Founded by filmmaker Bruce Baillie in 1961, San Francisco Cinematheque is the Bay Area’s premier venue for avant-garde/experimental, underground and personally expressive film, video and media performance, inspiring aesthetic dialog among artists, stimulating critical discourse, and encouraging appreciation of artist-made cinema across the broader cultural landscape. CROSSROADS , now in its TENTH YEAR , is Cinematheque’s annual film festival, curated by Artistic Director Steve Polta . CROSSROADS 10 is presented June 7–9 at SFMOMA.
CROSSROADS 10 will present 10 screening programs including 62 works of film, video and media performance by 56 artists representing 17 countries and territories . All programs to be presented in SFMOMA’s Phyllis Wattis Theater . Major themes of CROSSROADS 10 include considerations of contemporary surveillance culture, visual expressions of philosophical inquiry and spirituality, nostalgia for sensuality and intimacy in an increasingly mediated world and depictions of the American landscape (physical and social) in the context of global climate change and political contraction. Additionally, in celebration of live encounter, CROSSROADS 10 features 6 works of live film/video, music and dance performance inter-curated within our programs, and memorial screenings of works by artist/filmmakers Jonathan Schwartz , Carolee Schneemann and Robert Todd . We are proud to announce that, of these 56 featured artists, 25 are receiving their CROSSROADS debut this year.
CROSSROADS 10 program 1: unseeable light/a chorus of voids
Friday, June 7 at 7 pm
CROSSROADS 10 opens with an entirely live program featuring a sensuously intense trio of immersive film/video performances that blur the lines between media. Kris Force’s Diamond Body presents a macroscopic video score for an electroacoustically activated string quintet. Michael A. Morris’s A Chorus of Black Voids Sings In Rays of Unseeable Light fuses 16mm film projection, analog video synthesis, and digital video re-projection. Brent Coughenour’s The Sick Sense 2 delivers a hallucinatory, flickering otoacoustic sine wave performance that pushes the perceptual system to its limits.
SCREENING: The Sick Sense 2 (2019) by Brent Coughenour; A Chorus of Black Voids Sings In Rays of Unseeable Light (2017) by Michael A. Morris ; and Diamond Body (2018) by Kris Force
Anticipated artists in person: Brent Coughenour, Kris Force and Michael A. Morris
CROSSROADS 10 program 2: strange weather
Friday, June 7 at 9:15 pm
Lydia Moyer’s masterful The Forcing caps a program of bracing, insistent views of turbulent times: glimpses of the shattered American landscape in the context of global climate change, political contraction, resistance, conflict, survival, and the strange immediacy of life experienced through screens. Suns beat our bones down while buzzard drones wing around. Confrontations with the infinite image bank stream through an abiding universe.
SCREENING: No Land ( 2018) by Emily Chao; This Climate (2017) by Jem Cohen ; A Post Post-Racial Apolitical Ode (Colored Collage #3) ( 2018) by Jon-Sesrie Go ff ; and The Forcing (2018) by Lydia Moyer
Anticipated artists in person: Emily Chao, Jon-Sesrie Goff and Lydia Moyer
CROSSROADS 10 program 3: other voices other rooms
Saturday, June 8 at 1 pm
Opening with a silent meditation on the cosmos, a study in celestial motion, these films critique the touristic gaze and blur the boundaries between the virtual and the real, between ethnography and fiction and rewrite traumatic histories while presenting visions both utopian and dystopic. Dynastic imaginary spaces erupt into our physical plane while virtual geographies turn back on themselves endlessly. A chorus of feminine voices, the deep murmur of subterranean waters, written and dreamed words, laughter, the ecstasy of rediscovered memory, the enlightenment.
SCREENING: Polly One ( 2018) by Kevin Jerome Everson ; A Room with a Coconut View (2018) by Tulapop Saenjaroen ; El Laberinto / The Labyrinth ( 2018) by Laura Huertas Millán ; and So many voices in the silence now/Tantas vozes no silêncio do agora (2018) by Cristiana Miranda
Anticipated artist in person: Cristiana Miranda
CROSSROADS 10 program 4: yes yes yes no no no
Saturday, June 8 at 3:15 pm
This program is dedicated to the memory of Carolee Schneemann (1939–2019).
Opening with Richard Ashrowen’s gestural Lumen , this program draws inspiration from the legacy of the departed Carolee Schneemann. These introspective films examine familial, filial, and romantic love, and love that is fading, blooming, and exorcised. Public and private performance, from the bedroom to the street. Moments of hesitation and connection. We’ve learned the languages of our masters. What geometry of desire will help overthrow the state? Meow.
SCREENING: Lumen ( 2018) by Richard Ashrowan ; To every bird, its own nest is beautiful/A ogni uccello il suo nido è bello (2018) by Lorenzo Gattorna ; 3 Dreams of Horses (2018) by Mike Hoolboom ; Lydon (2018) by Lucy Kerr ; Mixed Signals (2018) by Courtney Stephens ; cold soup, pubic hair, raw meat (2018) by T2R /Laura Gillmore; The Bed and the Street (2018) by Heather Frise; Viet-Flakes (1965) by Carolee Schneemann; and Plumb Line (1971) by Carolee Schneemann
Anticipated artists in person: Richard Ashrowan, Lorenzo Gattorna, Lucy Kerr, Courtney Stephens, and T2R/Laura Gillmore
CROSSROADS 10 program 5: feeling gravity’s pull
Saturday, June 8 at 5:15 pm
There are so many stories and none of them are true. Lucy Kerr’s video/performance hybrid while you were away grounds a program of ascending bodies and bodies in collapse, mirrored, uplifted and adrift in the universe. Images of absence expose distance between actual and virtual selves. Tenderness. Suspension. Turn the pages of a book. Are these the rules of the game?
SCREENING: Ruins (2018) by Shona Masarin ; Oven Scene ( 2018), Lyndsay Bloom ; A Soft Place to Fall (2018) by Nan Wang ; The Pull (2017) by Elena Artemenko ; A Study of Fly (2018 ) by Cherlyn Hsing-Hsin Liu; while you were away (2019) b y Lucy Kerr ; Dorothy (2018) by Diana Sánchez; Giverny I (Négresse Impériale) (201 7) by Ja'Tovia Gary ; Between Dog and Wolf (2018) by Julia Dogra-Brazell ; and you are not alone (2017) by Esther Urlus
Anticipated artists in person: Lyndsay Bloom, Lucy Kerr, Cherlyn Hsing-Hsin Liu, Shona Masarin and Diana Sánchez
CROSSROADS 10 program 6: our minds were light-years distant
Saturday, June 8 at 8 pm
Jeanne Liotta’s tour de force projection performance Path of Totality spins the most ecstatic of the cinematic from flickering loops and household objects to create a luminous show and tell that transmutates base matter to pure energy. Path of Totality anchors a program of discovered sights, found sounds, and meditations on the fragility of life and the inner lives of the inanimate. Reports from the world reinforce the urgency of our actions: forced, folded, and coaxed to motion.
SCREENING: Night Eyes (2019) by Arte Matu ; The Forcing (epilogue) (2018) by Lydia Moyer ; Fluorescent Girl (2018) by Janie Geiser ; Valeria Street (2018) by Janie Geiser ; Preemptive Listening (part 1: The Fork in the Road) (2018) by Aura Satz ; How to Fold a Napkin ( 2018) by T2R/Laura Gillmore ; and Path of Totality (2017) by Jeanne Liotta Anticipated artists in person: Jeanne Liotta, Arte Matu, Lydia Moyer and T2R/Laura Gillmore
CROSSROADS 10 program 7: the end and the beginning were always there
Sunday, June 9 at 12:30 pm
This program is dedicated to the memory of filmmakers Jonathan Schwartz (1973–2018) and Robert Todd (1963–2018).
Memorials to departed friends. Life is in the light; we pass through it, unevenly, but beautifully. Lines of force, spanning generations; the garden seems unchanged. Speculative science and speculative magic. Where are you, systems of planets? Thank you for your presence in this life.
SCREENING: A Leaf is the Sea is a Theatre (2018) by Jonathan Schwa rtz; LightFall (2016) by Robert Todd ; Light Licks: Pardes: Counting Flowers on the Wall (2018) by Saul Levine ; Lines of Force (2018) by Dan Browne ; Two (2018) by Vasilios Papaioannu ; Gathering Moss (2018) by Erin Espelie ; and Pwdre Ser the rot of stars ( 2018) by Charlotte Pryce
Anticipated artists in person: Vasilios Papaioannu and Charlotte Pryce
CROSSROADS 10 program 8: a friend becomes like a ghost
Sunday, June 9 at 2:45 pm
Reflective films on origins and endings, on lifespan, on intergenerational dialog and communication with past and future selves. Patient enactments of transmutation. Tender animations of the inanimate. A blurred face, a distant memory, a circling back to a beginning. Inner states superimposed on the world and a universe filled with every day with stars. How long has it been since we have not seen each other?
SCREENING: Song X (2017) by Pathompon Mont Tesperateep ; When It Is Still ( 2018) by Anna Kipervaser ; everyday star (2018) by Rajee Samarasinghe ; Transcript (2018) by Erica Sheu ; After DeCarava (2018) by Paige Taul; and How Old Are You? How Old Were You? (2017) by Cherlyn Hsing-Hsin Liu
Anticipated artists in person: Anna Kipervasser, Cherlyn Hsing-Hsin Liu and Rajee Samarasinghe
CROSSROADS 10 program 9: century plant in bloom
Sunday, June 9 at 4:45 pm
Far-reaching and speculative video essays on digital archives, the 2011 Egyptian revolution and the visuality of contemporary surveillance cap a program on landscape, space and time in our technological and political moment. Considering magnetic desert ufology, exploring the lovely and lonely landscapes of local BART parking lots, and contemplating the aesthetics of Croatian military camouflage, these films ponder the place of humans in our mediated twenty-first century. Night vision cameras, binoculars, heat detectors and drones have their own ways of seeing the world. The landscape appears flat. The drone knows. There are 360 points in a circle.
SCREENING: POINTS (2019) by Syd Staiti; Life After Love (2018) by Zachary Epcar ; The Air of the Earth in Your Lungs (2018) by Ross Meckfessel ; Helios (2018) by Eric Stewart ; Those That Tremble as if They Were Mad (2018) by Salma Shamel; and Waypoint, Follow, Orbit, Focus, Track, Pan (2017) by eteam Anticipated artists in person: Zachary Epcar, Salma Shamel, Syd Staiti and Eric Stewart
CROSSROADS 10 program 10: i’ve returned to see how strange it feels
Sunday, June 9 at 7 pm
Love floats through Hollywood cinema like a flaming dirigible. — Scott Stark
CROSSROADS 10 culminates with Scott Stark’s Love and the Epiphanists —a sprawling quasi narrative sci-fi performance hybrid based on re-printed and re-purposed Hollywood film trailers. Throughout the program, explosions, eros and (of course) apocalypse abound as history unreels and and we fade to a marvellous view. Dig and search for the meaning of such unexpected life.
SCREENING: Atomic Garden (2018) by Ana Vaz; Love Seat (2017) by Lyndsay Bloom ; The Sequence of Years (2018) by Ben Balcom ; Fountains of Paris (2018) by Stephen Broomer ; Saturno (2019) by Colectivo Los ingrávidos; and Love and the Epiphanists (Part 1) (2018) by Scott Stark
Anticipated artists in person: Ben Balcom and Scott Stark