Watersports is Terry Silvester's first solo exhibition in Asia and consists of two videos, Fertile (2019) and The Swallowing of a Dog’s Eye (2019). The works are a collaboration with performance artist Andrew Neil Hayes who plays a predominant role in both, as well as theartist’s family and pet dog.
- Fertile (2019)
Dates:
Wednesday, December 4, 2019 (All day) to Sunday, December 8, 2019 (All day)
Slides by Annabel Nicolson and Girish Shambu’s manifesto For a New Cinephilia are used as starting points from which to construct Movement and Handling, Selected Works from the LUX Collection. Nicolson’s fascination with fragments of older films and the transience of construction suggests a link with Shambu’s new cinephilia – a transient place between online and real-life.
Dates:
Tuesday, November 12, 2019 - 18:00 to Wednesday, November 13, 2019 - 17:55
Polyvinyl films presents and Los Angeles Filmforum co-sponsors the Los Angeles premiere ofThe Manhattan Front, by Cathy Lee CraneThursday, November 7, 2019, 7:00pm At Arena Cinelounge, 6464 Sunset Blvd, Lobby level, Los Angeles CA 90028
The Mostra del Cinema di Genova is devoted to cinema as an art form. We will privilege, in our selection, films with a poetic or visionary value, experimental and thought provoking films, avant-garde works and innovative languages. Equal importance will be given to fiction and non-fiction works, to features and shorts, and the festival’s Grand Prix, dedicated to Eadweard Muybridge (Grand Prix Pigeon Flying, Plate 755, 2500 euros cash prize) will be assigned to the Best Film, regardless of genre, duration and theme.
The Millennium Film Journal is celebrating the launch of its Fall 2019 issue (no. 70, "Body Memory") with a launch screening at Anthology Film Archives, November 20th at 7:30pm. Featuring work from the New Red Order, Shana Moulton, Ardele Lister, and a 35mm print of Alexandre Larose's "Brouillard #14".
The films of Erin Espelie strike sparks at collisions between the scientific and the poetic. Her lustrous images experiment with representations of nature and light, sometimes in seemingly straightforward pictures of animals or trees in the “wild”; other times experimenting with matted frames and superimpositions. Her rich soundtracks create tensions with the images, finding the ironic contrast between traditional nature films with their anthropomorphizing tendencies against her poetical organizations and concern with language; other times crafting a bold layering of “nat
In the films of Sylvia Schedelbauer, personal internal reverie and expansive cultural history collide. Assembled largely from deeply researched archival footage and radically edited (in an elegantly flickering style entirely her own), Schedelbauer’s films present a strikingly visual space of interiority in which dreams, personal biography, collective memories and family histories fuse to form a complicated vision of fragmented transnational identity in the context of 20th Century history.
