Presented for the first time in Los Angeles, URANIUM HEX: THE NUCLEAR FILMS OF SANDRA LAHIRE introduces four important works by the British experimental feminist filmmaker exploring the feminist anti-nuclear, anti-war movement of the 1980's alongside deeply personal narratives of sickness, contamination and corporeal vulnerability of both the self and land.
The program will be introduced by archivist and programmer Charlotte Procter (London, UK) with artist P. Staff (Los Angeles, USA).

In his groundbreaking four-part work Parallel (2012-14), Harun Farocki explores the realm of video game design, particularly in its conception and creation of virtual worlds.  With his characteristically probing, philosophical perspective, Farocki reveals and ponders the myriad ways in which these designed environments connect to or depart from our own individual and collective understanding of the actual world we inhabit.  Through Farocki’s lens, video game design, as a practice of digital cosmogony, reveals itself as both a tool of the imagination and, inevitably

Parallel to the exhibition how we are in time and space: Nancy Buchanan, Marcia Hafif, Barbara T. Smith, at Armory Center for the Arts, a number of artists and arts organizations have been invited to respond to one or more specific works in this exhibition, resulting in new art works, performances, screenings, talks, and other events. This program will favor annotation over remaking of historic works, initiating a dialogue with the primary exhibition, its artists, and its rich materiality, expanding these connections outward in time and space. Events will take place at various sites over the course of the exhibition. All programs are free and open to the public.

Regarded for decades as one of the monumental and iconic works of the historical American avant-garde, Stan Brakhage’s five-part Dog Star Man remains a defining and radically original work of independent cinema.  Utilizing numerous inventive filmmaking techniques ranging from distortion lenses, multiple superimpositions, hyperkinetic editing, hand-painting, and even the physical collaging of materials onto the film strip, Dog Star Man employs a vividly subjective, hypnagogic vision following a mythic man’s ascent and struggle through the obstacles and vicissitudes of existence.  Images of birth, death, nature, the cosmos, and the psyche gradually combine and coalesce over the course of the film’s 74 minutes with increasing intensity and complexity, resulting in a total cinematic experience that remains unique nearly sixty years after its initial making.