Eventos

  • South London Gallery: Tracing The Line

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    Automotive Action Painting (George Barber, 2007)Tracing The Line
    Wednesday 18 August 2010, 19h, £5
    South London Gallery
    65 Peckham Road, London, SE5 8UH

    Experimental film and video works exploring the relationship between film and drawing practice are brought together in a screening complementing the current South London Gallery exhibition “Nothing is Forever”. Ranging from early animation through to contemporary video made with computer manipulation, the featured works embrace a broad spectrum of techniques including drawing directly on celluloid and the use of chance as a creative process.

    - Drawing Cubes (David Haxton, 1982, 16mm, 10 min)
    - Colour Cry (Len Lye, 1952, 16mm, 4 min)
    - Brooklyn Bridge (Joan Jonas, 1988, video, 6 min)
    - Ghostrider (Amy Granat, 2006, 16mm on DVD, 3 min)
    - Koloraturen (Oskar Fischinger, 1932, 16mm, 2 min)
    - Allegretto (Oskar Fischinger, 1936, 16mm, 3 min)
    - Automotive Action Painting (George Barber, 2007, video, 6 min)
    - Kiri (Takahiko Iimura, 1970, 16mm, 5 min)
    - Blue Moon Over (Laurence Weiner, 2001, video, 5 min)
    - Mankinda (Stan Vanderbeek, 1957, 16mm, 10 min)
    - Peak Project (Sebastian Buerkner, 2005, video, 6 min)

    Tracing The Line is curated by Anne-Sophie Dinant, Associate Curator, South London Gallery. The screening is supported by LUX, London, and Lightcone, Paris.

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  • West End Salon Series: The Films of Myron Ort

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    Neti neti neti (Myron Ort, 2009)West End Salon Series: The Films of Myron Ort
    Friday, August 20th, 20h
    West End Salon Series
    602 Wilson St., Santa Rosa, California, 95401, USA

    The program consists of ten short films completed within the last couple of years. They range from 2 minutes to 19 minutes in length.  One of the films was shot at last year’s Handcar Regatta with a hand-crank 35mm movie camera from the 1920s. This footage became a canvas on which other colors and patterns were added to create a film collage/montage with photographic images from the event peaking through the hand-painted and hand -printed layers.  Other films range from the non-referential to the obscurely referential to the humorously referential. You wouldn’t know it from these notes, but I have a sense of humor. All films, unless otherwise noted, shown as digital transfers from full frame “super” 35mm.

    Programme:

    - Strip Film One 2 min.
    - Phantom Ore 4 min.
    - Tamper Oh No 7 min.
    - Strip Film II 3 min.
    - A Poem Thorn 9 min.
    - A Prone Moth 3 min. (35mm film projection via antique silent projector)
    - Strip Film III 5.5 min.
    - Regatta 9 min.

    Brief Intermission

    - TNX UB aka "Ye Olde Bughouse" 6.5 minutes
    - Neti Neti 19 min. silent

    Total running time approx. 1 hour.

    About the Artist: I have been making films since the 1960s. I hold an M.A. in Film from San Francisco State University and a B.A. in Physics from the University of California at Berkeley. I taught Film on the Art Department at Sonoma State University throughout the 1970s. I studied painting and drawing privately with Dr. Harold Gregor now considered by many to be the dean of contemporary American landscape painting. I have been a resident of Sonoma County since 1970. During the 60s and 70s my films were distributed by Canyon Cinema. A few won some prizes. I am self taught on the bongo drums and crazy about Afro-Cuban music and Jazz. My work comes out of the tradition of experimental and avant garde filmmaking in which the narrative is supplanted by the perceptual. I am a painter working and innovating in the film medium. The films are produced entirely with analog methods but are transferred to digital for showing. I work in both 16mm and 35mm film and also paint directly onto the film emulsion using a variety of techniques and materials. The visual elements of my films are highly polyrhythmic, coming from my long-time interest in drums and drumming. I feel adding soundtracks, more often than not, is unnecessary, redundant, and even distracting. I am aware of the perceptual challenge while viewing images progressing at speeds anywhere from 7 to 30 disparate frames per second, but feel confident that this a valid and rewarding art form and one which hopefully will become an acquired taste as it has for me. - Myron Ort

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  • MassArt Film Society: Saul Levine

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    Whole note (Saul Levine, 2000-1)MassArt Film Society: Saul Levine
    Breaking Time - A Portrayal In 4 Parts And Three Reels
    Wednesday, August 18th, 20h, 4$
    Massachusetts College of Art, Film Department
    Screening room 1. 621 Huntington Ave. Boston, Massachusetts 02115, USA

    In the fall of 1977, I returned to the New Haven area to live with my parents and aunts after being unemployed for a year. I resumed working in my father's gas station and small used-car lot as both a service attendant and driver of cars between New York and New Haven. BREAKING TIME is a four-part work made up of four separate films on three reels. Each film is a complete work itself and may be shown separately. I feel that together they make a different work.

    The return to my home allowed me to look back on the working people and places of my childhood with the eyes of an adult. It was a continual struggle to make a past present and I was only able to complete [the series] after I left the area. The work also reflects my experiences in the past working as a traffic surveyor and the automotive and petroleum base of the culture I grew up in. - Saul Levine

    Programme:

    - Part 1: Mortgage on My Body (1978-1983)
    Stations throughout Connecticut and even New York City. Riding around with my father and back to the gas station.

    - Part 2: Arrested (1977-1983)
    Mainly a portrayal of my father, the blizzard of 1978 and the summer and spring.

    - Parts 3 and 4: Lien on My Soul and Portrait Not a Dream
    Lien on My Soul is a cityscape of New Haven shot from an East Rock park. Includes the 4th of July, a wedding, lovers, bikers, kids - an ecological meditation.
    Portrait Not a Dream: My mother's cry of rage.

    - Whole Note
    A portrait of my father in the last days of his life. "Nothing is as whole as a broken heart" - Hassidic saying.

    - August Moon And See
    A portrait of Nancy Golden, a summer evening and Nancy photographing rocks at Singing Bea

    - Light Lick Daily Camera 2010
    Light lick shot mainly in Boulder Colorado mountain high

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  • STIRRINGS STILL

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    Stirrings stillSTIRRINGS STILL
    a selection of videos curated by Andrea Monti
    on display from August 19th through September 7th
    White Box Gallery
    329 Broome Street, 10002, New York, USA
    organized in collaboration with LUX and Lucca Film Festival 2010
    opening reception on Aug 19th 7-9 pm

    Presenting videos made by American and European artists, this program relates to Samuel Beckett's last work Stirrings Still at many levels: aesthetically, structurally, emotionally and metaphorically.

    The terms stirring and still, which generally refer to movement and stillness, are combined together, a characteristic inherent in all moving-image art works.
    Many of the selected videos center around structure and aesthetics, showing the interaction between moving and still elements, and exploring their reciprocal limits.
    Other works involve the repetitions and obsessive self-reflection present in Beckett's writing. While others deal with at some level the sentiment of 'the end', the passing of time and our fate of being alone with our own existence.

    The works will be displayed as a 70 minute looped program as part of the exhibition Project Birch Forest - Part 2, opening on August 19th through September 7th. (Andrea Monti)

    programme:
    - Adrift by Elle Burchill
    - Nightshot 1 by Stephen Dwoskin
    - Crystal Ghosts by Kelly Fancher
    - Wolves by Tim Geraghty
    - First Corruption by Raymond Salvatore Harmon
    - Sentiment by Max Le Cain
    - Parthenogenesis by Yasue Maetake
    - Television by Yoel Meranda
    - Private Eye/I by Rick Niebe
    - New Ratio by Simon Payne
    - 21.04.02 by Jean-Gabriel Periot
    - Susquehannaicefloewobl (Incense and Tea) by Jeremy Slater

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  • Directors Lounge: Jari Haanperän - Spectres of Light

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    Kalavalo (Jari Haanperän)Directors Lounge: Jari Haanperän - Spectres of Light
    Friday, August 13th, 2010, 21h
    Galerie Meinblau
    Pfefferberg, Christinenstr. 18/19
    D-10119 Berlin-Prenzlauer Berg

    Curated by Klaus W. Eisenlohr

    Jari Haanperän lives in Berlin and together with Mirka Flander, his producer, he is running the gallery Suomesta. With his installations, Jari Haanperän takes up and further develops the idea of the Light Space Modulator by Laszlo Moholy-Nagy. Although Jari's film works on the other hand appear very different to the abstract spirituality of Moholy-Nagy's light machine, the two constituting elements seem to be the constant source of inspiration for artist and filmmaker Haanperän: light and the spirited machine. However with Jari, these elements seem to evoke their opponents: darkness, which is needed for the effects of light, or lumen, and the darker forces.

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  • Artist In Focus: Paul Clipson

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    Paul ClipsonArtist In Focus: Paul Clipson
    Live soundtrack by Ignatz & Paul Labrecque
    Saturday, September 25th, 2010, 20h
    Palais des Beaux-Arts / Paleis voor Schone Kunsten
    Rue Ravenstein 23, 1000 Bruxelles
    Organized by Courtisane & Bozar Cinema.

    The elegantly ravishing super 8 films of Paul Clipson (US) are lyrical explorations of light and movement. His images, mostly edited in-camera, reveal the rhythms, energy and sensuality of the everyday that we often fail to see. The influence of experimental filmmakers such as Stan Brakhage, Marie Menken, Bruce Conner and Bruce Baillie is palpable in his multi-layered studies, as well as that of the many sound artists and musicians with whom he has collaborated over the years, such as Jefre Cantu-Ledesma, Gregg Kowalsky and William Fowler Collins. For this occasion, a selection of his recent film work will be accompanied live for the first time by Bram Devens (alias Ignatz, BE) and Paul Labrecque (alias Head of Wantastiquet, Sunburned Hand of the Man, US). Both musicians draw their exorcising sound explorations from the tradition of “American Primitivism”, where the dreaded, uncompromising ghost of John Fahey dwells.

     

    From Diagonal Thoughts.

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  • Death by VHS: New Cinematic Discoveries from Winnipeg, Manitoba

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    Death by VHS: New Cinematic Discoveries from Winnipeg, ManitobaDeath by VHS: New Cinematic Discoveries from Winnipeg, Manitoba
    Monday, August 30, 2010, 19:30h
    Presented by DIM Cinema
    Pacific Cinémathèque
    1131 Howe St., Vancouver, BC

    Curated by Clint Enns and Leslie Supnet.

    A long, rich history of lo-budget inventiveness is woven into the civic consciousness of Winnipeg, Manitoba, the birthplace of K-Tel, Hunky Bill’s Perogie Maker, and the Green Garbage Bag. Countless Winnipeg artists have utilized the same Do-It-Yourself spirit in their practice, speaking to tradition as well as environmental necessity. Enriched with strange humour, hand-crafted experimentation and lo-fi/high-tec conundrums, the films and videos in this program are testaments to an aesthetic movement that is wholeheartedly Winnipeg’s own.

    Program

    - Cattle Call by Mike Maryniuk & Matthew Rankin
    - Thunder at the Track by Walter Forsberg
    - Zwei Indianer Aus Winnipeg by Darryl Nepinak
    - How to Care For Introverts by Leslie Supnet
    - I’m BoHUNKy-Dory With It (My Nose) by Sandee Moore
    - Drawing Genesis by Jaimz Asmundson
    - Pants by Divya Mehra
    - Discovering Compositions in Art by Heidi Phillips
    - The Death of Natural Language by Clint Enns
    - Traffiiiik by Robert Pasternak
    - Brodeo in leather by Gwen Trutnau
    - Cold Satie by Simon Hughes
    - Mechanical Film Studies by Andrew Milne
    - In the Drugs by Hope Peterson
    - Death by VHS by Damien Ferland

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  • Light Industry: Gordon Matta-Clark's Day's End & Arch Brown's Pier Groups

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    Day's End (Gordon Matta-Clark, 1975)Light Industry: Gordon Matta-Clark's Day's End + Arch Brown's Pier Groups
    Friday, August 20, 2010, 19:30h, 7$
    177 Livingston Street, Brooklyn, NY, USA

    Introduced by Douglas Crimp

    - Day's End (Gordon Matta-Clark, 16mm, 1975, 23 mins)
    - Pier Groups (Arch Brown, 1979, 57 mins)

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  • Experiments In New Media: Jon Behrens

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    The Astrum Argentium (Jon Behrens, 2006)Experiments In New Media presents an Evening of Pure Cinema by Jon Behrens
    August 26th, 2010, 20h
    The Grand Detour
    215 SE Morrison, Suite 2020
    Portland, Oregon, USA

    For more than 30 years, Seattle-based artist Jon Behrens has worked completely outside of the mainstream conception of what filmmaking is. He began to make films as a teenager in the late seventies, starting with his Grandfather’s Wollensak regular 8mm camera and then moving to 16mm shortly thereafter. Since the age of 16 Behrens has made well over 100 films of various lengths, subject matters and approaches, from do...cuments of the early Seattle punk rock scene to poetic film experiments in which the celluloid film stock has been manipulated. Over the years Jon has screened his films nationally and internationally, and has been called one of the Northwest’s most prolific filmmakers.

    Program: (Approx running time 70mins.)
    - The production and decay of strange particles (7½ min., 2008)
    - Undercurrents (10 min., 1994)
    - The Astrum Argentium (6 min., 2006)
    - All Saints Day II (5 min., 2002)
    - Stan’s salon (3 min-1997)
    - Fluffy fluffy calm calm (10 min., 1998)
    - Anomalies of the unconscious (12 min., 2003)
    - Vernal obeisance (6 min., 2003)
    - The flickering of the mind’s eye (10 min., 2001)

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