This Sunday, November 19, at 2:30 p.m, Barbara Hammer and Elisa Port, MD, Chief of breast cancer surgery at Mount Sinai, will be in discussion about medical imaging technologies and patient risk after a screen of three short films: Hammer’s Sanctus (1990, 19 mins. 16mm), an Oxford University tutorial taken with x-ray film called The Movement of the Joints by Cineradiography (1945, 15mins. DCP), and The Fall of the House of Usher (1928, 14 mins. 16mm) by Dr. James Sibley Watson, Jr. and Melville Webber.
In the early 1970s, Dutch filmmaker Barbara Meter co-founded the Electric Cinema, to present and produce independent and avant-garde film. She made fiction films, political documentaries, and then moved to avant-garde film, pushing the medium forward with her unique way of repurposing documents and audio recordings, and with an innovative, masterful application of optical printing techniques. Meter manipulates the images and reworks found sounds to find and create a personal expressive mode. With film prints lovingly restored by the EYE Filmmuseum in Amsterdam, FOUND SOUNDS is the first comprehensive retrospective of Barbara Meter’s avant-garde films in the United States.
Organized and introduced by guest curator Mónica Savirón.
This international program brings together archival prints of forgotten films never shown in New York before and new countercurrent voices. Avant-garde artists Don Levy, Philippe Cote, and Ute Aurand share the screen with a new generation of makers whose works explore and embody exemplary fights for different forms of freedom. “On Resistance” includes a World premiere, five North American, two U.S., and four New York premieres, from fifteen different countries.
This program presents new experimental films and videos not yet shown in New York, in conversation with rarely seen works by avant-garde masters such as Lis Rhodes and Chantal Akerman. These artistic views have the ability to enhance our perception through symbolism, transformation, and a keen sense of creative freedom. By shifting cinematic, private, gendered, financial, and geographical priorities, what is usually absent becomes present. These works are meditations on the act of looking, visual poems in which imposed narratives get rejected or argued against. Words, forms, and depictions of any kind are broken apart to explore and expose the language of cinema. For these artists, making films is like “writing on burning paper” (Pier Paolo Pasolini, Heretical Empiricism, 1967).