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).
Karel Doing presents a programme exploring cinematic mischief, with a collection of works that undermine and disrupt contemporary political discourse whilst providing a counterpoint to aestheticism – a tonic for the modern malaise. This selection brings together films from across Europe to reveal surprising links between disparate makers and thinkers – followed by a discussion with the filmmakers about their outspoken and radical positions.
"Now more than ever," The Great Wall of Oakland is seeking short 1 minute loopable video works that will be compiled to create a reel of anxiety breathing exercises. Using the viral anxiety gif, http://i.imgur.com/Huou7Gh.gif, as inspiration, we hope to get artists involved in creating their own versions of this exercise.
This special session is the launch of the "Re-engineering the industry" program, dedicated to a Mire laboratory machine, the Debrie contact printer, which makes it possible to copy 16mm film. In the coming months, masterclass, workshop and artist residency will aim at a dialogue between artists and technicians in order to perpetuate and develop the use of machinery abandoned by the film industry and to reappropriate its use for artistic purposes.