EYE AM: ANOTHER EXPERIMENT by WOMEN
Tuesday October 12, 2010, 18h
Anthology Film Archives, 32 Second Avenue (at 2nd St.)
New York, NY 10003 USA

EYE AM: WOMEN BEHIND THE LENS is a screening series celebrating experimental, memoir, and documentary film by women. Tonight we will hold a special show, juried by Lili White.

- Fonction Panorama LG KU990 (Caroline Bernard, 2009, video, 5.48 min)
from:  Migratory Project, with Michiko Tsuda, and Damien Guichard    
Poetic ribbon made by a succession of panoramas. The film time is produced by the scrolling image. The past goes out by the left of the image, whereas the future enters by the right. It's also a kind of timeline, the timeline of life, of feelings, feelings trapped in time and space, and it's also a metaphor of tired feeling in a love relationship… There is a kind of a loving duet between the cameraman, and the photographed character (it is true because it is me and my spouse). But of course, it's fictional, we are just in symbolical representations.
- What comes between (Cecilia Araneda, 2009, S8/16mm/digi, 5.36 min)   
An examination of personal memory and loss rooted in the filmmaker's birth place – Chile – and her departure from that country long ago. A collage film created with found footage from personal and historic sources, and original hand printed and tinted footage.
- This kind of town (Marcy Saude, 2010, 16mm/digi, 5:30 min)
The frontier mythos of nature vs. civilization plays out against the landscape of a former gold rush boomtown of Ward, Colorado in the Rocky Mountains. Mining structures, abandoned cars, railroad remains; roadside junk sculptures, tie-dye and American flags; sights and sounds of “the West” then and now attempt to answer the question, “what kind of a town is this, anyway?”
- Le monde est immense (The world is vast) (Muriel Montini, 2008, S8/digi, 9.05 min)
A summer’s day in the countryside. A woman is sewing. A little girl tries to attrack her attention. A boy appears...A few images from a super 8 movie explored in detail and recomposed with a dramatic end in mind.
- You can see the sun in late December (Sasha Waters Freyer, 2010, 6.40 min)
Beautiful emptiness, anguish and calm, absence rendered visible and traces of presence in the winter light, all intensified by the damned (non) question of maternity.  Filming every frigid day in the final month as a strategy for overcoming deflated motivation.
- Bodily heavens (Stephanie Wuertz, 2010, digi, 2.40 min)
A whirl of whorls and dis-astral staccato, Bodily heavens is a frenetic animation created under a microscope that evokes a nostalgia for the intimate sublime.
- Paradise (Noe Kidder, 2010; 16mm/digi, 10.00 min)
Paradise was filmed between 2005-2007 on location in Lisbon, Kauai and at Catwalk Artist Residency in Catskill, NY. By using a kind of home-made optical printing technique and overlapping layers of sound, text and image in the edit, I wanted to experiment with abstraction in a way that would challenge the viewer as well as my own experience of loss.
- The daughter remembers to forget (Sara Strahan, 2010, score by Melissa Grey, digi/S8, 16MM/HD, 3.36 min)
Home movies, found footage and hand-made elements are used to explore the complex mechanisms of perception, memory and recollection. Memory is not a conscious recollection of narrative, but textured and interspersed with media and non-linear traces of recollection that always result in an updated output of the past. Does this conception of memory imply a potential for re-making our own stories? Can the daughter forget to remember, or remember to forget?
- 5 lessons & 9 questions about Chinatown (Shelly Silver, 2010, digi, 10 min)  
You live somewhere, walk down the same street … taking in fragments, but never fully register THE PLACE.  Years, decades go by ... A building comes down, and before the next one is up you ask ‘what used to be there?’… since the 19th century, wave after wave of inhabitants have moved through and transformed these alleyways, tenements, stoops and shops…past, present, future, time…immigration, exclusion, gentrification, racism, history, China, America… 9 questions, 5 lessons, Chinatown

Conversations at the Edge: Rosa Menkman - Glitched
Thursday, September 30, 18h
Gene Siskel Film Center
164 North State St.,Chicago, Illinois 60601

Rosa Menkman in person!

Every technology possesses its own inherent accidents. Rosa Menkman is a Dutch artist and theorist whose focus is on visual artifacts created by accidents in digital media specifically. She describes these as “the uncanny, brutal structures that come to the surface during a break of the flow within a technology; they are the primal data-screams of the machine.” Working at the experimental junction of glitch, noise, and new media art, Menkman creates glitch work and writes texts about codecs, interpolation, and compression going awry. This evening, Menkman will introduce a selection of videos followed by a real-time performance. Rest assured, the equipment is working, though it may not look like it is. This presentation coincides with GLI.TC/H, an international noise and new media conference taking place from September 29 to October 3 at various locations around Chicago. Visit http://gli.tc/h. Rosa Menkman, 2006–10, Netherlands, multiple formats, ca. 75 min (plus discussion).

Rosa Menkman (1983, Arnhem, Netherlands) is the leading international theory-practitioner of glitch art.  She has written extensively on digital artifacts and noise, including the Glitch Studies Manifesto (2010). Her videos and real-time performances have been included in festivals like Blip, Europe and U.S.; Haip, Ljubljana; Cimatics, Brussels; Video Vortex, Amsterdam and Brussels; and Pasofest, Ankara. She has collaborated on art projects together with Alexander Galloway, little-scale, Govcom.org, Goto80 and the Internet art collective, Jodi.org.  Menkman received her Master’s degree in 2009 and is currently a PhD student at KHM Cologne, writing on the subject of Artifacts.