Marissa Rae Niederhauser, dancer, artist and filmmaker from Seattle, United States, lives in Berlin for two years, now. Her films vary between radical body expressions, and transcending body-nature relations, the complications of desire, and the search for love while counteracting the (male) role expectations.
Stuart Pound (1944, London, UK) started making films as a member of the London Film Maker Co-op. He learnt film making at Nottingham's Trent University, where he currently works as a lecturer. Over the past twenty years he has collaborated with the poet Rosemary Norman on a number of videos.
After Nature is a two-part programme of experimental animation focusing on work engaged with ideas of technology and the environment. Part One a selection of films respond to man-made waste, disasters and ecological catastrophe. Part Two explores ideas of landscape and technology, and the merging of the real and the virtual, with works combining CG animation, live action and found footage.
You, Me, Them presents ten films exploring disconnection and the limits of communication. Language and images can often be misleading and inadequate but when recontextualised, distorted or ruptured, we can sometimes glimpse what lurks behind the surface. Mixing rarely screened historical work with recent and brand new films, this diverse selection of experimental animation features a wide range of techniques including drawing, watercolour, CG and optical printing.
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.
With the films of Claudio Caldini (* 1952) and Pablo Marín (* 1982), both from Buenos Aires, the Filmmuseum presents two generations of Argentine avant-garde filmmaking, which began in the 1960s and has barely been noticed in this country. This cinema has strong references to the avant-garde traditions of the 1920s and the New American Cinema, but shows a great independence between the poles of the lyrical and the structural film.
Wednesday, November 15, 2017 (All day) to Thursday, November 16, 2017 (All day)
The idea behind Affinities or The Weight of Cinema derives from Goethe’s classic 1809 novel Elective Affinities. The project, playfully adapting Goethe’s artistic-scientific theory of attractions to the practice of exhibiting experimental cinema, is presented in person by filmmaker Kevin Jerome Everson and curator Greg de Cuir Jr, who serve as co-curators. Eight programs of international works of film and video art are arranged along various thematic lines that correspond to their shared interests and concerns.
Microscope presents the first 2017-18 edition of our emerging artist series YES with a screening of film and video works by Alison Nguyen and Monica Savirón. Both Brooklyn-based artists’ bodies of works include 16mm films and videos that are situated within the tradition of “found footage” or “appropriation”, terms that fall short of conveying the painstaking processes of “seeking” each of them undertakes in selecting their imagery from sources including vast archives of daily newspapers, 16mm film vaults, and the web.