Cinema Project and the Northwest Film Center present night two of Interaction of Formats. The program title is a direct reference to the 1963 educational text by painter Josef Albers (Interaction of Color), which presents a number of visual exercises as a way to understand and perceive color and for artists to train their eyes.
The Nightingale welcomes Chicago-based filmmaker Michael Wawzenek who brings recent work on video and 16mm, including an expanded cinema 16mm projector performance. His work investigates the precipice between life and death, translates into video the emotions of near-death experiences and examines what it means to be present.
Come see an all encompassing sunrise, a glitter glitch fist, a video re-make of a John Cage classic, and a 16mm tribute to Peter Hutton.
The fiercely original British film-maker, poet and artist Jeff Keen, defied categorisation. He produced a vast body of paintings, drawings, sculpture and punchy Beat poetry, but is best known for his films, which incorporated collage, animation, found footage and live action – often all in one work. Films were shot with his friends and family either at home, on the streets of Brighton or at the local waste tip; their fantastical, DIY countercultural qualities evoked the spirit of Andy Warhol's Factory and the early cinema pioneers of Brighton, where Keen lived. He completed more than 70 films and videos throughout his life. Keen died in June 2012.
In January 2015, Light Cone initiated artist residencies dedicated to video-based post-production of films that fall within the realm of experimental cinema, with the objective of supporting ten to fifteen projects per year. The residency is intended to suit the work-flow of experimental filmmakers, and so eligibility criteria are deliberately kept open. Short-, medium, as well as feature-length films are welcome, at the shooting or the editing stage of the project, and with or without the backing of an independent production company. While the project must fit within the field of experimental cinema, no other criteria (length, nationality of filmmaker, etc.) will be imposed.
Rick Hancox, filmmaker, film teacher, musician (born in Toronto, January 1, 1946). Hancox grew up in Ontario, Saskatchewan and Prince Edward Island. All three locations have informed his poetic and finely crafted experimental documentaries, which fuse personal landscapes with issues of time, memory and history.
Hancox was introduced to film at the University of Prince Edward Island by American documentary filmmaker George Semsel. He went on to do graduate work in film and photography at New York University and at Ohio University, where he earned an MFA in film in 1973. During that period his short films won five major awards in the Canadian Student Film Festival. After working briefly in New York as an independent filmmaker, Hancox went on to teach film at Sheridan College in Oakville, Ont (1973-85).
Artists Bradley Eros and Jeanne Liotta, former partners in art and life, reunite to perform together for the first time in over fifteen years.
In “Subverted Horseplay” (1994-97), the last performance work of their nearly decade-long collaboration Mediamystics, the mythology of Cowboys and Indians as derived from Hollywood movies and other mass media is subverted through manipulations of the projectors and other interventions that as described by the artists alter and result in the opening of “these fixed iconic pictures to a shifting resonance within their cultural reception”.
Turbidus Film and Fylkingen present, as a part of Kortfilmsdagen, three films by Jerome Hiler. The films by Hiler blend a beauteous celebration of the sensual world with a deep sense of introspection and solitude. They are occasions for reflection and meditation, on light, landscape, time and the motions of consciousness. For example, In the Stone House literally compiles physically fragile and intensely poignant footage shot during the same period chronicled in Nathaniel Dorsky's Hours for Jerome (1967-1971).