Eventos

  • Light Industry: Two Films by Marjorie Keller

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    Light Industry: Two Films by Marjorie Keller
    Tuesday, March 19 2013, 19:30h
    155 Freeman Street, Brooklyn, New York 11222

    Writing in Artforum in 1981, Amy Taubin praised Marjorie Keller as “perhaps the only major filmmaker that the American independent film has produced since the end of the Sixties.” At the time of her sudden death in 1994 at age 43, she would leave behind twenty-seven 8mm and 16mm films; tonight, Light Industry presents two of her most important works, Misconception and Daughters of Chaos. Built from small-gauge diary footage, both films are at once lyrical and anti-romantic, meditations on female experience that render their subjects through radically nonlinear editing and complex experiments in sound-image correspondence. Like Stan Brakhage, one of Keller's great influences, she transforms her subject matter—a birth, a wedding—from the stuff of home movies to an adventure in perception. Yet she forgoes the self-mythologizing of her predecessor, offering a more earthbound, though no less poetic, take on the subjective nature of memory.

    Keller also produced a substantial body of writings, including a book on the role of childhood in the work of Brakhage, Jean Cocteau, and Joseph Cornell, as well as notes towards a proposed study of women’s experimental cinema that would have charted a trajectory from pioneers like Germaine Dulac, Maya Deren, and Carolee Schneemann through to a younger generation represented by Peggy Ahwesh, Su Friedrich, and Leslie Thornton, among others. In addition to her achievements as an artist and critic, Keller played a crucial role in the Collective for Living Cinema, serving on its board of directors and editing the Collective’s publications Idiolects and Motion Picture. She engaged in the evolving debates around feminism, film, and the avant-garde that ran from the 70s through the 90s, vigorously defending a tradition of highly personal, formally rigorous work that some had rejected as irredeemably masculinist, while at the same time subjecting that tradition to a nuanced critique through her own scholarship and filmmaking. Though highly skeptical of the ways in which feminist film studies had, ironically, come to ignore some of the considerable accomplishments by women in the American avant-garde, Keller was nevertheless one of the key figures of her era to synthesize theory and practice at the most advanced level.

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  • Magic Lantern Presents: Print/Process

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    Magic Lantern Presents: Print/Process
    16mm Films by J.J. Murphy, Phil Solomon, and Karl Kels
    Wednesday March 20, 2013, 20h
    95 Empire Black Box Theater, Providence, RI, USA

    Film, tape and digital video are all subsets of cinema, much like oils, acrylic, egg tempera, spraypaint and watercolor are all included under the heading of painting. Nevertheless, while sharing the predominant qualities of what we generically call "cinema," each material has its own specific aesthetic materiality that is perhaps best revealed in the event of its own failure or deterioration. The video image becomes filled with horizontal lines of interference or static noise; digital images break down into smears of pixels and stuttering motion; similarly, film has its own special form of visual decay. In 1974, J.J. Murphy re-photographed the same minute of footage fifty times; the product of this experiment was Print Generation, a supremely structuralist work that plays at the cinema's limits of abstraction and representation both on the levels of image and sound. Rarely screened and long available only in the most faded of 16mm prints, Print Generation is shown here in a new, immaculate restoration that brings the alchemical of play of Murphy's film back to life. *Print Generation* is complemented by two other works that engage directly with the theme of generation and decay: the enigmatic *Secret Garden* by American filmmaker Phil Solomon, and *Starlings*, an early work by Austrian filmmaker/documentarian Karl Kels. Like the car dredged up from the marsh at the end of Hitchcock's *Psycho*, these pieces put film's materiality on display as a field of potentiality from which a figurative image, like the return of the repressed, may or may not emerge.

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  • Brave New World: The Films of Barbara Hammer

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    Brave New World: The Films of Barbara Hammer
    April 4-7 2013
    TIFF Bell Lightbox
    Reitman Square, 350 King Street West, Toronto, Ontario

    In recent years, the pioneering experimental filmmaker and lesbian activist Barbara Hammer has been feted with retrospectives at London's Tate Modern, New York's Museum of Modern Art and Paris' Jeu de Paume, amongst others. Brave New World: The Films of Barbara Hammer is a fitting and overdue tribute to an artist who has explored a wide range of styles and subjects over her prolific forty-five-year career.  

    Born at the tail end of the Depression to parents heading west to Los Angeles in search of a better life, Hammer is the consummate American pioneer. Her life and films reflect both a peripatetic sense of place (Los Angeles, San Francisco, New York, along with some European jaunts), and also a firm sense of inner discovery and the mastery that comes from a creative adaptation of what one discovers along the way. Through her personal filmmaking, she has always allowed her life-story (told most entertainingly in her recent autobiography, Hammer! Making Movies Out of Sex and Life) to reveal itself in her work. Her films become an artistic record of, among other things, coming out as a lesbian during feminism’s second wave, fighting the politics of acceptance in the eighties and a successful fight against ovarian cancer in the first decade of the 21st Century. From her very first Super 8 psychodramatic self-portraits, to her mid-eighties experiments with the abstract possibilities of the optical printer, to her later documentaries that attempt to trace a queer artistic lineage through the political and artistic turmoil of the early twentieth century, Hammer has displayed a stylistic polyvalence which, combined with her generosity as an artist, teacher and community activist, has influenced generations of students, filmmakers and artists. 

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  • Peter Kubelka presents Monument Film

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    Peter Kubelka presents Monument Film
    Tuesday April 9 2013, 18:30h
    BFI Southbank
    Belvedere Road, South Bank, SE1 8XT London

    The Austrian filmmaker Peter Kubelka has been a vital and uncompromising force in cinema for more than half a century. In a body of work that lasts not much more than an hour in total, he condenses and articulates the essential qualities of analogue cinema, distinguishing film as an autonomous artform. His 1960 film Arnulf Rainer, composed only of the purest elements of light and darkness, sound and silence, remains one of the most radical achievements in film history. In response to that earlier work, his new film Antiphon was revealed in 2012 as part of Monument Film, a powerful testament to the entire medium. With two 35mm projectors situated in the auditorium, each film is screened individually, then combined as double projections, both side-by-side and superimposed upon each other. Throughout this extraordinary projection event, Peter Kubelka will discuss his theories, explaining the differences between film and digital media, and articulating his belief in the survival of cinema.

    Monument Film
    Lecture screening with double 35mm projection
    Peter Kubelka | Austria 1960/2012 | c.90 min

    Curated by Mark Webber. Presented with the support of the Austrian Cultural Forum, London.

    Tickets: £11 / £8.50 concessions (BFI Members pay £1.50 less)

    This performance was originally scheduled for the 56th BFI London Film Festival last October. Audience members with tickets for the original event should contact the BFI Box Office on 020 7928 3232 for an exchange.

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  • PoetryFilm Equinox

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    PoetryFilm Equinox
    Circles, Cycles, Sequences, Planets, Patterns
    Wednesday March 20 2013, 19:30h
    Charlotte Street Hotel Cinema (located downstairs)
    15-17 Charlotte Street, London WIT 1RJ

    A special one-off PoetryFilm event celebrating the Equinox with a bespoke programme of experimental short films, poetry readings and music performances exploring circles, cycles, sequences, planets and patterns.

    Tickets £10 , available in advance only (will not be available on the door). Visit http://poetryfilm.eventbrite.co.uk

    Entry will be by stating your name. Full programme follows.

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  • Projektionen: Melos – Zwischen Räumen

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    Projektionen: Melos – Zwischen Räumen
    Thursday, March 143 2012, 19:30h
    kunstraum t27/Kunstverein Neukölln
    Thomasstrasse 27, 12053 Berlin

    LaborBerlin members Anja Dornieden and Juan David González Monroy are teaming up once again with Deborah S. Phillips to present an evening of films and performances on Super 8 and 16mm at Kunstraum t27. The screening will accompany the exhibition “Melos – Zwischen Räumen” which includes works by LaborBerlin friends Deborah S. Philips and Inger Lise Hansen.

    With performances by Andreas Gogol, Klaus Eisenlohr and Yptu Enth and films by Tomonari Nishikawa, Rose Lowder, Emmanuel Lefrant, Jodie Mack and special guests from Film-Koop Vienna, Daniela Zahlner and Magdalena Pfeifer.

    Programme:
    - Andruck, Superlux; Splash & Roll (Andreas Gogol, 2013, performance, 10 min.)
    - Sketch film #2 (Tomonari Nishikawa, 2005, Super8, 3 min)
    - Les tournesols (Rose Lowder, 1982, 16mm, 3 min.)
    - RGB Prater (Skizze) (Daniela Zahlner, 2013, Super8, 3 min)
    - Hand Made (Magdalena Pfeifer, 2012, Super8, 3 min)
    - Blits (Emmanuel Lefrant, 2006, 16mm, 6 min)
    - Persian Pickles (Jodie Mack, 2012, 16mm, 3 min)
    - 0.1 0.2 0.3 Intervalle (Klaus W.Eisenlohr & Yptu Enth, 2013, performance, 7 min)

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  • Xcèntric: Visiones del cuerpo I

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    Xcèntric: Visiones del cuerpo I
    Domingo, 17 de marzo 2013, 18:30h
    Xcèntric CCCB, Montalegre, 5, 08001 Barcelona

    El cine establece siempre una relación entre el cuerpo filmado y la máquina que filma. La cámara capta la luz y la duración que envuelven el cuerpo y, a su vez, el cuerpo filmado entra en un proceso de puesta en escena de sí mismo que la cámara registra. La mayoría de las veces ese cuerpo aparece ‘desencarnado’, al servicio de una narración, pero existen películas, como las que reunimos en estas sesiones, que le devuelven materialidad, otorgando la carne a la luz, haciendo que sus gestos no sean sino ellos mismos. Son trabajos que nos muestran la relación íntima del cuerpo consigo mismo, con la cámara y el otro, y la ‘sensación táctil’ de esa experiencia como condición inherente al cine. Ciertas imperfecciones que encontramos en las imágenes de uno de los primeros grandes trabajos de Brakhage, Flesh of Morning, nos hablan de los aspectos más inmediatos del cuerpo y de sus obsesiones carnales. Los filmes de Beavers, Winged Dialogue y Plan of Brussels, llenos de visiones líricas de la imaginación narcisista y erótica, nos muestran a través de un psicodrama un cuerpo desdoblado: el yo y el otro. A partir de una novela de Balzac, Markopoulos retrata en Himself as Herself un cuerpo hermafrodita, sus movimientos, posturas y gestos o expresiones, un estudio de un paisaje interior muy estilizado que lleva hasta las últimas consecuencias los ideales de Bresson.

    - Flesh of Morning (Stan Brakhage, 1956/1985, 16 mm, 25 min)
    - Winged Dialogue (Robert Beavers, 1967/2000, 16 mm, 3 min)
    - Plan of Brussels (Robert Beavers, 1968/2000, 16 mm, 18 min)
    - Himself as Herself (Gregory Markopoulos, 1967, 16 mm, color, 60 min)

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  • Balagan presents... DIY Dystopia

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    Balagan presents... DIY Dystopia
    Thursday March 14, 2013 19:30h
    Brattle Theatre, 40 Brattle Street in Cambridge, MA USA

    With the natural world teetering on the brink of multilateral catastrophe, a group of analog filmmakers have taken matters into their own hands. Through direct contact with the medium – lifting and reassembling images on the film strip – adhering waste matter to celluloid – leaving emulsion to languish in the landfill – the artists interpret physical processes that ravage our land. Their grave methods yield results of unexpected poetry, vibrancy and beauty.

    Attendees of this show will also receive a special, locally-produced, collaborative zine, made available through the Papercut Zine Library!

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  • Bozar Cinema: Makino Takashi

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    Bozar Cinema: Makino Takashi
    Wednesday March 6 2013, 20h
    Palais des Beaux-Arts / Studio
    Rue Ravenstein 23, 1000 Bruxelles

    The image is always first and I think of it as a graphic score: a visual basis for composing music”.

    Makino Takashi (1978) is an experimental film and video artist living and working in Tokyo. Treating image and sound as elements of equal importance, he produces immersive, cosmic, organic works where music - usually composed by cult musician Jim O'Rourke, with whom Makino Takashi has developed a regular collaboration - unfolds over skilfully created, often abstract images, expanding together into richly layered and dense experiences. Following the screening, Makino Takashi will discuss his work with Floris Vanhoof.

    - Generator (Japan, 2011, 19’, color, HD, music by Jim O'Rourke)
    - [still in cosmos] (Japan, 2009, 17', color, D, music by Jim O'Rourke)
    - 2012 (Japan, 2012, 30’, color, HD). 3D screening with musical live performance by Makino Takashi.

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  • Turbidus Film Presents: Rose Lowder

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    Turbidus Film Presents: Rose Lowder
    16mm films / lecture / q&a
    Friday 22 March 2013, 19h
    Fylkingen
    Münchenbryggeriet, Torkel Knutssonsgatan 2, Stockholm, Sweden

    After training as a painter and sculptor in artist’s studios and art schools in Lima (The Art Center, La Escuela de Bellas Artes) and in London (Regent Street Polytechnic, Chelsea School of Art), Rose Lowder worked in London as an artist while earning a living in the film industry as an editor. From 1977 onwards she concentrated on studying the visual aspect of the cinematographic process, and was encouraged by Jean Rouch and his staff at the University de Paris X to present some of her work as a thesis under the title The experimental film as an instrument towards visual research (1987).Since 1977 Lowder has been active programming rarely shown films. In order to make this body of work available to a wider public, she constituted a collection of films and paper documents, The Experimental Film Archive of Avignon (1981). Since 1996 Lowder is also associate professor at the University de Paris I.

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