General news

  • 2014 Avant-Garde Masters Grant Winners

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    The National Film Preservation Foundation has just announced its 2014 grant winners:

    Anthology Film Archives (New York)
    - Globe (1971), Ken Jacobs' 3D view of the streets of Binghamton, New York.

    Bard College (New York)
    - FF (1986), Julie Murray’s assemblage of rephotographed images from pop culture.
    - Tr’cheot’my P’sy (1988), Julie Murray’s fast-paced feminist collage.
    - A Legend of Parts (1988), parodic history of civilization by Julie Murray, assembled from found footage and 3D postcards.
    - Conscious (1993), Julie Murray’s collage of educational and science films.

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  • Microscope Expands!

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    Microscope is moving to a new 2,000sf semi-raw space, and expanding our Weekly Events Series. This will require a lot of work as well as substantial upgrades of our equipment. Microscope Gallery does essentially two things at once: we operate as a gallery with a regular schedule of exhibitions open five days a week, and alongside we feature a weekly series of events. To date, we have presented 34 art exhibitions and more than 250 events by artists working primarily with film, video, sound, digital art and performance in our current four-hundred-twenty square foot space.  

    We are greatly looking forward to the range of new possibilities of a larger space, and hope you are too! Between now and our planned opening this September, there is a lot of work to be done in order to house the Event Series. Please take a moment to review our Indiegogo Campaign at: www.igg.me/at/microscope

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  • Sight Unseen Fundraising Initiative

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    Sight Unseen is pleased to announce the launch of its Fiscal Sponsorship and Fundraising Initiative (June 1st – August 31st, 2014) in association with Artists Public Domain!

    Sight Unseen, through its 3-month online campaign, hopes to maintain its monthly programs in 2014 as well as provide its first two filmmaking workshops this July and October at Current Space, conducted by Kevin Rice of Process Reversal and Richard Tuohy of NanoLab, respectively. Sight Unseen also hopes to sustain its portability and proper projection practices through the purchase of quality audiovisual equipment.

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  • Visual Music Award 2014 to be celebrated in Gelnhausen

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    This year's prize winners and awardees of the Visual Music Award competition will receive a certificate and also prizes by the sponsors as well as a unique presentation of their works at the evening of the prize ceremony on March 28th 2014 in Gelnhausen, the birthplace of Oskar Fischinger. Your works will be presented on a big screen in the Gelnhausen cinema - which was voted as the best "Hessian Cinema 2013".

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  • IFFR 2014: Hannes Schüpbach & Jodie Mack

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    The 2014 edition of the International Film Festival Rotterdam (IFFR) will feature this year two profile scrrenings as part of its Spectrum Shorts section, dedicated to Swiss artist Hannes Schüpbach (Friday January 24th) and to experimental animator Jodie Mack (Sunday January 26th). 

    Schüpbach will present three of his filmworks, that "emphasize the corporeal act of vision and of revision", L’Atelier (2007), his latest Instants (2012), and Falten (2005), in a programme curated by Erwin van ’t Hart. A special edition of the forthcoming publication by Hannes Schüpbach & French writer Joël-Claude Meffre, INSTANTS (Revolver Publishing, Berlin, February 2014) will be distributed to the public.

    Let your light shine, an anthology of recent films by Jodie Mack, "investigates the formal principles of abstract cinema while maturing an interest in found materials, evolving modes of production, forms of labor, and the role of decoration in daily life.", and includes her 'animated personal rockumentary' Dusty Stacks of Mom: the Poster Project.

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  • MRES Art: Moving Image 2013-2015

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    MRES Art: Moving Image 2013-2015
    A Unique Masters degree devoted to the study of Artists' Moving Image
    Open for applications

    Over the past two decades, artists moving image has proved itself a dynamic and thriving area of art practice, to be encountered in the gallery, museum, cinema auditorium, and a host of other unexpected venues. But what about the rich and fascinating histories, theories and aesthetics that have led artists to turn to film and video? And what insights can a study of artists moving image offer us for understanding the diverse practices that now fill art spaces internationally as well as in the UK?

    A unique association between LUX and Central St Martins College of Art has created a research led masters degree to address these questions. The course is focused on nurturing a discursive culture around moving image art, and offers a number of unique features for students interested in studying and working in the field of artist's moving image.

    As the only course of its kind dedicated solely to the study of artist filmmaking, the pathway offers an in depth insight and understanding into the theories, aesthetics and histories that have contributed to its rich and diverse culture and filmmaking practices. Seminars are led by eminent scholars in the field: including Dr Maeve Connolly, Melissa Gronlund, Dr Rachel Moore, Uriel Orlow, Filipa Ramos and Dr Duncan White. Visiting lecturers include Dr Ros Gray, Jonathan Walley, Federico Windhausen and Dr Maxa Zoller, as well as Benjamin Cook, Mike Sperlinger and Gil Leung from LUX.

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  • Incite #4, "Exhibition Guide" crowdfunding campaign

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    Incite has launched an Indiegogo campaign to raise funds for the printing of the issue, the largest, most ambitious to date, which runs until early July.

    With Amos Vogel's passing in April 2012, American film culture lost one of its most passionate and influential iconoclasts. Incite #4, "Exhibition Guide," pays tribute to Vogel's legacy, most notably Cinema 16, a precursor to the flourishing microcinema network of the 1990s and a forebear of today's freewheeling cinespaces. In the age of so-called "participatory" media, in which people connect virtually using avatars and aliases to stream data on handheld devices, what binds these social cinematic sites, and makes them flourish?

    While vertically mapping microcinemas of past and present, this issue also surveys the breadth of alternative media exhibition practice, from Dziga Vertov's agit-train and Bill Brand's metro Masstransiscope, to artists who use film without projectors and projectors without film. Incite #4 seeks to engage the history of unconventional cinemas by zeroing in on those puzzle pieces that don't quite fit. Lost-and-found in the couch cushions and idiosyncratically dog-eared, these are the components of itinerant and expanded cinema practices that don't take place inside four-walled cinema chambers, on screens, online or, even, in a projector fashion. Hopefully, these aberrations will spur readers to reconsider the whole gambit of moving image exhibition.

    You can view the Table of Contents for Issue #4 online here.

    Contributors include: 40 Frames, Adam Abrams, Steve Anker, Rebecca Barten, Christina Battle, Scott Miller Berry, Bill Brand, David Cox, Bill Daniel, Clint Enns, Kate Ewald, Bradley Eros, The Flinching Eye Collective, Walter Forsberg, Brian L. Frye, Sandra Gibson, Elena Gorfinkel, Sabrina Gschwandtner, Sarah Halpern, Adelheid Heftberger, Kier-La Janisse, Michael Johnsen, Chris Kennedy, Richard Kerr, Bryan Konefsky, Christy LeMaster, Alain LeTourneau, Light Industry, Jeanne Liotta, Jesse Malmed, Kate MacKay, Alex MacKenzie, Caroline Martel, Theo Michael, Alice Moscoso, David Nelson, Gordon Nelson, Tara Merenda Nelson, Greg Pierce, John Porter, LuisRecoder, Marcus Rosenstrater, David Sherman, Spectacle, Tess Takahashi, tENTATIVELY, a CONVENIENCE, Donna de Ville, Jonathan Walley, Audrey Young.

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  • or-bits: Accordance

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    or-bits.com is pleased to announce the launch of the new online exhibition Accordance, featuring works by
    Basel Abbas & Ruanne Abou-Rahme, Renee Carmichael, Constant Dullaart, Lucy Pawlak, Ashok Sukumaran, Julia Tcharfas, Ben Vickers , and guest bloggers Sarah Jury and Le Petit Neant.

    In the morning I walked to the bank. I went to the automated teller machine to check my balance. I inserted my card, entered my secret code, tapped out my request. The figure on the screen roughly corresponded to my independent estimate, feebly arrived at after long searches through documents, tormented arithmetic. Waves of relief and gratitude flowed over me. The system had blessed my life. I felt its support and approval. The system hardware, the mainframe sitting in a locked room in some distant city. What a pleasing interaction. I sensed that something of deep personal value, but not money, not that at all, had been authenticated and confirmed. A deranged person was escorted from the bank by two armed guards. The system was invisible, which made it all the more impressive, all the more disquieting to deal with. But we were in accord, at least for now. The networks, the circuits, the streams, the harmonies. Don DeLillo, White Noise, 1985. New York: Viking Press; p.46 >

    Accordance is part of the collaborative exhibition project (On) Accordancewith Grand Union project space in Birmingham.

    At Grand Union a gallery exhibition features offline versions of five artworks presented in previous or-bits.com online programmes that have been selected by Grand Union curators in response to the Accordance editorial, featuring works by Irini Karayannopoulou / M+M /Rosa Menkman / Damien Roach / Richard Sides

    Gallery exhibition launched on Friday 30 November and continues to 19 January 2013.

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  • Jeff Keen 1923-2012

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    Very sad news. Through the Lighthouse blog we've learned of the passing today of British experimental filmmaker Jeff Keen, who had been battling with cancer for several years. This interview was shot at Keen's home in Brighton in 2008, for the BFI's DVD and blu-ray editions of his films.

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