Events

  • Conversations at the Edge: Spin/Verso/Contour

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    Conversations at the Edge: Spin/Verso/Contour
    An Evening with Hannes Schüpbach
    Thursday, April 4 2013, 18h
    Gene Siskel Film Center
    164 N. State, Chicago, Illinois, USA

    Hannes Schüpbach in person!

    The films of renowned Swiss artist Hannes Schüpbach are lyrical, often transcendent portraits of people, spaces, and everyday life. A painter, performance artist, and expert on textile art, Schüpbach weaves together light, gesture, and a keen attentiveness to the material world into meticulously structured compositions. His films, notes curator Haden Guest, open onto “a multi-layered world, where superimpositions and reflections suggest the hidden depths of the places and people evoked within them.” For this program, he presents Spin/Verso/Contour (2001-2011), an affecting trilogy about his parents, and L’Atelier (2008), a portrait of an artist’s studio in Paris.

    Organized with the support of SWISS FILMS–The Arts Council of Switzerland.

    Hannes Schüpbach (b. 1965, Winterthur, Switzerland) is a painter, performance artist, filmmaker and curator of artists’ films. Schüpbach is best known for his 16mm films, which have been shown at the Kunstmuseum Winterthur; the Centre Pompidou; the Biennale de l’image en mouvement, Geneva; Museo Nacional Centro de Arte Reina Sofía, Madrid; the Tate Modern, London; and the Harvard Film Archive, Cambridge, Massachusetts.

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  • Mono no aware: ‘One Hundred Foot’ program

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    Mono no aware: ‘One Hundred Foot’ program
    20 films by international filmmakers and artists – Live score by Dennis McNany
    Friday, April 5 2013,19:30h
    The Center For Performance Research
    
361 Manhattan Avenue, Brooklyn, New York

    Curated and Produced by UK-based artist, Jim Hobbs. Presented by MONO NO AWARE

    As an industry standard, 100 feet of film (just under 3 minutes) is the given length for a small spool of 16mm film. This given/standard/restraint remains a pertinent form/format for creating films. In understanding that film, as opposed to digital, is measured in this tactile and physical form of length, the filmmaker/artist must address the issue of time through the measurement of a material length. For some, this constraint is seen as a time limit; for others, it becomes a finite amount of physical material in which to construct a work, similar to a sculptor’s material; and again, for others, their considerations may combine or reach beyond these deceptively simple approaches. The concerns around this issue are as idiosyncratic, subjective, and varied as the artists’ work itself – yet it is within this standardized and objective limit of 100 feet of film, that each maker must compose their subject matter through an exercise of economy. Whatever the filmmaker’s or artist’s intent, there is no doubt that this specific measurement is an actualized consideration for any artist working with film.

    Holding true to this interest, and while still being open to interpretation, Jim Hobbs has collected films by artists and filmmakers whose work falls within the parameters of One Hundred Foot. Collage, found footage, handmade processes, film manipulation, short sketches, finished works, end of reels, rushes, and cans that haven’t been off the shelf in years – these films offer up a type of B-side mentality and a glimpse into many of the artists working process.

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  • .blacK~SSStaTic_darK~fuZZZ_dOOm~glitCH.

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    .blacK~SSStaTic_darK~fuZZZ_dOOm~glitCH.
    Friday, April 12 2013, 20h
    The Nightingale
    1084 N. Milwaukee, Chicago, Illinois 60642

    Curated by Amelia Ishmael

    .blacK~SSStaTic_darK~fuZZZ_dOOm~glitCH. is a screening program inspired by storms and digital sorcery or, more pointedly, it is an assemblage of lights and sounds to elicit a chaotic vortex of smudgy black charcoal that is streaked with freezing water, painted on celluloid, stained by sea creatures, hexed through new media, and entranced by guitar riffs. Artists included are Aldo Tambellini, Cultus Sabbati, Gast Bouschet and Nadine Hilbert, jonCates, mojo (for Aluk Todolo), Reto Mäder and Daniel Steffen (for Ural Umbo), Alexander Stewart, and Semiconductor.

    Programme:
    - White God (Gast Bouschet and Nadine Hilbert (in collaboration with Xavier Massaut), 2002-2010, 5:47)
    - ERRORRUNNINGWWWATERNOISES (RE:MIXXX for Amelia Ishmael) (jonCates, 2012, 6:44)
    - Descent into the Maelstrom (Cultus Sabbati, 2011, 8:12)
    - Black is (Aldo Tambellini, 1965, 3:38)
    - Unground: Phase 6 (Gast Bouschet and Nadine Hilbert, 2012, 5:37)
    - CH405_M4J1K meets GL!TTER GLØØM (jonCates, 2012, 2:16)
    - Black Rain (Semiconductor, 2009, 3:02)
    - Aluk Todolo live at Cave 12 in Ecuries de l’Ilôt 13, Geneva 12.05.2010 [I] (Michel Pennec, 2010), 8:42)
    - Black Trip (Aldo Tambellini, 1965, 4:07)
    - Errata (Alexander Stewart, 2005, 6:05)
    - Ural Umbo - Self Fulfilling Prophecy (Reto Mäder and Daniel Steffen, 2011, 5:14)

    This Chicago screening will also include an additional chapter, with video by Sandra Gibson and Luis Recoder and sound by Olivia Block.

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  • Balagan presents... An Evening with Sami van Ingen

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    Balagan presents... An Evening with Sami van Ingen
    Monday, April 1st 2013, 19:30h
    Brattle Theatre
    40 Brattle Street, Cambridge, MA 02138
    Filmmaker in attendance!

    We are thrilled to present, in person, the Finland-based experimental filmmaker, installation artist, curator, and educator Sami van Ingen!

    In his work, Sami distills meaning from fleeting moments of footage -- be it home movies, travelogue scenes, mainstream blockbusters, or archival discoveries -- by physically deconstructing, manipulating and rephotographing the film strip. A passionate proponent of analog film, he is also interested in the ways digital technology can add new qualities to experimental filmmaking. He has recently published a book on the subject, Moving Shadows: Experimental Film Practices in a Landscape of Change (2012). Together with filmmaker Mika Taanila, Sami co-curates the new Helsinki-based screening series, Pakopiste (Vanishing Point).

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  • GAZE #4: Bodies Rest and Motion

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    GAZE #4: Bodies Rest and Motion
    Friday, April 5 2013, 20h
    Artists' Television Access
    992 Valencia Street, San Francisco, CA 94110

    As San Francisco’s dank and verdant spring arrives, GAZE presents a kinetic program of short moving image works that lay bare both streams of consciousness and visceral embodiment. Absurdity, queerness, and melodrama collide; the camera is a mirror, the screen is a diary.

    Featuring film, video and animation by local and international women filmmakers:

    Jillian Peña
    Angel Rose
    Jamie Walters
    Emily Kuehn
    Maria Magnusson
    Kristin Reeves
    Christina Kolozsvary
    Allison Halter
    Dolissa Medina
    Daniela Zahlner

    and more…

    GAZE is a film series dedicated to screening independent film and video made by women. GAZE promotes women’s artistic expression and creates dialogue related to the influence of this powerful medium.

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  • FILMnight with David Rimmer

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    Fifty years of experimental filmmaking:
    FILMnight with David Rimmer
    Wednesday, March 27th, 2013, 20h
    WORM, Boomgaardsstraat 71, 3011 XA Rotterdam, The Netherlands

    Organized by Filmwerkplaats, a DIY film lab community at the artist-run venue WORM in Rotterdam, The Netherlands

    We are delighted to announce an evening with David Rimmer. He will talk about his work and show a broad selection of his films and videos.

    David Rimmer is recognised as one of the most important experimental filmmakers working today. Recipient of the Canadian Governor General’s Award in 2011, Rimmer has produced over 50 films ranging from purely experimental forms, documentary, hand-painted animation as well as a number of immersive dance and music videos. His work has been screened at many prestigious festivals around the world, and is held in the permanent collections of the Museum of Modern Art in New York, the Centre George Pompidou in Paris, the National Gallery of Canada and many more.

    Programme:
    - Variations on a Cellophane Wrapper (1970, 8min, 16mm)
    - Surfacing on the Thames (1970, 10min, 16mm)
    - As Seen on TV (1986, 14min 16mm)
    - Divine Mannequin (1989, 7min, video to film transfer)
    - Bricolage (1984, 11min, 16mm)
    - Canadian Pacific 1 (1974, 10min, 16mm)
    - Real Italian Pizza (1971, 10min, 16mm)
    - Seashore (1971, 10min, silent, 16mm)
    - Tiger (1994, 5min, 35mm)
    - The Dance (1970, 5min, 16mm)
    - Digital Psyche (2007, 12min, hand-painted film transferred to video)
    - Padayatra - a walking meditation (2005, 12min, hand-painted film transferred to video)
    - Eye for an Eye (2003, 12min, hand-painted film transferred to video)

    More information and tickets: http://www.worm.org/home/view/event/5995

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  • Back To Landscape

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    Back To Landscape
    As part of the 1st International Festival Of Short Movies About Painting Arts "Erarta MOTION PICTURES"
    Saturday, March 30 2013, 20h
    Erarta Museum
    Line 29th, 2 Vasilyevsky island, Saint-Petersburg 199106, Russia

    Curated by Xavier G.Puerto

    After the appearance of Giorgione’s “La Tempesta” in 1506, the importance of landscape grew. It occupied the centre of compositions and became a key topic of consideration for the history of painting in recent centuries, reaching its pinnacle with the German proto-Romantic movement “Sturm und Drang” and the British painters of the 19th Century.

    But this huge popularity prompted a use and abuse of the topic, and tastes changed with the arrival of the Novecento (20th.). The new art of the century, cinematography, made its final bet on fiction, setting landscape to a decorative function. When painting, its original and main field of action, underwent the rise of abstraction, it seemed the last nail in the coffin for what was now considered a kitsch topic. While some masters of cinema tried to place landscape at the centre of discussion their championing wasn’t enough for a seventh art which focused its attention on new techniques.

    Right at the turn of the second millennium, with a wide development of different techniques and methods in filmmaking, stunning new special effects technologies, and the possibility of creating worlds from nowhere, artists have paradoxically decided to return to an ancient means of expressing themselves - not as the topic of their works in an intellectual manner but in transforming, manipulating, and retouching nature with new tools, taking the landscape as a concept for demonstrating all their capacities, and providing a new interpretation of a historic issue.

    Take a seat, a program of more than an hour will bring us in a soft and rough trip. “Back to Landscape”, through different pieces, sees filmmakers employing unusual lenses, coordinated choreographies, barely real environments or new perspectives, considering whether landscape or cityscape a free field for experimentation and a testing place for new techniques and formal innovation.

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  • Landscape and technology: Films of Chris Welsby

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    Double Negative presents
    Landscape and technology: Films of Chris Welsby
    Saturday, March 30 2013, 21h
    Sunday, March 31 2013, 19h (repeat screening)
    Cinémathèque québécoise
    335, De Maisonneuve Blvd East
    Montréal, Québec, H2X 1K1

    Artist in attendance

    Vancouver-based media artist Chris Welsby emerged in 1970s as a major figure in the experimental cinema scene in the UK where he was associated with the London Filmmakers’ Co-op. Welsby developed a unique process of filmmaking in which the interaction between cinematic apparatus and various forces of nature became an important determinant of the shape of his films.

    This program surveys Welsby’s outstanding achievements in landscape film during this period, including much-acclaimed Seven Days and River Yar, which was co-made with William Raban, one of the foremost proponents of British expanded cinema. Welsby makes his first appearance in Montreal with this retrospective.

    For more info: www.cinematheque.qc.ca/en/programmation/projections/cycle/double-negative-chris-welsby

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