<https://gallery.mailchimp.com/e4e99825c1d97f8de6eaffad3/images/c6a4b757-b14c-4ec9-b8c6-9553961a080e.gif> This week [August 24 - September 1, 2019] in avant garde cinema Enter your event announcements by going to the <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=9ce86e083f&e=f36020cad0> Flicker Weekly Listing Form. To receive the weekly listing via email: <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=fab8ca90cb&e=f36020cad0> Subscribe. <http://www.lightindustry.org/che.jpg> Keep Your Laws off My Body + Dialogue With Che [August 27, Brooklyn, NY United States] <https://scontent-sjc3-1.xx.fbcdn.net/v/t1.0-9/68260567_2298919136892157_8674944424423194624_n.jpg?_nc_cat=100&_nc_oc=AQnTvFZghu-ntsHf-tUrSF4-78GP3xiXDOI4coe6G3Vym2NVVUG87zhaffivo8ZsNyI&_nc_ht=scontent-sjc3-1.xx&oh=58c6e55e68e50f76865947c38a00b6e0&oe=5DCC4A89> Cineinfinito #99: Dominic Angerame [August 29, Santander, Spain] DEADLINES APPROACHING: Braziers International Film Festival (Ipsden, Oxfordshire, UK; Deadline: September 01, 2019) <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=415772c7bb&e=f36020cad0> http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=2035.ann PRISME #2 (France ; Deadline: September 01, 2019) <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=ae95134e67&e=f36020cad0> http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=2037.ann Events are sorted alphabetically BY CITY within each DATE. This week's programs (summary): * Black Maria Film Festival Returns To the National Gallery of Art [August 24, Washington, DC] * Jonas Mekas Tribute Screenings Part 2: Program 5 [August 25, New York, NY] * Keep Your Laws off My Body + Dialogue With Che [August 27, Brooklyn, NY United States] * Superficies Alteradas/Altered Surfaces [August 27, Mexico City] * Labor Day Art and Media Exhibition - Open Call [August 29, Carbondale] * Cineinfinito #99: Dominic Angerame [August 29, Santander, Spain] * Cineinfinito #100: Jan Ketelaars &Amp; Paul Van Den Wildenberg [August 29, Santander, Spain] * Funny:Looking [September 1, Internet] * Films By andy Warhol // Part 3 of 3 [September 1, San Francisco, CA United States] SATURDAY, AUGUST 24, 2019 8/24 Washington, DC: Black Maria Film Festival <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=f72124f9cf&e=f36020cad0> http://www.blackmaria.org 1:00PM and 3:30PM, 4th Street and Constitution Ave., NW BLACK MARIA FILM FESTIVAL RETURNS TO THE NATIONAL GALLERY OF ART The Black Maria Film Festival returns this year with two programs on Saturday afternoon, August 24th, starting at 1:00pm and again at 3:30pm, in the East Building Auditorium, the National Gallery of Art in Washington, DC, 4th Street and Constitution Ave., NW. Doors open thirty minutes before show time. Both programs, hosted by Curator of Film, Margaret Parsons, will be presented in-person by festival director Jane Steuerwald, and will showcase a collection of stellar works touring with the Festival this season. Selections include films by veteran filmmakers who have been recognized and celebrated for decades, as well as important new work by emerging young filmmakers. Featured selections include “Brainworm Billy,” by Emily Hubley, East Orange, NJ; “Koka, the Butcher,” by Bence Máté and Florian Schewe, Berlin, Germany; “The Elephant’s Song,” by Lynn Tomlinson, Owings Mills MD; “Ulises (Ulysses),” by Jorge Malpica, Catalonia, Mexico; “Woody’s Order,” by Seth Kramer, Red Hook, NY, written and performed by Ann Talman, NY, NY; “I’d Never Bother Another Chicken Again,” by Helen Cho Anthos, Reseda, CA; and “Thy Kingdom Come” by acclaimed photographer/filmmaker Eugene Richards, Brooklyn, NY, with Javier Bardem. Filmmakers will be present to discuss their work. The Thomas Edison Black Maria Film Festival attracts and nationally showcases the works of highly accomplished independent film and video makers. The Festival is a project of the Thomas Edison Media Arts Consortium, an independent non-profit organization in partnership with the Lewis Center for the Arts at Princeton University. For further information, contact festival director Jane Steuerwald, j...@blackmariafilmfestival.org <mailto:j...@blackmariafilmfestival.org> , www.blackmaria.org <http://www.blackmaria.org> . The National Gallery of Art is wheelchair accessible, and large print programs will be available at both Black Maria screenings. Accessibility Information: (202) 842-6690. www.nga.gov <http://www.nga.gov> . SUNDAY, AUGUST 25, 2019 8/25 New York, NY: Anthology Film Archives <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=3497f173c6&e=f36020cad0> http://www.anthologyfilmarchives.org/ 5:00 PM, 32 Second Avenue JONAS MEKAS TRIBUTE SCREENINGS PART 2: PROGRAM 5 by Stan Brakhage + Takahiko Iimura + Jonas MekasShare +Twitter. INTRODUCED BY RICHARD FOREMAN!Stan Brakhage 15 SONG TRAITS (1965, ca. 2-min excerpt, 8mm-to-16mm, silent) This part of Brakhage's 8mm SONGS cycle comprises brief portraits of family and friends, culminating with Jonas Mekas. Takahiko Iimura FILMMAKERS (1969, ca. 5-min excerpt, 16mm) "This is a film portrait of filmmakers whom I was most interested in at the time…shot during my first visit in U.S.A., 1966-1968, and then completed in Japan, 1969, with 'comments' literally pointing out in words what I see in the picture at the moment (like an English lesson). Each filmmaker's part is about 5 minutes. […] A part of Jonas Mekas is shot by himself and Akiko Iimura. Intentionally the film 'borrowed' the technique of the filmmaker in his part." -Takahiko Iimura Jonas Mekas BIRTH OF A NATION (1997, 85 min, 16mm) "One hundred and sixty portraits, appearances, sketches and glimpses of avant-garde, independent filmmakers and film activists between 1955 and 1996. Why BIRTH OF A NATION? Because the avant-garde / independents of cinema IS a nation in itself. We are surrounded by a commercial cinema Nation in the same way as the indigenous people of the United States or any other country are surrounded by the Ruling Powers. We are the invisible, but essential nation of cinema. We are Cinema." -Jonas Mekas Total running time: ca. 95 min. TUESDAY, AUGUST 27, 2019 8/27 Brooklyn, NY United States: Light Industry <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=831e556092&e=f36020cad0> http://www.lightindustry.org/ 7:00 PM, 155 Freeman St KEEP YOUR LAWS OFF MY BODY + DIALOGUE WITH CHE Presented with Pinko Magazine Keep Your Laws off My Body, Catherine Gund and Zoe Leonard, 1989, digital projection, 14 mins Dialogue with Che, José Rodríguez Soltero, 1968, digital restoration of 16mm double projection, 53 mins 8/27 Mexico City: Filmforum <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=13077960bd&e=f36020cad0> http://www.lafilmforum.org/ 10AM-6PM, through Sept. 1, Museo Tamayo, Paseo de la Reforma 51, Col. Bosque de Chapultepec SUPERFICIES ALTERADAS/ALTERED SURFACES Altered Surfaces: Psychedelia and Abstraction Abstraction has been a recurring strategy in Latin American visual cultures since long before the European Conquest. Over the past century, and often in dialogue with artists elsewhere, Latin Americans working in diverse media have explored both abstraction, or in the case the concrete art movement, who rejected the term “abstract” art as too suggestive of a link to a figurative realm that is being abstracted, “pure” explorations of color and form. Not surprisingly, filmmakers have participated actively in this process of exploration, often in collaboration with artists from other media. Enrique Pineda Barnet’s 'Cosmorama' (1964) uses the kinetic sculptures of the Romanian-Cuban artist Sandú Darié Laver as a point of departure, much like the way Luís Ernesto Arocha’s 'AZILEF' (1971) draws on the process of Colombian sculptor Feliza Bursztyn. Other filmmakers proceed from urban and architectural references, such as the Cathedral of Notre-Dame in Teo Hernández’ Nuestra señora de Paris (1981-1982), and render these in ways that cross back and forth between abstraction and recognizable representations, while still others reference the altered sensory perceptions and exaggerated color palettes of psychedelic experiences. Laborde’s As within so without documents the reflective surfaces of the filmmaker’s inscrutable sculptures. Together, like the diverse approaches of the concrete, neo-concrete, geometric abstraction, “grupo Madí,” “grupo Ruptura,” and other movements in the visual arts, these filmmakers pursue colors, light, shadows, and forms as the basis for their work. La abstracción y la geometría en el continente americano ha sido una estrategia recurrente en diversas manifestaciones culturales previas a la conquista europea. Durante el siglo XX surgieron en América Latina diversos movimientos artísticos centrados en la geometría y la abstracción. Estos cineastas, al igual que los artistas visuales asociados a estos movimientos, centraron sus obras en el color, la luz y la forma. THURSDAY, AUGUST 29, 2019 8/29 Carbondale: SIUC Department of Cinema and Photography <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=e1939a28b8&e=f36020cad0> https://mcma.siu.edu/cp/ Screenings through September, University Museum< SIUC LABOR DAY ART AND MEDIA EXHIBITION - OPEN CALL Deadline for submissions: August 15, 2019 Send link and description to laborart...@gmail.com <mailto:laborart...@gmail.com> Explorations: at work, worker exploitation, unpaid work, workers united, workers solidarity across differences, cooperatives, celebration of work, craftsmanship, the work of art making, history of work, future of work. Month long gallery exhibition 8/29 -9/27. Selected films will be looped and screened in the gallery. Looking for short works ideally under 5 minutes. Longer works may be screened on specific dates during the month. Sound art will be looped. Cosponsored by Department of Cinema and Photography (SIUC), SIU Museum, Southern Illinois Democratic Socialists of America (DSA) Illinois Labor History Society 8/29 Santander, Spain: Centro Cultural Doctor Madrazo <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=7d406098ed&e=f36020cad0> https://www.cineinfinito.org/cineinfinito-99-dominic-angerame/ 6:00 PM, Casimiro Sainz, S/N CINEINFINITO #99: DOMINIC ANGERAME Cineinfinito #99: Dominic Angerame CINEINFINITO / Centro Cultural Doctor Madrazo Jueves 29 de Agosto de 2019, 18:00h. Centro Cultural Doctor Madrazo Calle Casimiro Sainz, s/n 39004 Santander Programa: · Continuum (1987), 16mm, b&w, silente, 15 min · Deconstruction Sight (1990), 16mm, b&w, sonora 12 min · Premonition (1995), 16mm, b&w, sonora, 10 min Formato de proyección: HD (nuevas copias cortesía de Re:voir) Agradecimiento especial a Dominic Angerame y a Re:voir https://www.cineinfinito.org/cineinfinito-99-dominic-angerame/ 8/29 Santander, Spain: Centro Cultural Doctor Madrazo 7:00 PM, Casimiro Sainz, S/N CINEINFINITO #100: JAN KETELAARS & PAUL VAN DEN WILDENBERG Cineinfinito #100: Jan Ketelaars & Paul van den Wildenberg CINEINFINITO / Centro Cultural Doctor Madrazo Jueves 29 de Agosto de 2019, 19:00h. Centro Cultural Doctor Madrazo Calle Casimiro Sainz, s/n 39004 Santander Programa: · Stad / Town (1984), 16mm, color, sonora, 45 min. · Terrain Vague (1992), 16mm, color, sonora, 48 min. Formato de proyección: HD (copias cortesía de EYE Filmmuseum en exclusiva para esta sesión) Agradecimiento especial a Jan Ketelaars y Paul van den Wildenberg https://www.cineinfinito.org/cineinfinito-100-jan-ketelaars-paul-van-den-wildenberg/ SUNDAY, SEPTEMBER 1, 2019 9/1 Internet: ACRE TV [nid:214283] 24/7, ACRETV.org FUNNY:LOOKING As creative devices, humor and play have the power to both soothe and subvert. When juxtaposed with serious themes in art, humor and play may create cognitive dissonance in the viewer where, amidst their internal conflict, viewers can often laugh at their own discomfort. Henri Bergson noted in “Laughter: An Essay on the Meaning of the Comic,” there is an “…absence of feeling which usually accompanies laughter.” This absence creates a space for viewers to unpack the deeper conceptual underpinnings of the work. /// Curated by Carrie Fonder "Funny:Looking" features the work of artists who use humor or play based in language, aesthetics, or both, as they delve into weighty topics of family, achievement, love, loss, dysfunction, pain, and power. /// Featuring works by Tommy Becker, Ashley Teamer, Brittany M. Watkins, Marta Rodriguez Maleck, Carrie Fonder, Christy Chan, Eric Simmons, Zach Hill, Peder & Hendrik, and Stephanie Patton. /// Airing September 1-October 31, 2019 /// More information: www.acretv.org/funnylooking <http://www.acretv.org/funnylooking> 9/1 San Francisco, CA United States: SFMOMA San Francisco Museum of Modern Art 1:00 PM, 151 3rd St. FILMS BY ANDY WARHOL // PART 3 OF 3 Out of circulation for much of the 1970s and ’80s, and gradually restored and reconsidered since, Andy Warhol’s films remain a singular theatrical experience. In tandem with the retrospective Andy Warhol — From A to B and Back Again, this series invites a closer look at the stylistic arc of Warhol’s prolific film practice from 1963–1968. This series of Andy Warhol films concludes with two West Coast creations. California seemed to have an effect on Warhol and his collaborators, as the artist noted in his memoir, POPism, when describing the filming of San Diego Surf: “Everybody was so happy being in La Jolla that the New York problems we usually made our movies about went away — the edge came right off everybody…From time to time I’d try to provoke a few fights so I could film them, but everybody was too relaxed even to fight. I guess that’s why the whole thing turned out to be more of a memento of a bunch of friends taking a vacation together than a movie.” Following this feature-length beachside melodrama, the day’s program closes with two showings of the rarely screened Sunset, considered an unfinished work. Sunset parallels his early studies of everyday subjects and the passage of time, like Empire and Sleep. In this case, his camera gazes at the sun as it sets, capturing the transition to dusk on the California coast. As to why the film remained incomplete, Warhol said: “I filmed so many sunsets for that project, but I never got one that satisfied me.” In the early 1970s, Warhol depicted sunsets again in a series of more than 600 screen prints featuring soft, candy-colored gradients, achieved through an intricate process of ink variations and applications. A selection of these works is on view in the galleries of Andy Warhol—From A to B and Back Again. This event is free and open to the public. Tickets are available on a first come, first served. _____ Let us know about your alternative film/video event! Enter your event announcements by going to the <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=0fd6f02a19&e=f36020cad0> Flicker Weekly Listing Form. 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