• Ken Jacobs lecture at Light Industry March 17

    By on

    Return to LH6
    Curated by Ken Jacobs

    Light Industry
    220 36th Street, 5th Floor
    Brooklyn, New York

    Tuesday, March 17, 2009 at 7:30pm

    "Binghamton, 1969 to 2002. I started in LH1, a much larger room than LH6, hundreds of students but most expected to see only popular movies and a reflection of their own casual and superior attitudes. They weren't the only defiantly stupid ones (seeing that nothing is more worth critical attention than the phenomena of cinema). Established teachers had railed against a Cinema Department before I arrived as a further appeasement of spoiled and rebellious students and a desecration of the discipline of teaching. They had gone off-campus to complain to the American Legion and Veterans of Foreign Wars, turds that supported the slaughter of Vietnamese and decried the influx of NewYorkCommieFagNiggerlovingJews, and allies in the protection of students from persons arrested for the screening of Flaming Creatures.

    "I then believed that anyone could become a real student (wrong!), just as I was an anyone that had become a teacher. I had prepared by attending The Laff Movie on 42nd Street. It had first influenced my making of Star Spangled to Death and now my teaching. I can't recall the advertising of specific films on the marquee. It was a place for poor men to sleep off a drunk while old comedies were screened, sometimes entire films and sometimes comic sections of films. Film clips! This was indeed revolutionary thinking. One standard applied: whatever was selected had been thoroughly dismissed from public memory, certainly from the few film-history books that then
    existed. The great nameless and unthanked anti-snob curator of The Laff Movie, my mystery Professor! Thou scummy and dreary University, where hot dogs and candy bars and drinks were hawked up and down the aisles during screenings, only you, for a quarter, showed me the pre-code Thirties, introducing me to the real Eddy Cantor and Jimmy Durante and Busby Berkeley
    in their pre-code prime, when they were forces.

    "I expanded on the Laff Movie selections so one never knew what to expect and I disapproved of introductions: students were expected to grapple, and then there'd be talk, lots of it. Assuming I still have something of my teaching chops, you're welcome to sit in on a re-creation of cinema studies
    in LH6. (I would sometimes screen some of my own stuff so there just might be samplings and discussion of recent Ken Jacobs work.)" - KJ

    Followed by a conversation between Jacobs and Amy Taubin.

    Distinguished Professor Emeritus, Ken Jacobs, was born in Brooklyn, NY, in 1933. He studied painting with one of the prime creators of Abstract Expressionism, Hans Hofmann, in the mid-fifties. It was then that he also began filmmaking (Star Spangled To Death). His personal star rose, to just about knee high, with the sixties advent of Underground Film. In 1967, with the involvement of his wife Florence and many others aspiring to a democratic -rather than demagogic- cinema, he created The Millennium Film Workshop in New York City. A nonprofit filmmaker's co-operative open to all, it made available film equipment, workspace, screenings and classes at
    little or no cost. Later he found himself teaching large classes of painfully docile students at St. John's University in Jamaica, Queens.

    In 1969, after a week's guest seminar at Harpur College (now, Binghamton University), students petitioned the Administration to hire Ken Jacobs. Despite his lack of a high school diploma, the Administration -during that special period of anguish and possibility- decided that, as a teacher, he
    was "a natural." Together with Larry Gottheim he organized the SUNY system's first Department of Cinema, teaching thoughtful consideration of every kind of film but specializing in avant garde cinema appreciation and production. (Department graduates are world-recognized as having an exceptional presence in this field.) His own early studies under Hofmann would increasingly figure in his filmwork, making for an Abstract Expressionist cinema, clearly evident in his avant garde classic Tom, Tom, The Piper's Son (1969) and increasingly so in his subsequent devising of the unique Nervous System series of live film-projection performances. The American Museum Of The
    Moving Image in Astoria, Queens, hosted a full retrospective of his work in 1989, The New York Museum Of Modern Art held a partial retrospective in 1996, as did The American House in Paris in 1994 and the Arsenal Theater in Berlin in 1986 (during his 6 month stay as guest-recipient of Berlin's DAAD award). He has also performed in Japan, at the Louvre in Paris, the Getty
    Center in Los Angeles, etc. Honors include the Maya Deren Award of The American Film Institute, the Guggenheim Award and a special Rockefeller Foundation grant. A 1999 interview with Ken Jacobs can be seen on the Net as part of The University Of California at Berkeley's series of Conversations With History.

    Tickets - $7, available at door.

    About Light Industry

    Light Industry is a new venue for film and electronic art in Brooklyn, New York. Developed and overseen by Thomas Beard and Ed Halter, the project has begun as a series of events at Industry City in Sunset Park, each organized by a different artist, critic, or curator. Conceptually, Light Industry draws equal inspiration from the long history of alternative art spaces in New York as well its storied tradition of cinematheques and other intrepid film exhibitors. Through a regular program of screenings, performances, and lectures, its goal is to explore new models for the presentation of
    time-based media and foster an ongoing dialogue amongst a wide range of artists and audiences within the city.

    About Industry City

    Industry City, an industrial complex in Sunset Park, Brooklyn, is home to a cross-section of manufacturing, warehousing and light industry. As part of a regeneration program intended to diversify the use of its 6 million square feet of space to better reflect 21st century production, Industry City now includes workspace for artists. In addition to offering studios at competitive rates, Industry City also provides a limited number of low-cost studios for artists in need of reasonably priced space. This program was conceived in response to the lack of affordable workspace for artists in New York City and aims to establish a new paradigm for industrial
    redevelopment--one that does not displace artists, workers, local residents or industry but instead builds a sustainable community in a context that integrates cultural and industrial production. For more information:


  • Animation Breakdown

    By on

    Animation Breakdown is a weekend of screenings and discussion, exploring the relationships
    between drawing, moving image, and the influence of digital technologies.
    At Tate Modern, London, on 20 and 21 March 2009.

    For the full programme visit:

    Animation Breakdown Study Day, Saturday, 21 March
    With an emphasis on practice, and the artist’s perspective, the day will embrace an eclectic range of approaches, and ask how digital and hybrid technologies are influencing artists and their work.

    Curators Stoffel Debuysere and María Palacios Cruz will kick things off with an illustrated talk to help "dismantle the common a priori assumptions on animation film and its limitations".

    As part of their presentation, they’re showing some films, too:

    - Snack and Drink (Bob Sabiston, USA, 1999, 3’40”)
    - The Simpson Verdict (Kota Ezawa, GE/US, 2002, 3’)
    - Infinite Justice (Karl Tebbe, Germany, 2006, 2’)
    - The Quick and the Dead (Stephen Andrews, Canada, 2004, 1’30”)
    - I've got a guy running (Jonathon Kirk, USA, 2006, 7’12”)
    - Paths of g (Dietmar Offenhuber, Austria, 2006, 1’)
    - Capitalism : slavery (Ken Jacobs, USA, 2007, silent, 3’)

    The rest of the day is given over to three panels of artists, presenting and discussing their work:

    Simon Faithfull, Ann Course, Samba Fall, Joshua Mosley, David Blair, Jennifer Steinkamp,
    Dryden Goodwin, Emily Richardson, Ori Gersht

    The panels are chaired by curators Angela Kingston, Steven Bode and David Chandler.

    Animation Breakdown Weekend Screenings: Computer Baroque
    Friday 20 March 2009, 7pm
    Computer Baroque programme - digital animation art and experiment, curated by Richard Wright, featuring the works of Karl Sims, William Latham, John Witney, Paul Garrin, Shelley Lake and Ruth Lingford.

    Saturday 21 March 2009, 7pm
    WAX, or The Discovery of Television Among the Bees, (David Blair, USA/Germany, 1991), followed by a Q&A with the artist.

    For tickets book online or call 020 7887 8888
    Study Day: £15.00 / £10.00 concessions
    Screenings: £5.00 / £4.00 concessions


  • CU-Boulder Film Studies to Host Fifth Annual Brakhage Symposium

    By on

    Acclaimed film curators from both sides of the country will meet at the University of Colorado at Boulder to help celebrate the Fifth Annual Stan Brakhage Symposium on March 14-15.

    Steve Seid, video curator at the Pacific Film Archive at the University of California, Berkeley, and Mark McElhatten, New York City curator and archivist for Academy Award-winning director Martin Scorsese, will present programs intended to "shed light on the contemporary world of avant-garde filmmaking and artistry, focusing on the exploration of moving visual art, past, present and future."

    The two-day event is sponsored by the CU-Boulder Film Studies Program and will be held in the ATLAS building on the Boulder campus. Each day will feature short films, presentations and panels that will examine the contemporary avant-garde world. All events are free and open to the public.

    The symposium began in 2005 to recognize, honor and carry on the legacy of the late Stan Brakhage, who is credited by many visual artists as a man who once all but defined the American avant-garde film movement. Brakhage taught at CU-Boulder from 1981 until his death in 2003 and held the title of distinguished professor of film studies.

    Brakhage began his filmmaking career in 1952 and completed more than 350 films, ranging from the psychodramatic works of the early 1950s to autobiographical lyrics, mythological epics, "documents" and metaphorical film "poems."

    Each year the symposium brings members of the experimental film and video community together to celebrate art, to share ideas and to promote the evolution of the moving image.

    The symposium was made possible by grants from The William H. Donner Foundation and the Academy of Motion Picture Arts and Sciences.

    For a complete schedule of events visit the Films Studies Program's Web site at


    Don Yannacito, 303-492-1532
    [email protected]
    Dirk Martin, 303-492-3140


  • Tank tv: John Latham

    By on

    Now Showing: John Latham
    22nd February - 14th March 2009 is extremely pleased to present a rare opportunity to view John Latham's films:
    Unedited Material from the Star, Talk Mr Bard, Speak, Britannica, Erth and more.

    The influence of John Latham (1921-2006), an artist whose work includes painting, performance and film to mention just a few, has extended far beyond the boundaries of the art world. Interested in theoretical physics, Latham developed an opposing cosmology which rejected the primacy of space and matter and favour of time and event. The body of work and concepts which developed out of this way of thinking continue to challenge the way we conceive of art as event and of the place of the artist within society.

    With special thanks to LUX.

    Flat Time House, John Latham's home and studio, has been open to the public by since October 2008 for a programme of exhibitions and events, and as an archive and research centre. Details of opening hours and forthcoming events can be found at


  • Experimental Filmclub: Venom, Eternity And Other Discrepancies

    By on

    Venmo and EternityThis month’s film programme pays homage to Discrepant Cinema, the bold manifesto by one of the most radical filmmakers in film’s history: Jean-Isidore Isou. According to Isou, one must divide to conquer. This applies to the two wings of cinema: sound (speech) and image, which he wanted by all means to sever: “I want to separate the ear from its movie master: the eye.” Isou advocated for a cinema in which the images, in their photographic and representative obsolescence, must rot, giving way to the breakage of the spontaneous association that made speech the correspondent of vision. “Who ever said that cinema, whose meaning is motion, has to be the motion of images and not the motion of words?” Isou proclaimed.

    Sunday 22nd February
    Ha'penny Bridge Inn (upstairs) / 4pm / Doors: 5 Euro

    See full programme.


  • Cinema Abattoir presents The man we want to anger

    By on

    cinema_abattoir_-_the_man_we_want_to_angerCINEMA ABATTOIR



    Saturday February 21 2009
    Projection: 21h / 5$
    L'Envers - 185 Van Horne (Montréal, QC, Canada)


    A film by CA CA CA
    Québec / France, 2009, approx 101 minutes
    Soundtrack includes:
    Solar Skeletons, Throbbing Gristle, Coil, Torso, Sonic Youth, Earth, NON, Blake Hargreaves, Menace Ruine



  • Jeff Keen UK tour

    By on

    The Britsh Film Insititute has prepared a set of activities that will surround the edition in DVD and Blu-Ray of Jeff Keen's film works:

    - A series of programmes at the BFI Southbank: Early Jeff Keen Films (17 Feb., 20:40), Dr G's Home Movies (19 Feb., 20:40), Joy Thru Film (25 Feb., 20:40) and Artwar (27 Feb., 18:20).

    - A UK tour of a selection of Keen's films. So far only the Electric Palace at Hastings (18 March), Arnolfini at Bristol (27 March) and the Belfast Film Festival (29 March) have been confirmed.

    You can follw up all the activities in the webpage specially built for the occasion by the BFI.


  • Xperimenta '09

    By on

    Xperimenta'09The biennial symposium Xperimenta, devoted to the discussion and debate of the current state of experimental cinema will hold its second edition next February 26th-March 1st in Barcelona (Catalonia, Spain). Titled 'Contemporary Glances at Experimental Cinema', the event will comprise several round tables and debates, screenings, and a performance and workshop on 16mm film directed by Bruce McClure.
    Among the participants in the several events that will take place will be filmmakers as Peter Tscherkassky, Gunvor Nelson, Abigail Child, Lisl Ponger, Craig Baldwin and Claudio Caldini.

    Keep reading for the full schedule... (Updated 12/02)


  • Six Tuesdays After Film as a Critical Practice

    By on

    Six Tuesdays After Film as a Critical Practice

    Rosa Barba, Peter Gidal, Tom Holert, Alexander Kluge, Emily Roysdon, Emily Wardill and Cerith Wyn Evans

    In November 2007 the Office for Contemporary Art Norway held a three-day seminar in Oslo that brought together artists, critics and theorists to articulate or respond to the ways in which we might understand film to be a critical practice. It was accompanied by a film programme curated by Ian White.
    Six Tuesdays After Film as a Critical Practice is a series of ‘talks’ that further explores the same proposition from international and intergenerational perspectives and extends the idea of ‘critical practice’ to incorporate the structure of the event itself.
    It includes a continued enquiry into the work of three artists whose films and videos were also shown in Oslo: Emily Wardill interviews Peter Gidal and Emily Roysdon presents a specially conceived performative work.
    Rosa Barba’s two-projector scultpure/sound work Western Round Table 2027 is shown alongside a selection of original recordings from the 1949 Western Round Table on Modern Art featuring contributions from Marcel Duchamp, Frank Lloyd Wright and Arnold Schoenburg.
    There is an interactive presentation of the German television programme Reformzirkus (1970) in which the celebrated German filmmaker, writer and thinker Alexander Kluge intervenes to expose not only the construction of the programme itself but also cultural and social prejudice and radical, revolutionary ideas about the function of the medium that assault the established order.
    Artist Cerith Wyn Evans makes a special live event and the series begins with writer and academic Tom Holert’s presentation of his recent video Ricostruzione: Dissertori/Libera (Towards a Historical Fable about Modernist Architecture and Psychology) (2007, co-authored with Claudia Honecke, commissioned by Manifesta 7). He discusses the relation between the critical practices of writing and art making, or working as a critic and as an artist making critical video, the coexistence and the navigation of these things.
    Tues 3 Feb Tom Holert
    Tues 10 Feb Cerith Wyn Evans
    Tues 17 Feb Rosa Barba / Western Round Table
    Tues 3 Mar Emily Roysdon
    Tues 10 Mar Reformzirkus
    Tues 24 Mar Emily Wardill & Peter Gidal
    All events start at 7pm and are held at LUX 28, 28 Shacklewell Lane, Dalston, London E8 2EZ. Admission Free, booking essential as places are limited, to book please email [email protected]
    For further information and images, please contact [email protected]