• Expanded Cinema: History, Society, Technology

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    Expanded Cinema: History, Society, Technology (Symposium)
    London Central Saint Martins
    Wednesday 22 April 2009

    Building on the conference "Expanded Cinema: Activating the Space of Reception" at Tate Modern (17-19 April 2009) this seminar will explore the social, historical and technological connections underpinning expanded cinema. The symposium will be followed by a programme of Australian film video and multi-projection curated by Sue.k.

    Speakers: William Raban (London College of Communication), Lawrence Daressa (California Newsreel), Lauren A. Wright (The London Consortium), David Erol Fresko Jnr (Stanford University), Chris Sams (London College of Communication), Rebecca Ross (Central St Martins & Harvard), Adam Kossoff (Wolverhampton).

    Please note that the Expanded Cinema Archive Video Library will be available to the public in the Tate Modern Starr Auditorium Foyer from 17-22 April 2009.

    Seminar Programme:

    10.30 am
    Session one will address the technological changes of avant-garde as well as mainstream forms of cinematic presentation and production and their effects on historical and contemporary interpretations of Expanded Cinema. 20-30 min illustrated papers will be followed by Q+A with the audience.

    David Erol Fresko Jnr (Stanford University)
    ‘Multiple-Image Composition in the Age Before Griffith’

    Chris Sams (London College of Communication)
    ‘Expanded Archive: Kubrick, Manovich, Kittler’

    Rebecca Ross (Central St Martins & Harvard)
    ‘All Above: Henri Giard's Ballon Captif at the 1867 Exposition d'Universelle’

    Adam Kossoff (Wolverhampton)
    ‘The Aesthetics of Technics’

    1 pm - Lunch Break

    2 pm
    Session two will look at the shifting social context of expanded cinema; a live form that seeks to situate and activate the spectator in many ways. 20-30 min illustrated papers will be followed by Q+A with the audience.

    Lawrence Daressa (California Newsreel)
    ‘Expanded Cinema as ‘Social Change Media’: California Newsreel since 1968’

    Lauren A Wright (The London Consortium)
    ‘Present: Context and Spectatorship in Expanded Cinema’

    William Raban (London College of Communication)
    ‘Structural Film: Expanded Cinema and Reflexivity’

    4.30 pm - Drinks Reception

    6.30 pm - FRACTURED LIGHT
    This programme of recent experimental film and video from Australia includes single and multi-screen work by Tobias Dundas, sue.k., Madeline Quirk, David Brian Short and Richard Tuohy. Curated by sue.k. Presented in association with cogcollective.


    Innovations Centre Conference Room
    Central St Martins College of Art and Design, Southampton Row, London,
    WC1B 4AP
    Nearest Tube: Holborn

    This event is free but places are limited.
    To book, email Duncan White


  • BFI Southbank: Garden pieces

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    Gimplse of the garden (Marie Menken, 1957)Garden Pieces
    London BFI Southbank
    14-28 April 2009

    From flowers to trees, backyards to gardeners’ gardens, this series of three programmes of archive and artists’ films presents a rare opportunity to see, experience and reflect on the garden. With works from Kenneth Anger, Ute Aurand & Baerbel Freund, Bruce Baillie, Robert Beavers, Stan Brakhage, Rose Lowder, Marie Menken, Percy Smith, John Smith & Ian Bourn, and Margaret Tait amongst others. Curated and introduced by Peter Todd.


  • Experimental Filmclub: City Symphonies

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    A propos de Nice (Jean Vigo, 1930)City Symphonies
    Sunday 29th March / Ha'penny Bridge Inn (upstairs) / 4pm / Doors: 5 Euro

    Jean Vigo's "À Propos De Nice" (1930)

    "In this film, by showing certain basic aspects of a city, a way of life is put on trial... the last gasps of a society so lost in its escapism that it sickens you and makes you sympathetic to a revolutionary solution." Jean Vigo described the film in an address to the Groupement des Spectateurs d'Avant-Garde. ‘À Propos de Nice’ is a 1930 silent short film directed by Jean Vigo and photographed by Boris Kaufman. The film depicts life in Nice, France by documenting the people in the city, their daily routines, a carnival and social inequalities. A propos de Nice constructs around the central motif of the carnival a savage, frenetic vision of a superficial society in a state of putrefaction. As bold in its formal experimentation as it is in its gleefully morbid fascination with ugliness, the grotesque humour of its portraits of the holidaymakers that swarm over the Promenade des Anglais (sometimes suggestively intercut with shots of animals!) is brutally undercut by images of distressing poverty. The uneasy atmosphere of indolence and boredom boiling over into lustful frenzy while willfully ignoring the encroaching sense of death and decay that surround it makes this Vigo's darkest film. A propos de Nice limits itself to the death dance of caricatures, caricatures all the more startling for being stolen from life with a hidden camera. What is already present in A propos de Nice is Vigo's ability to capture the natural beauty of a real, non-studio setting and spontaneously elaborate on the impression, transforming the commonplace into the magical. His eye for atmosphere and detail would grow from film to film, but from the outset it was rooted in a documentary practice that simultaneously transcended the documentary."
    (Le Cain, Maximilian, Senses of Cinema )

    Dziga Vertov's "The Man With The Movie Camera" (1929)
    Live music by Benedict Schlepper-Connolly (Dublin)

    "I am an eye. I am a mechanical eye. I, a machine, I am showing you a world, the likes of which only I can see" Dziga Vertov
    "I was returning from the railroad station. In my ears, there remained chugs and bursts of steam from a departing train. Somebody cries in laughter, a whistle, the station bell, the clanking locomotive...whispers, shouts, farewells. And walking away I thought I need to find a machine not only to describe but to register, to photograph these sounds. Otherwise, one cannot organize or assemble them. They fly like time. Perhaps a camera? That records the visual. But to organize the visual world and not the audible world? Is this the answer?"- Dziga Vertov
    ‘The man with Movie Camera’ is a silent feature length film directed by Dziga Vertov and photographed by his brother Mikail Kaufmann. It is shot in more than one city and depicts Soveit urban life in general. Vertov says in his essay "The Man with a Movie Camera" that he was fighting "for a decisive cleaning up of film-language, for its complete separation from the language of theater and literature. For Vertov, "life as it is" means to record life as it would be without the camera present. "Life caught unawares" means to record life when surprised, and perhaps provoked, by the presence of a camera This explanation contradicts the common assumption that for Vertov "life caught unawares" meant "life caught unaware of the camera."
    "We all felt...that through documentary film we could develop a new kind of art. Not only documentary art, or the art of chronicle, but rather an art based on images, the creation of an image-oriented journalism" Mikhail Kaufmann.
    ‘Man with a Movie Camera’ is at once a documentary, a newsreel and an experimental film. It reveals Vertov’s deep criticism of a cinema and documentary tradition tied to narrative and literary structure. He deconstructs the image by using different camera techniques slow motion, fast motion freeze frame etc. In the use of these more abstract and cinematic techniques he reveals an everyday experience. Often using hidden cameras he seeks a new cinematic truth. The images become linked by chance, rhythm and visual connections.


  • Reverberations #3: Peter Gidal, April 8-9

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    Peter Gidal
    London Chisenhale Gallery &
    8 & 9 April 2009

    Reverberations is a series of events in which moving image artists interrogate their influences.

    Wednesday 8 April 2009, at 7pm
    Reverberations # 3: Peter Gidal

    In the third edition of the Reverberations series, presented in collaboration with Chisenhale Gallery, renowned filmmaker, writer and theorist Peter Gidal presents an event in the form of its subject: “Theatre theory for film, or not: Brecht (an interrogation/performance: a ghost trio for two).” (Gidal)

    Taking the form of a multi-part dialogue in which Gidal's translations of Brecht will be spoken, Gidal will stage an interrogation of his own practice as an experimental filmmaker and theorist via Brecht's theatre theory. Without rehearsal (but with practice), Gidal will be ‘replying’ and counter-interrogating on the night.

    Like Gidal’s films, and the theatre of Beckett and Brecht, the performance itself will seek a state of continual self-reflection – beginning with a screening of his most recent film Volcano (2002) and ending with Denials (1986).

    Chisenhale Gallery
    64 Chisenhale Road
    London E3 5QZ

    FREE admission, booking essential
    Telephone: 020 8981 4518

    Thursday 9 April 2009, from 10.30am-12.30pm
    Peter Gidal: Reverberations Study Morning

    Following on from Gidal’s performance the evening before, this unique study morning with the acclaimed filmmaker and writer will act as both an extended question and answers for his performance, and an opportunity for further discourse on the ideas raised.

    Starting from the position that theory comes after practice, we will consider: what is the relationship between ideas and language? and what is theory and what is practice? Brecht’s theatre theory will be discussed in relation to Gidal’s own work as a filmmaker and writer alongside a second screening of Volcano and Denials.

    It is strongly recommended that anyone wishing to attend this session also experiences the performance the night before as it will be central to the discussion. Admission to the performance is free but booking is essential. See details above.

    316-318 Bethnal Green Road, London, E2 0AG
    Nearest Tube: Bethnal Green

    Fee: £10 members & concessions / £15 full price
    Telephone: 020 7729 4494
    Email: [email protected]


  • Tate Modern: Margaret Tait April 15th

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    Margaret Tait - Garden Pieces (1998)

    Margaret Tait
    Wednesday 15 April 2009, 18.30

    This special programme marks ten years since the death of acclaimed Scottish filmmaker Margaret Tait (1918-1999) and brings together her first film made on her native Orkney, A Portrait of Ga (1952) and her last film also made on Orkney, Garden Pieces (1998). Also featured is one of her rarely screened longer works, On The Mountain (1974) which has at its centre the changes to Rose Street, Edinburgh where she had a base for many years and features within it her earlier film Rose Street (1956). Happy Bees (1955) filmed from child height is of her nieces and nephews.

    The programme opens with a fleeting image of Margaret herself filmed in 1995 by the visiting filmmaker Ute Aurand. In The Leaden Echo and the Golden Echo (1955) she matches images to her own reading of the poem by Gerard Manley Hopkins. To resonate with these works a selection of Margaret Tait's poems will be read by the writer Ali Smith.

    'A writer whose openness of mind, voice and structure all come from the Beats maybe, and Whitman crossed with MacDiarmid, but then cut their own original (and crucially female) path. A unique and underrated filmmaker, nobody like her. Born of the Italian neo-realists, formed of her own Scottish pragmatism, optimism, generosity and experimental spirit, and a clear forerunner of the English experimental directors of the late twentieth century. A clear example of, and pioneer of, the poetic tradition, the experimental tradition, the democratic tradition, in the best of risk-taking Scottish cinema.' Ali Smith.

    Introduced by Gareth Evans.


  • Migrating Forms 2009

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    Migrating Forms logoThe first Migrating Forms film festival, successor to the New York Underground Film Festival (1993-2008), will run from April 15th to the 19th at Anthology Film Archives. The new festival, co-directed by Nellie Killian and Kevin McGarry (former directors of the NYUFF), will focus almost exclusively on experimental film and video art.

    The programme includes 14 feature films and over 50 short films by authors such as Owen Land, Barbara Hammer, Robert Todd, Cecilia Condit, John Smith or Stephanie Barber, and the return of the Tube Time found footage tournament. According to co-director Kevin McGarry, “working under the new identity of Migrating Forms has given the organization freedom to explore and exhibit work without situating it in terms of notions of “underground.


  • The April Fool’s Cinema Show: Robert Banks

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    The April Fool’s Cinema Show:
    Screening of works directed by Robert Banks – With introduction by the artist
    Wednesday, April 1, 2009, 9pm
    West Lecture Hall
    Oberlin College Science Center
    119 Woodland St.
    Oberlin, OH 44074

    Please join Pioneer Species and The Oberlin Independent Film Series in welcoming the Cleveland-based, cult-cinema-inspired filmmaker Robert Banks to Oberlin for a retrospective screening of his unique oeuvre, which includes multiple award-winning films. A self-described “moving graffiti” artist, Banks has been a champion of emulsion-based cinema for many years, inspiring and challenging audiences with politically and culturally conscious commentary on the film medium.  Working in 16mm and 35mm formats, Banks uses found footage, new footage, and hand-manipulated film to question the intentions of the motion picture industry over that last several decades.

    About Robert Banks:

    Based in Cleveland, Ohio, Robert Banks specializes in avant-garde structuralist filmmaking.  He attended the Cleveland Institute of Art, and has taught film at Cuyahoga Community College, the Cleveland Institute of Art, and Cleveland State University.  Banks’ films have shown at the Sundance Film Festival, the New York Underground Film Festival, and the Black Mariah Film & Video Festival, among others. Over the course of his career Banks has garnered numerous awards, was named Filmmaker of the Year at the Midwest Filmmakers Conference in 2001, and in 2000 was the honored guest filmmaker at the BBC British Short Film Festival in London.  His best-known work is the 1992 film, X: The Baby Cinema, a 5-minute, 16mm film that chronicles the commercial appropriation of the image of Malcolm X.  An instant underground classic, the film was selected for inclusion on the video compilation, The Best Of The New York Underground: Year One.

    The April Fool’s Cinema Show lineup:

    - X, the baby cinema
    - My first drug, the idiot box
    - MPG: motion picture genocide
    - Jaded
    - Outlet
    - Embryonic
    - Goldfish & sunflowers
    - Autopilot
    - A.W.O.L.
    - Faith n chaos
    - Rock n’ roll blvd
    - Mercenary
    - Woman in circles

    About Pioneer Species:

    Pioneer Species is a micro-cinema screening alternative, independent, and experimental media every Wednesday night at various locations in Oberlin, Ohio.  Often, visiting artists and curators will be present to introduce their programs.  The micro-cinema is managed by students of the Oberlin College CINE 323: Exhibition Practices in the Media Arts course.

    About the Independent Film Series:

    The Independent Film Series (IFS) is an organization whose purpose is to expose the Oberlin community to unique films and film events unavailable within the constraints of other venues of exhibition. IFS focuses on cultivating an understanding of the independent filmmaker’s place in the larger dialog of cinematic culture, and stresses that fringe cinema is relevant, culturally informative, and important to keep alive in the digitally focused present.

    The April Fool’s Cinema Show is presented by Pioneer Species and with support from the Oberlin Independent Film Series.  These entities are working together to bring a greater diversity of alternative, independent, and experimental media to the community of Oberlin, with the goal of creating a broader awareness of non-mainstream media and media making. Watch for further updates and events!

    Visit us on the web:


  • Scratch: Chris Welsby April 21st

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    Nature as Performer in the Films and Installations of Chris Welsby
    Cinéma Action Christine
    4, rue Christine
    75006 Paris
    Tuesday 21 April 2009 at 20h30 - 6 €

    Chris Welsby has been making and exhibiting work since 1969. His films and film/video installations have been exhibited internationally, at major galleries and museums. In April 2009, he will be presenting at SCRATCH some 16mm films from the 70’s and some recent works.

    "In my single screen films and single channel videos the mechanics of film and video interact with the landscape in such a way that elemental processes - such as changes in light, the rise and fall of the tide or changes in wind direction - are given the space and time to participate in the process of representation. The resulting sequences of images make it possible to envisage a relationship between technology and nature based on principles other than exploitation and domination.” - Chris Welsby

    - Shore line (1975)
    - Shore line 2 (1975)
    - Sky light (1986)
    - Lost lake (1998)
    - At sea (2003)
    - Lost lake #2 (2005)
    - Waterfall (2004)
    - Trees in winter (2006)
    - Tree studies (2006)
    - Taking time (2008)
    - Heavens breath (2009)
    - Seven days (1974)
    - Stream line (1976)
    - Colour separation (1974-76)


  • Directors Lounge presents:Thorsten Fleisch - March 26

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    Directors Lounge presents: Thorsten Fleisch
    followed by a concert of his band Band "Malende"
    Thursday, March 26

    Friedrichstraße 112a, (1. Stock)
    10117 Berlin
    U Oranienburger Tor

    In his work, Thorsten Fleisch is combining light, playful ways to linger on existential themes with meticulous handcraftship. The seemingly abstract work defines materiality in contemporary ways while at the same time, it is captivating on the level of pure pictorial sensations. The program and some of the films by themselves combine lens-based images (KILL and parts of Hautnah) with non-camera images, such as direct treatment of film material (Blutrausch and Kosmos) and computer-generated renderings (Gestalt). Some examples of the filmmakers collection of old educational science films will enrich the program, again bringing together the interests of Thorsten Fleisch in science and sensually captivating material.
    Curated by Klaus W. Eisenlohr.


  • TIE Vienna April 22-24

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    Experimental Cinema
    April 22-24, 2009
    Austrian Film Museum

    In contrast to their canonized predecessors like Maya Deren, Kenneth Anger, Stan Brakhage, Andy Warhol and Michael Snow, the younger generations of American experimental cinema are virtually unknown in Europe. Yet this independent film movement continues unabated. Notwithstanding the current “digital standard”, innovative work with film is undergoing a renaissance in North and South America.

    This revival manifests itself not only in the captivating works of new artists who have broken onto the scene, but also in new festivals and film-cultural initiatives, in critical reception (particularly among young online writers) and in the art world, where film projections are again playing a paradoxical "avant-garde role" vis-à-vis the omnipresence of video installation, new media exhibitions and ubiquitous video game art.

    Founded ten years ago, Christopher May's TIE - The International Experimental Cinema Exposition has been an ideal platform for these new generations of filmmakers (as well as for rediscoveries from previous decades). After several enthusiastically received events in North and South America, TIE is making its first guest appearance in Europe, at the invitation of the Film Museum. Christopher May will personally introduce four curated programs with a total of 45 works. These include films by several important artists who have yet to be discovered in Europe.

    Program 1:
    - Powerman (Lenny Lipton, 1966, 5 min)
    - Shudder (top and bottom) (Michael Gitlin, 2001, 3 min)
    - Transaension (Dan Baker, 2006, 7 min)
    - Metaphysical Education (Thad Povey, 2003, 4 min)
    - dippingSause (Luther Price, 2005, 10 min)
    - Film Dzama (Deco Dawson, 2001, 23 min)
    - And We All Shine On (Michael Robinson, 2006, 7 min)
    - Observando el Cielo (Jeanne Liotta, 2007, 19 min)
    - The Crossing (Timoleon Wilkins, 2007, 6 min)
    - Black and White Trypps Number Three (Ben Russell, 2007, 12 min)

    Program 2:
    - NYC Flower Film (Sandra Gibson, 2003, 3 min)
    - Parallax (Christopher Becks, 2008, 6 min)
    - Ecstatic Vessels (Diane Kitchen, 2007, 21 min)
    - You Don't Bring Me Flowers (Michael Robinson, 2005, 8 min)
    - To Be Regained (Zach Iannazzi, 2008, 10 min)
    - Angel Beach (Scott Stark, 2001, 10 min)
    - A Fall Trip Home (Nathaniel Dorsky, 1964, 11 min)
    - July Fix (Jason Livingston, 2006, 3 min)
    - The Parable of the Tulip Painter and the Fly (Charlotte Pryce, 2008, 4 min)
    - Ingreen (Nathaniel Dorsky, 1964, 12 min)
    - Bellagio Roll (Sandra Gibson, 2003, 3 min)

    Program 3:
    - Blocking (Pablo Marin, 2005, 2 min)
    - Progetti (Paul Bartel, 1962, 17 min)
    - Mylar Balloon Rip-off (Jason Halprin, 2007, 3 min)
    - Whirl (Scott Banning, 2007, 8 min)
    - While Revolved (Vincent Grenier, 1976, 10 min)
    - [Various 8mm Works] (Frank Biesendorfer, 2000-2009, 17
    - Space (Luis Recoder, 2001, 14 min)
    - My Mess (Jesse Kennedy, 2007, 4 min)
    - 1/48 (Jorge Lorenzo, 2008, 1 sec.)
    - Clip from Colorado Springs Home of Champions (Jim Prange, 1968, 4 min)
    - Double Your Pleasure (M.M. Serra, 2002, 4 min)
    - 90 Years (Jonathan Schwartz, 2008, 3 min)
    - Across the Rappahannock (Brian Frye, 2003, 11 min)

    Program 4:
    - What the Water Said, nos. 4-6 (David Gatten, 2007, 17 min)
    - In a Year with 13 Deaths (Jonathan Schwartz, 2008, 3 min)
    - Oblivion (Tom Chomont, 1969, 4 min)
    - Black and White Trypps Number Two (Ben Russell, 2006, 8 min)
    - The Fourth Watch (Janie Geiser, 2000, 9 min)
    - Spirit House (Robert Todd, 2008, 11 min)
    - Artifices #1 (Alexandre Larose, 2008, 4 min)
    - Sin título (Focus) (Pablo Marin, 2008, 4 min)
    - Film (Parkour) (Cine Parkour, 2008, 20 min)
    - Nothing Is Over Nothing (Jonathan Schwartz, 2008, 16 min)
    - Sacred Space (David Chaim Cohen, 2007, 14 min)