Experimental Cinema

Barbara Hammer: Dignity
February 16 - April 13 2013
Open Wed–Sun 12–18h
KOW, Brunnenstr. 9, 10119 Berlin

The experimental filmmaker, documentarist, and visual artist Barbara Hammer, who was born in Hollywood in 1939, has created one of the most influential oeuvres of Queer Cinema. Over the course of a lifetime, the pioneering lesbian film activist has put together a comprehensive manifesto of feminist perspectives. Our first solo exhibition of Barbara Hammer’s work, in 2011, emphasized her contributions to the (self-)representation of lesbian love and sexuality in the 1970s; in this new show, by contrast, we focus on a parallel strand in her oeuvre that commences in the mid-1980s: Hammer’s engagement with illness, aging, and death.

The centerpiece of the exhibition, which was designed in collaboration with the artist, is “Sanctus” (1990). Hammer uses moving X-ray pictures Dr. James Sibley Watson produced in the 1950s that capture—usually female—bodies in motion.(1) Watson had turned his study subjects’ bodies into a spectacle, subjecting them to visualization and medico-technical manipulation that cut to the quick; Hammer exalts these bodies, presenting them now as threatened, now as threatening, restoring their sensual presence. She copies, crops, and cross-fades Watson’s archival footage, painting on it and using chemicals to burn it. Hammer animates a danse macabre of female skeletons. This is more than a feminist and erotic reappropriation of the female body beset by technology and pathology—it is its canonization, supported on the original soundtrack by the composer Neil B. Rolnick’s computer-generated mass “Sanctus.”(2)

Monobrow VHS is a VHS tape publication, run by Julian Glander and Kevvy Metal in Brooklyn, which features contemporary artists working in film, video, and animation.

Release party/Screening: Thursday February 21 2013 20h
Molasses Books
770 Hart Street, Brooklyn 11237
Come out and see some crazy stuff from the world's best filmmakers, animators and video artists, and have a beer or two.

Contents of the first volume:

- Bobby Abate, Kitty's Nite In (1995, 2 min, 55 sec)
- Dark Igloo, Sans Crap (2012, 1 min, 23 sec)
- Emily Pelstring, Skeleton Dance (2011, 2 min, 11 sec)
- Helena Frank, Heavy Heads (2010, 7 min, 39 sec)
- Helmut Smits, About 20 Times Slower than a Sunset (2012, 1 min, 11 sec)
- Jodie Mack, Unsubscribe #4: The Saddest Song in the World (2010, 2 min, 51 sec)
- Josh Kline, Camera Attack (2000, 4 min, 9 sec)
- Jules Guérin, BANG!, MAD, and Chaosmos (2012, animation loops, 5 sec each)
- Julian Glander and Kyle Sauer, Turtle Trouble in Tiny Town (2012, 1 min, 5 sec)
- Juliet Phillips, O! (2012, 1 min, 12 sec)
- Kevvy Metal, U No U Wnt 2 Kiss ME (2013, 3 min, 3 sec)
- Michael Robinson, All Through the Night (2008, 4 min (20 sec)
- Sabrina Ratté, Data Daze (Music video for Le Révélateur) (2012, 3 min, 32 sec)
- Tara Nelson, Beautiful Secrets (2010, 7 min, 34 sec)
- Timothy Fiore, Baby (Music video for The Babies) (2012, 2 min, 59 sec)
- Tim Lahan, Passing Time (2011, 22 sec)
- Yoshi Sodeoka, Psychedelic Death Vomit (Slight Return) 3d (2010, 4 min, 21 sec)

Festival of (In)appropriation 2013
A Showcase of Experimental Found Footage Films
Call for Entries
Deadline: May 15, 2013

Since its inauguration in 2009, the Festival of (In)appropriation has emerged as a premiere international showcase of experimental found footage film and video, attracting the work of artists who probe the limits of collage, machinima, remix, détournement, mash-up and more.

Co-curated by Jaimie Baron, Lauren Berliner, and Greg Cohen, and sponsored by Los Angeles Filmforum, the Festival of (In)appropriation now invites submissions for its 5th edition, to take place in Los Angeles in November 2013.

Filmmakers and artists engaged in the appropriation, re-purposing, and productive "mis-use" of existing visual and sonic media are encouraged to send us their work for consideration. All entries must include some form of inventive (in)appropriation, whether of existing/archival film or video footage, sound recordings, still imagery, or digital media. The most competitive submissions are those which seek to produce revelations and reconsiderations of the relationship between past and present, here and there, truth and lie, intention and subversion.

Balagan presents... Breakwater
Tuesday, February 19 2013, 20h
Brattle Theatre, 40 Brattle Street in Cambridge, MA USA

From camera motion inspired by the fluidity of bubbling streams -- to the productive potential of organisms residing within -- to the symbolic significance of a teacup's or a storm's destructive powers -- water has given rise to some incredible cinematic images. With this small-gauge film program of works old and new, the first of 2013, we explore the form's aesthetic and figurative possibilities.

Balagan is an acclaimed screening series that hosts regular shows at the historic Brattle Theatre in Harvard Square, Cambridge. It was started in 2000 by Jeff Silva and Alla Kovgan to make up for the absence of experimental programming in Boston. Since then, the series has showcased hundreds of works from unconventional artists working on the fringes of cinema. Some of the qualities that make Balagan unique are 1) a commitment to showing work in the intended format whenever possible, 2) efforts to bring artists in person, making for a more exciting interaction between artist and audience, 3) one-of-a-kind, screen-printed posters that we commission from local designers for each show.

Experimental Film Club: Ruins & Entropy Part 2
Part 2 of a two part programme curated by Aoife Desmond.
Tuesday February 26, 18:30h
Irish Film Institute, 6 Eustace Street, Temple Bar, Dublin 2)
Introduced by Dr Declan Long (Co-director, MA Art in the Contemporary World, NCAD)

EFC and IFI present Ruins & Entropy Part 2. Part 2 continues the thread explored in Part 1 which focused on Robert Smithson’s art practice and theory. Part 2 focuses on contemporary filmmakers; Emily Richardson, Ben Rivers and Patrick Keiller and their exploration of decay and impermanence within the contemporary landscape. A selection of four films from these filmmakers combines architectural residue and history with a wandering or drifting protagonist and his/her poetic overview. The locations range from Hackney in London and Oxford Ness a disused military site in England to a wide ranging European tour and a fragmented tour of Britain ending up in the Isle of Mull.

Unconscious Archives #7
Tuesday 26th February, 19h
Apiary Studios, 458 Hackney Road, London, E2 9EG

Unconscious Archives returns with folly and foray into oceanographic plundering, cataclysmic foley and crowd sourced emotions. Alex MacKenzie (Canada) presents a special extended dual 16mm live film and sound work exquisitely capturing the marine environments of the Canadian coastline present and past using a veritable feast of techniques including hand cranked cameras and camerless film. Adam Bohman unleashes a creeping array of apprehensive noise from household items and made instruments. Erica Scourti brings us two video works capturing her unflinching desire to ascribe human attributes to media generated debris. UA is back at the Apiary! If you haven?t had a chance to check out this funky independent warehouse venue in East London - now here's your chance!

This new DVD compiles eight short films made by Peter Tscherkassky, including multi-awarded breathtaking Instructions for a Light and Sound Machine and his most recent film Coming Attractions. Along "Films from a Dark Room" (INDEX008) featuring internationally celebrated Tscherkassky's found footage trilogy - L'arrivée, Outer Space, Dream Work - this new release on INDEX offers an exhilarating excursion in Peter Tscherkassky's radical cinema.

John Woodman works with landscape as an experimental film/video maker and photographer and has exhibited work internationally over a period of 38 years. The collection of films selected for this DVD focus on his early landscape work in 16mm and Super 8 film made between 1977 to 1982. Exploring time-space and light his work concerns ways in which, through landscape, visual transformation, change and transience are represented and perceived in film. Particular emphasis is given to the way in which through time, changes in light, weather and season affect our perception of space and place.

This dvd is a collection of the early experimental short films of Roger Jacoby. Originally a painter, Roger Jacoby began making experimental film in New York City in the 1960s. For both aesthetic and financial reasons he began to process his own film footage in the bathtub of his darkened bathroom. After receiving an NEA grant in 1974 he was able to buy a simple processing machine. By maintaining control of the processing, and by using an 'outdated' Auricon camera, Jacoby was able to weave texture, color and sound in a highly dramatic way. Many of his films contain the sounds of opera, images of family and often feature his lover of many years, Warhol superstar Ondine. Roger was immortalized in a portrait painted by Alice Neel, the canvas is titled "Rose Fried's Nephew". Roger Jacoby died November 19, 1985 at the age of 40.

Xcèntric: Landscape Plus. The cinema of Laida Lertxundi
Domingo, 10 de febrero 2013, 18:30h
Xcèntric CCCB, Montalegre, 5, 08001 Barcelona

El cine de Laida Lertxundi, realizado en Los Ángeles y alrededores, traza una geografía física y psicológica de la región, a la vez que desmonta convenciones cinematográficas. Esta sesión incluye sus películas más recientes y una selección de obras en 16 mm de Hollis Frampton, Bruce Baillie y Morgan Fisher, que ejercieron gran influencia en su trabajo.

- Lemon (Hollis Frampton, 1969, 16 mm, 7 min)
- Footnotes to a House of Love (Laida Lertxundi, 2007, 16 mm, 13 min)
- My Tears Are Dry (Laida Lertxundi, 2009, 16 mm, 4 min)
- All My Life (Bruce Baillie, 1966, 16 mm, 3 min)
- Llora cuando te pase (Cry When it Happens) (Laida Lertxundi, 2010, 16 mm, 14 min)
- A Lax Riddle Unit (Laida Lertxundi, 2011, 16 mm, 5 min)
- Picture and Sound Rushes (Morgan Fisher, 1974, 16 mm, 11 min)
- Farce Sensationelle! (Laida Lertxundi, 2004, 35 mm, 2 min)

Barbara Hammer: Dignity
February 16 - April 13 2013
Open Wed–Sun 12–18h
KOW, Brunnenstr. 9, 10119 Berlin

The experimental filmmaker, documentarist, and visual artist Barbara Hammer, who was born in Hollywood in 1939, has created one of the most influential oeuvres of Queer Cinema. Over the course of a lifetime, the pioneering lesbian film activist has put together a comprehensive manifesto of feminist perspectives. Our first solo exhibition of Barbara Hammer’s work, in 2011, emphasized her contributions to the (self-)representation of lesbian love and sexuality in the 1970s; in this new show, by contrast, we focus on a parallel strand in her oeuvre that commences in the mid-1980s: Hammer’s engagement with illness, aging, and death.

The centerpiece of the exhibition, which was designed in collaboration with the artist, is “Sanctus” (1990). Hammer uses moving X-ray pictures Dr. James Sibley Watson produced in the 1950s that capture—usually female—bodies in motion.(1) Watson had turned his study subjects’ bodies into a spectacle, subjecting them to visualization and medico-technical manipulation that cut to the quick; Hammer exalts these bodies, presenting them now as threatened, now as threatening, restoring their sensual presence. She copies, crops, and cross-fades Watson’s archival footage, painting on it and using chemicals to burn it. Hammer animates a danse macabre of female skeletons. This is more than a feminist and erotic reappropriation of the female body beset by technology and pathology—it is its canonization, supported on the original soundtrack by the composer Neil B. Rolnick’s computer-generated mass “Sanctus.”(2)

Monobrow VHS is a VHS tape publication, run by Julian Glander and Kevvy Metal in Brooklyn, which features contemporary artists working in film, video, and animation.

Release party/Screening: Thursday February 21 2013 20h
Molasses Books
770 Hart Street, Brooklyn 11237
Come out and see some crazy stuff from the world's best filmmakers, animators and video artists, and have a beer or two.

Contents of the first volume:

- Bobby Abate, Kitty's Nite In (1995, 2 min, 55 sec)
- Dark Igloo, Sans Crap (2012, 1 min, 23 sec)
- Emily Pelstring, Skeleton Dance (2011, 2 min, 11 sec)
- Helena Frank, Heavy Heads (2010, 7 min, 39 sec)
- Helmut Smits, About 20 Times Slower than a Sunset (2012, 1 min, 11 sec)
- Jodie Mack, Unsubscribe #4: The Saddest Song in the World (2010, 2 min, 51 sec)
- Josh Kline, Camera Attack (2000, 4 min, 9 sec)
- Jules Guérin, BANG!, MAD, and Chaosmos (2012, animation loops, 5 sec each)
- Julian Glander and Kyle Sauer, Turtle Trouble in Tiny Town (2012, 1 min, 5 sec)
- Juliet Phillips, O! (2012, 1 min, 12 sec)
- Kevvy Metal, U No U Wnt 2 Kiss ME (2013, 3 min, 3 sec)
- Michael Robinson, All Through the Night (2008, 4 min (20 sec)
- Sabrina Ratté, Data Daze (Music video for Le Révélateur) (2012, 3 min, 32 sec)
- Tara Nelson, Beautiful Secrets (2010, 7 min, 34 sec)
- Timothy Fiore, Baby (Music video for The Babies) (2012, 2 min, 59 sec)
- Tim Lahan, Passing Time (2011, 22 sec)
- Yoshi Sodeoka, Psychedelic Death Vomit (Slight Return) 3d (2010, 4 min, 21 sec)

Festival of (In)appropriation 2013
A Showcase of Experimental Found Footage Films
Call for Entries
Deadline: May 15, 2013

Since its inauguration in 2009, the Festival of (In)appropriation has emerged as a premiere international showcase of experimental found footage film and video, attracting the work of artists who probe the limits of collage, machinima, remix, détournement, mash-up and more.

Co-curated by Jaimie Baron, Lauren Berliner, and Greg Cohen, and sponsored by Los Angeles Filmforum, the Festival of (In)appropriation now invites submissions for its 5th edition, to take place in Los Angeles in November 2013.

Filmmakers and artists engaged in the appropriation, re-purposing, and productive "mis-use" of existing visual and sonic media are encouraged to send us their work for consideration. All entries must include some form of inventive (in)appropriation, whether of existing/archival film or video footage, sound recordings, still imagery, or digital media. The most competitive submissions are those which seek to produce revelations and reconsiderations of the relationship between past and present, here and there, truth and lie, intention and subversion.

Balagan presents... Breakwater
Tuesday, February 19 2013, 20h
Brattle Theatre, 40 Brattle Street in Cambridge, MA USA

From camera motion inspired by the fluidity of bubbling streams -- to the productive potential of organisms residing within -- to the symbolic significance of a teacup's or a storm's destructive powers -- water has given rise to some incredible cinematic images. With this small-gauge film program of works old and new, the first of 2013, we explore the form's aesthetic and figurative possibilities.

Balagan is an acclaimed screening series that hosts regular shows at the historic Brattle Theatre in Harvard Square, Cambridge. It was started in 2000 by Jeff Silva and Alla Kovgan to make up for the absence of experimental programming in Boston. Since then, the series has showcased hundreds of works from unconventional artists working on the fringes of cinema. Some of the qualities that make Balagan unique are 1) a commitment to showing work in the intended format whenever possible, 2) efforts to bring artists in person, making for a more exciting interaction between artist and audience, 3) one-of-a-kind, screen-printed posters that we commission from local designers for each show.

Experimental Film Club: Ruins & Entropy Part 2
Part 2 of a two part programme curated by Aoife Desmond.
Tuesday February 26, 18:30h
Irish Film Institute, 6 Eustace Street, Temple Bar, Dublin 2)
Introduced by Dr Declan Long (Co-director, MA Art in the Contemporary World, NCAD)

EFC and IFI present Ruins & Entropy Part 2. Part 2 continues the thread explored in Part 1 which focused on Robert Smithson’s art practice and theory. Part 2 focuses on contemporary filmmakers; Emily Richardson, Ben Rivers and Patrick Keiller and their exploration of decay and impermanence within the contemporary landscape. A selection of four films from these filmmakers combines architectural residue and history with a wandering or drifting protagonist and his/her poetic overview. The locations range from Hackney in London and Oxford Ness a disused military site in England to a wide ranging European tour and a fragmented tour of Britain ending up in the Isle of Mull.

Unconscious Archives #7
Tuesday 26th February, 19h
Apiary Studios, 458 Hackney Road, London, E2 9EG

Unconscious Archives returns with folly and foray into oceanographic plundering, cataclysmic foley and crowd sourced emotions. Alex MacKenzie (Canada) presents a special extended dual 16mm live film and sound work exquisitely capturing the marine environments of the Canadian coastline present and past using a veritable feast of techniques including hand cranked cameras and camerless film. Adam Bohman unleashes a creeping array of apprehensive noise from household items and made instruments. Erica Scourti brings us two video works capturing her unflinching desire to ascribe human attributes to media generated debris. UA is back at the Apiary! If you haven?t had a chance to check out this funky independent warehouse venue in East London - now here's your chance!

This new DVD compiles eight short films made by Peter Tscherkassky, including multi-awarded breathtaking Instructions for a Light and Sound Machine and his most recent film Coming Attractions. Along "Films from a Dark Room" (INDEX008) featuring internationally celebrated Tscherkassky's found footage trilogy - L'arrivée, Outer Space, Dream Work - this new release on INDEX offers an exhilarating excursion in Peter Tscherkassky's radical cinema.

John Woodman works with landscape as an experimental film/video maker and photographer and has exhibited work internationally over a period of 38 years. The collection of films selected for this DVD focus on his early landscape work in 16mm and Super 8 film made between 1977 to 1982. Exploring time-space and light his work concerns ways in which, through landscape, visual transformation, change and transience are represented and perceived in film. Particular emphasis is given to the way in which through time, changes in light, weather and season affect our perception of space and place.

This dvd is a collection of the early experimental short films of Roger Jacoby. Originally a painter, Roger Jacoby began making experimental film in New York City in the 1960s. For both aesthetic and financial reasons he began to process his own film footage in the bathtub of his darkened bathroom. After receiving an NEA grant in 1974 he was able to buy a simple processing machine. By maintaining control of the processing, and by using an 'outdated' Auricon camera, Jacoby was able to weave texture, color and sound in a highly dramatic way. Many of his films contain the sounds of opera, images of family and often feature his lover of many years, Warhol superstar Ondine. Roger was immortalized in a portrait painted by Alice Neel, the canvas is titled "Rose Fried's Nephew". Roger Jacoby died November 19, 1985 at the age of 40.

Xcèntric: Landscape Plus. The cinema of Laida Lertxundi
Domingo, 10 de febrero 2013, 18:30h
Xcèntric CCCB, Montalegre, 5, 08001 Barcelona

El cine de Laida Lertxundi, realizado en Los Ángeles y alrededores, traza una geografía física y psicológica de la región, a la vez que desmonta convenciones cinematográficas. Esta sesión incluye sus películas más recientes y una selección de obras en 16 mm de Hollis Frampton, Bruce Baillie y Morgan Fisher, que ejercieron gran influencia en su trabajo.

- Lemon (Hollis Frampton, 1969, 16 mm, 7 min)
- Footnotes to a House of Love (Laida Lertxundi, 2007, 16 mm, 13 min)
- My Tears Are Dry (Laida Lertxundi, 2009, 16 mm, 4 min)
- All My Life (Bruce Baillie, 1966, 16 mm, 3 min)
- Llora cuando te pase (Cry When it Happens) (Laida Lertxundi, 2010, 16 mm, 14 min)
- A Lax Riddle Unit (Laida Lertxundi, 2011, 16 mm, 5 min)
- Picture and Sound Rushes (Morgan Fisher, 1974, 16 mm, 11 min)
- Farce Sensationelle! (Laida Lertxundi, 2004, 35 mm, 2 min)

Barbara Hammer: Dignity
February 16 - April 13 2013
Open Wed–Sun 12–18h
KOW, Brunnenstr. 9, 10119 Berlin

The experimental filmmaker, documentarist, and visual artist Barbara Hammer, who was born in Hollywood in 1939, has created one of the most influential oeuvres of Queer Cinema. Over the course of a lifetime, the pioneering lesbian film activist has put together a comprehensive manifesto of feminist perspectives. Our first solo exhibition of Barbara Hammer’s work, in 2011, emphasized her contributions to the (self-)representation of lesbian love and sexuality in the 1970s; in this new show, by contrast, we focus on a parallel strand in her oeuvre that commences in the mid-1980s: Hammer’s engagement with illness, aging, and death.

The centerpiece of the exhibition, which was designed in collaboration with the artist, is “Sanctus” (1990). Hammer uses moving X-ray pictures Dr. James Sibley Watson produced in the 1950s that capture—usually female—bodies in motion.(1) Watson had turned his study subjects’ bodies into a spectacle, subjecting them to visualization and medico-technical manipulation that cut to the quick; Hammer exalts these bodies, presenting them now as threatened, now as threatening, restoring their sensual presence. She copies, crops, and cross-fades Watson’s archival footage, painting on it and using chemicals to burn it. Hammer animates a danse macabre of female skeletons. This is more than a feminist and erotic reappropriation of the female body beset by technology and pathology—it is its canonization, supported on the original soundtrack by the composer Neil B. Rolnick’s computer-generated mass “Sanctus.”(2)

Monobrow VHS is a VHS tape publication, run by Julian Glander and Kevvy Metal in Brooklyn, which features contemporary artists working in film, video, and animation.

Release party/Screening: Thursday February 21 2013 20h
Molasses Books
770 Hart Street, Brooklyn 11237
Come out and see some crazy stuff from the world's best filmmakers, animators and video artists, and have a beer or two.

Contents of the first volume:

- Bobby Abate, Kitty's Nite In (1995, 2 min, 55 sec)
- Dark Igloo, Sans Crap (2012, 1 min, 23 sec)
- Emily Pelstring, Skeleton Dance (2011, 2 min, 11 sec)
- Helena Frank, Heavy Heads (2010, 7 min, 39 sec)
- Helmut Smits, About 20 Times Slower than a Sunset (2012, 1 min, 11 sec)
- Jodie Mack, Unsubscribe #4: The Saddest Song in the World (2010, 2 min, 51 sec)
- Josh Kline, Camera Attack (2000, 4 min, 9 sec)
- Jules Guérin, BANG!, MAD, and Chaosmos (2012, animation loops, 5 sec each)
- Julian Glander and Kyle Sauer, Turtle Trouble in Tiny Town (2012, 1 min, 5 sec)
- Juliet Phillips, O! (2012, 1 min, 12 sec)
- Kevvy Metal, U No U Wnt 2 Kiss ME (2013, 3 min, 3 sec)
- Michael Robinson, All Through the Night (2008, 4 min (20 sec)
- Sabrina Ratté, Data Daze (Music video for Le Révélateur) (2012, 3 min, 32 sec)
- Tara Nelson, Beautiful Secrets (2010, 7 min, 34 sec)
- Timothy Fiore, Baby (Music video for The Babies) (2012, 2 min, 59 sec)
- Tim Lahan, Passing Time (2011, 22 sec)
- Yoshi Sodeoka, Psychedelic Death Vomit (Slight Return) 3d (2010, 4 min, 21 sec)

Festival of (In)appropriation 2013
A Showcase of Experimental Found Footage Films
Call for Entries
Deadline: May 15, 2013

Since its inauguration in 2009, the Festival of (In)appropriation has emerged as a premiere international showcase of experimental found footage film and video, attracting the work of artists who probe the limits of collage, machinima, remix, détournement, mash-up and more.

Co-curated by Jaimie Baron, Lauren Berliner, and Greg Cohen, and sponsored by Los Angeles Filmforum, the Festival of (In)appropriation now invites submissions for its 5th edition, to take place in Los Angeles in November 2013.

Filmmakers and artists engaged in the appropriation, re-purposing, and productive "mis-use" of existing visual and sonic media are encouraged to send us their work for consideration. All entries must include some form of inventive (in)appropriation, whether of existing/archival film or video footage, sound recordings, still imagery, or digital media. The most competitive submissions are those which seek to produce revelations and reconsiderations of the relationship between past and present, here and there, truth and lie, intention and subversion.

Balagan presents... Breakwater
Tuesday, February 19 2013, 20h
Brattle Theatre, 40 Brattle Street in Cambridge, MA USA

From camera motion inspired by the fluidity of bubbling streams -- to the productive potential of organisms residing within -- to the symbolic significance of a teacup's or a storm's destructive powers -- water has given rise to some incredible cinematic images. With this small-gauge film program of works old and new, the first of 2013, we explore the form's aesthetic and figurative possibilities.

Balagan is an acclaimed screening series that hosts regular shows at the historic Brattle Theatre in Harvard Square, Cambridge. It was started in 2000 by Jeff Silva and Alla Kovgan to make up for the absence of experimental programming in Boston. Since then, the series has showcased hundreds of works from unconventional artists working on the fringes of cinema. Some of the qualities that make Balagan unique are 1) a commitment to showing work in the intended format whenever possible, 2) efforts to bring artists in person, making for a more exciting interaction between artist and audience, 3) one-of-a-kind, screen-printed posters that we commission from local designers for each show.

Experimental Film Club: Ruins & Entropy Part 2
Part 2 of a two part programme curated by Aoife Desmond.
Tuesday February 26, 18:30h
Irish Film Institute, 6 Eustace Street, Temple Bar, Dublin 2)
Introduced by Dr Declan Long (Co-director, MA Art in the Contemporary World, NCAD)

EFC and IFI present Ruins & Entropy Part 2. Part 2 continues the thread explored in Part 1 which focused on Robert Smithson’s art practice and theory. Part 2 focuses on contemporary filmmakers; Emily Richardson, Ben Rivers and Patrick Keiller and their exploration of decay and impermanence within the contemporary landscape. A selection of four films from these filmmakers combines architectural residue and history with a wandering or drifting protagonist and his/her poetic overview. The locations range from Hackney in London and Oxford Ness a disused military site in England to a wide ranging European tour and a fragmented tour of Britain ending up in the Isle of Mull.

Unconscious Archives #7
Tuesday 26th February, 19h
Apiary Studios, 458 Hackney Road, London, E2 9EG

Unconscious Archives returns with folly and foray into oceanographic plundering, cataclysmic foley and crowd sourced emotions. Alex MacKenzie (Canada) presents a special extended dual 16mm live film and sound work exquisitely capturing the marine environments of the Canadian coastline present and past using a veritable feast of techniques including hand cranked cameras and camerless film. Adam Bohman unleashes a creeping array of apprehensive noise from household items and made instruments. Erica Scourti brings us two video works capturing her unflinching desire to ascribe human attributes to media generated debris. UA is back at the Apiary! If you haven?t had a chance to check out this funky independent warehouse venue in East London - now here's your chance!

This new DVD compiles eight short films made by Peter Tscherkassky, including multi-awarded breathtaking Instructions for a Light and Sound Machine and his most recent film Coming Attractions. Along "Films from a Dark Room" (INDEX008) featuring internationally celebrated Tscherkassky's found footage trilogy - L'arrivée, Outer Space, Dream Work - this new release on INDEX offers an exhilarating excursion in Peter Tscherkassky's radical cinema.

John Woodman works with landscape as an experimental film/video maker and photographer and has exhibited work internationally over a period of 38 years. The collection of films selected for this DVD focus on his early landscape work in 16mm and Super 8 film made between 1977 to 1982. Exploring time-space and light his work concerns ways in which, through landscape, visual transformation, change and transience are represented and perceived in film. Particular emphasis is given to the way in which through time, changes in light, weather and season affect our perception of space and place.

This dvd is a collection of the early experimental short films of Roger Jacoby. Originally a painter, Roger Jacoby began making experimental film in New York City in the 1960s. For both aesthetic and financial reasons he began to process his own film footage in the bathtub of his darkened bathroom. After receiving an NEA grant in 1974 he was able to buy a simple processing machine. By maintaining control of the processing, and by using an 'outdated' Auricon camera, Jacoby was able to weave texture, color and sound in a highly dramatic way. Many of his films contain the sounds of opera, images of family and often feature his lover of many years, Warhol superstar Ondine. Roger was immortalized in a portrait painted by Alice Neel, the canvas is titled "Rose Fried's Nephew". Roger Jacoby died November 19, 1985 at the age of 40.

Xcèntric: Landscape Plus. The cinema of Laida Lertxundi
Domingo, 10 de febrero 2013, 18:30h
Xcèntric CCCB, Montalegre, 5, 08001 Barcelona

El cine de Laida Lertxundi, realizado en Los Ángeles y alrededores, traza una geografía física y psicológica de la región, a la vez que desmonta convenciones cinematográficas. Esta sesión incluye sus películas más recientes y una selección de obras en 16 mm de Hollis Frampton, Bruce Baillie y Morgan Fisher, que ejercieron gran influencia en su trabajo.

- Lemon (Hollis Frampton, 1969, 16 mm, 7 min)
- Footnotes to a House of Love (Laida Lertxundi, 2007, 16 mm, 13 min)
- My Tears Are Dry (Laida Lertxundi, 2009, 16 mm, 4 min)
- All My Life (Bruce Baillie, 1966, 16 mm, 3 min)
- Llora cuando te pase (Cry When it Happens) (Laida Lertxundi, 2010, 16 mm, 14 min)
- A Lax Riddle Unit (Laida Lertxundi, 2011, 16 mm, 5 min)
- Picture and Sound Rushes (Morgan Fisher, 1974, 16 mm, 11 min)
- Farce Sensationelle! (Laida Lertxundi, 2004, 35 mm, 2 min)