Events

  • 22nd MIX Festival

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    The 2009 edition of the MIX Festival will take place next November 17-22. Since 1987, MIX NYC has presented the latest in queer experimental film and previously unseen works from legendary figures in avant-garde cinema. In addition to the vanguard screenings, exciting interactive installations, and infamous parties, MIX NYC also provides year-round community screenings, a summer media workshop for queer youth, film preservation projects, and the groundbreaking ACT UP Oral History Project, documenting how collective action transformed AIDS activism, queer identity and health care in America.


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  • Exquisite Corpse Video Project vol 2

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    The second volume of the Exquisite Corpse Video Project will have it's first screening in Berlin on November 19th, 8p.m. at Kulturpalast Wedding International.

    The project members Stina Pehrsdotter, Niclas Hallberg (Sweden), Wai Kit Lam (China), Kim Dotty Hachmann and Matthias Roth (Germany) will be in attendance.

    WHAT?
    The ECVP [Exquisite Corpse Video Project] is a video collaboration collaboration project inspired by the Surrealist creation method, the "Exquisite Corpse". The project is coordinated by the Brazilian artist Kika Nicolela and currently has 63 participating artists from 21 different countries.
    The ECVP vol. 2 was made during 2009, with the participation of 56 artists. Together, these artists made about 110 minutes of experimental video, divided in 12 chapters.

    HOW?
    In the Surrealist 'game', a paper is folded such that each contributor sees only a small portion of the previous contributor's work, and begins his own work from that small portion. When the last participant is finished, the sheet is unfolded to reveal a strangely divergent, yet contiguous form or figure.
    Using the semi-blind, sequential method of the surrealists' game, ECVP participants create video art in response to the final ten seconds of the previous member's work. Each member is asked to incorporate these seconds into their piece, creating transitions as they please, until
    everyone's vision is threaded together into an instigating final "corpse."
    While the Surrealists are said to have created the method almost a century ago, only recently could such a fast-paced, pan-global, audiovisual variation of this exercise be produced. The inspiring process of exchange between artists from around the world illuminates the possibilities and potentials of a globalized, collective creativity.

    WHERE?
    ECVP Screenings and exhibitions have been taking place in various countries since June 2008, such as Sweden, USA, Greece, Canada, Brazil, Mexico and South Africa.

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  • First Person Cinema: Ernie Gehr

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    First Person Cinema: Ernie Gehr
    Monday, November 16, 7:00 PM
    ATLAS 100, CU-Boulder campus
    North of the Euclid parking garage. Boulder, Colorado.
    Admission is $3.00.

    I wouldn't mind passing for the young lad with the spiffy sunglasses, but then you would have a hard time believing I've been making films for as long as I have, and when you actually see me you'd possibly crack up laughing so loud it would ruin the picture show. So then, am I one of the characters on the other side of the water? No, but look at the surface of those terrific sunglasses -- Yes! there I am. The guy behind the camera, and that is where I like to stay Ð behind, not in front of the camera.

    I have a terrific program of works for you. Seriously. Almost all brand new. Urban? Yes. Film Noir? No, though perhaps in a way yes. I am a city creature and basically I work intuitively from within. My approach, if I ever had one, is to try to be alive, responsive, and truthful to the moment and the materials at hand. Sometimes the sensual/kinetic character and potentials of the medium become the spring board for a work, and sometimes its my response to the every day world around me.

    - Mirage (1981) 9 min.
    - Rear Window (1986/91) 10 min.
    - Shadow (2007) 9 min.
    - Hurry Up Henrietta (2009) 12 min.
    - Waterfront Follies (2008) 39 min.

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  • Light Reading Series 9: The Wooden Lightbox

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    Light Reading Series 9
    The Wooden Lightbox: A Secret Art Of Seeing
    Friday 20 November 2009, at 7pm
    3rd Floor, 316-318 Bethnal Green Road, London, E2 0AG

    Light Reading’s ninth series continues with a special performance and screening by Canadian artist and filmmaker Alex Mackenzie. Using a homemade, hand cranked projector and a series of hand processed films, the piece forms part of an ongoing exploration into the experiential potential of the cinematic apparatus and the materiality of film. THE WOODEN LIGHTBOX will be performed after Mackenzie’s day workshop at no.w.here on the techniques of handmade film.

    THE WOODEN LIGHTBOX is both an archaic and a contemporary investigation into an immersive encounter with the moving image, employing deconstructive and reconstructive methods that draw out the potential for various contemporary, expanded experiences of a cinema of illusions that is created through the apparatus and in the hand making of the image. THE WOODEN LIGHTBOX is performed live with a hand-cranked 16mm projector built and assembled from various relic 16mm projector and rewind parts and framed in a wooden box. Ten “chapters” are presented over the course of 4 reels. Film speed is varied manually by cranking more quickly or more slowly, while the direction of the action is controlled by winding forwards and backwards. The Wooden Lightbox is an ongoing work in progress, an assembly of images entirely hand processed and contact printed, transforming and developing as new materials are added and deleted.

    THE WOODEN LIGHTBOX had its world premiere at Victoria’s Anti-Matter Underground Film Festival, Canada and has been screened at the Rotterdam International Film Festival, Lightcone (Scratch Projections) Paris, le 102 Grenoble, (k-raa-k)3 festival Brussels, Grand-Guignol Lyon, WNDX festival of film and video art Winnipeg, Canada, Struts Gallery Sackville, Halifax Independent Filmmakers Festival, Canada and is currently being performed across the UK and most recently in Toronto, Canada in 2009.

    Alex MacKenzie is a media artist working in film, video, light projection and performance. He has worked with a variety of independent film organizations over the past 15 years including Mainfilm, Pacific Cinematheque, Cineworks, and Doxa. He was the founder and director of The Edison Electric Gallery of Moving Images, The Blinding Light!! Cinema and the Vancouver Underground Film Festival, and currently works as an independent curator, graphic designer and writer.

    Light Reading is an ongoing series of critical dialogues that engage artists, writers and curators in conversation around a selected artist’s body of work. To be included on the mailing list for future events, please contact: <[email protected]>. Places are limited so booking is essential.

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    no.w.here
    3rd Floor, 316-318 Bethnal Green Road, London, E2 0AG
    Nearest Tube / Train: Bethnal Green

    Tickets: £5 door / £4 advance / £3 members & students
    Telephone: 020 7729 4494
    Email: [email protected]
    Places are limited so booking is essential

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  • Punto y Raya Festival 2009

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    Train Landscape (Jules Engel, 1974)The 2nd edition of the Punto y Raya Festival (Dot and Line Festival) dedicated to abstract two-dimensiona animation will be held next November 25th-29th in Arts Santa Mònica, Barcelona, Spain. Among the many conferences, installations and workshops a special programme titled "Larry Cuba retrospective and other classics" will feature classic visual music films and digital animations by Larry Cuba, Jules Engel, Hy Hirsch, Adam Beckett, John Whitney Sr. and Frank and Caroline Mouris. Curated by the iota Center.

     

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  • Cinédoc: C r i s e s de Films

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    CrisesAf

    'C r i s e s de films: 35 ans de Cinéma expérimental dans les collections Cinédoc / Paris Films Coop' is the title of the big retrospective presenting over eighty films grouped in six themed programmes from the Cinédoc and Paris Films Coop collections that will be held next November 25th-28th at the Centre Pompidou in Paris.
    This event marks the 35th anniversary of Cinédoc / Paris Films Coop, cooperatives of independent/experimental/avant-garde filmmakers founded in the early seventies, and that currently distributes near 700 films and videos from 165 filmmakers.

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  • ICA Artists' Film Club: Lucile Desamory

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    ICA Artists' Film Club: Lucile Desamory
    Thursday 19 November 2009, at 7pm
    ICA Theatre, Lower Gallery
    The Mall, London, SW1Y 5AH

    For November’s Artists’ Film Club, the Belgian artist Lucile Desamory presents a selection of her films from the past ten years - works in which music, image and text collide.

    Desamory’s films feature fantastic and incongruous scenarios, and the artist describes the characters they contain as “out of touch with reality” and “projected into a universe that is whimsical, unreal, light-hearted and funny”. Her work is deliberately naïve and intuitive, and weaves mythical narratives that are highly personalised, yet absurdly compelling.

    The artist often works with music and musicians, and this month’s Artist’s Film Club is presented as part of "Calling Out Of Context", the ICA’s season of experimental music and sound. After the screeningLucile Desamory will be in conversation with Bruce Haines. The event is supported by the Anglo-Belgian Society.

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    ICA Theatre
    The Mall, London, SW1Y 5AH
    Nearest Tube: Charing Cross

    FREE admission, booking required
    Box Office: 020 7930 3614

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  • Muestra de videodanza

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    Hasta el próximo 14 de noviembre sigue la exposición dedicada a la videodanza de la Muestra itinerante de cine Playtime.

    La cita es en la librería El Argonauta, C/ Blasco de Garay 47 [M] Moncloa - Madrid
    En horario de Lunes a Viernes de 10 a 20 horas y Sábados de 10 a 14.30 horas

    Anuncio de la muestra aquí

    Obras proyectadas
    >> A.P.A.A.I. de Guillem Morales y Erre que Erre
    >> Anestesia de Paulo Fernández y Sebastian Parada
    >> The dancer's cut de Enrique Piñuel
    >> Dreaming Awake de José Carrasco
    >> Paraoffelias de Beatriz Sánchez
    >> Aprop de Aitor Echeverría
    >> 120 Grados de Juanjo Fernández
    >> En Cadena de Hammudi Al - Rahmoun
    >> Cinética de Ana Cembrero
    >> Casual de Aitor Echeverría
    >> Divadlo de Guillem Morales y Erre que Erre

    La entrada es gratuita

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  • La pantalla pintada y Oscuro despierto

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    La pantalla pintada y Oscuro despierto
    Espacio Cultural Carlos Gardel
    Olleros 3640, Buenos Aires. Entrada libre y gratuita.

    Curadas por Macarena Cordiviola, estás dos muestras internacionales se llevarán a cabo en el Espacio Cultural Carlos Gardel durante el mes de noviembre. La primera, La pantalla pintada, reune a veintiún cineastas que representan un amplio espectro de diferentes estéticas y lenguajes a lo largo de la historia del cine experimental y el video arte. La muestra, separada en dos extensos programas, está a su vez dividida en cinco áreas conceptuales: La pantalla pintada, Memoria entremuros, Naturaleza en órbita, Rituales del cuerpo, Geografías de una ficción. La segunda, Oscuro despierto, es una muestra integrada por seis trabajos cinematográficos que se proyectará durante La noche de los museos. A continuación, el detalle de ambas muestras:

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  • Experimental Film Club: Flecks of Interruption

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    Flecks of Interruption
    Sunday 15th November / 5pm
    The Odessa Club / Doors: 7 euro (5 euro concession), Dublin

    “Most thought-provoking in our thought-provoking time is that we are still not thinking”, said Martin Heidegger. Such statement opens the main notions and considerations that motivate the programme the Experimental Film Club presents at an unusual time this month. The reason for such an odd date comes from the inspiring source of this programme: the two-part international group exhibition “Automatic”, curated by Gavin Murphy and Chris Fite-Wassilak, currently on at Pallas Contemporary Project (Dublin). Gavin and Chris proposed to us to organize a film session that explored similar ideas to those that embedded the exhibition, which works, in their own words, attempt to “stretch out the persistent, ghostly sensory circuit between the artist, artwork and audience”. Perception was indeed one of the main subjects we discussed during the plotting of this programme, not so much as an experience which could be rationally comprehended, but as a vigorous, direct and impacting encounter with a percept, or a series of percepts, beyond immediate conscious understanding.

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