• The April Fool’s Cinema Show: Robert Banks

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    The April Fool’s Cinema Show:
    Screening of works directed by Robert Banks – With introduction by the artist
    Wednesday, April 1, 2009, 9pm
    West Lecture Hall
    Oberlin College Science Center
    119 Woodland St.
    Oberlin, OH 44074

    Please join Pioneer Species and The Oberlin Independent Film Series in welcoming the Cleveland-based, cult-cinema-inspired filmmaker Robert Banks to Oberlin for a retrospective screening of his unique oeuvre, which includes multiple award-winning films. A self-described “moving graffiti” artist, Banks has been a champion of emulsion-based cinema for many years, inspiring and challenging audiences with politically and culturally conscious commentary on the film medium.  Working in 16mm and 35mm formats, Banks uses found footage, new footage, and hand-manipulated film to question the intentions of the motion picture industry over that last several decades.

    About Robert Banks:

    Based in Cleveland, Ohio, Robert Banks specializes in avant-garde structuralist filmmaking.  He attended the Cleveland Institute of Art, and has taught film at Cuyahoga Community College, the Cleveland Institute of Art, and Cleveland State University.  Banks’ films have shown at the Sundance Film Festival, the New York Underground Film Festival, and the Black Mariah Film & Video Festival, among others. Over the course of his career Banks has garnered numerous awards, was named Filmmaker of the Year at the Midwest Filmmakers Conference in 2001, and in 2000 was the honored guest filmmaker at the BBC British Short Film Festival in London.  His best-known work is the 1992 film, X: The Baby Cinema, a 5-minute, 16mm film that chronicles the commercial appropriation of the image of Malcolm X.  An instant underground classic, the film was selected for inclusion on the video compilation, The Best Of The New York Underground: Year One.

    The April Fool’s Cinema Show lineup:

    - X, the baby cinema
    - My first drug, the idiot box
    - MPG: motion picture genocide
    - Jaded
    - Outlet
    - Embryonic
    - Goldfish & sunflowers
    - Autopilot
    - A.W.O.L.
    - Faith n chaos
    - Rock n’ roll blvd
    - Mercenary
    - Woman in circles

    About Pioneer Species:

    Pioneer Species is a micro-cinema screening alternative, independent, and experimental media every Wednesday night at various locations in Oberlin, Ohio.  Often, visiting artists and curators will be present to introduce their programs.  The micro-cinema is managed by students of the Oberlin College CINE 323: Exhibition Practices in the Media Arts course.

    About the Independent Film Series:

    The Independent Film Series (IFS) is an organization whose purpose is to expose the Oberlin community to unique films and film events unavailable within the constraints of other venues of exhibition. IFS focuses on cultivating an understanding of the independent filmmaker’s place in the larger dialog of cinematic culture, and stresses that fringe cinema is relevant, culturally informative, and important to keep alive in the digitally focused present.

    The April Fool’s Cinema Show is presented by Pioneer Species and with support from the Oberlin Independent Film Series.  These entities are working together to bring a greater diversity of alternative, independent, and experimental media to the community of Oberlin, with the goal of creating a broader awareness of non-mainstream media and media making. Watch for further updates and events!

    Visit us on the web:



  • Scratch: Chris Welsby April 21st

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    Nature as Performer in the Films and Installations of Chris Welsby
    Cinéma Action Christine
    4, rue Christine
    75006 Paris
    Tuesday 21 April 2009 at 20h30 - 6 €

    Chris Welsby has been making and exhibiting work since 1969. His films and film/video installations have been exhibited internationally, at major galleries and museums. In April 2009, he will be presenting at SCRATCH some 16mm films from the 70’s and some recent works.

    "In my single screen films and single channel videos the mechanics of film and video interact with the landscape in such a way that elemental processes - such as changes in light, the rise and fall of the tide or changes in wind direction - are given the space and time to participate in the process of representation. The resulting sequences of images make it possible to envisage a relationship between technology and nature based on principles other than exploitation and domination.” - Chris Welsby

    - Shore line (1975)
    - Shore line 2 (1975)
    - Sky light (1986)
    - Lost lake (1998)
    - At sea (2003)
    - Lost lake #2 (2005)
    - Waterfall (2004)
    - Trees in winter (2006)
    - Tree studies (2006)
    - Taking time (2008)
    - Heavens breath (2009)
    - Seven days (1974)
    - Stream line (1976)
    - Colour separation (1974-76)


  • Directors Lounge presents:Thorsten Fleisch - March 26

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    Directors Lounge presents: Thorsten Fleisch
    followed by a concert of his band Band "Malende"
    Thursday, March 26

    Friedrichstraße 112a, (1. Stock)
    10117 Berlin
    U Oranienburger Tor

    In his work, Thorsten Fleisch is combining light, playful ways to linger on existential themes with meticulous handcraftship. The seemingly abstract work defines materiality in contemporary ways while at the same time, it is captivating on the level of pure pictorial sensations. The program and some of the films by themselves combine lens-based images (KILL and parts of Hautnah) with non-camera images, such as direct treatment of film material (Blutrausch and Kosmos) and computer-generated renderings (Gestalt). Some examples of the filmmakers collection of old educational science films will enrich the program, again bringing together the interests of Thorsten Fleisch in science and sensually captivating material.
    Curated by Klaus W. Eisenlohr.




  • TIE Vienna April 22-24

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    Experimental Cinema
    April 22-24, 2009
    Austrian Film Museum

    In contrast to their canonized predecessors like Maya Deren, Kenneth Anger, Stan Brakhage, Andy Warhol and Michael Snow, the younger generations of American experimental cinema are virtually unknown in Europe. Yet this independent film movement continues unabated. Notwithstanding the current “digital standard”, innovative work with film is undergoing a renaissance in North and South America.

    This revival manifests itself not only in the captivating works of new artists who have broken onto the scene, but also in new festivals and film-cultural initiatives, in critical reception (particularly among young online writers) and in the art world, where film projections are again playing a paradoxical "avant-garde role" vis-à-vis the omnipresence of video installation, new media exhibitions and ubiquitous video game art.

    Founded ten years ago, Christopher May's TIE - The International Experimental Cinema Exposition has been an ideal platform for these new generations of filmmakers (as well as for rediscoveries from previous decades). After several enthusiastically received events in North and South America, TIE is making its first guest appearance in Europe, at the invitation of the Film Museum. Christopher May will personally introduce four curated programs with a total of 45 works. These include films by several important artists who have yet to be discovered in Europe.

    Program 1:
    - Powerman (Lenny Lipton, 1966, 5 min)
    - Shudder (top and bottom) (Michael Gitlin, 2001, 3 min)
    - Transaension (Dan Baker, 2006, 7 min)
    - Metaphysical Education (Thad Povey, 2003, 4 min)
    - dippingSause (Luther Price, 2005, 10 min)
    - Film Dzama (Deco Dawson, 2001, 23 min)
    - And We All Shine On (Michael Robinson, 2006, 7 min)
    - Observando el Cielo (Jeanne Liotta, 2007, 19 min)
    - The Crossing (Timoleon Wilkins, 2007, 6 min)
    - Black and White Trypps Number Three (Ben Russell, 2007, 12 min)

    Program 2:
    - NYC Flower Film (Sandra Gibson, 2003, 3 min)
    - Parallax (Christopher Becks, 2008, 6 min)
    - Ecstatic Vessels (Diane Kitchen, 2007, 21 min)
    - You Don't Bring Me Flowers (Michael Robinson, 2005, 8 min)
    - To Be Regained (Zach Iannazzi, 2008, 10 min)
    - Angel Beach (Scott Stark, 2001, 10 min)
    - A Fall Trip Home (Nathaniel Dorsky, 1964, 11 min)
    - July Fix (Jason Livingston, 2006, 3 min)
    - The Parable of the Tulip Painter and the Fly (Charlotte Pryce, 2008, 4 min)
    - Ingreen (Nathaniel Dorsky, 1964, 12 min)
    - Bellagio Roll (Sandra Gibson, 2003, 3 min)

    Program 3:
    - Blocking (Pablo Marin, 2005, 2 min)
    - Progetti (Paul Bartel, 1962, 17 min)
    - Mylar Balloon Rip-off (Jason Halprin, 2007, 3 min)
    - Whirl (Scott Banning, 2007, 8 min)
    - While Revolved (Vincent Grenier, 1976, 10 min)
    - [Various 8mm Works] (Frank Biesendorfer, 2000-2009, 17 min.total)
    - Space (Luis Recoder, 2001, 14 min)
    - My Mess (Jesse Kennedy, 2007, 4 min)
    - 1/48 (Jorge Lorenzo, 2008, 1 sec.)
    - Clip from Colorado Springs Home of Champions (Jim Prange, 1968, 4 min)
    - Double Your Pleasure (M.M. Serra, 2002, 4 min)
    - 90 Years (Jonathan Schwartz, 2008, 3 min)
    - Across the Rappahannock (Brian Frye, 2003, 11 min)

    Program 4:
    - What the Water Said, nos. 4-6 (David Gatten, 2007, 17 min)
    - In a Year with 13 Deaths (Jonathan Schwartz, 2008, 3 min)
    - Oblivion (Tom Chomont, 1969, 4 min)
    - Black and White Trypps Number Two (Ben Russell, 2006, 8 min)
    - The Fourth Watch (Janie Geiser, 2000, 9 min)
    - Spirit House (Robert Todd, 2008, 11 min)
    - Artifices #1 (Alexandre Larose, 2008, 4 min)
    - Sin título (Focus) (Pablo Marin, 2008, 4 min)
    - Film (Parkour) (Cine Parkour, 2008, 20 min)
    - Nothing Is Over Nothing (Jonathan Schwartz, 2008, 16 min)
    - Sacred Space (David Chaim Cohen, 2007, 14 min)


  • Canyon Cinema Screening March 20, 2009

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    New Improved Institutional Qualities..
    A showcase of preserved films distributed by Canyon Cinema
    Sponsored by Ninth Street Independent Film Center

    March 20, 2009, 7:30 p.m.
    $10 admission, at Ninth Street Independent Film Center, 145 Ninth Street at Minna in San Francisco.

    - Stan Brakhage's Riddle of Lumen (1972, 16mm, color, silent, 13.5 min.)
    Preserved by Academy of Motion Picture Arts and Sciences

    Saul Levine
    - Note to Pati (1969, 16mm, color, silent, 8 min., 18fps)
    - Note to Colleen (1974, 16mm, color, silent, 5 min., 18fps)
    Restoration 16mm blows-ups of 8mm films by the National Film Preservation Foundation, Anthology Film Archives and BB Optics.

    Jules Engel
    - Train Landscape (1974, 16mm, color, sound, 3 min.)
    - Silence (1968, 16mm, color, silent, 3 min.)
    - Shapes & Gestures (1976, 16mm, color, sound, 7 min.)
    Preservation by IotaCenter and Academy of Motion Picture Arts and Sciences.

    Adam Beckett
    - Flesh Flows (1974, 16mm, color, sound, 6 min.)
    - Sausage City (1974, 16mm, color, sound, 5 min.)
    - Dear Janice (1972, 16mm, color, sound, 15 min.)
    Preservation by IotaCenter and Academy of Motion Picture Arts and Sciences.

    - Paul Sharits' T,O,U,C,H,I,N,G (1968, 16mm, color, sound, 12 min.)
    Preservation by Anthology Film Archives.

    Curated by Lauren Sorensen.

    About Canyon Cinema
    Canyon Cinema has been distributing and presenting the personal 16mm and Super 8mm prints of independent filmmakers around the world for close to 50 years. An organization moving in new directions, Canyon is pleased to present a showcase of films gleaning from that 50 year history. In tonight's  program, the gamut of this extraordinary work is represented; from the unsung  psychedelic animator to the most celebrated avant-garde filmmaker, no stone goes unturned in the good work performed by these moving image archives.

    For more information, please contact Lauren Sorensen ([email protected]) or Dominic Angerame ([email protected])  or call  415-626-2255


  • 2009 Visual Music Marathon

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    Visual Music Marathon 2009The MFA Computer Art Department at School of Visual Arts, the New York Digital Salon and the Department of Music and Multimedia Studies at Northeastern University present the New York premiere of the Visual Music Marathon , a 12-hour festival showcasing 120 works by contemporary digital artists and composers from around the world. The event offers an encyclopedic look into the burgeoning practice of visual music, which combines animation and musical composition. The roots of the genre date back more than two hundred years to the ocular harpsichords and color-music scales of the 18th century; the current art form came to fruition following the emergence of film and video in the 20th century.


  • Jack Smith: Live Film!

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    Jack Smith - Flaming CreaturesMarch 20-22, 2009 at Kino Arsenal , Berlin

    30 filmmakers, artists, performers, writers, curators, and theorists will be in Berlin to participate in a workshop on the American underground filmmaker Jack Smith. Afterwards they will prepare a contribution to a festival that will take place in October at Arsenal and HAU. Live Film! is curated by Susanne Sachsse, Marc Siegel, and Stefanie Schulte Strathaus and funded by the Federal Cultural Foundation.


  • Ken Jacobs lecture at Light Industry March 17

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    Return to LH6
    Curated by Ken Jacobs

    Light Industry
    220 36th Street, 5th Floor
    Brooklyn, New York

    Tuesday, March 17, 2009 at 7:30pm

    "Binghamton, 1969 to 2002. I started in LH1, a much larger room than LH6, hundreds of students but most expected to see only popular movies and a reflection of their own casual and superior attitudes. They weren't the only defiantly stupid ones (seeing that nothing is more worth critical attention than the phenomena of cinema). Established teachers had railed against a Cinema Department before I arrived as a further appeasement of spoiled and rebellious students and a desecration of the discipline of teaching. They had gone off-campus to complain to the American Legion and Veterans of Foreign Wars, turds that supported the slaughter of Vietnamese and decried the influx of NewYorkCommieFagNiggerlovingJews, and allies in the protection of students from persons arrested for the screening of Flaming Creatures.

    "I then believed that anyone could become a real student (wrong!), just as I was an anyone that had become a teacher. I had prepared by attending The Laff Movie on 42nd Street. It had first influenced my making of Star Spangled to Death and now my teaching. I can't recall the advertising of specific films on the marquee. It was a place for poor men to sleep off a drunk while old comedies were screened, sometimes entire films and sometimes comic sections of films. Film clips! This was indeed revolutionary thinking. One standard applied: whatever was selected had been thoroughly dismissed from public memory, certainly from the few film-history books that then
    existed. The great nameless and unthanked anti-snob curator of The Laff Movie, my mystery Professor! Thou scummy and dreary University, where hot dogs and candy bars and drinks were hawked up and down the aisles during screenings, only you, for a quarter, showed me the pre-code Thirties, introducing me to the real Eddy Cantor and Jimmy Durante and Busby Berkeley
    in their pre-code prime, when they were forces.

    "I expanded on the Laff Movie selections so one never knew what to expect and I disapproved of introductions: students were expected to grapple, and then there'd be talk, lots of it. Assuming I still have something of my teaching chops, you're welcome to sit in on a re-creation of cinema studies
    in LH6. (I would sometimes screen some of my own stuff so there just might be samplings and discussion of recent Ken Jacobs work.)" - KJ

    Followed by a conversation between Jacobs and Amy Taubin.

    Distinguished Professor Emeritus, Ken Jacobs, was born in Brooklyn, NY, in 1933. He studied painting with one of the prime creators of Abstract Expressionism, Hans Hofmann, in the mid-fifties. It was then that he also began filmmaking (Star Spangled To Death). His personal star rose, to just about knee high, with the sixties advent of Underground Film. In 1967, with the involvement of his wife Florence and many others aspiring to a democratic -rather than demagogic- cinema, he created The Millennium Film Workshop in New York City. A nonprofit filmmaker's co-operative open to all, it made available film equipment, workspace, screenings and classes at
    little or no cost. Later he found himself teaching large classes of painfully docile students at St. John's University in Jamaica, Queens.

    In 1969, after a week's guest seminar at Harpur College (now, Binghamton University), students petitioned the Administration to hire Ken Jacobs. Despite his lack of a high school diploma, the Administration -during that special period of anguish and possibility- decided that, as a teacher, he
    was "a natural." Together with Larry Gottheim he organized the SUNY system's first Department of Cinema, teaching thoughtful consideration of every kind of film but specializing in avant garde cinema appreciation and production. (Department graduates are world-recognized as having an exceptional presence in this field.) His own early studies under Hofmann would increasingly figure in his filmwork, making for an Abstract Expressionist cinema, clearly evident in his avant garde classic Tom, Tom, The Piper's Son (1969) and increasingly so in his subsequent devising of the unique Nervous System series of live film-projection performances. The American Museum Of The
    Moving Image in Astoria, Queens, hosted a full retrospective of his work in 1989, The New York Museum Of Modern Art held a partial retrospective in 1996, as did The American House in Paris in 1994 and the Arsenal Theater in Berlin in 1986 (during his 6 month stay as guest-recipient of Berlin's DAAD award). He has also performed in Japan, at the Louvre in Paris, the Getty
    Center in Los Angeles, etc. Honors include the Maya Deren Award of The American Film Institute, the Guggenheim Award and a special Rockefeller Foundation grant. A 1999 interview with Ken Jacobs can be seen on the Net as part of The University Of California at Berkeley's series of Conversations With History.

    Tickets - $7, available at door.

    About Light Industry

    Light Industry is a new venue for film and electronic art in Brooklyn, New York. Developed and overseen by Thomas Beard and Ed Halter, the project has begun as a series of events at Industry City in Sunset Park, each organized by a different artist, critic, or curator. Conceptually, Light Industry draws equal inspiration from the long history of alternative art spaces in New York as well its storied tradition of cinematheques and other intrepid film exhibitors. Through a regular program of screenings, performances, and lectures, its goal is to explore new models for the presentation of
    time-based media and foster an ongoing dialogue amongst a wide range of artists and audiences within the city.

    About Industry City

    Industry City, an industrial complex in Sunset Park, Brooklyn, is home to a cross-section of manufacturing, warehousing and light industry. As part of a regeneration program intended to diversify the use of its 6 million square feet of space to better reflect 21st century production, Industry City now includes workspace for artists. In addition to offering studios at competitive rates, Industry City also provides a limited number of low-cost studios for artists in need of reasonably priced space. This program was conceived in response to the lack of affordable workspace for artists in New York City and aims to establish a new paradigm for industrial
    redevelopment--one that does not displace artists, workers, local residents or industry but instead builds a sustainable community in a context that integrates cultural and industrial production. For more information:


  • Animation Breakdown

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    Animation Breakdown is a weekend of screenings and discussion, exploring the relationships
    between drawing, moving image, and the influence of digital technologies.
    At Tate Modern, London, on 20 and 21 March 2009.

    For the full programme visit:

    Animation Breakdown Study Day, Saturday, 21 March
    With an emphasis on practice, and the artist’s perspective, the day will embrace an eclectic range of approaches, and ask how digital and hybrid technologies are influencing artists and their work.

    Curators Stoffel Debuysere and María Palacios Cruz will kick things off with an illustrated talk to help "dismantle the common a priori assumptions on animation film and its limitations".

    As part of their presentation, they’re showing some films, too:

    - Snack and Drink (Bob Sabiston, USA, 1999, 3’40”)
    - The Simpson Verdict (Kota Ezawa, GE/US, 2002, 3’)
    - Infinite Justice (Karl Tebbe, Germany, 2006, 2’)
    - The Quick and the Dead (Stephen Andrews, Canada, 2004, 1’30”)
    - I've got a guy running (Jonathon Kirk, USA, 2006, 7’12”)
    - Paths of g (Dietmar Offenhuber, Austria, 2006, 1’)
    - Capitalism : slavery (Ken Jacobs, USA, 2007, silent, 3’)

    The rest of the day is given over to three panels of artists, presenting and discussing their work:

    Simon Faithfull, Ann Course, Samba Fall, Joshua Mosley, David Blair, Jennifer Steinkamp,
    Dryden Goodwin, Emily Richardson, Ori Gersht

    The panels are chaired by curators Angela Kingston, Steven Bode and David Chandler.

    Animation Breakdown Weekend Screenings: Computer Baroque
    Friday 20 March 2009, 7pm
    Computer Baroque programme - digital animation art and experiment, curated by Richard Wright, featuring the works of Karl Sims, William Latham, John Witney, Paul Garrin, Shelley Lake and Ruth Lingford.

    Saturday 21 March 2009, 7pm
    WAX, or The Discovery of Television Among the Bees, (David Blair, USA/Germany, 1991), followed by a Q&A with the artist.

    For tickets book online or call 020 7887 8888
    Study Day: £15.00 / £10.00 concessions
    Screenings: £5.00 / £4.00 concessions