• La Ciudad Moderna / La Ville Moderne

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    la_ciudad_modernaLa Ciudad Moderna / La Ville Moderne
    Jueves 25 de marzo, 19 hs.
    Alianza Francesa, Av. Córdoba 946, Buenos Aires.
    Entrada libre y gratuita.

    Selección de películas experimentales de la colección del Centro Georges Pompidou de Paris (Museo Nacional de Arte Moderno, Francia).


    Jueves, Marzo 25, 2010 - 19:30


    Alianza Francesa de Buenos Aires - Buenos Aires, Argentina
  • REDCAT - Ross Lipman: Urban Ruins, Found Moments

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    Rhythm 06 (Ross Lipman, 2008/1994)Ross Lipman: Urban Ruins, Found Moments
    Tuesday March 30th, 8:30 pm
    631 West 2nd Street, Los Angeles, CA 90012

    Curated by Steve Anker and Bérénice Reynaud.
    Ross Lipman in person.

    “Lipman’s films are wonderful…. strong and delicate at the same time… unique. The rhythm and colors are so subtle, deep and soft.” Nicole Brenez, Cinémathèque Française

    Known as one of the world’s leading restorationists of experimental and independent cinema, Ross Lipman is also an accomplished filmmaker, writer and performer whose oeuvre has taken on urban decay as a marker of modern consciousness. He visits REDCAT with a program of his own lyrical and speculative works, including the films 10-17-88 (1989, 11 min.) and Rhythm 06 (1994/2008, 9 min.), selections from the video cycle The Perfect Heart of Flux, and the performance essay The Cropping of the Spectacle. “Everything that’s built crumbles in time: buildings, cultures, fortunes, and lives,” says Lipman. “The detritus of civilization tells us no less about our current epoch than an archeological dig speaks to history. The urban ruin is particularly compelling because it speaks of the recent past, and reminds us that our own lives and creations will also soon pass into dust. These film, video, and performance works explore decay in a myriad of forms—architectural, cultural, and personal.”


    - Self-Portrait in Mausoleum (DigiBeta, 1 min., 2009, Los Angeles)
    - 10-17-88 (16mm, 11m, color/sd, USA, 1989)
    - Rhythm 06 (35mm, 9 min., color, sd. USA/UK, 2008/1994)
    - selections from The Perfect Heart of Flux
    - Ocean Beach / Point Lobos I, II, III (DigiBeta, 10 min., 2007, San Francisco / Los Angeles)
    - Clean Mrf / Dirty Mrf (DigiBeta, 6 min., 2008, Puente Hills / Los Angeles))
    - Found Sand Mandala (DigiBeta, 1 min., 2007, San Francisco / Los Angeles)

    - The Cropping Of The Spectacle (2008)
    - Keep Warm, Burn Britain!


    Advanced Curators' Notes

    LA Weekly article


  • Jefferson Presents... Experiments on Film, no.110: Malcolm LeGrice

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    Blackbird Descending - Tense Alignment (Malcolm Le Grice, 1977)Jefferson Presents... Experiments on Film, no.110: Malcolm LeGrice
    "Blackbird Descending-Tense Alignment"
    Saturday March 27th 2010, 8:00pm. $5, $4 Students.
    Garfield Artworks. 4931 Penn Ave, Pittsburgh, PA 15224, USA

    Never again in Pittsburgh will one man be so bold or foolish as to show English structural filmmaking supremo Malcolm LeGrice's feature length 1977 work "Blackbird Descending-Tense Alignment". Have you got the balls to show up? Have you got the hutzpah to make it through it? Have you got what it takes to savor the experience directly from its steely celluloid teets? Have you got something better to do before you hit the bars and get totally shitfaced?

    - Blackbird Descending - Tense Alignment (Malcolm Le Grice, 1977, 120mins, Colour, 16mm)

    "Malcolm Le Grice, one of the leading avant-garde filmmakers in Britain, has made a feature length work which is (...) one of the most accessible films to come out of the experimental area of cinematic exploration in recent years. The secret of its appeal is that ot engages the viewer's curiosity and then challanges him to remember, really remember, exactly what he has seen and heard. It assumes that peoplec an have fun at the same time as they are absorbing an analysis of how time and space are constructed in the cinema. What we see is a simple domestic scene: A woman typing. Through the window a man prunes a tree and a woman hangs out different colored sheets. A phone rings. This scene is repeated again and again from different viewpoints and timepoints but always slightly altered. The film is not about Pirandelloesque but film reality, so Le Grice finally shows us the camera filming some of the scenes we have seen, even utilising split screens to unmask the unreality (and of course thereby creating yet another). Like poet Wallace Stevens, Le Grice gives us thirteen ways of looking at a blackbird with fresh eyes." --Ken Wlaschin, London Film Festival, 77.

    Malcolm Le Grice is tiptoeing so gingerly backwards into that forbidden zone for the English 'Structural' filmmaker that is known as 'Narrative'.

    Here lurk those evils 'mystification' and 'manipulation'; there is a third, of course, more horrible: the all-encompassing 'illusion'. Have the Le Grice and his Blackbird emerged unscathed and untainted? The answer is unequivocally yes, and what is more, they bear with them a whole new set of options. And this at a time when avant-garde film seems to be in need of a new direction, of renewed energy.

    Le Grice, of course, is not alone in his endeavour. It is absolutely not a question of a 'return' to narrative; it is more a wholly new approach made possible by the investigation of 'first things', the foregrounding of cinematic procedures, characteristic of Le Grice's work - and that of other avant-garde filmmakers - over the last ten years. It might be better to speak of narrative - the act of talking - for in Blackbird Descending as in After Lumiere before it, the focus is not so much on the 'what' as on the 'how', the way the film describes or involves - in Michael Snow's words - "one thing or another". Significantly the events of the film are simple.

    Spoken dialogue, written text and elaborate montage here join strategies that will be familiar to those acquainted with Le Grice's early work. The result is a film of great vigour, ambition, even playfulness. Simon Field from London Filmmakers' Co-op Catalogue 1997.


  • Cinema Project - Naomi Uman

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    removed (Naomi Uman, 1999)Cinema Project - Naomi Uman
    March 30th-31st 2010, suggested donation 7$
    Clinton Street Theatre
    2522 SE Clinton Street, 97202 Portland, Oregon, USA

    Co-presented by the Douglas F. Cooley Memorial Art Gallery, Reed College

    Please join Cinema Project on March 30th and 31st for the first program at their new home base, Clinton Street Theatre. Along with a bigger screen and more comfortable seats (and popcorn!), the Clinton neighborhood is a great spot for food and drink before and after a fabulous film program.

    Tuesday March 30th and Wednesday March 31st, brings 16mm filmmaker Naomi Uman to Portland to present her original film work—from rough black-and-white sketches of life in rural Mexico to her recent documentaries on the colorful village of Legedzine, Ukraine. Working at the intersections of documentary and experimental film, her aesthetic is both delicate in approach to its subjects and bold in its images and processing.

    Each program is presented on glorious 16mm, with Uman in attendance to discuss her career and methods.

    March 30th: Milking & Scratching
    - Leche (1998, 16mm, b&w, sound, 30 min.)
    - Tin Woodsman (2008, 16mm, color, sound, 6 min.)
    - removed (1999, 16mm, color, sound, 6 min.)
    - lay (2006, 16mm, b&w, sound, 15 min.)
    - Coda (2008, 16mm, b&w, sound, 3 min.)

    March 31st: Ukrainian Time Machine
    - Kalendar (2008, 16mm, color, silent, 11 min.)
    - On this Day (2006, 16mm, color, sound, 4 min.)
    - Unnamed Film (2008, 16mm, color/b&w, sound, 55 min.)


  • Scratch Projection: Adèle Friedman

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    Untitled (Revenant) (2002) (Adèle Friedman, 2002)Scratch Projection: Adèle Friedman
    Tuesday March 30th, 20.30h, 6 €
    Cinéma Action Christine
    4, rue Christine, 75006 Paris, France

    Adèle Friedman is a filmmaker who began her career as a photographer. Since the late 70s, she has made over 100 films in Super 8 and 16mm, most of them without sound, silence is often preferred for its abilities to absorb the viewer into the image. Born in Chicago, where she taught for many years, her work has been shown in the most prestigious places of experimental cinema, from MOMA in New York City to the German Film Archive in Berlin. In March 1985, Scratch in Paris offered her her first monographic session.

    - Christian and Michael (2006, 16 mm, colour, silent, 7' 00)
    - Marietta (2006, 16 mm, b&w, silent, 5' 00)
    - Northport (2010, 16 mm, colour, silent, 10' 00)
    - Pauline and Patrick, Le Marais, Paris (2008, 16 mm, b&w, silent, 9' 00)
    - Untitled (Revenant) (2002) (2002, 16 mm, colour, sonore, 10' 00)
    - Abduction (1986, 16 mm, b&w, silent, 20' 00)
    - Tableaux of the senses (1990, 16 mm, colour, silent, 14' 00)


  • Retrospectiva Adolpho Arrietta IV

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    - Tam-Tam. Francia, 1976. 80 min.
    La fauna marginal de Saint-Germain-des-Prés da una fiesta en honor de un bello desconocido al que se espera y que no llegará. Fiesta ininterrumpida “en un apartamento que es todos los apartamentos”, como escribió Enrique Vila Matas.
    Los personajes hablan de terremotos, de explosiones de planetas que pueden sucederse en la Tierra. Sin embargo, la conversación catastrofista se da en un ambiente distendido, crendo una atmósfera irreal de lo más sugestiva.


    Miércoles, Marzo 24, 2010 - 20:00


    La Casa Encendida - Madrid, España
  • Personal Cinema Series - Tony Conrad

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    Personal Cinema Series - Tony Conrad
    Saturday, March 27th 2010, 20-22h
    Millennium Film Workshop
    66 East 4th Street, New York, USA

    Tony Conrad - filmmaker, video artist, musician/composer, teacher and writer, Tony Conrad returns to the Millennium with a wide ranging program of rarely seen (and never) seen works and performances created between 1973 and 2008. Conrad’s film The Flicker, is a notorious classic of the underground cinema of the 60s. Before that he created the soundtrack for Jack Smith’s Flaming Creatures. In the 1970s, the premiere of his Yellow movies Exhibition was held at Millennium. The artist will be present to introduce and discuss the works shown.

    - Putin’s gas station (3 min., 2003)
    - Your friend (10 min., 2008),
    - Boring film with bowed film - Boring film (14 min., 2008)
    - Boring film (Performance work-1974)
    - Sip twice sandry (1 min., 1983)
    - Three audio pieces: And you will see, Goo goo, They called it (7.5 min., 1973-74)
    - Teddy tells jokes (4 Min., 1980)
    - Come on in (16 Min., 1986)
    - Acropolis lecture (7 min., 2006)
    - Enlightenment through experience: Interim semester at Albright College (5 min., 1973)
    - Four pieces in collaboration with Joe Gibbons: The producer (13 min., 2005), Literature and revolution (3 min., 1985), On slavery (13 min., 2005), I was just leaving (13 min., 2005).

    Admission: $8 / $6 members


  • Películas Pintadas

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    Scratch Pad, de Hy Hirsch. 1960. 7 min
    Grafitti escrito sobre imágenes. La película demuestra la original habilidad de su autor en la manipulación de la imagen.
    * Divinations, de Storm de Hirsch. 1964. 6 min
    El mundo del ritual y de la magia a través de un evento psíquico de colores y formas cuya banda sonora son los cantos de los Maorí.
    * Colour Poems, de Margaret Tait. 1974. 12min


    Martes, Marzo 23, 2010 - 20:00


    La Casa Encendida - Madrid, España