Millennium Film Journal No. 57 Publication Screening and Celebration
Saturday May 4 2013, 20:30h
Grahame Weinbren Studio
119 West 22nd Street, 3rd floor, 10011 New York

A screening to celebrate the publication of Millennium Film Journal No. 57 "Violence in Artists' Cinema"

The program consists of works featured in MFJ #57:

- There is a Myth (Catherine Elwes, 1984, 8.5 min)
- I Am Micro (Shai Heredia & Shumona Goel, 2011, 14 min)
- Kuíuipo (Noe Kidder, 2013, 15 min)
- The Mutability of All Things and the Possibility of Changing Some (Anna Marziano, 2011, 16 min)
- Ojo Calientes (Pat O’Neill, 2012, 4 min)
- A Movie (Jennifer Proctor, 2010-12, 12 min)
- TBA, some of Tony Oursler’s videos from the 1970s

Admission: $14.00 (includes copy of MFJ 57); $8.00 (admission only)

Close-Up: Star Spangled to Death
Sunday 28 April 2013, 13h
Bethnal Green Working Men's Club
42-44 Pollard Row London E2 6NB

- Star Spangled to Death (Ken Jacobs, 2004, 402 min, Colour & B/W, DP)

We are very excited to present a rare screening of Ken Jacobs's epic, six-and-half-hour "perverse reach for the intolerable" Star Spangled to Death.

"Star Spangled to Death is an epic film shot for hundreds of dollars! combining found-films with my own more-or-less staged filming, it pictures a stolen and dangerously sold-out America, allowing examples of popular culture to self-indict. Racial and religious insanity, monopolization of wealth and the purposeful dumbing down of citizens and addiction to war oppose a Beat playfulness.

A handful of artists costumed and performing unconvincingly appeal to audience imagination and understanding to complete the picture. Jack Smith's pre-Flaming Creatures performance as The Spirit Not Of Life But Of Living (the movie has raggedly cosmic pretensions), celebrating Suffering (rattled impoverished artist Jerry Sims) at the crux of sentient existence, is a visitation of the divine." – K.J.

Outer/Inner (Space)
Friday April 19th 2013, 19h
Central St Martins
Granary Building, 1 Granary Square, N1C 4AA London, United Kingdom

Held at Central St Martins' new Kings Cross building, this screening and performance event will address different spatial configurations in moving image work, using Andy Warhol’s 16mm double projection, Outer and Inner Space (1965), as a point of departure.

Leading the audience through various interior and exterior spaces around the college for a series of located screenings and performances, the event will foreground concepts of public gesture, private experience and architectural manifestations. The selected works will investigate the dialogue between embodied and screened environments, exploring tensions between filmic and affective realms, raising questions around identity in relation to space.

The programme is set to include:

- Outer and Inner Space (Andy Warhol, 1965)
- ...the traveller walking walking walking through... (Clare Gasson, 2010). Performance originally commissioned by Bridget Crone, Media Art Bath
- A Study of Relationships between Inner and Outer Space (David Lamelas, 1969)
- Face of An Other, projected performance by Sally Golding

Also see the accompanying online exhibition here.

Mono no aware: ‘One Hundred Foot’ program
20 films by international filmmakers and artists – Live score by Dennis McNany
Friday, April 5 2013,19:30h
The Center For Performance Research

361 Manhattan Avenue, Brooklyn, New York

Curated and Produced by UK-based artist, Jim Hobbs. Presented by MONO NO AWARE

As an industry standard, 100 feet of film (just under 3 minutes) is the given length for a small spool of 16mm film. This given/standard/restraint remains a pertinent form/format for creating films. In understanding that film, as opposed to digital, is measured in this tactile and physical form of length, the filmmaker/artist must address the issue of time through the measurement of a material length. For some, this constraint is seen as a time limit; for others, it becomes a finite amount of physical material in which to construct a work, similar to a sculptor’s material; and again, for others, their considerations may combine or reach beyond these deceptively simple approaches. The concerns around this issue are as idiosyncratic, subjective, and varied as the artists’ work itself – yet it is within this standardized and objective limit of 100 feet of film, that each maker must compose their subject matter through an exercise of economy. Whatever the filmmaker’s or artist’s intent, there is no doubt that this specific measurement is an actualized consideration for any artist working with film.

Holding true to this interest, and while still being open to interpretation, Jim Hobbs has collected films by artists and filmmakers whose work falls within the parameters of One Hundred Foot. Collage, found footage, handmade processes, film manipulation, short sketches, finished works, end of reels, rushes, and cans that haven’t been off the shelf in years – these films offer up a type of B-side mentality and a glimpse into many of the artists working process.