• Rauland kunstforening: International video art program

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    International video art program during the December Exhibiton 2009

    Presented by Art Video Exchange and Rauland kunstforening (Art Association)
    Rauland, Norway
    Produced by Mona Bentzen, Norway

    10 Dec. Denmark, curated by Jeanette Land Schou
    17 Dec. Bosnia & Herzegovinia, curated by Igor Bosnjak
    27 Dec. Rusia, curated by Vika Ilushkina
    28 Dec. Serbia, curated by Bojana Romic
    29 Dec. Sweden, curated by Anders Weberg
    30 Dec. Germany, curated by Wilfried Agricola de Cologne



  • Underground New York

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    Underground New York (Gideon Bachmann, 1967)Underground New York
    New York Gershwin Hotel
    Sunday 6 December 2009

    In the 1960s, filmmakers investigated new forms of production in dialogue with radical shifts in art, music, performance and popular culture. Following the example of the Beats, the counterculture was alive with protest, freedom of expression and the breaking of taboos, and from the Film-Makers’ Coop to Andy Warhol’s Factory, portable 16mm cameras were bringing a whole new way of seeing to the cinema screen. These heady days of “underground film” were captured by Gideon Bachmann in a spirited broadcast for German television. Rarely seen today, it is one of the few surviving documents to show aspects of New York’s independent film culture during this exhilarating period.


  • FMAB in NYC December 3rd

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    Please join us at Niagara, 7th and Avenue A in New York City this thursday, Dec. 3rd at 9 p.m. for a special exhibition called '25p'.

    ‘25p’ uses a concept of film-making (more specifically found-film material and old super8) as a key to understanding art. The underlying concept of the show is based upon establishing a personal connection and dialogue with the visitor, by taking a closer look at the element of narration in art and how it interacts with the narratives of the other pieces to make a bigger story (the exhibition as a whole.)

    The show takes 25 positions of drawing, painting and video works, examining the visual (and non-visual) elements making up each piece, in a way that the viewer can consider for themselves what the complete narrative is.


  • Close-Up:Dalia Neis, Magdalena Bazantova, Stephanie Barber & Margaret Tait

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    Close-Up: Dalia Neis, Magdalena Bazantova, Stephanie Barber & Margaret Tait
    The Working Men’s Club
    44-46 Pollard Row, London E2 6NB
    Ticket: £5/FREE to Close-Up members

    A rare opportunity to see a selection of films by 3 contemporary filmmakers from Prague, Baltimore and London, followed by a Q&A with the artists. The programme is supplemented by a selection of Margaret Tait’s films.

    Tuesday 1 December 8pm
    Dalia Neis - Selected Films

    - Missing Meilich (2004, DV, Colour & b&w, 22 mins)
    A personal document of my Ancestral pilgrimage. I travelled to Poland in search of my missing uncle, Meilich Last. The film attempts to re-trace the remnants of the spiritual and ghostly presence of the vanished world of my cultural origins. — DN
    - Goray 1648 (2007, DV, Colour & b&w, 8 mins)
    An exploration of the interface between Judaic folk beliefs, messianic superstition, and the origins of Zion. ‘Goray 1648‘ presents itself as a forgotten diasporic archive that transmits the private apocalyptic visions and primal archetypal myths embodied in the folk tales of a 1930s Yiddish film, home movies of the filmmaker’s family in Palestine, symbolic drawings, and found photographs. The film’s title is inspired by the events of a novel written by Isaac Beshavis Singer in 1932 about Goray, a part mythical village at the end of the earth that descends into religious hysteria upon the arrival of a false messiah in 1648. — DN
    - Saints (2005, 16mm, b&w, 5 mins)
    A reflection on cinema and its relationship to devotional belief. ‘Saints‘ presents itself as a fragment from an abandoned folk archive. A document of portraits of North African Jewish and Islamic saints - It is believed that through meeting the gaze of a saint, their wisdom and courage are transmitted to the onlooker. — DN
    - Lalla Soulika (2005, DV, Colour, 4 mins)
    Part prayer and part folk ritual, ‘Lalla soulika‘ describes the filmmaker’s ecstatic encounter with the tomb of a 17th century female saint, venerated by Jews and Muslims in Morocco. — DN

    Followed by a Q&A with the artist

    Tuesday 8 December 8pm
    Magdalena Bazantova - Selected Films

    - ABCDevil (2008, DV, Colour, 8 mins), With Veronika Vlkova
    Acclaimed scribble love story filled with mad chases, unexpected plot twists and wild psycho..no…pyrotechnics… gripping action, stunning cinematography, black humour and stocking violence. But mainly on friendship between childish humor and adult misery. — MB
    - I am 30 and life is shit (2009, DV, Colour, 11 mins)
    Sometimes the heroine dies in the first scene, but has to perform for the rest of the movie anyway, despite the fact, that her energy isn’t always flowing freely, healthily and naturally. — MB
    - Snow Queen (2009, DV, Colour, 13 mins) With Veronika Vlkova
    “…The tale begins with the shattering of a magical mirror, its pieces spreading over the world. When a shard enters a person’s eye, they only see the negative aspects of things. When it enters someone’s heart, it turns to ice. The symptoms of depression are eerily similar, including irritability, negative thoughts and perhaps even worse, numbness…”
    - This Film B (2009, DV, Colour, 10 mins)
    Changing identity is easier, than facing the spectres you might have created, especially if you can’t run very fast and it makes the movie shorter. — MB
    - Mind your own business aka Sandokan (2009, DV, Colour, 6 mins)
    Superhero: I found this in front of your house.
    UFO: That’s not mine.
    Superhero: Can I keep it?
    UFO: Yes.
    UFO’s mother: Will you have a piece of cake?
    Superhero: Well.. I have to go.
    - Rocket (2009, DV, Colour, 9 mins)
    This is a bubble base in the Universe, but it is abandoned now. We are at home. — MB

    Followed by a Q&A with the artist

    Tuesday 15 December 8pm
    Stephanie Barber - Selected Films

    - Flower, the boy, the librarian (1996, 16mm, Colour, 6 mins)
    For those who find listing and repetition romantic. A near perfect structure. Three acts, an auditory red herring and classic love story. — SB
    - Letters, Notes (2000, 16mm, Colour, 6 mins)
    This film brings together found photographs and letters to create new mini narratives. Death and disease are set blithely beside, and given equal importance as, the sighting of a skunk or love sick scribblings. — SB
    - They invented machines (1997, 16mm, Colour, 7 mins)
    This film is thinking about colonialism, entertainment and love. The images are taken mostly on Disneyworld rides where one is shown facsimiles of people from faraway lands. The sound track a little more than half way through ceases its cricketing and, against impressionistic waterfalls, mentions love (”they have love here”) which must then be thought of in the context of this same wonder, possession and amusement. The film ends with a series of flights. — SB
    - Total power dead, dead, dead (2005, 16mm, Colour, 3 mins)
    A love letter to the charm of two dimensional images and a struggle for attention. Confusion over the inequity of the mortality of images and that of humans. (slightest indictment). The spectacle awaits our adoration, gives a tender, false intimation of collusion. — SB
    - A little present (for my friend Columbus the explorer) (1997, 16mm, Colour, 3 mins)
    While referencing the explorer Christopher Columbus the film is actually a gift for my friend, the performance artist, Theresa Columbus. The short imagistic film is suggesting, or questioning, ever so gently the effects– both positive and negative–that exploring has on that which is being explored. Our most well known Columbus, now so often vilified, here stands in for a more psychological and artistic exploration and the fall out that can occur from that sort of expansionism as well. Like many of my films the piece itself works almost separately from the implications and sidelong glances of the title and the way it interacts with the, almost passive, images and often quite dominant soundtracks.
    - War Story (2008, DV, Colour, 7 mins)
    War Story is a brief treatise on the language of war and how the slightest suggestion of such words propels our imagination towards these ideas. The abstraction of language in this video references both the fascinating history of concrete poetry as well as the nature of conflict itself–so subjective, relative and open to interpretation. The second half of the piece unveils an historic and somehow lonely nationalism–the seeming mockery of this moment is softened by the duration of the shot and the rain and the truly moving harmonies through which these ideas are condensed and sold back to a nation. — SB
    - The visit and the play (2008, DV, Colour, 8 mins)
    A playful and dark conversational study. I am wrapping prose poetry into the recognizable conversational form and allowing both connections and missed meanings. First the ladies visit, then they go to watch a play. On a television, in a snow garden. In many ways the play references the cadence of the ladies’ conversation–the tedious animosity and lack of attentive or appropriate response. In the end all i want to think about lately is the art of conversation, the various directions this art takes and the ways one’s receptivity to dialog changes when the subjects creating this dialog are taken out of the equation, or suggested scantily. Has screened at the northwest film forum, chicago underground film festival, portland documentary experimental film festival and several other venues in the last few months. — SB
    - Dwarfs the sea (2007, DV, Colour, 7 mins)
    Small biographies and musing generalizations–men’s relations to each other and their lives. There is hope and loneliness, companionship and isolation and the simplest of filmic elements to contrast the complexity of human emotions. The delicacy of the formalist writing moves the listener from intimacy to universalism and back again, swaying gently to and fro like the rocking of a ship. — SB
    - The inversion, transcription, evening track and attractor (2008, DV, b&w, 13 mins)
    How looking at what has become the skeletons of photographs is a visual lecture on aesthetic pleasure or emotion. And how being, almost entirely denied of this pleasure, or having the pleasure merely suggested induces a viewer to ruminate on the act of viewing and that of wanting to view. And maybe it is evolution which causes this anxiety and art form. A series of collages recreating the photographs of well known artists (Uta Barth, Kohei Yoshiyuki, Candida Hofer, Deborah Willis) and a very slight suggestion of the actual photographs. - SB

    Stephanie Barber creates meticulously crafted, odd and imaginative films and videos. She has had solo screenings of her work at MoMA, NY, Anthology Film Archives, San Francisco’s Yerba Buena Center, Chicago Filmmakers and many other museums, galleries and artspaces around the world.

    “Stephanie Barber…has one of the most original visions to emerge recently from the diverse experimental film scene. Deceptively simple at first, her work is unique in the way it alters and even suspends time.” — Fred Camper, The Chicago Reader

    Followed by a Q&A with the artist

    Tuesday 22 December 8pm
    Margaret Tait - Selected Films

    - Portrait Of Ga (1952, 16mm, Colour, 4 mins)
    Portrait of the filmmaker’s mother.
    - Aerial (1974, 16mm, Colour, 4 mins)
    “Touches on elemental images; air, water, (and snow), earth and fire (and smoke) all come into it.” - MT
    - Hugh Macdiarmid, A Portrait (1964, 16mm, b&w, 9 mins)
    A study of the poet who was 71 at the time, seen at home and in Edinburgh.
    - Where i am is here (1964, 16mm, b&w, 33 mins)
    “Starting with a six-line script which just noted down a kind of event to occur, and recur, my aim was to construct a film with its own logic, its own correspondences within itself, and its own echoes and rhymes and comparisons, all through close exploration of the everyday, the commonplace, in the city of Edinburgh.” - MT
    - Tailpiece (1976, 16mm, b&w, 9 mins)
    “A coda to Place of Work, is more personalised, more allusive and less naturalistic. The house is being vacated, it is now clear. Children’s voices repeating banded-down rhymes and rigmarole’s suggest past time as well as now, and there are other reverberations into past and future coming from the handling of objects, revealing of marks of walls, mirroring of myself in a room and shadows in rooms.” - MT

    Margaret Tait was one of Britain’s most unique filmmakers. She studied at the Centro Sperimentale di Cinematografia in Rome during the height of the neorealist movement, before returning to Scotland in the early 1950s and founding her own film company, Ancona Films. Over the course of 46 years she produced over 30 films including one feature, and published three books of poetry and two volumes of short stories, while living between Orkney and Edinburgh.

    Tait described her life’s work as consisting of making film poems, and denied suggestions that they were documentaries or diary films. She often quoted Lorca’s phrase of ’stalking the image’ to define her philosophy and method, believing that if you look at an object closely enough it will speak its nature. This clarity of vision and purpose, with an attention to simple commonplace subjects, combined with a rare sense of inner rhythm and pattern, give her films a transcendental quality, while still remaining firmly rooted within the everyday With characteristic modesty, Tait once said of her films, that they are born “of sheer wonder and astonishment at how much can be seen in any place that you choose … if you really look.”

    “No aspiring film-maker, or filmgoer, could possibly fail to be inspired by her precious work” - Sukhdev Sandhu, The New Statesman

    “A unique and underrated filmmaker, nobody like her. Born of the Italian neorealists, formed of her own Scottish pragmatism, optimism, generosity and experimental spirit, and a clear forerunner of the English experimental directors of the late 20th century. A clear example of, and pioneer of, the poetic tradition, the experimental tradition, the democratic tradition, in the best of risk-taking Scottish cinema.” — Alt Smith

    This screening is supported by LUX
    Followed by a Q&A with the artist


  • Magic Eye: Passerine

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    Magic Eye: Passerine
    Sunday, December 6th – 8pm - $6
    The Lof/t at Load of Fun
    120 W. North Avenue, Baltimore, USA
    Raha Raissnia's Traces
    Magic Eye is pleased to present Raha Raissnia and Kenny Wollesen on their Baltimore debut. They will premiere a sound / performance collaboration titled "Passerine".


  • Picture This: Ben Rivers

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    Picture This: Ben Rivers
    26 November - 05 December
    Picture This Atelier, Bristol, UK
     Film still from Origin of the Species
    Two films by artist Ben Rivers which muse on the ideas of Charles Darwin - one through the field of island biogeography, considering possible future Utopias evolving on isolated islands, the other through the thoughts of a 75-year-old amateur inventor and Darwin enthusiast.

    "How come it's like this, how did it get like this? And the thing that'll amaze you - Ben - is, the time; it has taken so very, very long... and some things happen very, very slowly." Origin of the Species

    Picture This presents the first opportunity to see an element from a new four-screen work currently in production. Slow Action focuses on the relationship we have - and may have in the future - to islands. Ben Rivers' investigation considers the possible future Utopias evolving on isolated islands.

    Exquisitely beautiful, poetic and serene, yet exact and rigorous in composition and timing, Origin of the Species is a tentative, fleeting portrait of a man about whom we are told little but learn much: a man of inventions, of science, of solitude; and to whom Darwin's On the Origin of Species is evidently dear. The world is seen as simultaneously familiar and alien; full of wonder and composed of a palette of dream-colours, alternately rich and colour-saturated and steely or tawny.


  • Pleasure Dome & Mercer Union present: Identifications

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    Pleasure Dome & Mercer Union present: Identifications
    Saturday, November 28, 8pm  $8/5 members
    129 Spadina Avenue
    Toronto, Canada

    - Identifications (video, 1970, 42 min.)
    Featuring works by Giovanni Anselmo, Joseph Beuys, Alighiero Boetti, Stanley Brouwn, Daniel Buren, Pier Paolo Calzolari, Gino de Dominicis, Ger van Elk, Hamish Fulton, Gilbert & George, Garry Kuehn, Mario Merz, Klaus Rinke, Reiner Ruthenbeck, Ulrich Rückriem, Richard Serra, Keith Sonnier, Franz Erhard Walther, Lawrence Weiner, and Gilberto Zorio.

    - Black Gate Cologne —a happening in the studio by Otto Piene and Aldo Tambellini (video, 1968, 23 min.)

    The landmark TV project Identifications was initiated by the German gallerist Gerry Schum, who envisioned television as a new exhibition platform distinct from the art market. Schum announced the project’s aim thus: “We no longer perceive the work of art as a painting or sculpture not connected with the artist. On television, the artist can reduce his work to an attitude, a simple gesture, referring to his concept. The work of art is conveyed as a unity of concept, visualization, and the artist who provides the idea."

    Black Gate Cologne —a happening in the studio is often cited as the first television programme made by artists. It was a live event involving films, light objects and the participation of the studio audience. The close co-operation between artists and TV crew created a synthesis of live atmosphere, Light Art, experimental film and electronic image aesthetics.


  • Scott MacDonald Presents: Documentary and The Avant-Garde

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    Scott MacDonald Presents: Documentary and The Avant-Garde
    December 12, 13 7:30PM
    322 Union Avenue
    Brooklyn, New York 11211

    During the past quarter century, the histories of documentary and avant-garde film have converged; or, really, have converged again—there have been many such convergences over the decades—in some new ways. Many particular films fit comfortably into both historical categories, and scholars have begun to recognize that these categories themselves are growing increasingly inclusive, and elusive.  This weekend, Scott MacDonald will present two shows of films that, in various ways, straddle the categories of documentary and avant-garde film.


  • Józef Robakowski: Attention: Light!

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    Józef Robakowski: Attention: Light!
    Opening Thursday, November 26th 2009, from 6 p.m. till 9 p.m.
    29 Wadeson Street, London E2

    “Robakowski’s work is stubbornly autonomic. For decades it remained resistant to dominant trends, preferring cognitive and expressive function to surrendering to current events of artistic life, but becoming, at the same time, its important creative element.”

    Józef Robakowski, born in 1939 in Poznan, dedicated all his artistic activity to the inquiry of the nature of film. The artist chose to spend most of his life in Lódz, the city where the circle of Polish pre-war artistic avant-garde once flourished, where the Muzeum Sztuki, first museum of modern art in Poland was established, where the National Film School educated dozens of prominent Polish film artists, including Roman Polanski and Andrzej Wajda.


  • Urban Research: La Calle - la Habitación

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    Urban Research: La Calle - la Habitación
    Tuesday 24 Nov, 19:30
    Kommunales Kino Freiburg, Germany

    La Calle - la Habitación (The Street - the Habitat)

    The film program Urban Research comprises works of artists who explore urbanity in contemporary cities with experimental means. In recent times, a growing number of contemporary artists have come forward with personal and challenging views onto the changing urban environment. This selection of films brings together films from the realm of Latin lingua, mainly Latin America but also Portugal, Chicago and a Latin enclave in Vienna. The artists' views reflect daily life and they "deturn" or shift perceptions towards the less ordinary. Some settings appear more common than expected - in certain ways, urban life has become internationally similar and the artists request the audience to read subtleties and notes in between lines.

    In a report on the Red Cross in Mexico City, the daily ambiguities between the middle class perspectives of Red Cross operation volunteers, and the clean world of modern medicine on one hand, and poverty and violence eruptions in the street on the other, make visible the contradictions of the fragmented urban geography. Or, the wildly growing building extensions of social housing projects, too small in their layouts, aren't just adoringly depicted as informal architecture but shown in all the contradictions between anarchy, self-organization, daily life, internal conflicts and legal insecurities. In other films, the gaze at windows of the neighborhood or watching random encounters on the street reflect daily life and private escapes; and the random encounters with abandoned magnetic tapes on the street, or with the "spirit" of "super barrio" attempt to link pop culture with the reality of vernacular life. One film asks "where is Macondo" and finds that place not just in Gabriel Garcia Marquez's imagination but in a barrio of Vienna (Austria) and in Avacataca (Columbia).

    Klaus W. Eisenlohr, artist and filmmaker in Berlin received several grants such as "Cast & Cut" in Hannover 2004 and HIAP, Helsinki 2006, and he organizes screenings and the Urban Research program with Directors Lounge since 2005. Urban Research has been shown internationally at cinemas in St. Petersburg, London, Freiburg, Hannover, Berlin and Dordrecht. This program was selected and edited with the support of Verena Grimm (Berlin/ Mexico Stadt) and Fernando Llanos (Mexico).

    - Fernando Llanos, Citta,Mexico 2004, 3:31
    - Verena Grimm, la + roja, Mexico 2007, 13:33
    - José Matiella + Ivan Edeza, Sintia,  Mexico, 4:27
    - Jeremy Xido, Macondo, Österreich/ Columbia, 11:09
    - Alejandro Loaera, Los Atletas, Mexico 2005, 3:52
    - Verena Grimm, Macht Strukturen, Mexico/ DE  2007, 2:31
    - Carlos Matiella, Curamoss, Mexico, 2:11
    - Casilda Sánchez, Insides, USA, 4:00
    - Beatriz + Carlos Matiella, Vecinos, Mexico, 2:42
    - Carlos Matiella, Buda, Mexico, 3:06
    - Noëlle Georg, A Promessa, Portugal 2005, 4:16
    - Hector Falcón, Simulacro, Mexico 2005, 0:41
    - Paola Velasquez + Pilar Ortiz, Mutacion Block,Chile, 24:43
    presented by Klaus W. Eisenlohr

    Kino Avantgarde
    Kommunales Kino Freiburg
    Alter Wiehre Bahnhof
    Urachstr. 40
    79102 Freiburg im Breisgau