This screening is curated around work that examines how technology affects sense of place and sense of self. Relationships to location becomes abstracted through the mediation of devices. The internet creates familiar landing sites, social media pages become extensions of identity, and google maps can be used to explore topographically accurate recreations of locations around the world. Sense of place is an abstraction of location navigated by information, senses, and physical stimulus
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 Nightingale welcomes Jeremy Moss and Pamela Vail to present a 60-minute program of video, 16mm projection, and live performance that highlights transfigurative gestures via the collision of camera and dance. This program explores the roles and functions of both the cinematographer (Jeremy Moss) and the dancer (Pamela Vail) while engaging questions of space, movement, and the ways in which the frame and the cut create alternate walls and rhythms.
Nightingale Cinema presents Josh Lewis & Simon Liu Recent 16mm Films from Negativland Lab
The Nightingale welcomes Josh Lewis & Simon Liu as they interweave a selection of their 16mm films made by hand at Negativland MPL, an artist-run film lab in New York City, overlapping in their affinity for experimental processing and printing techniques. With Lewis working predominantly in direct chemical manipulation of exposed film surfaces, and Liu utilizing a roaming impressionistic camera paired with multiple passes on a contact printer, the program establishes the centrality of the Film Lab both as an epistemic concept and as a practical mode of production. Each film emerges out of a continual and rapid cycle of exposing, processing, projecting, repeat. As such, the films here are rarely the culmination of a process, but rather worthy points extracted from ongoing lines of investigation.
The Nightingale welcomes Erin Espelie to present her experimental documentary about rare earth elements (the lanthanides), black mirrors (from obsidian to iPads), and how technology is reshaping the way we record the present and replay the past.
From the portals of personal computing devices to ancient obsidian mirrors, optical tools control how people see, foresee, record, and remember their lives. The Lanthanide Series meditates on how we frame and understand the world through such material means and instruments, with a reliance on certain chemical elements and the people who we love.
“I then took another look into the rearview mirror, on my own. And I discovered, somewhat to my surprise, that when you look in the rearview mirror you do not see what has gone passed. You see what is coming. And the rearview mirror is the foreseeable future. It is not the past at all. The title, the phrase “rearview mirror” appears to distort the situation. Most people think of it instinctively from the sound of the phrase, “It must be the past.” In terms of media, of course, the thing that is occupying the foreground in terms of the rearview mirror is nostalgia. Nostalgia is the name of the game in every part of our world today. Nostalgia is not, well it’s a kind of rearview mirror if you like, but it’s also the shape of things to come.” – Marshall McLuhan
Co-programmed by The Chicago 8 Small Gauge Film Festival & The Nightingale
“Bay Area artist Steve Polta has been producing a body of films, mostly on Super 8, over the past two decades that are as exquisitely nuanced as they are rarely seen. Each film presents a narrow window onto the ordinary world, prodded by subtle observation until it yields images of ethereal beauty.” (Rick Bahto: Echo Park Film Center)
The program title Kaleidoscopic Visions was inspired by P. Adams Sitney’s description of Saul Levine’s unique style of shooting and cutting as "...fused with the kaleidoscopic fury of memory...”. The program selects films by Saul Levine from 1973 to 2011. The films represent roughly three of Saul’s major formal approaches to the small gauge formats of Regular 8mm (presented as a digital transfers and a 16mm blow up) and Super 8mm (presented in Super 8mm and 16mm blow ups).
Filmmaker Saul Levine will be in Chicago for the Screening! Q & A following the Program!
White Light Cinema is excited to welcome Scott Stark, who will present a small sampling of his film and video work. Stark has selected four new and recent works—Bloom (2012), Speechless (2008), the double 16mm film Nocturnal symmetries (2014), and his amazing digital video The realist (2013)—along with an early film, Hotel Cartograph (1983).
Together, these five works are a mapping of many diverse aspects of Stark’s artistic practice. From his formal investigations into symmetry, patterning, abstraction, and mirroring that can be found in many of his works to inquiries into the perceptual and phenomenological nature of the media (film, video, digital) to the act of seeing, and questions of representation. They are also visually rich works, concerned as much about color and texture as they are with structure. They are about rhythm and movement, either on screen or in the editing. Sometimes they are humorous. Sometimes they are political (in the broadest sense). Sometimes they are provocative/provoking. Always they are stimulating—visually and intellectually.
Over the last 34 years Stark has created an uncompromised body of work that is remarkable in its complexity and simplicity, its rigor and playfulness, and its focus and openness.