The Barbara Hammer Lesbian Experimental Filmmaking Grant is an annual grant that will be awarded to self-identified lesbians for making visionary moving-image art. Work can be experimental animation, experimental documentary, experimental narrative, cross-genre, or solely experimental. Applicants must be based in the U.S. This grant was established by Hammer in 2017 to give needed support to moving-image art made by lesbians. The grant is supported directly by funds provided by her estate and administered through Queer|Art by lesbians for lesbians, with a rotating panel of judges. The grant is $5000.
Now in its 25th year, The Chicago Underground Film Festival, the longest running “underground” film festival in the world, is an internationally recognized program providing a venue for documentary, experimental and avant-garde narrative film and video. The festival’s mission is to select and screen film, video and related works presenting a diverse line up of moving image programming focusing on filmmakers working to reinvent and explore new approaches to established practices, to foster new forms of media art and to build an audience for such work.
Se repite cada semana 1 veces. También incluye Jue Nov 30 2017, Jue Ene 04 2018.
The first edition of Shared Sight is going to take place at MATCA artspace, Colectiva Gazette and Gazette in Cluj-Napoca, Romania. We are expecting short film applications (max length 30`) from filmmakers/ film enthusiasts/ artists from all over the world. You can submit your film by sending us a download link including a short description of the film and a short bio of yours.
We are accepting all film categories submissions from experimental, video-art, fiction, documentary, etc.
Films, video & live performance Followed by Q&A w/ the artist
Microscope is very pleased to welcome San Francisco-based artist Kerry Laitala to the gallery for an evening of her 16mm films, the New York premieres of a new video City Blights as well as a 16mm film performance in three parts titled Astro Trilogy.
A native of London, Ontario, Jack Chambers (1931-1978) was already renowned as a painter before he ventured into filmmaking. He completed six films; the last was his masterpiece, The Hart of London, begun the year he was diagnosed with leukemia. This feature-length experiment in “perceptual realism” combines newsreels, found photography, and original footage. “It's a film of startling juxtapositions that seems to be speaking to elemental issues of life and death, yet it also manages to interweave five or six grand themes and let the viewer feel that they are logically interrelated” (Fred Camper, Chicago Reader). Chief among them is our alienation from nature, evoked in the opening footage of the capture and killing of a deer that has wandered into London, and reprised in every major scene thereafter as one of the costs of civilization.