Eventos

  • .blacK~SSStaTic_darK~fuZZZ_dOOm~glitCH.

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    .blacK~SSStaTic_darK~fuZZZ_dOOm~glitCH.
    Friday, April 12 2013, 20h
    The Nightingale
    1084 N. Milwaukee, Chicago, Illinois 60642

    Curated by Amelia Ishmael

    .blacK~SSStaTic_darK~fuZZZ_dOOm~glitCH. is a screening program inspired by storms and digital sorcery or, more pointedly, it is an assemblage of lights and sounds to elicit a chaotic vortex of smudgy black charcoal that is streaked with freezing water, painted on celluloid, stained by sea creatures, hexed through new media, and entranced by guitar riffs. Artists included are Aldo Tambellini, Cultus Sabbati, Gast Bouschet and Nadine Hilbert, jonCates, mojo (for Aluk Todolo), Reto Mäder and Daniel Steffen (for Ural Umbo), Alexander Stewart, and Semiconductor.

    Programme:
    - White God (Gast Bouschet and Nadine Hilbert (in collaboration with Xavier Massaut), 2002-2010, 5:47)
    - ERRORRUNNINGWWWATERNOISES (RE:MIXXX for Amelia Ishmael) (jonCates, 2012, 6:44)
    - Descent into the Maelstrom (Cultus Sabbati, 2011, 8:12)
    - Black is (Aldo Tambellini, 1965, 3:38)
    - Unground: Phase 6 (Gast Bouschet and Nadine Hilbert, 2012, 5:37)
    - CH405_M4J1K meets GL!TTER GLØØM (jonCates, 2012, 2:16)
    - Black Rain (Semiconductor, 2009, 3:02)
    - Aluk Todolo live at Cave 12 in Ecuries de l’Ilôt 13, Geneva 12.05.2010 [I] (Michel Pennec, 2010), 8:42)
    - Black Trip (Aldo Tambellini, 1965, 4:07)
    - Errata (Alexander Stewart, 2005, 6:05)
    - Ural Umbo - Self Fulfilling Prophecy (Reto Mäder and Daniel Steffen, 2011, 5:14)

    This Chicago screening will also include an additional chapter, with video by Sandra Gibson and Luis Recoder and sound by Olivia Block.

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  • Balagan presents... An Evening with Sami van Ingen

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    Balagan presents... An Evening with Sami van Ingen
    Monday, April 1st 2013, 19:30h
    Brattle Theatre
    40 Brattle Street, Cambridge, MA 02138
    Filmmaker in attendance!

    We are thrilled to present, in person, the Finland-based experimental filmmaker, installation artist, curator, and educator Sami van Ingen!

    In his work, Sami distills meaning from fleeting moments of footage -- be it home movies, travelogue scenes, mainstream blockbusters, or archival discoveries -- by physically deconstructing, manipulating and rephotographing the film strip. A passionate proponent of analog film, he is also interested in the ways digital technology can add new qualities to experimental filmmaking. He has recently published a book on the subject, Moving Shadows: Experimental Film Practices in a Landscape of Change (2012). Together with filmmaker Mika Taanila, Sami co-curates the new Helsinki-based screening series, Pakopiste (Vanishing Point).

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  • GAZE #4: Bodies Rest and Motion

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    GAZE #4: Bodies Rest and Motion
    Friday, April 5 2013, 20h
    Artists' Television Access
    992 Valencia Street, San Francisco, CA 94110

    As San Francisco’s dank and verdant spring arrives, GAZE presents a kinetic program of short moving image works that lay bare both streams of consciousness and visceral embodiment. Absurdity, queerness, and melodrama collide; the camera is a mirror, the screen is a diary.

    Featuring film, video and animation by local and international women filmmakers:

    Jillian Peña
    Angel Rose
    Jamie Walters
    Emily Kuehn
    Maria Magnusson
    Kristin Reeves
    Christina Kolozsvary
    Allison Halter
    Dolissa Medina
    Daniela Zahlner

    and more…

    GAZE is a film series dedicated to screening independent film and video made by women. GAZE promotes women’s artistic expression and creates dialogue related to the influence of this powerful medium.

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  • FILMnight with David Rimmer

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    Fifty years of experimental filmmaking:
    FILMnight with David Rimmer
    Wednesday, March 27th, 2013, 20h
    WORM, Boomgaardsstraat 71, 3011 XA Rotterdam, The Netherlands

    Organized by Filmwerkplaats, a DIY film lab community at the artist-run venue WORM in Rotterdam, The Netherlands

    We are delighted to announce an evening with David Rimmer. He will talk about his work and show a broad selection of his films and videos.

    David Rimmer is recognised as one of the most important experimental filmmakers working today. Recipient of the Canadian Governor General’s Award in 2011, Rimmer has produced over 50 films ranging from purely experimental forms, documentary, hand-painted animation as well as a number of immersive dance and music videos. His work has been screened at many prestigious festivals around the world, and is held in the permanent collections of the Museum of Modern Art in New York, the Centre George Pompidou in Paris, the National Gallery of Canada and many more.

    Programme:
    - Variations on a Cellophane Wrapper (1970, 8min, 16mm)
    - Surfacing on the Thames (1970, 10min, 16mm)
    - As Seen on TV (1986, 14min 16mm)
    - Divine Mannequin (1989, 7min, video to film transfer)
    - Bricolage (1984, 11min, 16mm)
    - Canadian Pacific 1 (1974, 10min, 16mm)
    - Real Italian Pizza (1971, 10min, 16mm)
    - Seashore (1971, 10min, silent, 16mm)
    - Tiger (1994, 5min, 35mm)
    - The Dance (1970, 5min, 16mm)
    - Digital Psyche (2007, 12min, hand-painted film transferred to video)
    - Padayatra - a walking meditation (2005, 12min, hand-painted film transferred to video)
    - Eye for an Eye (2003, 12min, hand-painted film transferred to video)

    More information and tickets: http://www.worm.org/home/view/event/5995

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  • Back To Landscape

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    Back To Landscape
    As part of the 1st International Festival Of Short Movies About Painting Arts "Erarta MOTION PICTURES"
    Saturday, March 30 2013, 20h
    Erarta Museum
    Line 29th, 2 Vasilyevsky island, Saint-Petersburg 199106, Russia

    Curated by Xavier G.Puerto

    After the appearance of Giorgione’s “La Tempesta” in 1506, the importance of landscape grew. It occupied the centre of compositions and became a key topic of consideration for the history of painting in recent centuries, reaching its pinnacle with the German proto-Romantic movement “Sturm und Drang” and the British painters of the 19th Century.

    But this huge popularity prompted a use and abuse of the topic, and tastes changed with the arrival of the Novecento (20th.). The new art of the century, cinematography, made its final bet on fiction, setting landscape to a decorative function. When painting, its original and main field of action, underwent the rise of abstraction, it seemed the last nail in the coffin for what was now considered a kitsch topic. While some masters of cinema tried to place landscape at the centre of discussion their championing wasn’t enough for a seventh art which focused its attention on new techniques.

    Right at the turn of the second millennium, with a wide development of different techniques and methods in filmmaking, stunning new special effects technologies, and the possibility of creating worlds from nowhere, artists have paradoxically decided to return to an ancient means of expressing themselves - not as the topic of their works in an intellectual manner but in transforming, manipulating, and retouching nature with new tools, taking the landscape as a concept for demonstrating all their capacities, and providing a new interpretation of a historic issue.

    Take a seat, a program of more than an hour will bring us in a soft and rough trip. “Back to Landscape”, through different pieces, sees filmmakers employing unusual lenses, coordinated choreographies, barely real environments or new perspectives, considering whether landscape or cityscape a free field for experimentation and a testing place for new techniques and formal innovation.

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  • Landscape and technology: Films of Chris Welsby

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    Double Negative presents
    Landscape and technology: Films of Chris Welsby
    Saturday, March 30 2013, 21h
    Sunday, March 31 2013, 19h (repeat screening)
    Cinémathèque québécoise
    335, De Maisonneuve Blvd East
    Montréal, Québec, H2X 1K1

    Artist in attendance

    Vancouver-based media artist Chris Welsby emerged in 1970s as a major figure in the experimental cinema scene in the UK where he was associated with the London Filmmakers’ Co-op. Welsby developed a unique process of filmmaking in which the interaction between cinematic apparatus and various forces of nature became an important determinant of the shape of his films.

    This program surveys Welsby’s outstanding achievements in landscape film during this period, including much-acclaimed Seven Days and River Yar, which was co-made with William Raban, one of the foremost proponents of British expanded cinema. Welsby makes his first appearance in Montreal with this retrospective.

    For more info: www.cinematheque.qc.ca/en/programmation/projections/cycle/double-negative-chris-welsby

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  • Oporto apresenta #30: From the Age of Recklessness

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    Oporto apresenta #30: From the Age of Recklessness
    Saturday, March 23 2013, 22:30h
    Oporto, Salvador Correia de Sá, 42, 2 frente, 1200-399 Lisboa

    "From the Age of Recklessness" by Klaus Wyborny
    16 mm film transfered to video, color, sound, 70', 1994

    Oporto is finally presenting the seventy-minute-long autobiographical film by Klaus Wyborny. In this film the film-maker, a former quantum physicist, talks about memory and traveling along with history and geometry, all seen from his adventurous past relationships. The film is an eternal flow of memories presented alongside a cocktail of extremely dry humor and melancholia. Wyborny approaches film as a scientific experiment in fiction and truth, and his goal is to capture (with a special camera device) the untenable flux of life in order to trigger the untenable flow of memories.

    "Instructions on death avoidance and the eternal energy flow" - Alexandre Estrela

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  • Dirty Looks: Tom Rhoads (Luther Price)

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    Dirty Looks: Tom Rhoads (Luther Price)
    Tuesday, March 26 2013, 19h
    The Kitchen
    512 West 19th Street, New York, NY 10011
    Luther Price in attendance

    Tom Rhoads was one of the artistic alter egos of Boston filmmaker Luther Price, whose films were recently described in the New York Times as "entrancingly delicate, implicitly violent works, [where] life, chance, obsessive art making and an intense artistic psyche... flashes before your eyes." Before his infamous film Sodom (1989), Price invented different personae, living these roles in order to execute a breadth of artistic projects. Tom Rhoads marked his first foray into filmmaking. An infantile psyche in the body of an adult, Rhoads was the vessel for some of the artist's most introspective and psychodramatic films. Working in the small-gauge Super 8 format, Rhoads' projects are visceral explorations of trauma, "home movies from hell," repetitive explosions of personal memory and familial guilt. "A nice guy," Price describes Rhoads as the kind of man, "who would buy you an ice cream cone." Tom Rhoads is dead. Long live Luther Price.

    Programme:
    - Green (Super 8, 30 min., 1988)
    - Mr. Wonderful (Super 8, 10 min., 1988)
    - Warm Broth (Super 8, 36 min., 1987/88)

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  • Conversations at the Edge: Wavelengths, in the blink of an eye

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    Conversations at the Edge: Wavelengths, in the blink of an eye
    Thursday, March 21 2013, 18h
    Gene Siskel Film Center
    164 N. State, Chicago, IL, USA
    Curator Andréa Picard in person

    Named for but also infinitely inspired by Michael Snow’s 1967 masterpiece, Wavelength, the Toronto International Film Festival’s avant-garde program presents films and videos that defy convention, suggest alternate ways of thinking, and sometimes re-emerge from a distant past in order to comment on the present. Curated by Andréa Picard, who has curated Wavelengths since 2006, this program is a Wavelengths compendium featuring a number of works from the 2012 line-up (including Nathaniel Dorsky’s August and After, Ernie Gehr’s Auto-Collider XV and Lonnie van Brummelen and Siebren de Haan’s View from the Acropolis which were all cited in the New York Times’ best films of the year wrap-up and screen as Chicago premieres) and highlights from previous editions, including a 35mm restored print from La Cinémathèque française of Henri Storck’s too-rarely seen 1929 Surrealist gem, Pour vos beaux yeux. Blinking is not encouraged!

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  • Grahame Weinbren: 70 Letters

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    Grahame Weinbren: 70 Letters
    Sunday March 24th 2013, 21h
    Experimental Intermedia
    224 Centre Street at Grand, Third Floor, New York 10013

    Grahame Weinbren will screen the latest version of his Letters project at Experimental IntermediaLetters consists of an indeterminate number of films, each one minute in duration, and connected 'in one way or another' with a letter of the alphabet. It is a kind of test-ground for ideas about cinema, both technical and conceptual, but also for another kind of idea, the externalization of an inner life, inasmuch as that tired phrase describes anything.

    Letters is 'interactive' in the dumbest sense -- the audience determines, by acclamation, which of the films will be screened next. This means that every screening is fresh and different: not only are there new films each time, but the sequence is never the same, which this casts the whole event in a different light. 'Experimental' in the sense that each screening is an experiment.

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