• Cinema Abattoir: Amour et Terrorisme

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    The Festival du nouveau cinéma presents, in its FNC Lab

    THURSDAY OCTOBER 15th 11PM at the Agora Hydro-Québec du Coeur des Sciences de l'UQÀM (175 President Kennedy, Montréal)

    CINEMA ABATTOIR: Amour et Terrorisme

    Karl Lemieux & Hyena Hive, Influx LASN: Artisanat, Dark Xenakiss

    Performances in 16mm, super-8mm, video, as well as experimental electronic music.

    For more information about the FNC Lab:


  • FNC Lab: Sines and Wonders

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    at the Agora Hydro-Québec du Coeur des Sciences de l'UQÀM- 175 President Kennedy (Montreal)

    audio and visual performances by: Nicole Lizée, Lynne Trépannier, Patti Schmidt, Double Negative, Kara Blake

    If the Doctor Who theme music sent you running behind the sofa as a child, you are already familiar with the work of Delia Derbyshire. An innovator in sound creation and manipulation during the 1960s, Derbyshire has emerged as a singular pioneer in the field of electronic music. In conjunction with the Montréal première of The Delian Mode, this event presents a night of sound and image in the spirit of Derbyshire’s dedication to forging new frontiers through experimentation.

    Echoing Derbyshire’s atypical approach to audio, Montreal-based composer Nicole Lizée, creates orchestral arrangements using unorthodox instrumentation such as karaoke tapes, video game consoles and turntables. For this special event, Lizée will splice together analog and digital techniques in a unique live ensemble performance.

    Lynne Trépanier, frontwoman of Montréal’s Lesbians on Ecstasy, explores sonic territory as a sound recordist and recently as sound designer for The Delian Mode. Lynne T, on DJ duty with Patti Schmidt (the familiar voice behind CBC’s Brave New Waves) will trace a trajectory of electronic music from the early 1960’s to today.

    Celluloid aberrations and visual amusements will be concocted by The Delian Mode director Kara Blake in collaboration with Montréal’s Double Negative Collective.”

    Sines and Wonders is presented by the Festival du nouveau cinema (FNC Lab) in partnership with Vidéographe


  • Pierre Hébert: 2 multimedia performances

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    Pierre Hébert
    2 multimedia performances
    “Only the hand that erases can write the truth” +  “Animation Exercises”

    Tuesday September 29, 2009 - 21:30h.
    INIT, via della Stazione Tuscolana 133, Roma
    10 Euro

    “Only the Hand” music by Stefan Smulovitz
    For this duet, I choose to work from a sentence that had been brought to my attention by my French friend Hervé Joubert-Laurencin, an eminent specialist of Pasolini and of animation cinema : Only the hand that erases can write the true thing. Hervé knew very well that this sentence would interest me for many reasons : the fact that it expresses itself in the form of a paradox and also the fact that that it centers on the gesture of erasing which had become a central element of my live animation performances. He has heard about “the sentence” during a conference given by professor Carlo Ossola. Skipping the details, I should say that this sentence was apocryphally attributed to the German mystic Master Eckart. At any rate, this idea of associating truth and erasing has a very ancient history. Traces of it are found a bit everywhere, in the Gospels, in Dante amongst others. - Pierre Hébert

    “Animation Exercises” music by Bob Ostertag

    This project started as an experiment about non-linear animation which developed away from the public eye in the intimacy of my studio. They were studio performances that I have been doing once a day for an entire week. The objective was to explore how a very short segment of evolving animation (16 frames) could relate to itself through repetition and through simple formal video processing done digitally (reversing the direction of the flow, changing speed, shuffling the order of the images, three layers compositing, etc.). The animation is done manually on a white board with a dry erase felt pen, each of the drawings is recorded in a very short digital buffer so that after the 16th drawing, every new drawing override the oldest of the existing images in the loop. - Pierre Hébert
    [email protected]
    333 7358983 – 331 2156776


  • video_dumbo 2009 programme

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    video_dumbo 2009
    Program schedule

    Opening reception:
    Friday, September 25, 2009, 7 PM 81 Front Street, Dumbo

    In addition to the weekend long screenings of new contemporary video art, this year's edition of video_dumbo will feature:


    Video installations

    Friday Sept. 25th 7 pm, 81 Front Street gallery

    by Mathieu Borysevicz, Abbey Williams, J.G. Zimmerman, Susanne Ludwig, Kevin Medal, Andreas Templin and Les Leveque.

    Guest curated program

    Friday Sept. 25th 7 pm, 81 Front Street gallery

    The special city program focus will be a selection of video works from Split, Croatia, guest curated by Dan Oki.

    Two book presentations and DVD release

    Saturday Sept. 26th 7 pm, 37 Main Street
    in connection with film and video work by Rosa Barba (GER) and Steve Reinke (CAN)
    plus a special DVD release of Jalopy Hour by Jeffrey Plansker and Owen o'Toole (LA)
    *Reception at powerHouse Arena (powerHouse Bookstore)

    Two live AV performances:

    Saturday, 26th 10 pm, 81 Front Street gallery

    Animal Charm (Richard Bott and Jim Fetterly, LA) and superDraw with Ezekiel Honig (NY)

    A reception marking the 25th Anniversary New York's Standby Program

    Sunday 27th 2 pm, 81 Front Street gallery

    a non-for-profit media artists' resource institution
    *Reception will follow after screening program


  • Independent Film Show 2009: (DE)CODING

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    Independent Film Show 2009
    3 - 7 November 2009, Napoli (IT)
    Curated by Stoffel Debuysere and Maria Palacios Cruz.

    “It’s about the unities of similarities. It’s about sameness in confusion. It’s about logic in chance. It’s about structure and logic”. (Jonas Mekas on Zorns Lemma)

    (DE)CODING plays with cinema’s ability and potential to generate associations, may they be intentional or not. This programme brings together a series of films that explore the capacity of images and words to create meaning, even when attempts are made to release them from the constraint of narrative, or in other words from the constraint of “making sense”. Images and words can’t help making meaning “before our eyes”, for we will always try to look for their sense and purpose. Via Diagonal Thoughts.


  • Independent Film Show 2009: Morgan Fisher

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    Morgan Fisher Films
    Independent Film Show 2009

    3 - 7 November 2009, Napoli (Italy)
    This programme will be introduced by Morgan Fisher.
    Curated by Stoffel Debuysere and Maria Palacios Cruz.

    The 16mm films of Morgan Fisher (US, 1942) – straightforward, elegant, playful – are particularly idiosyncratic; they are situated both outside the film industry and the central developments of avant-garde cinema. Too minimal and conceptual for Hollywood’s taste; too concerned with the specifics of industry procedures for the underground. Via Diagonal Thoughts.


  • Phil Solomon at the Harvard Film Archive

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    "Over the course of a long and wonderfully prolific career as a filmmaker and educator, Phil Solomon (b. 1954) has established himself as one of the great visionary artists active in American experimental cinema today. Working principally in 16mm and Super-8, Solomon is especially celebrated for his ability to conjure magical, transformative images by carefully manipulating the photochemical surface of film – using ingenious chemical and optical printing techniques to draw out figures and meaning hidden within the shadowy depths of each frame. Solomon’s predilection for nocturnal moods and movements lends his work a ruminative and melancholy quality, a yearning for the lost world evoked by the exquisitely beautiful and emotionally charged imagery of his films. Working within the tradition of lyrical image poetry pioneered by his good friend and former University of Colorado colleague Stan Brakhage, Solomon has defined a mode of oneiric yet intensely rigorous montage, a form of purely cinematic audio-visual language. At the same time, the structural and aesthetic strategies of modernist poetry and narrative painting are central traditions creatively engaged throughout Solomon’s films. In recent years Solomon has turned to video and to an unusual inspiration in particular – the controversial video game Grand Theft Auto: San Andreas – to make a group of bewitching and mournful digital video pieces that explore and stretch the game’s somber urban dreamscape."

    Harvard Film Archive
    Carpenter Center for the Visual Arts
    24 Quincy Street
    Harvard University
    Cambridge, MA 02138

    Monday, Oct. 5 – 7:00 pm

    *Phil Solomon will be present for the screening

    - Nocturne (US 1980, 16mm, b/w silent, 10 min.)
    - The Secret Garden (US 1988, 16mm, color, silent, 17 min.)
    - Remains to be Seen (US 1989/1994, Super-8 and 16mm, color, 17 min.)
    - Twilight Psalm II: “Walking Distance” (US 1999, 16mm, color, 23 min)
    - Rehearsals for Retirement (US 2007, digital video, color, 10 min.)

    *Solomon will also be attending screenings in the afternoon of Tuesday, Oct. 6 at The Museum School, as well as the MassArt Film Society Wednesday, Oct. 7 at 8:00 pm.

    Those interested in exploring Solomon's work further are encouraged to seek out Scott MacDonald's A Critical Cinema 5


  • Light Reading Series 9: After Amerika

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    Light Reading Series 9: After Amerika
    Wednesday 30 September 2009, at 7pm
    London Light Reading
    3rd Floor, 316-318 Bethnal Green Road, London, E2 0AG

    In a Light Reading event in October 2007 the Berlin-based curator Marcel Schwierin conversed publicly with Tate Modern curator Stuart Comer on the image of the United States of America after the Iraq war. One outcome of this fruitful discussion was the Werkleitz Festival AMERIKA which happened in 2008 in Halle in East Germany.


  • CLOSE-UP Film Program » Histories of the Avant-Garde - Part 1

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    CLOSE-UP Film Program » Histories of the Avant-Garde - Part 1
    October 27, 20:00–21:30
    The Workingmen’s Club, 44-46 Pollard Row, London E2 6NB

    The Histories of the Avant-Garde is a new series presented by Close-Up and curated by the Dog Movement.

    The Hart Of London (1970) by Jack Chambers was a huge inspiration to two of the most influential artists in Experimental film, Stan Brakhage and Nathaniel Dorksy. This screening offers a very rare opportunity to see what Brakhage called ‘One of the true great films of cinema’ alongside his own important ode to light The Riddle Of Lumen (1972) and Dorsky’s devotional song The Visitation (2002).

    - The Visitation (Nathaniel Dorsky, 2002, USA, 18 mins, Colour, 16mm)
    ‘The Visitation is a gradual unfolding, an arrival so to speak. I felt the necessity to describe an occurrence, not one specifically of time and place, but one of revelation in one’s own psyche. The place of articulation is not so much in the realm of images as information, but in the response of the heart to the poignancy of the cuts.’ — Nathaniel Dorsky

    - The Riddle Of Lumen (Stan Brakhage, 1972, USA, 14 mins, Colour, 16mm)
    ‘The classical riddle was meant to be heard, of course. Its answers are contained within its questions, and on the smallest piece of itself this possibility depends upon sound ‘utterly’, like they say… the pun its pivot. Therefore, my Riddle of Lumen depends on qualities of light. All films do of course. But with the Riddle of Lumen, ‘the hero’ of the film is light itself. It is a film I’d long wanted to make - inspired by the sense, and specific formal possibilities, of the classical English riddle…only one appropriate to film and, thus, as distinct from language as I could make it.’ — Stan Brakhage

    - The Hart Of London (Jack Chambers, 1970, Canada, 70 mins, B&W, 16mm)
    ‘The Hart of London is… constructed out of a variety of material; newsreel, found footage and film shot by Chambers himself. Visually and thematically it shares much common ground with the work of Stan Brakhage, whose influence, when watching the film, is hard to ignore; Chambers postulates the primacy of light using a number of techniques, and uses his material of a Spanish slaughter house and the birth of a child (amongst other things) to riff on the themes of life and death, all to stunning effect. The maintenance of the film’s tension, and its complexity of scope, however, pushes The Hart of London way beyond any reductive comparisons. Brakhage called it ‘one of the few great films of cinema’.’ — William J. Fowler

    Venue: The Workingmen’s Club, 44-46 Pollard Row, London E2 6NB | Ticket: £5/£3 to Close-Up members

    This screening is supported by LUX


  • Film As A Subversive Art at Zoo Art Fair

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    Film As A Subversive Art (Amos Vogel, 1974)Film As A Subversive Art is a new LUX project inspired by Amos Vogel’s 1974 book of the same name. It will be one of four curated exhibitions at this year's new-look Zoo Art Fair (London, 16-19 October), alongside projects by Form Content, Studio Voltaire and Rob Tufnell.

    Vogel's original book was based on his encyclopaedic knowledge of cinema, gathered during his formative years as the programmer of the Cinema 16 film society in New York. It offers a catalogue of ‘subversive’ film which stretches from the artistic avant-garde to mondo movies. Recently reprinted, the book remains tendentious, exhilarating and – above all – optimistic: as Vogel concluded, “the subject of this book will always remain on the agenda… these pages are but a rough draft; for the subject of this book is human freedom, and its guardians, at all times and under all circumstances, are the subversives.” Taking its cue from Vogel, LUX's Film As A Subversive Art project will examine the contemporary possibilities and limits of filmic subversion.