Energy of delusion - Videos by Keith Sanborn
Saturday October 9, 19h
Microscope Gallery
4 Charles Place, Brooklyn NY, 11221, USA

New York based media artist and theorist Keith Sanborn joins us at MICROSCOPE Gallery on October 9th 7PM for a rich program of his radical video works. Keith Sanborn’s work has been included in major survey exhibitions such as the Whitney Biennial, the American Century, and Monter/Sampler and festivals such as OVNI (Barcelona), The Rotterdam International Film Festival, Hong Kong Videotage, and Ostranenie (Dessau). His theoretical work has appeared in a range of publications from journals such as Artforum and books, such as Kunst nach Ground Zero to exhibition catalogues published by MOMA (New York), Exit Art, and the San Francisco Cinematheque. He has translated into English the work of Guy Debord, René Viénet, Gil Wolman, Georges Bataille, Napoleon, Paolo Gioli, Berthold Brecht, Lev Kuleshov and Esther Shub among others. He has also acted as an independent curator, working with such institutions as the Oberhausen Short Film Festival, Exit Art, Artists Space, the Pacific Film Archive.

Recent Spanish Experimental Cinema: Inner Geography
Wednesday, November 10, 2010, 19:30h
Pacific Film Archive Theater
2575 Bancroft Way, Berkeley, California, USA

Introduced and curated by Garbiñe Ortega
Laida Lertxundi in person

Garbiñe Ortega is an independent curator who works and lives in both the U.S. and Europe. She was a PFA curatorial intern in spring 2010.

In these recent experimental films and videos from Spain, exterior landscapes describe emotional states while inner landscapes speak about the physical world. Two Super 8mm cameras, in an improvised game, follow Michael Snow’s “path” in Albert Alcoz’s Forth and Back and Forth. Inspired by Bruce Baillie’s All My Life and a song by Hoagy Lands, Laida Lertxundi’s My Tears Are Dry is at once bright and melancholic, but ultimately about moving forward. The camera tenderly reveals all the possible stories between two people in Theory of Bodies by Isaki Lacuesta. In The Fence, a group of fishermen and their net beautifully fill the frame as they try to dominate nature. Víctor Iriarte’s The Sea is a diary of a city that you can swim through—or a map of childhood memories. Fernando Franco creates an essay about the use of space and time in Chantal Akerman’s Jeanne Dielman in his Les variations Dielman. In First Person, León Siminiani records his feelings and thoughts in a touching metacinematic notebook.—Garbiñe Ortega

- Forth and Back and Forth (Albert Alcoz, 2007, 3 mins, B&W)
- My Tears Are Dry (Laida Lertxundi, 2009, 4 mins, Color, 16mm)
- Teoría de los cuerpos (Theory of Bodies) (Isaki Lacuesta, 2004, 5 mins, B&W, 35mm)
- El Cerco (The Fence) (Ricardo Iscar & Nacho Martin, 2005, 12 mins, Color, 35mm)
- El Mar (The Sea) (Víctor Iriarte, 2010, 22 mins, In Spanish with English subtitles, Color)
- Les variations Dielman (Fernando Franco, 2010, 12 mins, In French with English subtitles, Color)
- Límites: Primera Persona (First person) (León Siminiani, 2008, 8 mins, In Spanish with English subtitles, Color)

(Total running time: 66 mins, Beta SP, From the artist, unless indicated otherwise)

The series continues with a second program, co-curated by Gonzalo de Pedro, at Artists' Television Access on Sunday, November 14 (for further information go to atasite.org) and a third program at San Francisco Cinematheque on Wednesday, November 17, presented at the Victoria Theater (for further information go to sfcinematheque.org).

Jordan Belson: Films Sacred and Profane
Thursday, October 14, 2010, 19h
San Francisco Museum of Modern Art
Phyllis Wattis Theater
151 3rd Street, San Francisco, California, USA

Presented by Center for Visual Music. Introduced by Cindy Keefer, archivist and curator, Center for Visual Music.

Since 1947, Bay Area artist Jordan Belson has explored consciousness, transcendence, and light in an extraordinary body of abstract films that has been called "cosmic cinema." This program features rarely screened films including Caravan (1952), a new preservation print of Chakra (1972), and the Bay Area premiere of Epilogue (2005), a distillation of 60 years of visionary images synchronized to a symphonic tone poem by Rachmaninoff.

$5 general; free for SFMOMA members or with museum admission (requires a free ticket, which can be picked up in the Haas Atrium).

For more about Jordan Belson, please visit his Research Pages at www.centerforvisualmusic.org/Belson