-seven 8mm and 16mm films; tonight, Light Industry presents two of her most important works, Misconception and Daughters of Chaos. Built from small-gauge diary footage, both films are at once lyrical and anti-romantic, meditations on female experience that render their subjects through radically nonlinear editing and complex experiments in sound-image correspondence. Like Stan Brakhage, one of Keller's great influences, she transforms her subject matter—a birth, a wedding—from the stuff of home movies to an adventure in perception. Yet she forgoes the self-mythologizing of her predecessor, offering a more earthbound, though no less poetic, take on the subjective nature of memory.
Keller also produced a substantial body of writings, including a book on the role of childhood in the work of Brakhage, Jean Cocteau, and Joseph Cornell, as well as notes towards a proposed study of women’s experimental cinema that would have charted a trajectory from pioneers like Germaine Dulac, Maya Deren, and Carolee Schneemann through to a younger generation represented by Peggy Ahwesh, Su Friedrich, and Leslie Thornton, among others. In addition to her achievements as an artist and critic, Keller played a crucial role in the Collective for Living Cinema, serving on its board of directors and editing the Collective’s publications Idiolects and Motion Picture. She engaged in the evolving debates around feminism, film, and the avant-garde that ran from the 70s through the 90s, vigorously defending a tradition of highly personal, formally rigorous work that some had rejected as irredeemably masculinist, while at the same time subjecting that tradition to a nuanced critique through her own scholarship and filmmaking. Though highly skeptical of the ways in which feminist film studies had, ironically, come to ignore some of the considerable accomplishments by women in the American avant-garde, Keller was nevertheless one of the key figures of her era to synthesize theory and practice at the most advanced level.
Xcèntric: Visions of the Body II: Sonbert/Herbert
Thursday March 21 2013, 20h
Xcèntric CCCB, Montalegre, 5, 08001 Barcelona
One of the most recurrent themes in the work of Warren Sonbert is love between couples (the dynamic of communication, the loving relationship and desire). The Bad and the Beautiful, one of his first colour films with a pop music soundtrack, shows the private rituals of young people on the New York art scene of the sixties. He brings a contemplative approach to his portrayal of couples and the beauty of people in private, in the bedroom and in the street, relaxing with friends, embracing, lying down or waiting for a lover. The filmmaker and painter James Herbert—better known for his music videos for R.E.M.—explores the fragility of the human body using the cinema’s most basic formal properties: light and texture. Porch Glider, a silent film in color, is a meditative, sensual study of adolescent couples naked in the garden, on the porch and in the many rooms of an old house in the US South. With their different filmic strategies, Sonbert and Herbert present a series of specific bodies associated with gesture and the historic context of the late sixties.
- The Bad and the Beautiful (Warren Sonbert, 1967, 16 mm, 34 min)
- Porch Glider (James Herbert, 1970, silent, 35mm, 25 min)