Eventos

  • SAW Video Collective: Public Domain

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    Vortex (Gennaro de Pasquale, 2010)Library and Archives Canada holds thousands of film documents which are now free of copyright. These documents cover a wide range of historic events which played a role in the collective history of Canada, such as the First and Second World Wars and our industrial development.

    Fechas: 

    De Miércoles, Octubre 5, 2011 - 19:00 hasta Jueves, Octubre 6, 2011 - 20:55

    Local: 

    no.w.here - London, Reino Unido

  • SAW Video Collective: Public Domain

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    Vortex (Gennaro de Pasquale, 2010)SAW Video: Public Domain
    Wednesday October 5th, 19h
    no.w.here
    First Floor, 316-318 Bethnal Green Road. E2 OAG London, UK

    Library and Archives Canada holds thousands of film documents which are now free of copyright. These documents cover a wide range of historic events which played a role in the collective history of Canada, such as the First and Second World Wars and our industrial development. In addition to documents of these historic events, the large collection of materials also includes home movies of private events such as garden parties, a sporting matches and scenes of camaraderie amongst friends, soldiers and workers. These audio-visual recordings are traces of the private history of individuals, and each provides a different perspective on the passing of time.

    In June 2009, SAW Video commissioned 7 media artists to create new video works using public domain materials from the Film/Video/Audio Collection of Library and Archives Canada. The result is Public Domain, a programme of six new videos.

    The range of mid-career and established media artists selected for this project represent a broad cross-section of media artists working in Canada. Bringing critical perspectives to bear on their found materials, the artists mine the nature of the image for its visual, narrative, mnemonic and evocative potential. While some highlight the fragility and disappearance of images, others focus on their renaissance through recontextualization.

    New work by Gennaro de Pasquale (Montreal), Sara Angelucci (Toronto), Véronique Couillard/Ryan Stec (Ottawa), Suzan Vachon (Montreal), Maureen Bradley (Victoria) and Steve Reinke (Chicago/Toronto)

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  • LA AIR 2: Rick Bahto

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    For Karen Johannesen (Rick Bahto, 2010) LA AIR 2: Rick Bahto
    Thurday October 27th 2011, 20h
    Echo Park Film Center
    1200 N. Alvarado Street, 90026, Los Angeles, California

    LA AIR is a new artist-in-residence program that invites Los Angeles filmmakers to utilize Echo Park Film Center resources in creating a new work over a four-week period.

    October’s resident, Rick Bahto, has an on-going series of films that are made in response to the work of other artists. The screening will present this portion of Bahto’s films alongside the work of the artists to whom they are dedicated, with films and slide documentation of works by Karen Johannesen, Pablo Valencia, and Paul Clipson. He will also present films, slides, and audio documents of performances of the work of Mark So, including documentary footage of his performance of So’s work parallel to the earth (in the angles where the grass writing goes on), which was begun in mid-September and will continue on indefinitely.

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  • American Originals Now: Lynne Sachs

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    The Last Happy Day (Lynne Sachs, 2009)American Originals Now: Lynne Sachs
    Sunday October 16, 16h
    Sunday October 23, 14h
    National Gallery of Art
    Fourth Street and Constitution Ave., NW, 20565 Washington DC

    The ongoing film series American Originals Now offers an opportunity for discussion with internationally recognized American filmmakers and a chance to share in their artistic practice through special screenings and conversations about their works in progress. Since the mid-1980s, Lynne Sachs has developed an impressive catalogue of essay films that draw on her interests in sound design, collage, and personal recollection. She investigates war-torn regions such as Israel, Bosnia, and Vietnam, always striving to work in the space between a community’s collective memory and her own subjective perceptions. Sachs teaches experimental film and video at New York University and her films have screened at the Museum of Modern Art and the Buenos Aires, New York, and Sundance Film Festivals. Her work was recently the subject of a major retrospective at the San Francisco Cinemathèque.

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  • Kinema Nippon Presents Nippon Re-Read I & II

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    Shinonome Omogo Ishizuchi (Shiho Kano, 2008)

    Kinema Nippon Presents Nippon Re-Read I & II
    Thurday October 20th 2011, 20h
    Echo Park Film Center
    1200 N. Alvarado Street, 90026, Los Angeles, California

    A spectrum of experimental moving image works from Japan, ranging from late 60s to contemporary works, are presented in Kinema Nippon’s two-part program. Although varying greatly in their formal and aesthetic concerns, the works all rigorously reexamine the everyday through their respective experiments and innovations in their medium. Kinema Nippon is a series of fund-raising screenings that present curated programs of experimental films, video art and Japanese classics, held in several international cities in collaboration with local film and art institutions. By presenting film and video work to celebrate the visionary cinema of Japan, Kinema Nippon mobilizes the moving image as a catalyst for cultural awareness and unity during this crucial time. All proceeds from the screening will go to disaster relief efforts.

    Works by Takahiko Iimura, Takashi Makino, Yoi Suzuki, Stom Sogo, Daisuke Nose, Tomonari Nishikawa, Eriko Sonoda, Toshio Matsumoto, Shiho Kano, and Shinkan Tamaki. $5

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  • MassArt Film Society: Multi Projector Experiments by Roger Beebe

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    http://static.expcinema.com/content/events/MassArt_Beebe.jpgMassArt Film Society: Multi Projector Experiments by Roger Beebe
    Wednesday October 5th 2011, 20h
    Massachusetts College of Art, Film Department
    Screening room 1. 621 Huntington Ave. Boston, Massachusetts 02115, USA

    Experimental filmmaker Roger Beebe, whose films have shown around the globe from Sundance to the Museum of Modern Art and from McMurdo Station in Antarctica to the CBS Jumbotron in Times Square, brings a program of his recent mutli-projector films to the Northeast for a fall 2011 tour. In these films Beebe explores the possibilities of using multiple projectors—running as many as 8 projectors simultaneously—not for a free-form VJ-type experience, but for the creation of discrete works of expanded cinema.
    The show builds from the relatively straightforward two-projector films “The Strip Mall Trilogy” and “TB TX DANCE” to the more elaborate three-projector studies “Money Changes Everything” and “AAAAA Motion Picture” on finally to the eight-projector meditation on the mysteries of space, “Last Light of a Dying Star.”

    "[Beebe’s films] implicitly and explicitly evoke the work of Robert Frank, Garry Winogrand and Lee Friedlander, all photographers of the atomic age whose Western photographs captured the banalities, cruelties and beauties of imperial America." --David Fellerath, The Independent Weekly
    “Beebe’s films are both erudite and punk, lo-fi yet high-brow shorts that wrestle with a disfigured, contemporary American landscape.” --Wyatt Williams, Creative Loafing (Atlanta)
    "Beebe's work is goofy, startling, and important." --Daniel Kraus, Wilmington Encore

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  • Directors Lounge: Petra Lottje + Curtis Burz - On Track

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    Directors Lounge: Petra Lottje + Curtis Burzdirectors lounge special screening
    Petra Lottje + Curtis Burz
    auf der spur — on track
    video works
    Thursday, 29 September 2011, 21h
    Z-Bar, Bergstraße 2, 10115 Berlin-Mitte

    Directors Lounge presents a programme with Petra Lottje and Curtis Burz. The artists have the differing backgrounds of Fine Art practice, and the documentary tradition of European Cinema consecutively, and they both address the problems of social relations. These relations may be seen as "on track" or "off track". It is ambivalent as the specific uses of media and recordings open the work for different interpretations. In both bodies of work we may find a very personal take on their subject and a strong artificiality in the produced media images.

    In “Jedes Zimmer Hinter Einer Tür" (Every Room Behind A Door) Petra Lottje stages the female part of dialogues in diverse films, using the German dubbing voices and borrowing her lips to the sound like it is practice with the "playback mime singers" on TV. However, the lip-sync is not perfect in some parts, the settings seems not to fit correctly but still, and over time, the viewer gets the impression of honest enacting instead of parody. One reason for that impression may be the very understated acting of Petra Lottje. Her minimal gestures and mimic, reminding of Buster Keaton, leave ample space for projections by the viewer. (Buster Keaton's "poker face" was a novelty in cinema at that time. Some film critics see him as the starting point of modern cinema, where the actor on close-up shows only minimal expressions in order to become the mirror for emotional projections by the viewers). Thus over time of watching the film "Jedes Zimmer Hinter Einer Tür" and the programme as a whole, the acting of Lottje seems to become more and more "real".

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