Fisura, Experimental Cinema & Video International Film Festival invites independent filmmakers and video-artists, as well as students of cinema, visual arts and communication, amateurs and professionals, from all around the world, to participate in its 2020 Edition, which will be screened in several venues in Mexico City.
The Festival is a spot for the promotion and display of cinematographic works. Fisura is a non-profit organisation,.
The films of Amy Halpern are devoted to the pleasures of light, of perception and of film as a medium. Their intellectual interplay, along with the aesthetics of pleasure and the resulting synesthetic associations, give rise to intimate, melodic, sensual experiences.
As a child, Amy Halpern made compositions using light and movement, like all children. She was interested in looking at volumes, both spatial and temporal, positive and negative spaces, and their representation and/or suggestion on screen.
Underneath the Floorboards is a visual arts night based in Hackney, London.
We are looking to showcase the best in experimental films, visual arts, experimental documentaries, animation and short films which are non-linear in nature.
We have made submission low cost and feasible for everybody:
Tom Palazzolo (1937) was born in St. Louis, MO in 1937. His interest in painting led him to move to Chicago in 1960 and begin studying at the School of the Art Institute of Chicago, where he also studied photography with Kenneth Josephson. Ken encouraged Tom’s interest in filmmaking, and Tom was given use of a Bell and Howell 16mm camera that had been donated to the department by a veteran WWII cameraman. Tom’s first films were completed shortly after his graduation with both bachelor’s and master’s degrees in photography in 1965.
Light Industry is proud to present the world premiere of Circumstantial Pleasures, a new cycle of films by Lewis Klahr.
Shaped by soundtracks ranging from girl-group bops to post-punk noise, Klahr’s cut-out animations conjure narratives that are at once cryptically articulated and forcefully emotional. These collage films, scholar Tom Gunning observes, “have always mimed the processes of memory by pulling together the discards of contemporary life (images from ads, textbooks, or comic books, objects such as game pieces, menus, playing cards) into scenarios that seem like some Hollywood film dimly remembered.”
Performed by Lary 7, Bradley Eros, Rachael Guma, and Joel Schlemowitz Q&A w/ performers and Daniel Wapner
Microscope is very pleased to present a live performance of Kurt Schwerdtfetger’s “Reflektorishe Farblichtspiele (Reflecting Color-Light-Play)” (1922/66) in connection with a solo exhibition of the work at the gallery through March 15th.
