Microscope is excited to present a screening of James Fotopoulos’ first feature film ‘’Zero” in its original format on the occasion of its 20th anniversary, introduced by Bradley Eros who along with Brian Frye presented the work in its first “real screening” in the US on November 21, 2000 at the Robert Beck Memorial Cinema (RBMC), which took place the Lower East Side space Collective Unconscious.
1967 was the year that the Canyon Cinema Co-op was born in San Francisco. Formed as a distribution cooperative for films made by members, it grew out of the itinerant Canyon Cinema formed a few years earlier by a loose association of Bay Area artist-filmmakers. The Canyon Co-Op was the west coast’s contribution to a growing international network for showing and seeing films that fell outside the bounds of polite manners, censors’ approval, and art-world decorum.
By definition, framework can be voiced in a number of ways: Buildings are constructed with a skeletal structure, multiple units come together to form a whole, foundations or moral infrastructure can be defined, subjects can be arranged within a frame, and framing itself can be the emphasis. Gilded Pear Gallery seeks artist’s submissions that best exemplify the nature of Framework according to their own commentary and vocabulary.
All emerging and professional artists 18 and over, living in the United States and Canada, may apply. Open to all two- and three-dimensional mediums as well as video media.
The motif of the loop, or more precisely repetition with variations, is one of the formal and thematic principles recurrent in experimental cinema, one of its major functions being to defamiliarize the gaze in a strange paradox. This selection of films offers an overview of different techniques and conceptual variations of this fascinating and troubling motif.
Amy Dickson and Jamie Jenkinson have both made substantial series of video works with mobile phones, usually with single takes that suggest an intuitive and spontaneous approach to shooting - a mode which they consider intrinsic to their medium. They resist reshooting and post-production. Hence their work foregrounds and promotes the act of looking, embracing a certain amount of wandering and the potential for 'errors'.