Join us on Saturday, September 29 at 6pm for a special evening with filmmaker Peggy Ahwesh, organized in parallel to e-flux journal's currentdouble issue on feminism(s). The evening features a screening of Ahwesh's films The Star Eaters (2003), Alluvium (2015), The Blackest Sea (2017), and The Falling Sky (2017), followed by a discussion between Ahwesh and film scholar Michele Pierson.
New Beginnings for the New Year features a selection of Sadie Benning’s proto-riot grrl PXLvision cine-confessions, Peggy Ahwesh’s documentary-styled verité melodrama Martina’s Playhouse (1989) and Nina Fonoroff’s The Accursed Mazurka (1994), an epic collage consideration of spiraling mental illness, recovery and identity.
“Burn” es un ciclo de piezas de cineastas y video-artistas que emplean en sus obras formas de apropiación, desmaterialización y manipulación de señales electrónicas. Estas piezas subvierten los códigos visuales de los mass media, reposicionando materiales como comerciales, pornografía y películas de Hollywood. Al “quemar” archivos contemporáneos, estos artistas crean nuevos textos que desafían nuestra forma de ver las construcciones sociales dominantes.
The Museum of Modern Art will present The Women’s Film Preservation Fund: Four Experimental Films January 22nd at 7:15pm in its annual festival, To Save and Project. The films by Peggy Ahwesh, Barbara Hammer, Victoria Hochberg, and Sheila Paige were all recently preserved by The Women’s Film Preservation Fund of New York Women in Film & Television.
AEMI and IFI present the film and video work of Peggy Ahwesh and Julie Murray. The programme examines the distinct and overlapping interests of two significant filmmakers, both of whom will be in attendance for the screening.
Over several decades of practice Peggy Ahwesh has created one of the more heterogeneous bodies of work in the pantheon of experimental cinema. From early films shot on Super8 to recent forays into digital animation, Ahwesh’s work powerfully addresses questions of feminism, cultural identity and performance.
At a time when images are increasingly subject to digital processing through a multiplicity of technologies and formats, artists are confronted by a plethora of visual and expressive possibilities. The 16mm films and videos by New York artists assembled for this programme present personal ways of chemically or digitally manipulating moving images.
Works by Peggy Ahwesh, Katherine Bauer, Lisa Gwilliam & Ray Sweeten (DataSpaceTime), Sarah Halpern, Josh Lewis, Zach Nader, Keith Sanborn, Leslie Thornton, Matt Town
There was a moment, now passed, when the capabilities of the internet and the dreams and ambitions of its users perfectly aligned, before the virtual had been unmasked as another instrument of capitalism and control. At this moment - June 23, 2003, to be precise -Second Life began. The sci-fi promise of a virtual world where people could live out some alternate existence had been fulfilled, rising from the aftermath of the dot-com crash.
Peggy Ahwesh presents a selection of works including the premiere of her new video "The Blackest Sea” in a program with Julie Murray and Bruce Conner taking place at the Museum of Modern Art (MoMA) in connection with the exhibition "Bruce Conner: It's All True" currently on view at the museum.
"Known in part for their distinct approaches to found-footage cinema, which have straddled analogue and digital technologies, filmmakers Peggy Ahwesh and Julie Murray will share some of their own films alongside a pair of melancholic Conner films from the late 1970s: TAKE THE 5:10 TO DREAMLAND (1977) and VALSE TRISTE (1978)." — MoMA, Program Notes
For the second installment of Eye on a Director, MAD highlights the collection of the legendary film distributor and archive Canyon Cinema. In the late 1950s, Canyon Cinema brought together independent film artists whose work reflected a remarkable diversity in style and content. Variously called avant-garde, underground and experimental, these artists shared a vision of filmmaking as a form of personal expression, free from the demands and constraints of commercial conventions.
"If you’ve seen more than three of the films in this program, I’d be surprised. Yet every single one of these films by women filmmakers, chosen from the collection of the Filmmaker’s Co-op, deserves to be written about, taught in classes, and be part of the canon of avant-garde film. In a program of striking artistic voices from filmmakers with large bodies of work, you’ll see resonances with the films of Jack Smith, Carolee Schneeman, Stan Brakhage, Len Lye, Owen Land, Hollis Frampton, Barbara Rubin, Malcolm LeGrice, and many others."
