Screenings

  • Unconscious Archives #13

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    An international line up of live audiovisual improvisations producing tangible sound and visceral vision, corporeal signals and audience interference.

    Philip Jeck (Uk) / Michaela Grill (Austria) / Karl Lemieux (Canada)

    Austrian video artist Michaela Grill (laptop) together with Canadian filmmaker Karl Lemieux (16mm film projectors) and British turntablist Philip Jeck (turntables), will present a unique and improvised audio-visual performance in which image and sound, analog and digital elements are synergistically interwoven.

    An atmospherically dense articulation of the aural and visual/visceral, the Jeck-Grill-Lemiuex trio electrify the subliminal and the material in an outpouring which blends together the key components of their individual artistic oeuvre.

    Dates: 

    Thursday, June 26, 2014 - 19:30

    Venue: 

    Apiary Studios - London, United Kingdom
  • AXWFF: Garden of DeLight

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    Curated by Lili White

    Featuring never before screened works from Another Experiment By Women Film Festival (AXWFF)

    - The D-Blok Snag (Joey Huertas (AKA Jane Public), 16mm Bolex in-camera editing, 5.10 min)
    - Black Rectangle (Rhayne Vermette, 16MM to digi, 1.30 min)
    - Full Of Fire (Rhayne Vermette, 16MM to digi, 2.15 min)
    - She learns to lunge (Katya Yakubov, 6.40 min)
    - Constellation (Muriel Montini, France, 5.00 min)
    - Sweetmeats (Denise Iris, digi, 4.40 min)
    - I Snake-Foot (Lili White, digi, 5.18 min)
    - Turquoise Beads (Lili White, Sound: BUSHMEAT aka Thomas Stanley, 38.14 min)

    Dates: 

    Friday, June 20, 2014 - 19:30

    Venue: 

    Le Petit Versailles Garden - New York, United States
  • Dyketactics and other 70s films

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    An evening with seminal queer and feminist filmmaker Barbara Hammer! With an introduction and Q&A with Hammer. Works include: Dyketactics (1974), Superdyke (1975), Menses (1976), Women I Love (1976), Multiple Orgasm (1976), Double Strength (1978).

    Born in Los Angeles but a New Yorker by choice, Barbara Hammer is a whole genre unto herself. Her pioneering 1974 short film Dyketactics, a four-minute, hippie wonder consisting of frolicking naked women in the countryside, broke new ground for its exploration of lesbian identity, desire and aesthetic. Hammer calls the film her ‘lesbian commercial.’ She went on to become one of the brightest and most significant lesbian avant-garde filmmaking voices of the past 40 years.

    Dates: 

    Saturday, June 21, 2014 - 20:00

    Venue: 

    Basilica Hudson - New York, United States
  • Sight Unseen hosts H.E.F.F. on 95

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    Sight Unseen is pleased to host H.E.F.F. on 95, a curatorial venture down Interstate 95 showcasing the winning films of the 2014 Haverhill Experimental Film Festival. This endeavor gives the opportunity for filmmakers to screen their artwork in multiple venues hitting major stops that include Manhattan, Brooklyn, Philadelphia, Baltimore, Richmond, and ending in Durham, North Carolina.

    The roughly 1.5 hour program will feature contemporary work in avant-garde cinema at a national and international level. It will highlight various films from abstract home VHS distortion flicks to 16mm direct animation works to experimental documentaries.

    This tour and festival itself hope to extinguish the Hollywood standard of the moving image by showing major cities an idea of what this art form can accomplish: a true, purer method of capturing reality.

    Dates: 

    Monday, June 9, 2014 - 19:30

    Venue: 

    The Crown - Baltimore, United States
  • Directors Lounge: Johanna Domke with Marouan Omara

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    Crop is an astounding video piece about a state-owned newspaper building in the center of Kairo. Filmed in 2012 shortly after the Arabic revolution in Egypt, the video represents an interesting, historic moment in time, and it is at the same time a reflection on image making and image representation in times of political changes regardless of local bounds or temporality.

    Set at the press house of Al Ahram (the Pyramids), a conservative newspaper that has been the national official press organ since President Nasser, the viewer is guided to explore the rooms of the house from the top down, following its hierarchy of places, literally from the representative offices down to the cellars with printing machines and packaging of newspaper bundles. While the camera unfolds step by step the complexities of a building, a photo-journalist talks about the beginnings of photo reportage in Egypt. He tells us he missed the revolution staying at the hospital. He speaks about the restrictions photo journalism has had to face from its beginning both from a conservative islamic society, and a regime controlling every publication. At first the journalist seem to be one person, but that is a fiction. His narration actually is a composition of 19 statements of different interviewed journalists, whose opinions differ in complex ways. The sound track of the film is comprised of two separate layers: the ambient sound that goes along with the passage of places that we follow inside the building, and on the other side the voice-over of the interviewed journalist. This voice-over creates a real contrapuntal montage in the sense of Eisenstein's statement on sound film, whereas the ambient sound creates a poetic flow of images, a narrative of space.

    Dates: 

    Thursday, May 29, 2014 - 21:00

    Venue: 

    Z-Bar, Berlin - Berlin, Germany
  • Handmade Bohemia: The Films of Helen Hill

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    Helen Hill’s vibrant, humorous, handcrafted works use diverse techniques including puppets, cel and stop-motion animation, live action, painting and drawing. Her filmmaking combines a playful sense of participation and community with a clear-eyed recognition of the somber rhythms of death and rebirth. Film prints (courtesy of Harvard Film Archive) include Mouseholes (1999), Madame Winger Makes a Film (2001) and The Florestine Collection (2011) – completed posthumously by her husband, Paul Gailiunas.

    Join Experimental Response Cinema and the Alamo Drafthouse at the Ritz for this very special evening, curated by Jason Cortlund & Julia Halperin (Now, Forager)!

    Dates: 

    Saturday, May 31, 2014 - 17:00

    Venue: 

    Alamo Drafthouse Ritz - Austin, United States
  • Early Monthly Segments #63: Susan Oxtoby + Lis Rhodes

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    This month Early Monthly Segments is delighted to be presenting three films that are distinguished by their political and critical resonance while exhibiting a profound, poetic and unique handling of the materials and form of film. In Light Reading Lis Rhodes uses a series of still photographs to suggest a mystery, or perhaps more accurately to explore the tropes of the language of mystery. Layering images and text both still and moving, and playing with repetition and image registration and measurement Light Reading is as much about the characteristics of film and photography and who is the subject and/or the object of such as the story it skirts. Similarly layered and elliptical A Cold Draft functions as a multifaceted poetic reportage of the experience of those left behind in the trickle down dystopia of the 1980s UK. The voice of a single narrator comes to embody a chorus of defeated subjects surviving perpetual oppression. Susan Oxtoby’s All Flesh Is Grass revolves around the exploration of the ruin of a 19th century shopping arcade in Buffalo NY, combined with footage of spaces, friends, children and characters in Toronto and in New York City.

    Dates: 

    Monday, May 12, 2014 - 20:00

    Venue: 

    Gladstone Hotel - Toronto, Canada
  • Atelier Impopulaire: Sandra Gibson + Luis Recoder with Claudio Rocchetti

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    Entanglements is a multiple projection performance by Luís Recoder and Sandra Gibson that invites sound artists to process the optical film tracks from up to four 16mm projectors. The scratched opaque footage is not what interests us per se but the effect it has in dispersing or scattering the projected audio-visual event itself.

    - Entanglements for (up to) Four Projectors (2009 – 2014)
    Multiple 16mm projectors, black & white film loops, mixed media, live optical sound processed by Claudio Rocchetti, 60 minutes

    The following day, Saturday May 10, Sandra Gibson and Luis Recoder will install a special version of Threadbare.

    - Threadbare (16mm projector, film, reels)
    “Sandra Gibson and Luis Recoder look back at the history of film technology. Their richly imaginative installations and sculptures treat celluloid and the projector in ways that are surprising and evocative. Their artworks are poetic and beautiful, offering profound insights into the nature of the medium. Threadbare (2013) is a film projector wrapped in 16mm film footage whose silhouette calls to mind Mickey Mouse.” - John G. Hanhardt, Senior Curator, Smithsonian American Art Museum

    Dates: 

    Friday, May 9, 2014 - 20:30

    Venue: 

  • Mex-Parismental 9

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    For this ninth edition, in collaboration with the Collectif Jeune Cinema, Mex-Parismental, unveils a cinema of creative filmmakers of the young generation from Mexico and Latin America. This annual event is an unique opportunity to stay informed about the most contemporary experimental cinema and video from Mexico to the Southern Cone. Mex-Parismental will take place this year on Tuesday, April 29 at Point Ephemere to highlight this cinematographic production. The Artists, filmmakers and videographers represented in this edition, offer us a beautiful journey regardless of clichés and establish an intercultural encounter, far from the political and social dictates of their country of origin.
    Curated by Angelica Cuevas Portilla

    Dates: 

    Tuesday, April 29, 2014 - 19:00

    Venue: 

    Point Éphémère - Paris, France
  • Light Industry: Brian Frye - The Waste Books

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    Writing of Joseph Cornell, Jonas Mekas remarked that his films “deal with things very close to us, every day and everywhere. Small things, not the big things…His works have the quality—be they boxes, collages, or movies—of being located in some suspended area of time.” One finds a similar sensibility in the films of Brian Frye, particularly so in a cluster of 16mm works completed around the turn of the 21st century, just as the end of small-gauge cinema seemed all too immanent. At once literal actualities and sphinx-like artifacts, Frye’s films might at first seem like outtakes from lost projects, or damaged archival isolates, bearing grainy images that beg for exegesis: Kennedy-era actors awkwardly intone lines from a portentous melodrama; a woman’s face flits in and out of legibility beneath a storm of visual debris; a old man points to a weathered gravesite, his lips mouthing silent words; Civil War soldiers maneuver at the edge of a forest. These moments play like misplaced bits of someone else’s memories, physical records of our world mysteriously unmoored from their origins.

    Dates: 

    Tuesday, April 29, 2014 - 19:30

    Venue: 

    Light Industry - New York, United States

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