Conversations at the Edge: Erie
Thursday, November 11, 18h
Gene Siskel Film Center
164 North State St.,Chicago, Illinois 60601
Kevin Jerome Everson in person!

Over the past thirteen years, Kevin Jerome Everson has crafted an exquisite—and prodigious—body of work on the working-class culture of African-Americans and people of African descent.  Combining documentary and fiction, Everson’s nearly 70 shorts and four features center on everyday tasks and gestures to unearth and illuminate the ordinary grace of daily life.  This evening, in conjunction with the Video Data Bank’s release of the 25-title DVD box set, Broad Daylight and Other Times: Selected Works of Kevin Jerome Everson, the artist presents his acclaimed feature Erie (2010) along with a handful of new shorts. Unspooling in a series of hand-held, single-take shots filmed in the urban centers around the great lake, Erie captures the conversation of former General Motors workers as the plant is about to close; hospital employees carefully sorting and sterilizing surgical implements; and young performers krumping and rehearsing musical theater side-by-side, the camera moving between them in a kind of mash-up-en-scene and microcosm of the rich and multifaceted operation of the film as a whole.  Co-presented by the Video Data Bank. Kevin Jerome Everson, 2010, USA, HDCAM video, ca. 90 min (plus discussion).

KEVIN JEROME EVERSON (1965, Mansfield, OH) has made four feature-length films and nearly seventy shorts.  He received an MFA from Ohio University and a BFA from the University of Akron. His films and artwork have been exhibited at the Museum of Modern Art, New York; the Whitney Museum of American Art; the Cleveland Museum of Art; the Studio Museum in Harlem; the Armand Hammer Museum, Los Angeles; Whitechapel Gallery, London; the Palm Beach Institute of Contemporary Art, Florida; Wurttenbergischer Kunstverein, Stuttgart, Germany; the Spaces Gallery, Cleveland; the American Academy of Rome, Italy; the Sundance Film Festival; Rotterdam International Film Festival; Cinematexas; Ann Arbor Film Festival; and Chicago Underground Film Festival, among many others. He is the recipient of a Guggenheim Fellowship, a fellowship from the National Endowment for the Arts, two fellowship from the National Endowment for the Humanities, two Ohio Arts Council Fellowships, an American Academy Rome Prize, and residencies at Yaddo and MacDowell Colony.  He is currently Assistant Professor of Art at the University of Virginia and resides in Charlottesville, Virginia.

The Films Of Robert Banks & Bruce Checefsky
Sunday, November 21, 19h
Cleveland Cinematheque
11141 East Boulevard
Cleveland, OH 44106-1700, USA

Tonight we screen a program of short films by two of Cleveland’s foremost filmmakers, Robert Banks and Bruce Checefsky. These two men, whose films have been shown nationally and internationally at such venues as Anthology Film Archives, The Museum of Modern Art, the Rotterdam International Film Festival, and the Sundance Film Festival (among many others), frequently collaborate with each other. But beyond that, they share a fascination with avant-garde cinema (easily seen in their own abstract film work), as well as a love for the aesthetic and physical properties of celluloid. (Both still shoot on film, and everything we will show tonight is on16mm or 35mm.) But each man is also a distinctive talent. Checefsky, whose day job is Director of the Reinberger Galleries at the Cleveland Institute of Art, works mostly in black-and-white, re-imagining classic Eastern European avant-garde films from the 1920s-40s that were either lost or destroyed, or perhaps only scripted or described but never filmed. His work tends to refined, elegant, classical. Banks’ movies, on the other hand, are riots of shots, sounds, colors, and camera angles, and are often scratched-on or painted-on. Themes include African-American life, the culture of beauty, and the media. Program includes Checefsky’s Pharmacy (2001), A Woman and Circles (2004), Moment Musical (2006), Tuareg (2008), and Béla (2009); and Banks’ MPG: Motion Picture Genocide (1997), Jaded (1998); Outlet (1999); Embryonic (1999); Goldfish and Sunflowers (1999); A.W.O.L. (2004); Faith ‘n’ Chaos (2004); He Namedrops the Spider (2010); and perhaps some new works and other surprises. Banks and Checefsky will answer audience questions after the screening. Total approx. 120

Amalgama: Abstracción, Figuración
Viernes 5 de Noviembre de 2010 a las 18:30h
Galería La Fábrica, Tapioles, 53, 08004 Barcelona
Comisariado por Albert Alcoz y Luis E. Parés

La tradición de la animación abstracta y la música visual continúa siendo una fuente de inspiración inagotable, para dinamizar composiciones rítmicas de saturaciones lumínicas e intensidades sonoras. En la actualidad, muchas piezas inicialmente figurativas dialogan, permanentemente, con texturas abstractas, acompañadas de composiciones musicales líricas y efectos sonoros etéreos.

El animador canadiense Norman McLaren resulta ser homenajeado por Manuel Garin y Raúl L. Huete en Suite Calypso, y apropiadamente subvertido por Alberto Cabrera Bernal en la publicitaria Interrupciones a Norman McLaren. Incisiones y aplicaciones pictóricas sobre el celuloide de super 8 son los recursos utilizados por Marcel Pié y Julio J. Von Drove para desfigurar diarios fílmicos domésticos en New York in three parts y Recuerdo de un fotógrafo. Finalmente, Daniel Pitarch y _blank [at] null66913 visualizan reencuadres fotográficos y refilmaciones televisivas, para componer, y descomponer, sinfonías plenamente abstractas en L’art de la fuga, D_fragTV e Inverse-Reverse.

- Suite Calypso (2007) de Manuel Garin y Raúl L. Huete. 7'
- Interrupciones a Norman McLaren (2010) de Alberto Cabrera Bernal. 19'
- New York in three parts (2005) de Marcel Pié. 3'
- Recuerdo de un fotógrafo de Julio J. Von Drove. 14'
- L’art de la fuga (2009) Daniel Pitarch. 3'
- D_fragTV de _blank [at] null66913. 1'
- Inverse-Reverse (2010) de _blank [at] null66913. 15'

Ariane Loze: Movies on my own
Wednesday, November 3rd, 19h
Atelier Real
Rua Poço dos Negros nº55, 1200-336 Lisboa

Lecture-screening in English

MOWN (Movies on my Own) by Ariane Loze (Belgium)

An invitation from Paula Caspão and Valentina Desideri currently in residency at the Atelier Real within the cycle “Leftovers, tracks and traces”

In a lecture/screening, Ariane Loze will present Mown (Movies on my own), a research on film editing and its dramaturgical consequences on narration. The interpretative skills of the viewers are called upon by the simple idea that narrativity is inherent to our perception. The series of films Mown is the result of a one-year research Ariane Loze developped during the Advanced Performance Training at the University of Antwerpen, and that was shown in the Centre for Fine Arts, Brussels.

Paula Caspao and Valentina Desideri invited Ariane in the frame of their residence "Drama (De)vices" for they have a common interest: appropriating mechanisms of editing and mise ensemble used in film making, while trying to enlarge their contexts of use.

Free admission. Limited places.