Millennium Film Journal 55 “Structures and spaces: Cine-installation”

Millennium Film Journal issue No. 55 “Structures and spaces: Cine-installation” to be published next March 2012

The focus of the issue is moving image installation: covering film, video and digital formats. The issue will be generously illustrated. Given the widespread interest in installation among artists, curators, gallerists, collectors, as well as the general public, we expect that the issue will enjoy wide national and international distribution through 2012, and that it will be regarded as a primary source for many years into the future.

For at least 40 years, artists have been interested in using the moving image in installations. Multi-projector film installations by artists such as Paul Sharits and Michael Snow, as well as video installations by Gary Hill, Bill Viola, Nam June Paik and many others have been exhibited in museums and galleries since the early 1970s, and even before. But it has exploded in the last ten years, to such an extent that the multi-screen installation seems to be the dominating form at major art fairs, biennials, galleries and museums.

MFJ 55 will examine, analyze, and celebrate the phenomenon of the moving image installation. It includes writings on:
• the aesthetics of installation art by theorists Laura Marks and Kim Knowles;
• video artist and musician Steina by Gerald O’Grady;
• ‘Photographic Memory’ by Martin Rumsby discussing contemporary filmmakers Gregg Biermann, Steven Woloshen, Richard Tuohy and Ben Russell;
• the history and significance of ‘the loop’ by Ron Green;
• plus Scott MacDonald’s extensive interview with verteran filmmaker Alfred Guzzetti, and reviews of current exhibitions of works by Paul Sharits, Harun Farocki, Eija-Liisa Ahtila, and others.

The issue also includes personal memoirs of recently deceased filmmakers whose work had a major influence on several generations of artists: Jordan Belson by Gene Youngblood, Robert Breer by George Griffin, Owen Land by Daryl Chin, and George Kuchar by Marie Losier.

MFJ welcomes advertising from galleries, museums, exhibitions, publishers, educational institutions, film labs, video studios, production services, and others, and offer a discounted rate for individual artists. Advertising insertion order deadline for the upcoming issue MFJ 55 is Jan 20, 2012.

These are the awards for the 13th edition of the Festival of Different and Experimental Cinemas:

Grand Jury
Grand Prix of different cinema: Because we are visual by Olivia Rochette and Gerard-Jan Claes
Grand Prix of experimental cinema: Disquiet by SJ. Ramir
Special mention to Schip by Tanatchai Bandasak
Special mention to 360° by Nadine Poulain

Press Jury
Press Grand Prix: Panexlab by Olivier Séror and Post-industrie by Arnaud Gerber (ex aequo)
Special mention to Because we are visual by Olivia Rochette and Gerard-Jan Claes

The third issue of INCITE! Journal of Experimental Media, titled "New Ages" aims at addressing the generational shifts and divides in today’s experimental film, video, and new media spheres, utilizing the 2010 International Experimental Media Congress as an opportunity for reflection. In addition to compiling a dossier of idiosyncratic reflections on the Congress, this issue also focuses on the renewed fascination with "New Age" spirituality, philosophy and aesthetics among contemporary media artists. Some highlights of this issue include Walter Forsberg's wide-ranging essay about the computer animation (and accidental 3D) pioneer Lillian Schwartz, Thomas Beard's astute analysis of Shana Moulton's "Whispering Pines" video serial, a Jacob Ciocci and Jesse McLean "G-Chat," Jaimz Asmundson on his new film, "The Magus", Marisa Olson on Transcendentalism, and Brian L. Frye's citation study of "The New York Times", which measures the relative importance of avant-garde filmmakers.

To cover publication costs, INCITE! has launched a Kickstarter campaign. You can help release this great publication with a small donation and even get past issues of INCITE!, experimental film DVDs or a silkscreened print of George Kuchar's portrait by Leslie Supnet in return.

Contributors to this issue include: Dominic Angerame, Jaimz Asmundson, Jeremy Bailey, Christina Battle, Thomas Beard, Roger Beebe, Michael Betancourt, Mireille Bourgeois, Jacob Ciocci and Jesse McLean, Clint Enns, Walter Forsberg, Brian L. Frye, Benj Gerdes, Brett Kashmere, Eliza Koch, Kevin McGarry, James Missen, Shana Moulton, Peter Nowogrodzki, Marisa Olson, Andrew James Paterson, Ken Paul Rosenthal, Ekrem Serdar, Leslie Supnet, Tess Takahashi. Cover design by Jacob Ciocci.

Sad announcement sent out by Office Baroque Gallery.

Dear Friends,

It is with great sadness that we announce the passing of American filmmaker and artist Owen Land. Owen Land was born in New Haven, Connecticut in 1944 under the name George Landow and was found dead in his apartment in Los Angeles on 8 June, 2011.

Land debuted as an experimental filmmaker in the 1960's with a critique of structural film. When Land was barely twenty years old, he produced some early masterpieces like Film in Which There Appear Edge Lettering, Sprocket Holes, Dirt Particles, Etc. (1965-66), which contains exactly what the title promises. A Kodak test film used to adjust colour balance serves as the basic material. Land recomposes it and extends it into a four-minute loop, the result, in which P. Adams Sitney saw “the essence of minimal cinema”, no less – “a found object extended to a simple structure”.