Scratch Projection: Telemach Wiesinger
Tuesday 12 January 2010 at 20.30h, 6€

Born in Germany, Telemach Wiesinger is a filmmaker who bases most of his work on the idea of travel. Entered in the collection of Light Cone in 2009, this artist, also photographer, collects images of his "film-poems" during his travels using his 16mm camera with short sequences of a few minutes. At the border of the documentary, his films in black and white have a plastic breathtaking beauty, sometimes accompanied by soundtracks, fruit of his collaboration with composers and musicians.

 

- Meer (Wolfgang Lehmann & Telemach Wiesinger, 2004, 16mm, B&W, sound, 15')
- 3 X 1 (Telemach Wiesinger, 2007, 16mm, B&W, sound, 10')
- Passage...s (Telemach Wiesinger, 2007, 16mm, B&W, silent, 30')

 

Cinéma Action Christine
4, rue Christine
75006 Paris
FRANCE

Pip Chodorov: Pastrami Recordings & Film Surprises
Friday, January 8 - 7:30pm
UnionDocs
322 Union Avenue, Brooklyn, NY 11211, USA
Suggested donation $7

- PASTRAMI RECORDINGS Pip Chodorov USA, 2009, 31 minutes, 16mm In June 2009, Pip Chodorov and Charlemagne Palestine were invited to the Côté Court festival in Pantin, France to make a filmo-musical performance about their home town, New York City. The film was cut together from images Chodorov filmed on 16mm over a 15-year period, and projected with live music by Palestine from recordings made in New York, and with participation by Chodorov and Benn Northover. This screening will be an attempt to recreate that performance from the film and the music recorded that night.

- FAUX MOUVEMENTS (WRONG MOVES) Pip Chodorov USA, 2007, 12 minutes, 16mm Specific neurons in the brain are responsible for perceiving motion. This film acts directly on those neurons, to create novel motion effects, not on the screen but directly in the brain. Made by bipacking 16mm loops of trains and spirals on the contact printer.

- ON BEEING AND NOTHINGNESS Emilija Skarnulyte 2009, 3 minutes, Super8 The Lithuanian language has several words for “death,” one of which is used for bees and people, the other for all other beings. This film was shot time-lapse over a four-day period.

Pip Chodorov. Born April 13, 1965 in New York. Filmmaking and music composition since 1972. Studied cognitive science at the University of Rochester, NY and film semiotics at the University of Paris, France. Work in film distribution – previously Orion Classics, NYC; UGC, Paris; Light Cone, Paris; and, currently, Re:Voir Video, Paris, which he founded in 1994 and The Film Gallery, the first art gallery devoted excusively to experimental film. He is also co-founder of L’Abominable, a cooperative do-it-yourself film lab in Paris, and the moderator of the internet-based forum on experimental film, FrameWorks.

Xcèntric: Proyecciones Enero-Febrero 2010
Centre de Cultura Contemporània de Barcelona
Montalegre, 5 - Barcelona

Anne Charlotte Robertson, Birgit Hein, Nelson Sullivan, Fred Worden, Isabelle Prim, Takashi ITO, Mara Mattushka y Chris Haring, Josef Dabernig, Stan Brakhage, Ming-Yuen S. Ma., Matthias Müller, Marie Losier, Sadie Benning, Virginia Villaplana, Hans Scheirl y Ursula Pürrer, David Domingo, David Gatten, Nanathiel Dorsky, Paul Sharits, Greg Pope, Claudio Caldini, Karen Johannesen, Guy Sherwin, Jim Jennings, Nick Hamlyn, Andrew Noren, Jane Aaron, Leighton Pierce, Louise Bourque, Sara MacLean, Ben Russell, Lewis Klahr, Peggy Ahwesh, Christian MarClay, Dominique Gonzalez-Foerster, hermanos Lumière, Sharon Lockhart, Ken Jacobs, Sam Taylor-Wood, Hollis Frampton, Emily Richardson, Jean Epstein, F.J.Ossang, Jean-Gabriel Périot, Pier Paolo Pasolini, Maya Deren, Apichatpong Weerasetakhul, Robert Frank, Ivan Ladislav Galeta, Eija-Liisa Athila, Dan Graham, John Latham, David Lamelas, Hugo Santiago, Kaucyila Brooke i Jane Cottis, Jennifer Montgomery, Filipa César, Deimantas Narkevicius, Jonas Mekas, Chris Marker, Sergio Belinchón, John Burgan, A.S.M Kobayashi, Kalup Linzy.

Jueves 7 de Enero, 20h Diarios sin piedad. Los 90: Femenino. Anne Charlotte Robertson / Birgit Hein
Domingo 10 de Enero, 18h Diarios sin piedad. Los 80: Queer. Nelson Sullivan
Jueves 14 de Enero, 20h Bienvenidos a la sociedad secreta (I)
Domingo 17 de Enero, 18.30h Queer Films. Retroalimentación. Desintegración
Jueves 21 de Enero, 20h Hipérboles del grano
Domingo 24 de Enero, 18.30h Modos de habitar
Jueves 28 de Enero, 20h Alteridad y ficción
Domingo 31 de Enero, 20h Modernidad Tropical. El cine de Dominique Gonzalez-Foerster
Domingo 7 de Febrero 18.30h Contra el tiempo I
Jueves 11 de Febrero, 20h Contra el tiempo II
Domingo 14 de Febrero, 18.30h Contra el tiempo III
Jueves 18 de Febrero, 18.30h Dry Kisses Only
Domingo 21 de Febrero, 18.30h La dialéctica del Remake
Jueves 25 de Febrero, 20h Memory of Berlin
Domingo 28 de Febrero, 18.30h Benning, Kobayashi y Linzy

Todas las proyecciones serán en V.O.S. en catalán. El CCCB se reserva el derecho de modificar la programación por razones de fuerza mayor. Proyecciones en el auditorio. Aforo limitado. Se ruega puntualidad.

Light Industry: Riddles of the Sphinx
Tuesday, January 12, 2010 at 7:30pm
220 36th Street (between 2nd and 3rd Avenue), 5th floor
11232, Brooklyn, NY, USA
Introduced by Emma Hedditch

Riddles of the Sphinx
Laura Mulvey and Peter Wollen, 16mm, 1977, 90 mins

Laura Mulvey and Peter Wollen's film addresses the position of women in patriarchy through the prism of psychoanalysis. Riddles of the Sphinx draws on the critical writings and investigations by both filmmakers into the codes of narrative cinema, and offers an alternative formal structure through which to consider the images and meanings of female representation in film.

The film is constructed in three sections and 13 chapters, combining Mulvey's own to-camera readings around the myth of Oedipus's encounter with the Sphinx with a series of very slow 360 degree panning shots encompassing different environments, from the domestic to the professional. Louise, the narrative's female protagonist, is represented through a fragmented use of imagery and dialogue, in an attempt to break down the conventional narrative structures of framing and filming used to objectify and fetishise women in mainstream cinema. This could be seen as a formal development of the Lacanian analyses that Mulvey had applied to the female image in film in essays such as 1975's 'Visual Pleasure and Narrative Cinema' (in Screen).

Riddles of the Sphinx attempts to construct a new relationship between the viewer and the female subject, presenting her through multiple female voices and viewpoints. The dialogue, constructed from the different voices of Louise, her friends and fellow workers, brings a shifting and ambiguous range of meanings to the film, in contrast to the explanatory authority associated with a conventional voice-over. Other voices and images from outside the film's narrative world also question and disrupt pre-supposed meanings and symbols of the woman within and without the screen; from the mythical enigma of the Sphinx to the appearances of artist Mary Kelly and Mulvey herself.

As Mulvey herself subsequently put it, "What recurs overall is a constant return to woman, not indeed as a visual image, but as a subject of inquiry, a content which cannot be considered within the aesthetic lines laid down by traditional cinematic practice." - Lucy Reynolds

Tickets - $7, available at door.

Light Industry: Five Films by Joyce Wieland
Wednesday, January 6, 2010 at 7:30pm
220 36th Street (between 2nd and 3rd Avenue), 5th floor
11232, Brooklyn, NY, USA
Presented in collaboration with X-initiative
Introduced by Emily Roysdon

When she came to the US from Toronto in the early 1960s, Joyce Wieland was already known in Canada as a painter who explored themes of female existence in ways that were often controversially explicit, but once in New York she also began working in Super-8 and 16mm. Along with Hollis Frampton, Paul Sharits, and her husband Michael Snow, Wieland became one of the circle of artists who defined the first generation of structural film (she held the distinction of being the only woman mentioned in P. Adams Sitney's seminal essay which described that sensibility). Though as equally attuned as her peers to an advanced, expanded notion of how space and time might function in cinema, Wieland's work also evinces a sharp wit and inventive narrative sense that foreshadows the small-gauge filmmaking of the 1980s and 90s.

- Handtinting, 16mm, 1967, 6 mins
Handtinting is the apt title of a film made from outtakes from a Job Corps documentary which features hand-tinted sections. The film is full of small movements and actions, gestures begun and never completed. Repeated images, sometimes in colour, sometimes not. A beautifully realized type of chamber-music film whose sum-total feeling is ritualistic. - Bob Cowan

No Festival Required And Deus Ex Machina Present
Luminous Triptych: Experimental Films by Angelina Krahn, Karen Johannesen, Rick Bahto
Saturday January 9, 2010 8 pm (doors open at 7:45)
Deus Ex Machina, 1023 NW Grand Avenue Phoenix AZ 85007

Admission $6.00 (dollar off for students with i.d. and Support Card members)
Limited seating, Adult content

Working from different aesthetic and conceptual backgrounds, the films of these three artists share an ethos of handmade, personal cinema. All films will be screened from actual 16mm and Super 8mm film on actual film projectors!!!

Angelina Krahn utilizes a wide palette of alternative techniques in her films, perhaps most poignantly in Stigmata Sampler, in which she sewed into the surface of the film to cover up and obscure images of her own body.

Karen Johannesen’s masterful editing and single-framing techniques serve to embody studies into quantum mechanics, bringing to vision in delicate landscapes a world “teeming with billions of unrealized possibilities”.

Rick Bahto’s in-camera edited works use the people and places of his everyday life as the basis of studies in movement, rhythm and duration, creating a tension between pre-determined structures and a freedom of improvisation.

This is the first time any of these films have been seen in Arizona.

Animated Art
Northwest Film Forum
Thursday, Jan 07 at 07:00PM
1515 12th Avenue, Seattle, Wyoming, USA

Rethinking the boundaries of animation, visual art and experimental filmmaking, this program of films by mostly local talent brings together artists working in different disciplines that are rarely shown together.

Includes works by; Jon Behrens, Cathy McClure, Martha Colburn, Matthew Cox, Webster Crowell, Stefan Gruber, Salise Hughes, Britta Johnson, Sarah Jane Lapp, Davis Limbach, Tess Martin, Jeffry Mitchell, Amanda Moore, Clyde Peterson, Friese Undine, Drew Christie. Tommy Thompson and Brent Watanabe.

Video Pool presents Dominic Gagnon’s Rip in Pieces America

December 7, 2009 – January 8, 2010
Video Pool Studio – 3rd Floor, 100 Arthur St (Artspace building), Winnipeg, Canada
Tuesday – Saturday: 12:00 – 4:00

Video Pool is very excited to present the North American premiere of Dominic Gagnon’s Rip in Pieces America, a feature-length, single-channel projection of banned homemade short videos.

As Gagnon watched video on the Internet, he noticed that certain homemade clips were flagged for their content. As they were disappearing from free hosting sites, he started to save and edit them in a capsule format. Working in a gray zone of copyright law, Gagnon’s collection and grouping of the videos acts as a means of contextualization and preservation.

Dominic Gagnon is an inventor, director, installer and active performer. He considers cinema as a technique for measuring the immeasurable or as a discipline of chaos. Since 1996, he has made public presentations of moving images and installations, invented machines and concepts, and performed sound works at galleries, festivals and biennials around the world. His recent work, Rip in Pieces America, premiered at the Centre Pompidou in Paris.

tank tv: Open End
15 de Diciembre 2009 - 7 de Enero 2010

La galería online tank.tv acaba el año 2009 con una exposición de grupo titulada Open End, que nos presenta filmes y vídeos seleccionados de entre los últimos descubrimientos y el abundante material recibido a lo largo del año.

Con obras de Andrew Cross, Dean Kissick, Oreet Ashery, Michael Fortune, Jon Purnell, Oliver Michaels, Mark Shorey, Michael van den Abeele, Matthew Johnstone, Nicholas O'Brien, Katja Aglert, Steven Eastwood, Simon Woolham y Jonathan Monaghan.

Unedited Material From The Star by John Latham
16 mm, color, sound (optical), 12', 1960
Saturday, December 19, 2009, 11 pm

John Latham (1921 - 2006) is definitely a pillar for the british contemporary arts. Starting as a painter and sculptor in the late forties, he soon moved these mediums to conceptual fields and social practices. In the fifties Latham developed an holistic system where art emerges as a visual language, the most accurate meaning to approach time and matter. This new time-based theory, termed "Flat Time" becomes a unifying philosophical structure capable of ordering the Universe and human behavior.
"Unedited Material From The Star" is an animated documentary of the production of another piece, "Film Star". The film presents debris of literature agglomerated over a grav-
ity field, the canvas. The result is a flickering book-wreckage site shaped as a bright nonlinear star

"Unwritten echoes from a neighboring star" - Alexandre Estrela

Oporto is a studio and a non-profit screening room located in Lisboa. Occupying the former Merchant Sailors Union headquarters, Oporto projects from time to time a single unique experimental video or film. The programme is exquisite and extremely slow.The selection of the pieces screened is made, not only on the basis of the work itself, but also on an overall idea of an exquisite corpse . The space is directed by artist Alexandre Estrela, in cooperation with designers and associate program managers Antonio Gomes and Claudia Castelo a.k.a. Barbara Says and artist Miguel Soares. Sponsored by GAU- Gestão de Audiovisuais.