Events

  • (S8) 3ª Mostra de Cine Periférico

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    (S8) logoThe 3rd edition of (s8) Mostra de Cine Periférico (May 30-June 3, A Coruña, Spain) continues its annual celebration of 'peripheral cinema' and small gauges. Austrian filmmaker Peter Kubelka will be one of its main protagonists with a screening of his films, the masterclass 'The edible metaphor' and the screening of Martina Kudlácek's documentary film 'Fragments of Kubelka'. The section 'The second life of images' has as its main attraction the programme curated by Gloria Vilches and Elena Duque 'The new monster', dedicated to appropriation and collage film, with individual programmes dedicated to and the presence of Lewis Klahr and Janie Geiser; the manipulated found-footage films of Naomi Uman and the latest creation of Andrés Duque 'Dress rehearsal for Utopia' are the other protagonists of the section. (S8)'s full programme hasn't been disclosed yet.

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  • Nomadic Archive: Abraham Ravett presents the Works of Tom Joslin

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    The Architecture of Mountains (Tom Joslin, 2010)Nomadic Archive: Abraham Ravett presents the Works of Tom Joslin
    Saturday, June 2, 19:30h
    UnionDocs
    322 Union Avenue in Williamsburg, Brooklyn

    Abraham Ravett in attendance for screening and discussion.

    Abraham Ravett will screen and discuss two of Tom Joslin’s works: Blackstar: Autobiography of a Close Friend from 1976, and the posthumously assembled work The Architecture of Mountains (2010).

    Ravett writes the following about the project: Before he left for LA in 1981 to pursue a career in Hollywood, documentry filmmaker Tom Joslin completed an innovated and to this day, historically significant film called Blackstar: Autobiography of a Close Friend (1976, 85 minutes, color, sound, 16mm). It was one of the first autobiographical, diary format films that addressed the issue of gay identity and coming out to one’s family. It’s a beautifully made film, formally inventive, and still resonates on many fronts.

    When Tom passed away from AIDS, he left all his video tapes from another autobiographical project he had been shooting in LA to a former student named Peter Friedman who in turn, found the resources to construct the much acclaimed film, Silverlake Life: the View from Here.

    Prior to leaving Hampshire College in 1980, Tom was working on another film inspired by Jose Argüelles book, The Transformative Vision: Reflections on the Nature and History of Human Expression. Shot in sync and MOS on 16mm, the footage reflects Tom’s interest in perception, human consciousness, and signaled his evolving interest in fusing non-fiction, experimental and dramatic genres. All the original materials for this unfinished film were stored at the LA home of Ken Levin another former Hampshire College student who along with several other students, worked with Tom on this project, which he called The Architecture of Mountains (62 minutes).

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  • Focus: Pablo Marín

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    sin título (Focus) (Pablo Marín, 2008)Focus: Pablo Marín
    Viernes 18 de mayo, 18:30h
    Espacio Fundación Telefónica, Arenales 1540, Buenos Aires
    Entrada libre

    Pablo Marín nació en 1982 en Buenos Aires. Es docente, traductor, cineasta y creador de La región central, blog dedicado al cine experimental. Fue curador de muestras de cine y video, y del dvd Dialéctica en suspenso: Argentine Experimental Film and Video, editado por Antennae Collection. Como crítico, colaboró en diversas publicaciones, y su ensayo sobre Claudio Caldini, “Construcciones espirituales”, acompaña una edición en Blu-ray de próxima aparición. Sus películas han sido exhibidas en el Festival Internacional de Cortometrajes de Oberhausen, TIE, Festival Internacional de Cine de Rotterdam, Festival de Cine de Londres, Museo de Cine de Austria, Anthology Film Archives, Millennium Film Workshop, Pacific Film Archive, The 8 Fest, FLEX Fest, $100 Film Festival, BAFICI y Museo de Arte Latinoamericano de Buenos Aires, entre otros.

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  • Think:Film – International Experimental Cinema Congress 2012

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    Think:FilmThink:Film
    International Experimental Cinema Congress 2012
    10-14 October 2012
    Akademie der Künste am Hanseatenweg, Berlin

    Following a period of diversification of experimental forms of artistic production, it has become necessary to come up with new ways to think about film and the types of thought created by it and within it.

    The ability to break down and translate image and sound into digital codes represents a fundamental shift in filmmaking practice and has led to massive changes with regard to production technology. The concentration and processing of different time-based art forms within computers has let loose a wealth of new synesthetic opportunities, many of the examples of which were anticipated by certain advanced film forms. Practices that used to be the strict reserve of the experimental, avant-garde and underground film genres have been seized upon thanks to these new technologies, placed in new commercial contexts and popularized. In this way, the economic history of the "avant-garde" has become of relevance above and beyond its cultural impetus. The position of artistic authorship and curatorial and production activity within this new distribution landscape needs to be reflected upon in new ways.

    The central goal of Think:Film is to make a philosophical reassessment of the special position enjoyed by film and the cinematic image in artistic and intellectual practice and to redefine what this position might be. What direct influence does the cinematic image have on current thought and how can film itself become a way of thinking? The congress is not concerned primarily with film genres, but seeks instead to pose fundamental questions: What is thought in connection with cinematic images and what are these images in connection with thought? Which types of images trigger which types of thought, which are capable of eradicating which types of thought? Which types of images can become an integral part of which types of thought? Which cinematic images are in circulation and which kind of thinking does this point to?

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  • Atelier Impopulaire #3: Double Negative

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    Perceptual Subjectivity (Philippe Léonard, 2009)Atelier Impopulaire #3: Double Negative
    New canadian experimental cinema: works from the Double Negative Collective
    Friday, May 18 2012, 20.30h
    O’ via pastrengo 12, milano isola

    For its third installment, Atelier Impopulaire presents a selection of the works by the collective of canadian filmmakers and visual artists Double Negative Collective, presented by Philippe Léonard. Since its inception in 2004, the Double Negative Collective has become a major presence in today’s experimental cinema scene in Montreal, Canada. Its inique existence has had an undeniable impact on the shifting landscape of moving-image art in the local community. Self-financed, the Double Negative Collective has succeeded for over eight years to maintain its own studio with a variety of analogue filmmaking equipment, as well as organize experimental film screenings, performances and artist talks that continue to inspire the artistic communities both at home and abroad.

    Curated by Pia Bolognesi and Giulio Bursi

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  • SF Cinematheque presents Crossroads 2012

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    Crossroads 2012SF Cinematheque announces Crossroads 2012 May 18–20 at San Francisco's Victoria Theatre. Founded by filmmaker Bruce Baillie in 1961, San Francisco Cinematheque is an internationally recognized arts institution and the Bay Area’s premier venue for avant-garde/experimental, underground and personally expressive film and video work.

    Cinematheque is dedicated to the advancement and dissemination of film and video works that challenge the boundaries of moving-image art with the goal of making experimental cinema a part of the larger cultural landscape. CROSSROADS is Cinematheque’s annual film festival, a showcase for and celebration of recent and rediscovered avant-garde film/video work. Established in 2010, CROSSROADS is intended as a much-needed Bay Area/West Coast equivalent to such lauded festivals as the New York Film Festival’s Views from the Avant-Garde series and the Toronto International Film Festival’s Wavelengths showcase. CROSSROADS 2012, curated by Cinematheque Artistic Director Steve Polta, is this festival’s third manifestation.

    Running May 18–20, CROSSROADS will present a total of 52 films, videos and performance works by 47 filmmakers from around the world screened over 8 feature-length programs. Highlights of this festival include a tribute to Cinematheque founder and experimental-film matriarch Chick Strand (1931–2009); an in-person presentation of the “complete works” of Basque filmmaker Laida Lertxundi (featured in this year’s Whitney Biennial); and a special program—Apparent Motion—celebrating the Art of Live Projection with three film/music collaborative teams: Gerritt Wittmer & Paul Knowles, Kerry Laitala & John Davis, and, from Norway, Greg Pope & John Hegre (Jazkamer).

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  • American Originals Now: Ernie Gehr

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    This side of Paradise (Ernie Gehr, 1991)American Originals Now: Ernie Gehr
    May 12, 13
    National Gallery of Art, Washington, DC
    East Building Concourse, Auditorium

    The ongoing project American Originals Now offers an opportunity for discussion with established independent filmmakers and a chance to share in their art. This two-part retrospective devoted to highlights from the work of Ernie Gehr (born 1943)—one of the most prolific of the generation of American filmmakers who first challenged the notion that the cinema must correspond to visual reality—includes post-screening discussions with the artist. Gehr's concern for film's formal attributes, which can produce beautiful and startling effects, parallels the interests of minimalist art. "Even as film goes the way of all flesh and is supplanted by digital, Gehr's work affirms the persistence of cinema"—Manohla Dargis.

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