Sandy Ding is an experimental filmmaker who lives and works in Beijing, China. He graduated from CalArts Film School USA in 2007 and started teaching in China Central Academy of Fine Arts since 2008. He produced several psycho-active films with the idea of combining ritual process in projection and sound. His work is energy patterns, telling mysteries with abstractions or powerful symbolic elements. He is equally interested in live performance of theater projections, untypical gallery projections, installations and live noise music to extend the idea of experimental film.

Produced by Bay Area filmmaker and sound artist John Davis in conjunction with a fellowship and residency at the Kala Art Institute in Berkeley CA, this limited edition of 100 includes two hand-silkscreened gatefold LPs and four silkscreened DVDs of original film and music, plus a 50-page booklet of writing and images bound in a hand letterpressed cover. The project was conceived to publicly showcase emerging and established strains of expanded cinema and music collaboration in the San Francisco Bay Area, as well as to create a physical document that captured that energy.

Alfred Leslie is a pivotal American artist-painter-filmmaker whose work spans the past fifty years. A celebrated contemporary of the Abstract Expressionists and a key figure in the extraordinary social milieu of downtown New York from the 1950s and 60s toAlfred Leslie is a pivotal American artist-painter-filmmaker whose work spans the past fifty years. A celebrated contemporary of the Abstract Expressionists and a key figure in the extraordinary social milieu of downtown New York from the 1950s and 60s to the present, his own canvases were amongst the most revered of his peers. In 1964 he made Pull My Daisy with the photographer Robert Frank and in 1966 collaborated with the inimitable poet Frank O’Hara on The Last Clean Shirt. In 1960 he edited and published the amazing collection of texts and drawings that form the ‘one shot review’ The Hasty Papers – in and of itself a summation of cultural activity with contributions from Allen Ginsberg, John Ashbery and Fidel Castro amongst may others. Leslie dramatically moved away from abstraction to make giant almost hyper-real portraits, the majority of which were destroyed in the now infamous fire that ripped through his studio and its neighbouring blocks on October 17 1966. This utterly devastating event, that completely destroyed paintings, films and manuscripts, continues to inform his work today.

These shorts, executed between 1984 and 1986 in Vienna, exude an amazingly fresh intimacy and vitality. Referred to by the filmmakers as »home movies«, they record actionistic performances in the directors´ own living quarters, with added soundtracks of i