Events

  • The Hole Picture

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    The Hole Picture: An Intergenerational Dialogue on Erotics and Porn in Lesbian-Feminist Queer CinemaThe Hole Picture: An Intergenerational Dialogue on Erotics and Porn in Lesbian-Feminist Queer Cinema
    A screening and talk featuring Barbara Hammer, A.K. Burns and A.L. Steiner
    Saturday March 26th, screening 15h, panel 17:30h
    Issue Project Room, At the Old American Can Factory
    232 3rd Street, 3rd Floor, Brooklyn, NY

    The feminist reception and production of pornography has had a complicated trajectory, a discourse of representation often bound by the logic of the male gaze. The Hole Picture brings together a selection of socio-sexual films & videos by artists Barbara Hammer, A.K. Burns and A.L. Steiner that celebrate desire and redefine notions of queer sexuality and the lesbian body. Presenting a multigenerational overview of representation, this screening and panel discussion will focus on contemporary artistic practices which incorporate avant-garde visions of sexuality and erotics, dissecting the trope of pornography itself. Screening will be followed by a discussion with the filmmakers, moderated by art historian Kelly Dennis, author of Art/Porn: A History of Seeing and Touching.

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  • Jordan Belson: Films Sacred and Profane

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    Epilogue (Jordan Belson, 2005)
    Still from Epilogue (2005), copyright Jordan Belson

    Jordan Belson: Films Sacred and Profane
    Saturday, March 26th, 19:30h
    LACMA - Bing Theatre
    5905 Wilshire Blvd., Los Angeles CA 90036
    Presented in association with Center for Visual Music

    Born in Chicago and raised in the Bay Area, Jordan Belson trained as a painter before turning his attention to film-making after discovering the abstract films of Oskar Fischinger, Norman McLaren and Hans Richter. Since 1947, Belson has explored consciousness, transcendence, and light in a visionary body of work that has been called "cosmic cinema": brimming with vibrant color, mandalas, liquid forms and mesmerizing rhythms.

    In 1957-59, Belson collaborated with sound artist Henry Jacobs on the Vortex Concerts, early multimedia events that combined new electronic music with Belson’s visual effects projected on the 65-foot dome of the California Academy of Science’s Morrison Planetarium. The program at LACMA features rarely screened films including Caravan (1952), Séance (1959), Cycles (1974, made with Stephen Beck), a new preservation print of Chakra (1972), and Belson's latest film, Epilogue (2005), funded by the NASA Art Program and commissioned by the Hirshhorn Museum (produced on video). The program also includes Allures, Light, Music of the Spheres and Samadhi. Program introduced by Cindy Keefer, curator and archivist, CVM.

    For more about Jordan Belson (biographies by Moritz and Keefer, bibliography, filmography, Vortex resources, new articles, etc.), or the Belson DVD, please visit the official Belson Research site at: www.centerforvisualmusic.org/Belson

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  • Images of Nature, or The Nature of the Image: Canadian Artists at Work

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    Light Magic (Izabella Pruska-Oldenhof, 2001)Images of Nature, or The Nature of the Image: Canadian Artists at Work
    Wednesday March 23, 19h
    TIFF Bell Lightbox
    Reitman Square, 350 King Street West
    Toronto, Ontario, M5V 3X5

    Spanning four decades of Canadian experimental cinema, this programme is comprised of work visually and viscerally engaged with the natural world. Made by artists from or living in Canada, these films employ an array of aesthetic strategies and image technologies to depict and comment on “nature” while simultaneously exploring the nature of the cinematic image. Some investigate the natural world with increasing intensity and proximity, others explore the animal and the animated with ironic distance. With passion, intensity and even some humour, these Canadian film artists offer us provocative visions of our planet while exhilarating us with their cinematic ingenuity.

    Curated by Irina Leimbacher. Irina Leimbacher is a curator and scholar. Formerly Artistic Director of the San Francisco Cinematheque, she currently teaches in the Film Department at Keene State College, New Hampshire.

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  • Takahiko Iimura: Between The Frames

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    Takahiko Iimura: Between The FramesTakahiko Iimura: Between The Frames
    March 19 – April 11, 2011
    Microscope Gallery
    4 Charles Place, Brooklyn NY 11221
    Opening Reception Saturday March 19, 18-21h
    with live 16mm projection performance of the ever-changing “Circle and a Square”

    Dates: 

    Saturday, March 19, 2011 (All day) to Monday, April 11, 2011 (All day)

    Venue: 

    MICROSCOPE GALLERY (previous) - New York, United States

  • Formal Environmentalism: Recent Work by Steven Ball

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    Aboriginal Myths of South London (Steven Ball, 2010)Formal Environmentalism: Recent Work by Steven Ball
    Wednesday March 23rd, 20:35h
    Australian Centre for the Moving Image
    Federation Square, Melbourne, Australia

    Formal Environmentalism looks at contemporary artist Steven Ball and the provocative work he has most recently produced.

    Ball has been creating fascinating works in many different formats since the 1980s. A curator, writer and moving image artist, his works explore the geography and topography of physical landscapes and technological environments.

    Working largely in London and Melbourne, Ball has played a significant role in Melbourne's film culture, with particular influence in the Super 8 Film Group. Formal Environmentalism focuses on his work since his return to England in 2000.

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  • Xcèntric: Robert Beavers

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    The Suppliant (Robert Beavers, 2010)Xcèntric: Robert Beavers
    Thursday March 17, 20h, 4€
    CCCB, Montalegre, 5, 08001 Barcelona, Spain

    Robert Beavers started making films at a very early age, offering reflections and lyrical notes on the “architecture” or composition of film, dialoguing with the traditions of European art. In 1967, together with his partner Gregory Markopoulos, he left the US and began a cycle of films made in Venice, London and different parts of Greece. Thereafter, the two of them restricted screenings of their films. From the Notebook of…, which Beavers made when he was 21, is a seminal film in his body of work: filmed in Florence, it is based on the notebooks of Leonardo and Valéry’s essay about the artist, and establishes parallels between the treatment of space in the Renaissance and in moving images. Pitcher of Colored Light (2007) is his first film made in the United States since 1967: a meditation on memories and the changing seasons in a portrait of his aged mother in her garden, amid shadows, slanting shafts of light, movement and stillness. It was voted second best avant-garde film of the 2000s by Film Comment magazine. The session also presents the last work of the filmmaker, The Suppliant (2010). [Screening in 16 mm]

    Programme:
    - The Suppliant, 2010, 5 min.
    - Pitcher of Colored Light, 2007, 23 min.
    - From the Notebook of..., Italy, 1971/1998, 48 min.

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  • The Lighthouse Series: Stan Brakhage's Vancouver Island Quartet

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    The God of Day Had Gone Down Upon Him (Stan Brakhage, 2000)The Lighthouse Series: Stan Brakhage's Vancouver Island Quartet
    Friday, Macrh 18th, 20h
    Cinecycle
    129 Spadina Ave., Toronto, Ontario, Canada

    The Loop Collective is proud to announce the start of a long-awaited new cycle of The Lighthouse Series for 2011!

    Join us on March 18th at Cinecycle (129 Spadina Ave., Toronto), as we present Stan Brakhage's immense late work, The Vancouver Island Quartet, for one of the first-ever public screenings in its entirety with a special introduction by filmmaker, author and theorist R. Bruce Elder.

    This event is the first of four Lighthouse programmes scheduled for 2011, which will include several additional Canadian premieres and artists' talks this coming Summer, Fall and Winter.

    Now in its fifth year, The Lighthouse Series has consistently devoted itself to promoting experimental cinema in Toronto, including significant presentations of legendary practitioners (Jonas Mekas, Marie Menken, Harry Smith, Larry Jordan, Jack Chambers, Pat O'Neill, Ed Emschwiller, Hollis Frampton, Joyce Wieland, Carolee Schneemann, Barbara Rubin) and premieres of new and recent works by contemporary makers, including guest presentations by Carl Brown, Michael Snow, Richard Kerr, Double Negative Collective, Pim Zwier, R. Bruce Elder, Alex Geddie and members of Loop.

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  • Takahiko Iimura: Between The Frames

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    Takahiko Iimura: Between The FramesTakahiko Iimura: Between The Frames
    March 19 – April 11, 2011
    Microscope Gallery
    4 Charles Place, Brooklyn NY 11221
    Opening Reception Saturday March 19, 18-21h
    with live 16mm projection performance of the ever-changing “Circle and a Square”

    Microscope Gallery is honored to present the first Brooklyn solo exhibition of the film and video pioneer Takahiko Iimura. Between The Frames is a comprehensive exhibition featuring works made from 1975 to the present, many of which are constantly evolving. The new suspended installation “400 frames” uses ink drawings from 1975. A new print series “MA: The Stones Have Moved” are made from digital drawings related to his 2004 animated video of a Zen garden in Kyoto of the same title. Also on display: Iimura’s famous 1993 “funny faces” silkscreens and video game installation based on Derridda’s “Differance” dealing with physicality of language “AIUEONN Six Features“, never-before-seen sculptures made from 16mm film loop and more.

    Iimura has been working with the moving image on film since the 60s and video since the early 70s. After moving to New York in the late 60s became involved with the avant garde scene along side Yoko Ono and Nam Jun Paik and is recognized as one of the most important Japanese artists today. His work is shown widely with numerous solo shows including MoMA, the Whitney Museum, the National Gallery Jeu de Paume, Paris, Reina Sofia National Museum, Madrid, and the Tokyo Metropolitan Museum of Photography, Tokyo. Iimura currently lives and works in Tokyo and NYC.

    “His [Iimura’s] Japanese origins contributed decisively to his uncompromising explorations of cinema’s minimalist and conceptual possibilities. He has explored this direction of cinema in greater depth than anyone else. To review all of Iimura’s work…is an important occasion for all who are concerned with the development and pleasure of cinema as an art.” — Jonas Mekas

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