Events

  • Jordan Belson: Films Sacred and Profane

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    Epilogue (Jordan Belson, 2005)Jordan Belson: Films Sacred and Profane
    Thursday, October 14, 2010, 19h
    San Francisco Museum of Modern Art
    Phyllis Wattis Theater
    151 3rd Street, San Francisco, California, USA

    Presented by Center for Visual Music. Introduced by Cindy Keefer, archivist and curator, Center for Visual Music.

    Since 1947, Bay Area artist Jordan Belson has explored consciousness, transcendence, and light in an extraordinary body of abstract films that has been called "cosmic cinema." This program features rarely screened films including Caravan (1952), a new preservation print of Chakra (1972), and the Bay Area premiere of Epilogue (2005), a distillation of 60 years of visionary images synchronized to a symphonic tone poem by Rachmaninoff.

    $5 general; free for SFMOMA members or with museum admission (requires a free ticket, which can be picked up in the Haas Atrium).

    For more about Jordan Belson, please visit his Research Pages at www.centerforvisualmusic.org/Belson

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  • Riding the Wave

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    Trwala parowa (Hot Perm) (Julia Zborowska, 2009)Riding the Wave
    Wednesday October 20, 2010, 19h
    Waterside Project Space
    Unit 8, Waterside
    44-48 Wharf Rd, London N1 7UX

    A screening of video works by Grupa Azorro, Grzegorz Drozd, Piotr Filipiuk, Rahim Blak, Krzysztof Kaczmarek, Julia Zborowska.
    Maxa Zoller and Karol Sienkiewicz in conversation

    The screening examines the way Polish and Eastern European artists appropriate and paraphrase western themes and motifs. There appears to be a resurgence of post-modern art making strategies. In an art scene relatively young to the ideas of markets and high-powered institutions, a number of artists make use of some well-tried strategies that nonetheless appear ‘fresh’ in the local context.

    This practice creates a field for self-reflection and analysis of the Eastern European relationship with Western culture. In contrast with Grupa Azorro’s humourous lament that ‘everything has been done’, a series of works that shun the institutional context and do not engage in post-modern discourse become apparent. These works move between the absurdity of the familiar and universal pop cultural trends, from banality to surrealism.

    The choice between local and global reflects the rejection and participation in the mainstream ‘western’ art history. A constant desire forms part of a nation’s identity, but is this search for the self unique to Eastern Europe?

    Programme curated by Piotr Sikora

    - Grupa Azorro, Everything has been done, 2003, 12'26"
    - Grzegorz Drozd, Challenger, 2007, 3'15"
    - Piotr Filipiuk, Playground, 2009, 4'06"
    - Rahim Blak, National Museum. How to become a part of the History of Painting?, 2006, 10'45"
    - Krzysztof Kaczmarek, Cheerleaders, Scene with the guys, Casting
    - Julia Zborowska, Trwala parowa (Hot Perm), 2009, 30'

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  • 5th Annual ATA Film & Video Festival

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    ATA festival 2010Artists Television Access Film & Video Festival is back with its fifth edition. Running on the weekend of October 21-22 at ATA's headquearters (992 Valencia Street, San Francisco), the festival presents two curated programmes of experimental short films by veteran and emerging filmmakers, such as Paul Clipson, Bill Brown, Gina Carducci, Sylvia Schedelbauer or Maite Abellá; as well as other programmes presented as 'window' and gallery installations. This year's edition features two workshops on film exposing and negative processing by hand and found-footage editing lead by filmmakers Kerry Laitala and Craig Baldwin.

     

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  • ERIC CHEEVERS

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    Eric Cheevers is an award-winning director of films and music videos (The Walkmen, Raveonettes, Dead Meadow, Weird War, among others) that have exhibited at film festivals such as Slamdance, Cannes, the Los Angeles Short Film Festival, Cannes, among many others. In addition to museums and colleges in the US and abroad, Eric’s music videos have been exhibited on MTV, and he has been commissioned to create film pastiches of 60s-era NASA footage for use in ONE Management’s Spring/Summer 2010 fashion shows.

    Dates: 

    Saturday, October 2, 2010 - 19:00 to Sunday, October 3, 2010 - 18:55

    Venue: 

    MICROSCOPE GALLERY (previous) - New York, United States

  • Light Bleeding: Sally Golding, Kerry Laitala & Lynn Loo

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    Light Bleeding: Sally Golding, Kerry Laitala & Lynn LooLight Bleeding: Sally Golding, Kerry Laitala & Lynn Loo
    Friday October 8th, 20h
    Cafe OTO, 18 - 22 Ashwin street, Dalston, London E8 3DL
    Tickets : £5 adv. / £6

    Rare embodied beams from mistresses of alchemical projection performance. Laitala, Loo and Golding deconstruct cinematic materials and apparatus, slipping between materialist investigation, sculptural forms, and bodily intervention. Cracked cinema for darkroom compositions, light bleed, contorted projection sports, dismembered narrative, whimsical instructional and wanton optics.

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  • Ciclo Narcisa Hirsch

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    Aleph (Narcisa Hirsch, 2005)Ciclo Narcisa Hirsch
    Octubre 6,13 y 20
    Casa Nacional del Bicentenario
    Riobamba 985, C1116ABB – Buenos Aires, Argentina

    La Casa Nacional del Bicentenario presenta un ciclo dedicado al cine de Narcisa Hirsch. Como cierre, el 20 a las 19, junto con la Asociación Argentina de Estudios de Cine y Audiovisual (ASAECA), habrá una mesa redonda dedicada al cine experimental en Argentina.

    Una selección de varios de sus cortometrajes, los largometrajes Ana ¿Dónde estás? y El mito de Narciso, y el panel del que participan Adrián Cangi, Pablo Marín, Alejandra Torres y Narcisa Hirsch, componen esta propuesta.

    Miércoles 6 de octubre a las 19 hs
    Selección de cortometrajes

    Retrato de una artista como ser humano
    1968. Duración 15 ´51 mm. Color argentina
    Documental experimental de la artista que muestra varios eventos artísticos (happenings) que ha ido haciendo a lo largo de los años.
    Película en forma de diario personal que documenta una época.

    Comeout
    Versión en 16 mm. Color, sonora, 10 min. 1971
    Sobre la música de Steve Reich. Una frase que se va desfasando electrónicamente mientras la imagen hace un movimiento inverso.
    Cámara: Horacio Maira

    Testamento y vida interior
    Color, sonora, 10,38 min. 1977
    La vida interior es una habitación que la cámara recorre muy lentamente. La voz del afuera entra por medio del pregón. El testamento son los compañeros de cine que van llevando un ataúd color naranja a través de la ciudad primero y de la Patagonia nevada después.
    (texto tomado del ciclo experimental en el MAMBA año 2002 coordinado por Claudio Caldini)
    Dirección: Narcisa Hirsch.
    Cámara: John Maldelbaum, Horacio Maira, Narcisa Hirsch.
    Con Claudio Caldini, Juan José Mugni, Guillermo Modrón, Horacio Vallereggio, Horacio y Marta Maira, Rafael Maino, Octavio García Faure, Adrián y Cristina Tubio, Jorge y Laura Inc.
    Niña: Dolores Tubio.
    Reedición en video digital, 2001, Alejandro Areal Vélez.

    Homecoming
    1978 Color, blanco y negro, sonora, 21.02 min. Reedición 2001 Alejandro Areal Vélez
    Una pareja joven encerrada en una habitación se relaciona silenciosamente, mientras ella recuerda su vida desde el nacimiento hasta la llegada del primer amor.

    Ama-zona
    Color, sonora, 10.38 min. Super 8 1983
    re-edición 2001
    Basado en el mito de la amazona que se corta un pecho.
    Una imagen fuera de foco se transforma en una mujer que repentinamente se mutila, hasta que transfigurada toma nuevas armas: el arco y la flecha.
    Dirección: Narcisa Hirsch
    Intérpretes:Diana Hirsch y Leila Yael
    Música: Stephan Micus
    reedición: Alejandro Areal Vélez

    Aleph
    Original 16 mm, final video Año 2005 / Dur. 1´
    El Aleph es el punto donde el tiempo diacrónico y sincrónico se encuentran, y nuestra vida puede ser una experiencia de “toda una vida o de un minuto”.
    Los instantes se suceden unos a otros pero al mismo tiempo y a la vez cada instante tiene la profundidad de campo de lo infinito y eterno.
    Cada segundo representa una instancia de la vida del nacimiento a la muerte.
    El Aleph es el punto que concentra esas instancias.
    Dirección: Narcisa Hirsch
    Edición: Daniela Muttis
    Sonido: Nicolás Diab

    Miércoles 13 de octubre a las 19 hs
    Ana, ¿Dónde estás? 65 minutos.
    Ana se ve desdoblada en dos personalidades. Una salvaje y primitiva y la otra culturalizada y refinada.

    Miércoles 20 de octubre a las 19 hs
    Mesa de homenaje a Narcisa Hirsch, organizada por la Casa Nacional del Bicentenario y ASAECA (Asociación Argentina de Estudios de Cine y Audiovisual) en el marco del Segundo Congreso Internacional organizado junto con la UBA y la UNGS).
    Panel. Adrián Cangi, Pablo Marín, Alejandra Torres.
    Proyección de El mito de Narciso con la presencia de Narcisa Hirsch.

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  • no.w.here and Takahiko Iimura present: How To Make Time Visible In Film

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    no.w.here and Takahiko Iimura present: How To Make Time Visible In Film
    Wednesday October 6th, 19-22h
    no.w.here, First Floor
    316 - 318 Bethnal Green Road, London, E2 OAG

    Takahiko Iimura has been a pioneer Japanese artist of experimental film and video since 1960. Residing in both Tokyo and New York, Iimura has had numerous exhibitions in Japan, the US, and Europe. One of his early films, ONAN, was awarded Special Prize at the legendary Brussels International Experimental Festival. Recently, he has been working with computers, publishing multimedia CD-ROMs and DVDs of his films, videos, graphics, texts, as well as photographic works. Perhaps the most enigmatic figure in avant-garde cinema/video, Takahiko Iimura mediates Zen spirituality and technology with playful irony.

    For this unique workshop to be held at no.w.here, Iimura will be exploring how participants can make time visible in film, (without photography), using markers of different colors and sizes, long and fat needles, clear and black 16mm film. The workshop will include screenings of original Iimura prints sourced from the Lux, (to whom our thanks are due), including;

    - 24 Frames Per Second 1975
    - One Frame Duration 1977
    - 2 Min. 46 Sec. 16 Frames (100 Feet) 1972
    - Timed 1, 2, 3 1972
    - (Timing 1,2,3,4 1972)
    - (Timelength 1,2,3,4 1972)
    - 1 To 60 Seconds 1973

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  • Close-Up: Seeing/Hearing/Speaking – The Films of Takahiko Iimura + Live Performance

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    Close-Up: Seeing/Hearing/Speaking – The Films of Takahiko Iimura + Live Performance
    Tuesday October 5th, Time: 20h, Doors open at 19.45h
    Venue: The Working Men’s Club, 44-46 Pollard Row, London E2 6NB
    Ticket: £5/£3 to Close-Up members

    This programme is a survey of the work of Japan's most influential experimental filmmaker, Takahiko Iimura, from his earliest 1960s experiments and conceptual videos to his later videos on semiology and identity. Takahiko Iimura will perform CIRCLE AND SQUARE and be in attendance for Q&A moderated by Julian Ross.

    "Taka Iimura has been making films since the early 1960s. His work has gone through a series of relatively clear, consistent developments: from 1962 to 1968, Iimura was largely involved with surreal imagery, with eroticism, and with social criticism; from 1968 through 1971, he continued to use photographic imagery, but worked with it in increasingly formal ways; from 1972 until 1978, he devoted himself very largely to a series of minimalist explorations of time and space. During the years since, Iimura has been more fully involved with video than with film." — Scott MacDonald

    "Although Taka was and continues to be an active part of the New York avant-garde scene, he always remained an enigmatic, mysterious presence, pursuing his own unique route through the very center of the avant-garde cinema. While the intensity and the fire of the American avant-garde film movement inspired him and attracted him, his Japanese origins contributed decisively to his uncompromising explorations of cinema's minimalist and conceptualist possibilities. He has explored this direction of cinema in greater depth than anyone else." — Jonas Mekas

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