Events

  • Think:Film – International Experimental Cinema Congress 2012

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    Think:FilmThink:Film
    International Experimental Cinema Congress 2012
    10-14 October 2012
    Akademie der Künste am Hanseatenweg, Berlin

    Following a period of diversification of experimental forms of artistic production, it has become necessary to come up with new ways to think about film and the types of thought created by it and within it.

    The ability to break down and translate image and sound into digital codes represents a fundamental shift in filmmaking practice and has led to massive changes with regard to production technology. The concentration and processing of different time-based art forms within computers has let loose a wealth of new synesthetic opportunities, many of the examples of which were anticipated by certain advanced film forms. Practices that used to be the strict reserve of the experimental, avant-garde and underground film genres have been seized upon thanks to these new technologies, placed in new commercial contexts and popularized. In this way, the economic history of the "avant-garde" has become of relevance above and beyond its cultural impetus. The position of artistic authorship and curatorial and production activity within this new distribution landscape needs to be reflected upon in new ways.

    The central goal of Think:Film is to make a philosophical reassessment of the special position enjoyed by film and the cinematic image in artistic and intellectual practice and to redefine what this position might be. What direct influence does the cinematic image have on current thought and how can film itself become a way of thinking? The congress is not concerned primarily with film genres, but seeks instead to pose fundamental questions: What is thought in connection with cinematic images and what are these images in connection with thought? Which types of images trigger which types of thought, which are capable of eradicating which types of thought? Which types of images can become an integral part of which types of thought? Which cinematic images are in circulation and which kind of thinking does this point to?

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  • Atelier Impopulaire #3: Double Negative

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    Perceptual Subjectivity (Philippe Léonard, 2009)Atelier Impopulaire #3: Double Negative
    New canadian experimental cinema: works from the Double Negative Collective
    Friday, May 18 2012, 20.30h
    O’ via pastrengo 12, milano isola

    For its third installment, Atelier Impopulaire presents a selection of the works by the collective of canadian filmmakers and visual artists Double Negative Collective, presented by Philippe Léonard. Since its inception in 2004, the Double Negative Collective has become a major presence in today’s experimental cinema scene in Montreal, Canada. Its inique existence has had an undeniable impact on the shifting landscape of moving-image art in the local community. Self-financed, the Double Negative Collective has succeeded for over eight years to maintain its own studio with a variety of analogue filmmaking equipment, as well as organize experimental film screenings, performances and artist talks that continue to inspire the artistic communities both at home and abroad.

    Curated by Pia Bolognesi and Giulio Bursi

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  • SF Cinematheque presents Crossroads 2012

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    Crossroads 2012SF Cinematheque announces Crossroads 2012 May 18–20 at San Francisco's Victoria Theatre. Founded by filmmaker Bruce Baillie in 1961, San Francisco Cinematheque is an internationally recognized arts institution and the Bay Area’s premier venue for avant-garde/experimental, underground and personally expressive film and video work.

    Cinematheque is dedicated to the advancement and dissemination of film and video works that challenge the boundaries of moving-image art with the goal of making experimental cinema a part of the larger cultural landscape. CROSSROADS is Cinematheque’s annual film festival, a showcase for and celebration of recent and rediscovered avant-garde film/video work. Established in 2010, CROSSROADS is intended as a much-needed Bay Area/West Coast equivalent to such lauded festivals as the New York Film Festival’s Views from the Avant-Garde series and the Toronto International Film Festival’s Wavelengths showcase. CROSSROADS 2012, curated by Cinematheque Artistic Director Steve Polta, is this festival’s third manifestation.

    Running May 18–20, CROSSROADS will present a total of 52 films, videos and performance works by 47 filmmakers from around the world screened over 8 feature-length programs. Highlights of this festival include a tribute to Cinematheque founder and experimental-film matriarch Chick Strand (1931–2009); an in-person presentation of the “complete works” of Basque filmmaker Laida Lertxundi (featured in this year’s Whitney Biennial); and a special program—Apparent Motion—celebrating the Art of Live Projection with three film/music collaborative teams: Gerritt Wittmer & Paul Knowles, Kerry Laitala & John Davis, and, from Norway, Greg Pope & John Hegre (Jazkamer).

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  • American Originals Now: Ernie Gehr

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    This side of Paradise (Ernie Gehr, 1991)American Originals Now: Ernie Gehr
    May 12, 13
    National Gallery of Art, Washington, DC
    East Building Concourse, Auditorium

    The ongoing project American Originals Now offers an opportunity for discussion with established independent filmmakers and a chance to share in their art. This two-part retrospective devoted to highlights from the work of Ernie Gehr (born 1943)—one of the most prolific of the generation of American filmmakers who first challenged the notion that the cinema must correspond to visual reality—includes post-screening discussions with the artist. Gehr's concern for film's formal attributes, which can produce beautiful and startling effects, parallels the interests of minimalist art. "Even as film goes the way of all flesh and is supplanted by digital, Gehr's work affirms the persistence of cinema"—Manohla Dargis.

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  • Dirty Looks: Warren Sonbert/Tom Chomont

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    Amphetamine (Warren Sonbert, 1966)Dirty Looks: Warren Sonbert/Tom Chomont
    Wednesday, April 25, 20:30-22:30h
    Judson Memorial Church
    55 Washington Square South, New York, NY 10012
    $7 suggested donation

    Dirty Looks is thrilled to present the work of Warren Sonbert and Tom Chomont, two key figures in queer and underground film. From the late sixties until their untimely deaths (in 1995 and 2010, respectively) Warren Sonbert and Tom Chomont made some of the most innovative and thrilling film and video diaries around. Documenting queer experience from wild sixties drug cultures to the regressive, Reaganite years of the early AIDS crisis, these lyrical works delve into the quotidian, showcasing explicit drug use, S&M rituals, kittens at play, hardcore sexuality, and Grace Jones.

    Sonbert codirected his first film, Amphetamine, with Wendy Appel, while still a teenager. At the time of its release in 1967, the Village Voice praised Amphetamine as "a heart-stopping film … completely symptomatic of the filmmaking revolution." An ecstatic ode to queer sex and drugs, its two boys shooting up and kissing to a Supremes soundtrack, Amphetamine marked the arrival of Sonbert on the underground film scene. Divided Loyalties showcases the brilliant camera work and rapid editing Sonbert is famous for, leading Amy Taubin to praise it as his "most complex and richest film to date," upon its release. Honor and Obey questions all forms of male-dominated authority, military, religious, familial.

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  • Taller de apropiación fílmica en 16 mm

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    Escultura fílmica, Nº3 (Alberto Cabrera Bernal, 2012)Taller de apropiación fílmica en 16 mm
    Introducción teórica al cine de metraje encontrado, con posterior actividad práctica en 16 mm.
    19 y 20 de mayo de 2012
    Circuit Torçat, C/ Terol 8 bajos 2, 08012 Barcelona

    Impartido por Alberto Cabrera Bernal y Albert Alcoz.

    Dirigido a cualquier persona interesada en el cine de apropiación y en el manipulado del soporte cinematográfico en diversos formatos, Súper 8, 16 mm y 35 mm. Contextualización histórica y conceptual de dichas prácticas. Aproximación al trabajo de cineastas dentro de la disciplina con proyecciones escogidas. Actividad de los alumnos desarrollada en 16 mm y exhibición de los resultados.

    Módulo teórico:
    Introducción al 16 mm. Breve recorrido histórico del formato en el cine de vanguardia, el cine underground y el cine experimental internacional más reciente. Explicaciones de tendencias cinematográficas, cineastas y técnicas fílmicas vinculadas al desmontaje del found footage y a la fisicidad del cine matérico. Acercamiento al cine de metraje encontrado de vocación estructural. Visionados y explicaciones de trabajos fílmicos de realizadores como Hollis Frampton, Thomas Draschan, Jennifer Reeves y otros.

    Módulo práctico:
    Realización de una pieza colectiva en 16mm a base de fragmentos breves editados bajo consideraciones sistemáticas, manipulados físicamente, atendiendo a cuestiones plásticas herederas del collage. Se terminará también el módulo enseñando el rollo original de alguno de los trabajos de los profesores.

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  • TIE at the ICA

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    Whole Note by Saul LevineTIE at the ICA
    Sunday, April 1, 2012, 16h
    The Institute of Contemporary Art/Boston
    100 Northern Avenue, Boston, Massachusetts 02210

    Curated by Christopher May

    Based in Denver, Colorado, this renowned festival presents innovative and poetic celluloid-based films by experimental artists from around the world. The screenings are highlighted by works from filmmakers Jonathan Schwartz, Saul Levine, Luther Price, Tara Nelson, Gordon Nelson, Paul Turano, Luis Arnias, Sheri Wills and Frankie Symonds who join TIE curator Christopher May for a postscreening discussion.

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