Preserving Bruce Baillie’s films and legacy: With the publication of a book and a touring retrospective of Bruce Baillie’s films, the project's goal is to share work that constitutes one of the most influential voices in avant-garde cinema. This touring retrospective and bilingual (Spanish/English) book will contribute to wider recognition of Bruce Baillie’s amazing films and expose new generations of filmmakers and film lovers in the US and abroad.
We are planning an international film tour that launched at the Film Society of the Lincoln Center this April. The touring retrospective will travel to Spain (CCCB, La Casa Encendida, Tabakalera), the UK (Tate Modern), Mexico City (Distrital Film Festival) and many cities in the US including Washington D.C., San Francisco/Oakland, Boston, Los Angeles and more this year and in 2017.
The work of the Israelian Keren Cytter focuses on relations, or on the impossibility of relations, as well as the impossibility of authentic film making. Her films constantly reflect on their own creation process, they disenchant, show that the 'magic light' isn't all that magical, but rather a construction - just like relations and sexuality... Cytter never does so with grudge or pessimism, but with playful and humoristic gestures that are touching and convincing. After working and living in Amsterdam and Berlin, she now resides in New York.
Shot in Rijeka, Croatia, with a cast of local children, this experimental documentary by Vancouver-based artist Althea Thauberger draws upon collective labour and the perspective of youth to tell the story of a defunct worker-managed factory at a time when the future of the building, and the city itself, is in question. By weaving together improvisation with material collected during a six-week occupation of the factory by performers and crew, the film re-imagines the site’s politics, history, and future while simultaneously exploring the relationship between work, art, and play. Followed by a panel and Q & A.
Please join us afterwards for a reception in the lobby to celebrate the launch of the monograph of the film, published by Musagetes.
Mark Street, Filmmaker coming in from New York, has been making films, videos and installations for 30 years. His work has moved from tactile, abstract explorations of 16mm film to essays on the urban experience to improvised feature length narratives. Street works in the tradition of street photography, recording images almost every day, exploring the tension between improvisation and structure. He has shown at places like the Museum of Modern Art in New York as well as venues such as a former strip club in New Orleans called the Pussycat Cavern.
“I then took another look into the rearview mirror, on my own. And I discovered, somewhat to my surprise, that when you look in the rearview mirror you do not see what has gone passed. You see what is coming. And the rearview mirror is the foreseeable future. It is not the past at all. The title, the phrase “rearview mirror” appears to distort the situation. Most people think of it instinctively from the sound of the phrase, “It must be the past.” In terms of media, of course, the thing that is occupying the foreground in terms of the rearview mirror is nostalgia. Nostalgia is the name of the game in every part of our world today. Nostalgia is not, well it’s a kind of rearview mirror if you like, but it’s also the shape of things to come.” – Marshall McLuhan
The PhotoPhore, proud screening partner of the Microwave 2016 festival, opens its call for artists “ULTRA WATER FLOW”
We are searching for video-art works, short movies, digital and animation films, to include in our official selection for the Microwave International New Media Arts Festival 2016 in Hong Kong. The screening will be part of the festival programmed from the 03rd to the 12th of June 2016 and it will be hosted at the Hong Kong Design Institute.