Back To Landscape
As part of the 1st International Festival Of Short Movies About Painting Arts "Erarta MOTION PICTURES"
Saturday, March 30 2013, 20h
Erarta Museum
Line 29th, 2 Vasilyevsky island, Saint-Petersburg 199106, Russia

Curated by Xavier G.Puerto

After the appearance of Giorgione’s “La Tempesta” in 1506, the importance of landscape grew. It occupied the centre of compositions and became a key topic of consideration for the history of painting in recent centuries, reaching its pinnacle with the German proto-Romantic movement “Sturm und Drang” and the British painters of the 19th Century.

But this huge popularity prompted a use and abuse of the topic, and tastes changed with the arrival of the Novecento (20th.). The new art of the century, cinematography, made its final bet on fiction, setting landscape to a decorative function. When painting, its original and main field of action, underwent the rise of abstraction, it seemed the last nail in the coffin for what was now considered a kitsch topic. While some masters of cinema tried to place landscape at the centre of discussion their championing wasn’t enough for a seventh art which focused its attention on new techniques.

Right at the turn of the second millennium, with a wide development of different techniques and methods in filmmaking, stunning new special effects technologies, and the possibility of creating worlds from nowhere, artists have paradoxically decided to return to an ancient means of expressing themselves - not as the topic of their works in an intellectual manner but in transforming, manipulating, and retouching nature with new tools, taking the landscape as a concept for demonstrating all their capacities, and providing a new interpretation of a historic issue.

Take a seat, a program of more than an hour will bring us in a soft and rough trip. “Back to Landscape”, through different pieces, sees filmmakers employing unusual lenses, coordinated choreographies, barely real environments or new perspectives, considering whether landscape or cityscape a free field for experimentation and a testing place for new techniques and formal innovation.

Double Negative presents
Landscape and technology: Films of Chris Welsby
Saturday, March 30 2013, 21h
Sunday, March 31 2013, 19h (repeat screening)
Cinémathèque québécoise
335, De Maisonneuve Blvd East
Montréal, Québec, H2X 1K1

Artist in attendance

Vancouver-based media artist Chris Welsby emerged in 1970s as a major figure in the experimental cinema scene in the UK where he was associated with the London Filmmakers’ Co-op. Welsby developed a unique process of filmmaking in which the interaction between cinematic apparatus and various forces of nature became an important determinant of the shape of his films.

This program surveys Welsby’s outstanding achievements in landscape film during this period, including much-acclaimed Seven Days and River Yar, which was co-made with William Raban, one of the foremost proponents of British expanded cinema. Welsby makes his first appearance in Montreal with this retrospective.

For more info: www.cinematheque.qc.ca/en/programmation/projections/cycle/double-negative-chris-welsby

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: Visiones del Cuerpo III: Dwoskin
Domingo 24 de marzo 2013, 18:30h
Xcèntric CCCB, Montalegre, 5, 08001 Barcelona

El cuerpo de Stephen Dwoskin (1939-2012) está enmarcado en todas sus películas, en las que delimita un espacio de filmación que hace visible su incapacidad de moverse, creando así una extensa obra fílmica en íntima proximidad con su propio cuerpo, parcialmente paralizado. Su cine, físico y visceral, está centrado en la carne, la desnudez, la ‘subjetividad corpórea’ y la obsesión voyeurística hacia el cuerpo femenino, objeto de deseo y encarnación de su pulsión escópica. Times For, su primer largometraje, es un estudio claustrofóbico sobre la sensualidad latente de cuatro mujeres y un hombre frustrado. Una metáfora sobre la intensidad de las experiencias sexuales. Jonas Mekas considera esta película como una de las más sólidas y originales obras de cine erótico.

- Times For (Stephen Dwoskin, 1970, 16 mm, 80 min.)

Dirty Looks: Tom Rhoads (Luther Price)
Tuesday, March 26 2013, 19h
The Kitchen
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.

Programme:
- Green (Super 8, 30 min., 1988)
- Mr. Wonderful (Super 8, 10 min., 1988)
- Warm Broth (Super 8, 36 min., 1987/88)

Insomnia
Exposición: 22 de marzo al 16 de junio 2013
Simposio: Viernes 22 de marzo 2013
Fundació Joan Miró
Parc de Montjuïc, 08038 Barcelona

Insomnia explora las complejas relaciones que se desarrollan entre el arte y el cine. La muestra agrupa la obra de diversos artistas internacionales y presenta piezas e instalaciones de Peter Kubelka, Hollis Frampton, Lis Rhodes, Stan VanDerBeek, Ben Rivers, Dan Graham y Stan Douglas.

En el marco de la exposición, el 22 de marzo se celebrará un simposio en el que participarán David Campany, teórico y profesor de la Universidad de Westminster de Londres y autor de uno de los textos del catálogo de la exposición; Alex García Düttman, teórico y profesor de filosofía y cultura visual en Goldsmiths, Universidad de Londres; Antonio Alberto Weinrichter, teórico y profesor asociado de la Universidad Carlos III de Madrid; Neus Miró, comisaria de la muestra; y dos de los artistas participantes en la exposición, Lis Rhodes y Peter Kubelka, que ofrecerán una ponencia sobre su obra y su relación con el cine.

Conversations at the Edge: Wavelengths, in the blink of an eye
Thursday, March 21 2013, 18h
Gene Siskel Film Center
164 N. State, Chicago, IL, USA
Curator Andréa Picard in person

Named for but also infinitely inspired by Michael Snow’s 1967 masterpiece, Wavelength, the Toronto International Film Festival’s avant-garde program presents films and videos that defy convention, suggest alternate ways of thinking, and sometimes re-emerge from a distant past in order to comment on the present. Curated by Andréa Picard, who has curated Wavelengths since 2006, this program is a Wavelengths compendium featuring a number of works from the 2012 line-up (including Nathaniel Dorsky’s August and After, Ernie Gehr’s Auto-Collider XV and Lonnie van Brummelen and Siebren de Haan’s View from the Acropolis which were all cited in the New York Times’ best films of the year wrap-up and screen as Chicago premieres) and highlights from previous editions, including a 35mm restored print from La Cinémathèque française of Henri Storck’s too-rarely seen 1929 Surrealist gem, Pour vos beaux yeux. Blinking is not encouraged!

Grahame Weinbren: 70 Letters
Sunday March 24th 2013, 21h
Experimental Intermedia
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: Visiones del Cuerpo II: Sonbert/Herbert
Jueves 21 de marzo 2013, 20h
Xcèntric CCCB, Montalegre, 5, 08001 Barcelona

Uno de los temas más recurrentes en el trabajo de Warren Sonbert es el amor entre parejas (la dinámica de la comunicación, el idilio y el deseo). The Bad and the Beautiful, uno de sus primeros trabajos en color con una banda sonora de música pop, muestra los rituales privados de jóvenes de la escena artística neoyorquina de los sesenta. De manera elegíaca, retrata parejas y la belleza de la gente en la intimidad, en sus cuartos o en la calle, relajados con amigos, abrazados, acostados o esperando a su amante. El cineasta y pintor James Herbert —más conocido por los vídeos musicales que realizó para el grupo musical R.E.M.— explora la fragilidad del cuerpo humano a través de las propiedades formales más básicas del cine: la luz y la textura. Porch Glider, un film sin sonido y en color, es un estudio meditativo y sensual de parejas de adolescentes desnudos en el jardín, en el porche y entre las muchas habitaciones de una vieja casa rural del Sur de los Estados Unidos. Así, a partir de diferentes estrategias fílmicas, Sonbert y Herbert nos presentan unos cuerpos concretos vinculados a la gestualidad y al contexto histórico de finales de los años sesenta.

- The Bad and the Beautiful (Warren Sonbert, 1967, 16 mm, 34 min)
- Porch Glider (James Herbert, 1970, silent, 35mm, 25 min)

Back To Landscape
As part of the 1st International Festival Of Short Movies About Painting Arts "Erarta MOTION PICTURES"
Saturday, March 30 2013, 20h
Erarta Museum
Line 29th, 2 Vasilyevsky island, Saint-Petersburg 199106, Russia

Curated by Xavier G.Puerto

After the appearance of Giorgione’s “La Tempesta” in 1506, the importance of landscape grew. It occupied the centre of compositions and became a key topic of consideration for the history of painting in recent centuries, reaching its pinnacle with the German proto-Romantic movement “Sturm und Drang” and the British painters of the 19th Century.

But this huge popularity prompted a use and abuse of the topic, and tastes changed with the arrival of the Novecento (20th.). The new art of the century, cinematography, made its final bet on fiction, setting landscape to a decorative function. When painting, its original and main field of action, underwent the rise of abstraction, it seemed the last nail in the coffin for what was now considered a kitsch topic. While some masters of cinema tried to place landscape at the centre of discussion their championing wasn’t enough for a seventh art which focused its attention on new techniques.

Right at the turn of the second millennium, with a wide development of different techniques and methods in filmmaking, stunning new special effects technologies, and the possibility of creating worlds from nowhere, artists have paradoxically decided to return to an ancient means of expressing themselves - not as the topic of their works in an intellectual manner but in transforming, manipulating, and retouching nature with new tools, taking the landscape as a concept for demonstrating all their capacities, and providing a new interpretation of a historic issue.

Take a seat, a program of more than an hour will bring us in a soft and rough trip. “Back to Landscape”, through different pieces, sees filmmakers employing unusual lenses, coordinated choreographies, barely real environments or new perspectives, considering whether landscape or cityscape a free field for experimentation and a testing place for new techniques and formal innovation.

Double Negative presents
Landscape and technology: Films of Chris Welsby
Saturday, March 30 2013, 21h
Sunday, March 31 2013, 19h (repeat screening)
Cinémathèque québécoise
335, De Maisonneuve Blvd East
Montréal, Québec, H2X 1K1

Artist in attendance

Vancouver-based media artist Chris Welsby emerged in 1970s as a major figure in the experimental cinema scene in the UK where he was associated with the London Filmmakers’ Co-op. Welsby developed a unique process of filmmaking in which the interaction between cinematic apparatus and various forces of nature became an important determinant of the shape of his films.

This program surveys Welsby’s outstanding achievements in landscape film during this period, including much-acclaimed Seven Days and River Yar, which was co-made with William Raban, one of the foremost proponents of British expanded cinema. Welsby makes his first appearance in Montreal with this retrospective.

For more info: www.cinematheque.qc.ca/en/programmation/projections/cycle/double-negative-chris-welsby

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: Visiones del Cuerpo III: Dwoskin
Domingo 24 de marzo 2013, 18:30h
Xcèntric CCCB, Montalegre, 5, 08001 Barcelona

El cuerpo de Stephen Dwoskin (1939-2012) está enmarcado en todas sus películas, en las que delimita un espacio de filmación que hace visible su incapacidad de moverse, creando así una extensa obra fílmica en íntima proximidad con su propio cuerpo, parcialmente paralizado. Su cine, físico y visceral, está centrado en la carne, la desnudez, la ‘subjetividad corpórea’ y la obsesión voyeurística hacia el cuerpo femenino, objeto de deseo y encarnación de su pulsión escópica. Times For, su primer largometraje, es un estudio claustrofóbico sobre la sensualidad latente de cuatro mujeres y un hombre frustrado. Una metáfora sobre la intensidad de las experiencias sexuales. Jonas Mekas considera esta película como una de las más sólidas y originales obras de cine erótico.

- Times For (Stephen Dwoskin, 1970, 16 mm, 80 min.)

Dirty Looks: Tom Rhoads (Luther Price)
Tuesday, March 26 2013, 19h
The Kitchen
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.

Programme:
- Green (Super 8, 30 min., 1988)
- Mr. Wonderful (Super 8, 10 min., 1988)
- Warm Broth (Super 8, 36 min., 1987/88)

Insomnia
Exposición: 22 de marzo al 16 de junio 2013
Simposio: Viernes 22 de marzo 2013
Fundació Joan Miró
Parc de Montjuïc, 08038 Barcelona

Insomnia explora las complejas relaciones que se desarrollan entre el arte y el cine. La muestra agrupa la obra de diversos artistas internacionales y presenta piezas e instalaciones de Peter Kubelka, Hollis Frampton, Lis Rhodes, Stan VanDerBeek, Ben Rivers, Dan Graham y Stan Douglas.

En el marco de la exposición, el 22 de marzo se celebrará un simposio en el que participarán David Campany, teórico y profesor de la Universidad de Westminster de Londres y autor de uno de los textos del catálogo de la exposición; Alex García Düttman, teórico y profesor de filosofía y cultura visual en Goldsmiths, Universidad de Londres; Antonio Alberto Weinrichter, teórico y profesor asociado de la Universidad Carlos III de Madrid; Neus Miró, comisaria de la muestra; y dos de los artistas participantes en la exposición, Lis Rhodes y Peter Kubelka, que ofrecerán una ponencia sobre su obra y su relación con el cine.

Conversations at the Edge: Wavelengths, in the blink of an eye
Thursday, March 21 2013, 18h
Gene Siskel Film Center
164 N. State, Chicago, IL, USA
Curator Andréa Picard in person

Named for but also infinitely inspired by Michael Snow’s 1967 masterpiece, Wavelength, the Toronto International Film Festival’s avant-garde program presents films and videos that defy convention, suggest alternate ways of thinking, and sometimes re-emerge from a distant past in order to comment on the present. Curated by Andréa Picard, who has curated Wavelengths since 2006, this program is a Wavelengths compendium featuring a number of works from the 2012 line-up (including Nathaniel Dorsky’s August and After, Ernie Gehr’s Auto-Collider XV and Lonnie van Brummelen and Siebren de Haan’s View from the Acropolis which were all cited in the New York Times’ best films of the year wrap-up and screen as Chicago premieres) and highlights from previous editions, including a 35mm restored print from La Cinémathèque française of Henri Storck’s too-rarely seen 1929 Surrealist gem, Pour vos beaux yeux. Blinking is not encouraged!

Grahame Weinbren: 70 Letters
Sunday March 24th 2013, 21h
Experimental Intermedia
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: Visiones del Cuerpo II: Sonbert/Herbert
Jueves 21 de marzo 2013, 20h
Xcèntric CCCB, Montalegre, 5, 08001 Barcelona

Uno de los temas más recurrentes en el trabajo de Warren Sonbert es el amor entre parejas (la dinámica de la comunicación, el idilio y el deseo). The Bad and the Beautiful, uno de sus primeros trabajos en color con una banda sonora de música pop, muestra los rituales privados de jóvenes de la escena artística neoyorquina de los sesenta. De manera elegíaca, retrata parejas y la belleza de la gente en la intimidad, en sus cuartos o en la calle, relajados con amigos, abrazados, acostados o esperando a su amante. El cineasta y pintor James Herbert —más conocido por los vídeos musicales que realizó para el grupo musical R.E.M.— explora la fragilidad del cuerpo humano a través de las propiedades formales más básicas del cine: la luz y la textura. Porch Glider, un film sin sonido y en color, es un estudio meditativo y sensual de parejas de adolescentes desnudos en el jardín, en el porche y entre las muchas habitaciones de una vieja casa rural del Sur de los Estados Unidos. Así, a partir de diferentes estrategias fílmicas, Sonbert y Herbert nos presentan unos cuerpos concretos vinculados a la gestualidad y al contexto histórico de finales de los años sesenta.

- The Bad and the Beautiful (Warren Sonbert, 1967, 16 mm, 34 min)
- Porch Glider (James Herbert, 1970, silent, 35mm, 25 min)

Back To Landscape
As part of the 1st International Festival Of Short Movies About Painting Arts "Erarta MOTION PICTURES"
Saturday, March 30 2013, 20h
Erarta Museum
Line 29th, 2 Vasilyevsky island, Saint-Petersburg 199106, Russia

Curated by Xavier G.Puerto

After the appearance of Giorgione’s “La Tempesta” in 1506, the importance of landscape grew. It occupied the centre of compositions and became a key topic of consideration for the history of painting in recent centuries, reaching its pinnacle with the German proto-Romantic movement “Sturm und Drang” and the British painters of the 19th Century.

But this huge popularity prompted a use and abuse of the topic, and tastes changed with the arrival of the Novecento (20th.). The new art of the century, cinematography, made its final bet on fiction, setting landscape to a decorative function. When painting, its original and main field of action, underwent the rise of abstraction, it seemed the last nail in the coffin for what was now considered a kitsch topic. While some masters of cinema tried to place landscape at the centre of discussion their championing wasn’t enough for a seventh art which focused its attention on new techniques.

Right at the turn of the second millennium, with a wide development of different techniques and methods in filmmaking, stunning new special effects technologies, and the possibility of creating worlds from nowhere, artists have paradoxically decided to return to an ancient means of expressing themselves - not as the topic of their works in an intellectual manner but in transforming, manipulating, and retouching nature with new tools, taking the landscape as a concept for demonstrating all their capacities, and providing a new interpretation of a historic issue.

Take a seat, a program of more than an hour will bring us in a soft and rough trip. “Back to Landscape”, through different pieces, sees filmmakers employing unusual lenses, coordinated choreographies, barely real environments or new perspectives, considering whether landscape or cityscape a free field for experimentation and a testing place for new techniques and formal innovation.

Double Negative presents
Landscape and technology: Films of Chris Welsby
Saturday, March 30 2013, 21h
Sunday, March 31 2013, 19h (repeat screening)
Cinémathèque québécoise
335, De Maisonneuve Blvd East
Montréal, Québec, H2X 1K1

Artist in attendance

Vancouver-based media artist Chris Welsby emerged in 1970s as a major figure in the experimental cinema scene in the UK where he was associated with the London Filmmakers’ Co-op. Welsby developed a unique process of filmmaking in which the interaction between cinematic apparatus and various forces of nature became an important determinant of the shape of his films.

This program surveys Welsby’s outstanding achievements in landscape film during this period, including much-acclaimed Seven Days and River Yar, which was co-made with William Raban, one of the foremost proponents of British expanded cinema. Welsby makes his first appearance in Montreal with this retrospective.

For more info: www.cinematheque.qc.ca/en/programmation/projections/cycle/double-negative-chris-welsby

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: Visiones del Cuerpo III: Dwoskin
Domingo 24 de marzo 2013, 18:30h
Xcèntric CCCB, Montalegre, 5, 08001 Barcelona

El cuerpo de Stephen Dwoskin (1939-2012) está enmarcado en todas sus películas, en las que delimita un espacio de filmación que hace visible su incapacidad de moverse, creando así una extensa obra fílmica en íntima proximidad con su propio cuerpo, parcialmente paralizado. Su cine, físico y visceral, está centrado en la carne, la desnudez, la ‘subjetividad corpórea’ y la obsesión voyeurística hacia el cuerpo femenino, objeto de deseo y encarnación de su pulsión escópica. Times For, su primer largometraje, es un estudio claustrofóbico sobre la sensualidad latente de cuatro mujeres y un hombre frustrado. Una metáfora sobre la intensidad de las experiencias sexuales. Jonas Mekas considera esta película como una de las más sólidas y originales obras de cine erótico.

- Times For (Stephen Dwoskin, 1970, 16 mm, 80 min.)

Dirty Looks: Tom Rhoads (Luther Price)
Tuesday, March 26 2013, 19h
The Kitchen
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.

Programme:
- Green (Super 8, 30 min., 1988)
- Mr. Wonderful (Super 8, 10 min., 1988)
- Warm Broth (Super 8, 36 min., 1987/88)

Insomnia
Exposición: 22 de marzo al 16 de junio 2013
Simposio: Viernes 22 de marzo 2013
Fundació Joan Miró
Parc de Montjuïc, 08038 Barcelona

Insomnia explora las complejas relaciones que se desarrollan entre el arte y el cine. La muestra agrupa la obra de diversos artistas internacionales y presenta piezas e instalaciones de Peter Kubelka, Hollis Frampton, Lis Rhodes, Stan VanDerBeek, Ben Rivers, Dan Graham y Stan Douglas.

En el marco de la exposición, el 22 de marzo se celebrará un simposio en el que participarán David Campany, teórico y profesor de la Universidad de Westminster de Londres y autor de uno de los textos del catálogo de la exposición; Alex García Düttman, teórico y profesor de filosofía y cultura visual en Goldsmiths, Universidad de Londres; Antonio Alberto Weinrichter, teórico y profesor asociado de la Universidad Carlos III de Madrid; Neus Miró, comisaria de la muestra; y dos de los artistas participantes en la exposición, Lis Rhodes y Peter Kubelka, que ofrecerán una ponencia sobre su obra y su relación con el cine.

Conversations at the Edge: Wavelengths, in the blink of an eye
Thursday, March 21 2013, 18h
Gene Siskel Film Center
164 N. State, Chicago, IL, USA
Curator Andréa Picard in person

Named for but also infinitely inspired by Michael Snow’s 1967 masterpiece, Wavelength, the Toronto International Film Festival’s avant-garde program presents films and videos that defy convention, suggest alternate ways of thinking, and sometimes re-emerge from a distant past in order to comment on the present. Curated by Andréa Picard, who has curated Wavelengths since 2006, this program is a Wavelengths compendium featuring a number of works from the 2012 line-up (including Nathaniel Dorsky’s August and After, Ernie Gehr’s Auto-Collider XV and Lonnie van Brummelen and Siebren de Haan’s View from the Acropolis which were all cited in the New York Times’ best films of the year wrap-up and screen as Chicago premieres) and highlights from previous editions, including a 35mm restored print from La Cinémathèque française of Henri Storck’s too-rarely seen 1929 Surrealist gem, Pour vos beaux yeux. Blinking is not encouraged!

Grahame Weinbren: 70 Letters
Sunday March 24th 2013, 21h
Experimental Intermedia
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: Visiones del Cuerpo II: Sonbert/Herbert
Jueves 21 de marzo 2013, 20h
Xcèntric CCCB, Montalegre, 5, 08001 Barcelona

Uno de los temas más recurrentes en el trabajo de Warren Sonbert es el amor entre parejas (la dinámica de la comunicación, el idilio y el deseo). The Bad and the Beautiful, uno de sus primeros trabajos en color con una banda sonora de música pop, muestra los rituales privados de jóvenes de la escena artística neoyorquina de los sesenta. De manera elegíaca, retrata parejas y la belleza de la gente en la intimidad, en sus cuartos o en la calle, relajados con amigos, abrazados, acostados o esperando a su amante. El cineasta y pintor James Herbert —más conocido por los vídeos musicales que realizó para el grupo musical R.E.M.— explora la fragilidad del cuerpo humano a través de las propiedades formales más básicas del cine: la luz y la textura. Porch Glider, un film sin sonido y en color, es un estudio meditativo y sensual de parejas de adolescentes desnudos en el jardín, en el porche y entre las muchas habitaciones de una vieja casa rural del Sur de los Estados Unidos. Así, a partir de diferentes estrategias fílmicas, Sonbert y Herbert nos presentan unos cuerpos concretos vinculados a la gestualidad y al contexto histórico de finales de los años sesenta.

- The Bad and the Beautiful (Warren Sonbert, 1967, 16 mm, 34 min)
- Porch Glider (James Herbert, 1970, silent, 35mm, 25 min)