Events

  • Xcèntric: Cacaboum! Punk in France (2): Avant-Punk

    By on

    Chromo Sud (Etienne O'Leary, 1968)Xcèntric: Cacaboum! Punk in France (2): Avant-Punk
    Sunday April 17th, 18:30h
    CCCB, Montalegre, 5, 08001 Barcelona, Spain

    An immersion into the past of French provocative underground film, from May 1968 to punk and new wave. In a wild, speeded-up montage of the revolutionary events (O'Leary), a return to the mocking street voice of urban graffiti (Bouyxou) and the presentation of the most shocking taboos, everything goes. The session centres on the collage diary of Lionel Soukaz, IXE, a film banned by Mitterrand’s first Socialist government, a cult piece 30 years later, still raw, aggressive and subversive. Calling all restless, sensitive souls! This session is for you...

    Programme:
    - Chromo Sud, Etienne O'Leary, France, 1968, video, 21 min.
    - Graphity, Jean-Pierre Bouyxou, France, 1968-69, 16 mm, 20 min.
    - IXE, Lionel Soukaz, France, 1980, 35 mm, 48 min.

    Category: 

  • Christina McPhee: The Delicate Landscape of Crisis

    By on

    Christina McPhee: The Delicate Landscape of CrisisChristina McPhee: The Delicate Landscape of Crisis
    Friday, April 15th, 21h
    Remise, Freies Museum Berlin
    Potsdamer Strasse 91, 10785 Berlin-Schöneberg

    A premier survey of California-based McPhee's experimental films from 2002-2011 will screen Friday at Freies Museum, Berlin

    Christina McPhee's video work is made of combined textures, colors and details of the landscapes she is exploring. The flow and beauty of her kind of compositing lies in its immersive qualities, which may even become hypnotic. The colorful layered textures the artist is creating with video are not unlike her paintings, composed by layers of expressive drawing lines. The artist is specifically exploring landscapes of destruction and landscapes that are shaped by large technological installations for energy production. San Ardo Oil Fields in Monterey County is a place for one of her videos, it is the biggest area of oil explorations in California. The film is a composition in red. Landscape, nature, moving oil pumps and spills of water, are combined with footage of Carolee Schneeman’s famous 1964 performance ‘Meat Joy.' Oil spills (of paint) on canvas, on bodies and on natural soil become one of a kind for the viewer. (“Meat Oil Joy Paint: A Tribute to Carolee Schneemann “ (2010).

    Category: 

  • Playback: ATA Film & Video Festival 2006 - 2010

    By on

    Playback: ATA Film & Video Festival 2006-2010Playback: ATA Film & Video Festival 2006-2010
    April 19, 2011, 19:30h, 10$
    The Roxie Theater, 3117 16th Street, San Francisco, USA

    Join us for a special presentation of short films from the first five years of the ATA Film & Video Festival. The selections include works by Tommy Becker, Ariel Diaz, Paul Clipson, Zachary Epcar, Sam Barnett, Jibz Cameron & Hedia Maron, John Palmer, Rachel Manera, Carl Diehl, Martha Colburn, Guy Maddin, Clare Samuel & Candice Purwin, Olga Chernysheva, and Federico Campanale.

    ATA proudly presents these local & international works, celebrating unconventional films and a singular film festival that entertains and provokes audiences worldwide. Don’t miss your chance to experience what BadLit describes as “a real powerhouse of experimental media exhibition.”

    Category: 

  • Plenty: Plastic Haircut

    By on

    Plastic Haircut (Robert Nelson, 1965)Plenty: Plastic Haircut
    Tuesday 12 April 2011, 19h-21h
    Event Gallery
    96 Teesdale Street, Bethnal Green, London, E2 9PU

    - Plastic Haircut (Robert Nelson, USA, 1965, 16mm, b/w, sound, 15 minutes)

    Two actors perform absurd actions in sets composed of geometric shapes. Two experts try to explain what it all means. Goofing off in positive/negative space, Robert Nelson and collaborators William T. Wiley, Ron Hudson, R.G. Davis and Steve Reich construct a spirited work that invokes Alfred Jarry, Dada and improvised theatre.

    “None of us knew anything about making movies, but we all knew about art (namely that it had something to do with having a good time).” (Robert Nelson)

    Robert Nelson (born 1930) was a key figure of the post-war independent film scene and one of the founders of Canyon Cinema. His belief that filmmaking should be primarily a fun activity created some of the most entertaining and infectious works of the American underground.

    Plenty is a free monthly screening series selected by Mark Webber. It forms part of the “Brief Habits” programme curated by Shama Khanna, supported by Arts Council England.

    Category: 

  • Ken Jacobs in 3 Dimensions!

    By on

    Return to the scene of the crime (Ken Jacobs, 2008)

    Ken Jacobs in 3 Dimensions!
    May 13-19. Book launch May 14th
    Anthology Film Archives, 32 Second Avenue New York, NY 10003

    As the 3-D craze continues to sweep through our nation’s multiplexes, we here at Anthology have seen fit to focus attention on an artist – one of the giants of avant-garde cinema – who has been exploring the possibilities of three-dimensional filmmaking since long before Hollywood dusted the process off and rebooted it for the purposes of high-powered distraction. Ken Jacobs’s experiments with the possibilities of illusionary depth stretch all the way back to the late 1960s, and in the last decade he has devoted himself to exploring the phenomenon, creating dozens of moving-image works, both shorts and features, that utilize various methods of producing three-dimensional effects. Standing in stark contrast to Hollywood’s efforts to squeeze some (any) kind of response out of jaded moviegoers benumbed by decades of big-budget spectacles, Jacobs’s profound fascination with the idea of filmic depth speaks to a commitment to expand our senses and our conception of the movie-watching experience – a conviction that the cinema can foster expanded perception, not just sensation.

    This series offers a very rare chance to experience an exhilarating variety of Ken Jacobs’s utterly original 3-D work. Featuring three nights of live Nervous Magic Lantern performances, a revival of a 35mm slide-based piece from the mid-1980s, and a host of short and feature-length 3-D pieces from throughout his career, these shows will survey a body of work which forms a conception of 3-D filmmaking undreamed of in the multiplexes!

    Category: 

Pages