Events

  • The Urban Landscape in Cinematic Transformation

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    Bridges-go-round (Shirley Clarke, 1958)The Urban Landscape in Cinematic Transformation
    New American Cinema Group, Inc. and The Film-Makers' Cooperative
    May 7th & 8th
    Millennium Film Workshop
    66 East 4th Street, (betwween 2nd Ave. and Bowery) New York, NY

    In conjunction with The New Museum’s ambitious five day Festival of Ideas for the New City, The Film-Makers’ Cooperative (FMC) will present The Urban Landscape in Cinematic Transformation, a two day program of four unique screenings of historic and new films from their collection. An avant-garde film series interweaves three threads pertinent to the East Village, Chinatown, and Lower East Side: the urban landscape, subcultures that inhabit them, and changes over time. The screenings will take place at The Millennium Film Workshop (66 East 4th St.).

    Featuring works by: Rachel Amodeo, Rudolph Burckhardt, Bill Brand, Donna Cameron, Shirley Clarke, Peter Cramer, Coleen Fitzgibbons, Henry Hills, Philip Hartman and Doris Kornish, Ken Jacobs, Oona Mekas, Marie Menken, Lynne Sachs, Joel Schlemowitz, MM Serra and Jennifer Reeves, and Mark Street

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  • Memory Work: The films of Cecilia Araneda

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    Memory Work: The films of Cecilia AranedaMemory Work: The films of Cecilia Araneda
    Thursday, April 29th, 19:30h
    Cafe Ex, Club Saw
    67, rue Nicholas Street, Ottawa, Canada

    “The first thing I remember was the step between.”  Chilean-born, Winnipeg-based filmmaker Cecilia Araneda has been working with images since at least 1998, when her first documentary, CHILE: A HISTORY IN EXILE, was released.  She’s been living with images for even longer.  As the title of her first film makes clear, the experience of exile and the absent presence of Chile form a background for much of Araneda’s exploration of memory.  Araneda works in video and film, in fiction, documentary and experimental modes, testing the image for what it tells us about ourselves – our past and how we imagine it in pieces and textures.  Often in Araneda’s work, a fragment of a word or an image or a colour – red, for example - triggers an associational process of remembrance.  To live with images which linger after the moment has passed: the signs of a presence and an absence.  How we remember, how we forget, and the role of the image in stasis and unpredictable movement – these are the motors and the enduring questions of Cecilia Araneda’s memory work in film.

    Cecilia Araneda will be in attendance to introduce and discuss her work.

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  • MassArt Film Society: Maya Deren & Stan Brakhage

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    Meditation on violence (Maya Deren, 1948)MassArt Film Society: Maya Deren & Stan Brakhage
    Wednesday April 20th 2011, 20h
    Massachusetts College of Art, Film Department
    Screening room 1. 621 Huntington Ave. Boston, Massachusetts 02115, USA

    Meditation on violence by Maya Deren & Song 23 The 23rd Psalm Branch by Stan Brackhage

    Meditation on violence (Maya Deren, 1948)
    With Chao Li Chi and music by Teiji Ito
    As the movements of Chinese boxing is "forward" some metaphysical concepts of physical, MEDITATION ON VIOLENCE film is, in cinematic terms, a discussion of these concepts using physical movement as a visual means among others. The film begins and ends in the middle of a movement to make it as a visual slice of life, whereas it was and will be at infinity. Respiratory rate, alternating negative / positive, is maintained during approaches and withdrawals from the boxer facing the camera

    23rd Psalm Branch (Stan Brakhage, 1966-78)
    One of experimental great Stan Brakhage's best known but least seen films, 23rd Psalm Branch is a feature-length entry in his Songs series. It is both a beautiful, lyrical work and perhaps his most political film.
    Brakhage combines his own images of Colorado, found footage of war, and some of his earliest hand-painting on film to create a work that is rich with meaning and a key artistic milestone for him. Shot in 8mm and later blown up to 16mm, Song 23 is an extended meditation on war in society, made in response to the war in Vietnam. It is a haunting work, still relevant in it theme and one of Brakhages masterworks. Author P. Adams Sitney wrote that "it is an apocalypse of imagination".

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

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    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.

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  • Christina McPhee: The Delicate Landscape of Crisis

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    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).

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