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Archive for the ‘experimental film’ Category

The Complete Films of Fred Camper: Program Two

14 April, 2011 by

White Light Cinema Presents
The Complete Films of Fred Camper: Program Two
Fred Camper’s SN
Saturday, April 16, 2011 – 8:00pm
The Nightingale | 1084 N. Milwaukee Ave., Chicago, IL (M A P)

“White Light Cinema is extremely pleased to present these very rare public screenings of the complete films of Fred Camper. Camper has been a thoughtful and articulate writer on film for over forty years (much of his writing is available on his website) and, more recently, has been producing an astonishing body of digital artworks. His earlier filmmaking practice, however, is little known. Long out of distribution (some never in distribution), his short 16mm and Super-8mm films have not been publicly screened for decades. And this presentation of his stunning feature-length Super-8mm film SN is only its third-ever public showing. These films may not be screened again for many years, due to their irreplaceability.”
PROGRAM DETAILS:

Program Two:
Fred Camper’s SN
Saturday, April 16, 2011 – 8:00pm
SN (1984, c. 110 minutes, super-8, silent)

“SN was born out of an intense personal despair, and a desire to depict a failure of the self, coincident with my discovery of super-8 as a medium completely different from 16mm, well suited to a kind of analog for the written diary. Its images’ natural lack of illusionistic presence and authority contributes to the failure theme. The original plan for the film would have required perhaps twenty years of full time work and a great deal of money, leading to a very long film only a small part of which would have been screened each time, selections made with a controlled use of random numbers. What I show now is in ten sections, and in the eighth, on three short reels, a tiny piece of the original plan survives: sixteen shorts serve as the source for this section, and which three are screened and the order in which they are screened at each showing is determined randomly. I have no final prints of any of SN; most sections are edited workprint or edited original, and are thus not exactly as they were intended to look. Still, I believe in it as a film. In part a portrait of Manhattan’s constricted spaces, and more generally of the way humans occupy space, it also presents the failed journey of a self to organize, or become present in, the world. The film has only been screened publicly twice before, and will likely only be screened rarely in its original format in the future.” (Fred Camper)

Fred Camper has been writing and publishing on cinema since the late 1960s, and on art since the late 1980s. He has taught at a number of colleges and universities, and presented film programs throughout the world. For the last six years, he has mainly concentrated on making his own art, mostly photo based digital prints; cinema is one key inspiration. His Web site is www.fredcamper.com.

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Admission: $7.00-10.00 sliding scale

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More: Fredcamper.com

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3/31/11 at 7:00pm > Ben Russell: The Artist’s Talk As A Disappearing Act (With Live Video Feed) at threewalls, Chicago, IL, USA

29 March, 2011 by

Ben Russell
The Artist’s Talk As A Disappearing Act (With Live Video Feed)
3/31/11 at 7:00pm
Threewalls, Chicago, IL, USA
119 North Peoria #2C, Chicago, IL 60607 (map)
Gallery Hours: Tuesday-Saturday, 11am-5pm

For those of you in/around Chicago this week, Ben Russell will be giving an artist’s talk/performance about his current solo show at threewalls on Thursday at 7:00pm.  It is a delicious exhibit of BR’s mystic acuity. Superluminal; punk-rock; enchanting; ton-o-fun.

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The Artist’s Talk As A Disappearing Act (With Live Video Feed)
In which the artist performs a televised lecture regarding the seven works currently on display in his solo exhibition, Uh-Oh It’s Magic. Possible topics to be discussed include: working under the influence, phenomenological states, animism, optics and subjectivity, levitation, cultural relativism, and rainbows. The notion of “losing oneself in one’s work” will be demonstrated materially during the course of the lecture and subsequent Q&A.

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In case you haven’t yet seen the show, it’ll be up until the 23rd of April — here is what some kind souls have said about it so far (in both image and word):

  1. http://www.flickr.com/photos/threewallsgallery/sets/72157626176089321/show/
  2. http://www.artslant.com/chi/articles/picklist#p22299
  3. http://blog.art21.org/2011/03/18/ben-russell-at-threewalls/

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8 Films by Robert Breer, 13 March, 2011, SAIC

13 March, 2011 by

8 Films by Robert Breer, 13 March, 2011, SAIC, 112 S Michigan Ave, room 1307, presented by the Experimental Film Society and curated by Fred Camper

8 Films by Robert Breer
Sunday, March 13th, 2011 @ 3PM
presented by the Experimental Film Society
Free and open to the public
SAIC, 112 S Michigan Ave, room 1307, Chicago, IL, 60603 United States of America (Map)

Last minute reminder: today, 13 March, 2011, at 3:00pm, the Experimental Film Society (much like the midnight society) will gather and share stories — the stories of Robert Breer, on 16mm — Fred Camper curates and the following films will screen:

69 (1968, 5min, color, sound)
Gulls and Buoys (1972, 7min, color, sound)
Fuji (1973, 9min, color, sound)
…TZ (1978, 9min, color, sound)
Swiss Army Knife With Rats and Pigeons (1981, 8min, color, sound)
Bang! (1986, 10min, color, sound)
A To Z (2000, 5min, color, sound)
What Goes Up? (2003, 5min, color, sound)

The event is free and is held at the SAIC, 112 S Michigan Ave, room 1307, Chicago, IL, 60603, United States of America.

More:

EFS is holding group screenings, themed screenings, and single artist screenings all semester long, at least once a week! All programs are free and shown on 16mm.

We are located in SAIC’s 112 S. Michigan Avenue. Screenings are held in room 1307 and are open to the public.
EFS will also be holding select workshops on alternative filmmaking. Check our event page to stay up to date!

Privacy Type:
Open: All content is public.

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Ben Russell: Uh-Oh It’s Magic: March 11-April 23, at Threewalls, Chicago

10 March, 2011 by

BEN RUSSELL: UH-OH IT'S MAGIC

March 11th- April 23rd, 2011
three-walls.org
119 North Peoria #2C, Chicago, IL 60607 (map)
Opening reception: Friday, March 11th, 6-9pm
Artist talk: Thursday, March 31st, 7pm
Gallery Hours: Tuesday-Saturday, 11am-5pm

CHICAGO: For his SOLO exhibition Uh-Oh It’s Magic, artist Ben Russell gathers together seven instances of sound and image that speak to the varying possibilities of belief and mysticism within a global construct. Taking its title from the choral refrain of the Cars’ song Magic (1984), Uh-Oh It’s Magic points towards the persistence of a culturally Western hope/belief in the existence of Magic: a belief-in-belief that employs logic to dismantle difference-as-superstition as quickly as it drops its jaw in the presence of the technologically explicable. From the myth of Icarus to the divination rites of Malian animists, from Mexican cotton candy makers to Vietnamese martial artists, and from Icelandic drowning pools to Abbie Hoffmans’ 1967 levitation of the Pentagon, this exhibition is realized across a multitude of forms – 16mm film loops, auto-repeat records, found photographs, multi-projector installations, prisms, mirrors, heat lamps, desiccants and a transformed non-space that bathes viewers in a delirious chroma-key paint job, effectively making the gallery everywhere and anywhere at once.

In the her essay for the exhibition, Erika Balsom says: “In the art of Ben Russell, the cinema’s paradoxical status as both disinterested document and active producer of magic emerges as a fundamental preoccupation. Moving into the gallery space after an established career in filmmaking has allowed Russell to make use of an expanded array of strategies and media to explore issues he has long addressed: Do we—and should we—believe in what we see? When does the moving image seek to deceive us and when does it promise revelation? Russell imagines a global cartography of sites and sights that challenge rationality. Placing the experience of travel at the center of his practice, the artist charts culturally varying approaches to the otherworldly with the ethnographic tradition never far out of sight.”

Ben Russell Portrait #1

Ben Russell is a media artist and curator whose films, installations, and performances have been presented in spaces ranging from 14th Century Belgian monasteries to 17th Century East India Trading Co. buildings, police station basements to outdoor punk squats, Japanese cinematheques to Parisian storefronts, and Chicago bathtubs to Viennese boats. He has had solo screenings and exhibtions at the Museum of Contemporary Art Chicago, the Rotterdam Film Festival, the Wexner Center for the Arts, and the Museum of Modern Art. A 2008 Guggenheim Fellowship and 2010 FIPRESCI award recipient, Ben began the Magic Lantern screening series in Providence, Rhode Island, is co-director of the artist-run space BEN RUSSELL in Chicago, and he currently teaches in the School of Art and Design at the University of Illinois at Chicago.

Founded in 2003, threewalls’ is dedicated to increasing Chicago’s cultural capital by cultivating contemporary art practice and discourse. With a focus on the practices of local artists and administrators or visiting artists interested in regional history and culture, we aim to create a locus of exchange between local, national and international contemporary art communities that builds Chicago’s reputation as an important site for creative research and production.

threewalls operates three programs: six exhibitions per year that support local artists through SOLO and group exhibitions; a series of public programs that explore current ideas in art and culture (The Public Culture Lecture Series, threewallsSALONS and a biannual symposium on grass-roots and community organized cultural administration) and a residency that invites artists from around the world to engage in regionally site-specific research or projects. threewalls is also joint administrator of The Propeller Fund with Gallery 400 at The University of Illinois at Chicago.

threewalls is partially supported by a grant from the Illinois Arts Council, a state agency; by a CityArts Program I grant from the City of Chicago Department of Cultural Affairs; The Chicago Community Trust; The Cliff Dwellers Foundation for the Arts; ArtsWork Fund for Organizational Development; The Gaylord and Dorothy Donnelley Foundation; The Alphawood Foundation; The MacArthur Fund for Arts & Culture at the Richard H. Driehaus Foundation; 3Arts Chicago; and major support is provided by The Andy Warhol Foundation for the Visual Arts. threewalls is sponsored by Pernod Absinthe.

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Ben Russell on Vimeo

 

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Stan Brakhage Black Leader, Anticipation of the Night (1959), via Phil Solomon, & Courtesy of Mark Toscano, Academy Film Archive

1 March, 2011 by
brakhage-black-leader-anticipation-of-the-night

Black Leader from Anticipation of the Night (1959), Stan Brakhage, courtesy of Mark Toscano, Academy Film Archive

Found via Phil Solomon’s Musings; part of the Brakhage Restoration Project. The Academy of Motion Picture Arts and Sciences Film Archive is restoring the complete oeuvre of Stan Brakhage. How delicious. The beauty of Brakhage. Here is one of many treats Phil Solomon shares on his blog.

From Phil Solomon’s Musings (original post here):

The animated scratched titles on the original black leader of Brakhage’s seminal work, Anticipation of the Night, backlit over a light box at the Academy Archive.

Courtesy of Mark Toscano, who is overseeing the restoration, bless him.

Black will be restored to the Night. Darkness on the Edge of Town.

Rust Never Sleeps…

Here are some additional film stills from Stan Brakhage’s Anticipation of the Night (1959), via Fred Camper.


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The Great Northwest (2011) by Matt McCormick, Feb 17–April 2, Elizabeth Leach Gallery, Portland

21 February, 2011 by


The Great Northwest
an experimental documentary / video installation by Matt McCormick
76 minutes / HD / 2011 + photography
More info and a short video excerpt can be found here.

The Great Northwest is a 76-minute experimental documentary that explores how the visual landscape of the Pacific Northwest has changed over the past 50 years. The project is based on the re-creation of a 3,200 mile road-trip made in 1958 by four Seattle women who thoroughly documented their journey in an elaborate scrapbook of photos, postcards, brochures and receipts. Fifty years later, Portland artist and filmmaker Matt McCormick found that scrapbook in a thrift store, and in 2010 set out on the road, following their route precisely and searching out every stop in which the ladies had documented.

The urban and natural landscapes the women experienced during their trip has changed greatly since 1958. While urban centers such as Seattle, Portland, and Spokane have sprouted sky-scrappers and hefty suburban growth, other towns such as Vantage and Taft no longer exist; one being flooded by Columbia River damming and the other paved over by Interstate 90. Development, damming, industry, and construction of the Interstate Highway System have moved mountains and rivers as well as towns and communities. Yet many aspects of the Pacific Northwest appear relatively unchanged. Carefully preserved towns such as Wallace, Idaho, and steadfast tourist attractions such as the Oregon Coast’s Sea Lion Caves seem almost stuck in time except for perhaps a few new layers of paint.

The film is a meditative look at these changes while also becoming it’s own scrapbook-like document. With a very patient and observational approach, the film compares and contrasts the 1958 landscape with that of the present day while celebrating the enduring features of the Pacific Northwest. It is a lyrical time capsule that explores the fragility of history.”

The Great Northwest was funded in part by a 2010 Regional Arts and Culture
Council Project Grant and the 2011 Oregon Art Commission Media Arts
Fellowship.

Runs February 17-April 2
Elizabeth Leach Gallery
417 N.W. 9th Avenue Portland
www.elizabethleach.com

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Still Raining Still Dreaming ('08-2009) by Phil Solomon

20 January, 2011 by

(2008-2009, digital video, sound, in progress)

Believe it or not, esoteric film sages, i.e., Phil Solomon, are open to the possibilities of working with video — and even video games. Here are two stills from Solomon’s Still Raining Still Dreaming, a film that takes images from the notorious wanton car-jacking shoot-em-up Grand Theft Auto video game; part of a series that also includes Rehearsals for Retirement (2007), Untitled (For David Gatten) (w/ Mark Lapore, 2005), and Last Days in a Lonely Place (2007).

More: http://philsolomon.com

More from Phil soon.

Check it out.

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Stills: Quick Billy (1971) by Bruce Baillie

16 January, 2011 by

Quick Billy (1971) by Bruce Baillie

Found via the Anthology Film Archives.

© Bruce Baillie.

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TRIPTYCH by Bruce Conner, 1961/2003

7 January, 2011 by

TRIPTYCH, 1961/2003 Archival pigmented inkjet on rag paper 41 x 27.5 in. Edition of 6

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A Holiday Appeal from Anthology Film Archives

17 December, 2010 by

Anthology Film Archives: Celebrating 40 Fantastic Years!

The following letter was sent in an Anthology Film Archives email. Considering not everyone subscribes, nor understands what the A.F.A. is, it’s a good idea to share. Jonas Mekas, Founder and Artistic Director of the Anthology Film Archives, explains that sometime in the future, the Anthology Film Archives will big time lift their website to the next level. If you can spare some change, I strongly suggest supporting the Archives by contributing a Merry Christmas tax-deductible donation by clicking here.

Anthology Film Archives, congratulations on 40 years! We love you!

The following text is verbatim from an A.F.A. email sent out today:

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Dear Friends,

As someone who values and supports independent cinema and culture, we here at Anthology Film Archives thought you should know that this year marks a momentous occasion in our history - our 40th Anniversary! We have been preserving, exhibiting, and promoting independent and artist-made film since 1970, and continue to represent an essential part of the cultural landscape. As we enter our fifth decade, we hope you’ll consider supporting Anthology, by making a tax-deductible donation, becoming a member, or giving a gift membership this holiday season at anthologyfilmarchives.org/support

We are convinced that the best way to commemorate our vital contributions to film culture is to make our anniversary year a milestone in the next chapter of our existence. To that end, we are bringing Anthology fully into the digital era, embracing the potential to share our collections and programs with a worldwide audience. In July we launched the first phase of a completely new website, an enormous upgrade both aesthetically and practically, which features:

  • improved graphics;
  • streamlined screening information; and
  • a vastly expanded section for our collections of films, stills and audio!

Work is also progressing on an even more ambitious digital initiative, an AFA Library and Archive Collections website, which will offer scholars and students of independent cinema and contemporary art unprecedented access to resources including:

  • rare, unique, and historic streaming films, videos, and audio files;
  • webpages devoted to individual film and video artists;
  • study sections dedicated to historic movements, themes, styles, and
  • genres in independent and artist film; and
  • scanned magazines, journals, and files containing correspondence, reviews,
  • and program notes.

We are currently developing this site with initial funding from The Andy Warhol Foundation for the Visual Arts and anticipate launching it in early 2012.

While we are striving to expand online access to our collections, we remain as committed as ever to the unique experience of viewing actual film prints with an audience, in a movie theater. Our exhibition program is consistently praised by critics, fellow curators, and filmgoers from all over the world. 2010 saw numerous acclaimed programs, as well as a series of special events marking our 40th anniversary, beginning with a wildly successful benefit concert featuring performances by Lou Reed, Sonic Youth, and Kenneth Anger. These events, scheduled throughout 2010 and continuing into 2011, include special screenings with Jim Jarmusch, John Waters, and others. And soon all our programs will be presented in the best possible conditions, thanks to our success in securing grants from the city and state to upgrade our main theater’s projection and sound systems with state-of-the-art equipment.

This year saw exciting accomplishments attesting to our health and longevity, as we increased our funding from the city and state; placed a major locational work by Paul Sharits at the Smithsonian’s Hirshhorn Museum; saw an increase in attendance of over 20%; loaned films to over 30 institutions; preserved 25 films for the future; and initiated an art project for which some of today’s most acclaimed artists will create limited-edition works which will be reproduced for the covers of our exhibition calendars. As we enter our fifth decade on the threshold of Anthology’s expanding internet and social networking presence, and on the cusp of new digital endeavors, we are determined to make Anthology’s work permanently accessible for generations to come.

Stay tuned for updates on Facebook, Twitter, and especially our website, which will soon include online ticketing and credit card payment at our box office! We want to make your time with us – whether on our website or in our theaters – as pleasurable as possible.

We need your support to help us complete these projects and continue the momentum as we celebrate four decades. Please consider making a tax-deductible donation today at anthologyfilmarchives.org/support

Best wishes for a cinematic New Year,
Jonas Mekas, Founder and Artistic Director
and the Staff and Board of Anthology Film Archives

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Ann Arbor Film Festival DVD Collection: Volume 3

12 December, 2010 by

AAFF DVD Collection: Volume 3

You know, a great many associate Christmas Day with opening gifts. This Christmas, sit down by the fire light with your kids and your cuddle-duds and give them the gift of avant-garde with the giving of the AAFF DVD Collection: Volume 3.

The first 200 DVDs come in a screen-printed matteboard case, printed by Michigan-based print-shop, VGKids (VGkids printed the dinca stickers as well), and include a set of five postcards with original artwork by filmmakers Martha Colburn, Lewis Klahr, Julie Murray, Michael Robinson and Deborah Stratman.

$18 plus shipping


NTSC DVD Region 0 (All)

Total Runtime: 106 minutes
BUY HERE

View film information here.

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