<https://gallery.mailchimp.com/e4e99825c1d97f8de6eaffad3/images/c6a4b757-b14c-4ec9-b8c6-9553961a080e.gif> This week [September 7-15, 2019] in avant garde cinema [corrected] Enter your event announcements by going to the <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=233050dcc3&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=aef845bd95&e=f36020cad0> Subscribe. <https://microscopegallery.com/wp-content/uploads/2019/08/CurrentAutobio_Voslakov-768x596.jpg> Super 8 Films By Women [September 9, Brooklyn, New York] <https://bamlive.s3.amazonaws.com/styles/program_slide/s3/Steers_Totem_006_1200.jpg?itok=kXpBhWax> Surrealistic Animations by Stacey Steers (September 11, Berkeley, CA) DEADLINES APPROACHING: RISC / International Science & Film Festival (France; Deadline: September 30, 2019) <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=8c537d1e3a&e=f36020cad0> http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=2042.ann Events are sorted alphabetically BY CITY within each DATE. This week's programs (summary): * Films In the Garden Curated By Lili White [September 7, New York, NY United States] * Vito Acconci: Program 4 (1972) [September 7, New York, NY] * Vito Acconci: Program 3 (1971) [September 7, New York, NY] * Vito Acconci: Program 5 (1973) [September 8, New York, NY] * Vito Acconci: Program 6 (1973) [September 8, New York, NY] * Super 8 Films By Women [September 9, Brooklyn, New York] * Vito Acconci: Program 7 (1973) [September 9, New York, NY] * Ismo Ismo Ismo--"Mirada ForáNea" [September 10, Mexico City] * Vito Acconci: Program 8 [September 10, New York, NY] * Les Premiers De SÉRie [September 10, Paris, France] * Staff Area [September 10, Portland, Oregon] * Surrealistic Animations By Stacey Steers [September 11, Berkeley, California] * Vito Acconci: Program 9 (1974) [September 11, New York, NY] * Show &Amp; Tell: Takashi Makino: Program 1 [September 11, New York, NY] * Vito Acconci: Program 10 (1974-75) [September 12, New York, NY] * Vito Acconci: Program 11 [September 13, New York, NY] * Vito Acconci: Program 1 (1970) [September 14, New York, NY] * Vito Acconci: Program 2 (1970) [September 14, New York, NY] * Rourke + Bickford + Jordan + Colburn + [September 14, San Francisco, California] * Vito Acconci: Program 3 (1971) [September 15, New York, NY] * Vito Acconci: Program 4 (1972) [September 15, New York, NY] SATURDAY, SEPTEMBER 7, 2019 9/7 New York, NY United States: 6th Street and Avenue B Community Garden 7:00 PM, Corner of 6th Street and Avenue B, Manhattan FILMS IN THE GARDEN CURATED BY LILI WHITE Lili White curates experimental films from the East Village: BEYOND NOSTALGIA [prologue] (M. Niederland), #7 COLLECTIVE FORCE / ARMY (L. White), THE KEY CEREMONY (J. Cyphers Wright). 9/7 New York, NY: Anthology Film Archives <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=ac16631a30&e=f36020cad0> http://www.anthologyfilmarchives.org/ 8:15 PM, 32 Second Avenue VITO ACCONCI: PROGRAM 4 (1972) CROSS-FRONTS (1972, 25 min, Super-8mm-to-16mm) FACE TO FACE (1972, 16 min, Super-8mm-to-16mm) HAND TO HAND (1972, 13 min, Super-8mm-to-16mm) GO BETWEEN (1972, 10 min, Super-8mm-to-16mm) ANCHORS (1972, 21.5 min, Super-8mm-to-16mm) Total running time: ca. 90 min. 9/7 New York, NY: Anthology Film Archives <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=29fe7c85f5&e=f36020cad0> http://www.anthologyfilmarchives.org/ 6:00 PM, 32 Second Avenue VITO ACCONCI: PROGRAM 3 (1971) A progenitor of conceptual-, body-, and interventionist-art, and a towering figure in contemporary culture who moved freely between language, action, moving-image, hypergraphics, installation, cybernetics, and urban design, Vito Acconci tragically passed away in 2017. This extensive overview of his moving-image work - encompassing both works made directly for the camera as well as invaluable documentation of some of his seminal activities, situations, and exhibitions - represents a celebration of Acconci's influence. It's also the culmination of one of Anthology's most ambitious recent preservation projects: with generous support from the National Film Preservation Foundation and The Andy Warhol Foundation for the Visual Arts - and with the close participation of Vito Acconci & Maria Acconci - we embarked on the preservation of 27 of Vito Acconci's Super-8mm films, some of which were rarely or never shown publicly in his lifetime. In collaboration with Acconci Studio and Electronic Arts Intermix (Acconci's long-time video distributor), we are proud to present this collection of films in an immersive retrospective. Born in 1940 in the Bronx, Acconci went on to earn an MFA in literature and writing from the renowned Iowa Writers' Workshop. He returned to New York and co-published the avant-garde poetry magazine 0 TO 9. His formally explorative writing propelled Acconci to jump from the page into activities for the street. By the late 1960s he was presenting dark works - sometimes tinged with humor - with a pronounced physical and psychological edge, which often featured extreme actions. Acconci moved into Super 8 filmmaking in the late 60s to document situations he was structuring in galleries, museums, and public spaces. Most of his activities did not happen in front of audiences, so the resulting films (and later videos) and photographic documentation were the intended way for viewers to experience them. His shorter films are static single takes, with the time limit of a single cartridge of Super-8mm film (approximately 3.5 minutes at 18 frames per second) delimiting the length of Acconci's pre-determined actions. His longer films are multiple camera rolls strung together, though they contain select edits. Compelling and identifiable, his Super 8 films and early videos directly influenced countless artists of his generation as well as ones to follow. Acconci was involved with self-driven activities through the early 80s. He then refocused his energy into architecture and urban design. A pioneer in the world of installation art, he pushed spatial discourse into new terrain with the design and construction of buildings, social spaces, and urban environments. Acconci initially sold Super 8 prints of select films through the Castelli-Sonnabend Videotapes and Films catalogue. Electronic Arts Intermix (EAI) has long distributed Acconci's videos and video transfers of some of his Super-8mm films. The works Anthology has preserved have never been widely exhibited on the film screen. This film series combines new preservations with works made on video (from the collection of EAI), supplemented with audio recordings, slides, and texts. This series constitutes an incredible opportunity for the re-discovery of seminal works completed during Acconci's period as a filmmaker, in Acconci Studio's immersive program design for the Maya Deren theater (which will incorporate onscreen text slides, video monitors displaying additional works while the audience enters and exits, audio excerpts, and more). Co-presented with Acconci Studio and Electronic Arts Intermix. Very special thanks to Maria Acconci; Joshua Selman; Rebecca Cleman (EAI); Andrew Lampert; and Ivy Swope (Film & Video Solutions). All the 16mm prints in this series have been preserved by Anthology Film Archives with support from the National Film Preservation Foundation and The Andy Warhol Foundation for the Visual Arts, with the exception of APPLICATIONS, OPENINGS, RUBBINGS, SEE THROUGH, WATCH, FACE TO FACE, and HAND TO HAND, which were preserved solely through the NFPF. All the works screening digitally are courtesy of Electronic Arts Intermix. Works playing before and after the programs - as audiences enter and exit - will include RUNNING TAPE (1969, 30 min, CD), PULL (1971, 33 min, digital), and RECORDING STUDIO FROM AIR TIME (1973, 37 min, digital). PROGRAM 3 (1971): BREATH IN(TO) / BREATH OUT(OF) (1971, 3.5 min, Super-8mm-to-16mm) WATCH (1971, 10 min, Super-8mm-to-16mm) WATERWAYS (BURST; STORAGE) (1971, 8 min, Super-8mm-to-16mm) TRAINING GROUND (1971, 10 min, Super-8mm-to-16mm) DIRECTIONS (1971, 18.5 min, Super-8mm-to-16mm) Total running time: ca. 55 min. SUNDAY, SEPTEMBER 8, 2019 9/8 New York, NY: Anthology Film Archives <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=869e967de7&e=f36020cad0> http://www.anthologyfilmarchives.org/ 6:00 PM, 32 Second Avenue VITO ACCONCI: PROGRAM 5 (1973) RECEPTION ROOM (1973, 18.5 min, Super-8mm-to-16mm) AIR TIME (1973, 21.5 min, Super-8mm-to-16mm) VISIONS OF A DISAPPEARANCE (1973, 25 min, video) Total running time: ca. 85 min. 9/8 New York, NY: Anthology Film Archives <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=7265ef0abf&e=f36020cad0> http://www.anthologyfilmarchives.org/ 8:45 PM, 32 Second Avenue VITO ACCONCI: PROGRAM 6 (1973) HOME MOVIES (1973, 32.5 min, video) FACE-OFF (1973, 33 min, video) Total running time: ca. 70 min. MONDAY, SEPTEMBER 9, 2019 9/9 Brooklyn, New York: Microscope Gallery <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=cf72c5b187&e=f36020cad0> http://www.microscopegallery.com 7:30pm, 1329 Willoughby Ave SUPER 8 FILMS BY WOMEN works by Peggy Ahwesh, Nina Fonoroff, Marjorie Keller, Janis Crystal Lipzin, Julie Murray, Natalka Voslakov, Jacalyn White Organized by Lumia and Michele Pierson “The seeds for this event were planted at a screening of Storm de Hirsch’s films at Microscope Gallery last year. It is there that we met and got to talking in the way that you so often do on these occasions. Over the course of our chat we learned that we were both researching the history of women’s filmmaking. A lot of our discussion focused on films, which we have been very eager to see but have not had the opportunity to. This screening is the fruit of that discussion. In the spirit of a public research session we have chosen films that neither of us have seen. The artists themselves are connected in multiple ways: as student or teacher, as collaborator, colleague and friend. We also decided to focus on Super 8 films. Although many of the films we will be seeing circulated widely in the 1980s, most have not been seen in New York for decades, and some may never have been screened here at all. Screenings of Super 8 films are themselves rare these days, so we are particularly excited to be seeing most of these films in 8mm. In the spirit of shared discovery (or rediscovery) we would like to give each film its own space; pausing for discussion after the screening of each film.” Free Admission. Full program and further info: www.microscopegallery.com <http://www.microscopegallery.com> , i...@microscopegallery.com <mailto:i...@microscopegallery.com> , tel: 347.925.1433.. Jefferson St L (exit Starr St). 9/9 New York, NY: Anthology Film Archives <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=200e99a047&e=f36020cad0> http://www.anthologyfilmarchives.org/ 7:30 PM, 32 Second Avenue VITO ACCONCI: PROGRAM 7 (1973) THEME SONG (1973, 33 min, video) WALK-OVER (1973, 30 min, video) Total running time: ca. 70 min. TUESDAY, SEPTEMBER 10, 2019 9/10 Mexico City: Filmforum <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=b6c166452e&e=f36020cad0> http://www.lafilmforum.org/ 10AM-6PM, Tuesday-Sunday, Paseo de la Reforma 51, Col. Bosque de Chapultepec ISMO ISMO ISMO--"MIRADA FORáNEA" Ismo Ismo Ismo: Experimental Film in Latin America/Cine experimental en América Latina Views from Outside A traveling shot, in which the camera moves horizontally and smoothly through space, is a basic element of film language. This program takes traveling shots as its point of departure: the sensation of movement, displacement, exile, as well as not understanding what’s being said, being out of place, and entering into foreign exchanges. Leandro Katz takes a rigorous and deceptively simple approach to a roll of Super 8 film shot on the periphery of an archaeological site in Guatemala. This modest short film joins the concerns of structural film—the fundamental tension between still photography and the illusion of cinematic movement, and the complex calendric calculations of the ancient Maya architects of the nearby ruins of Quiriguá. Edgar Jorge Baralt travels through Southern California, finding echoes of his home country, Venezuela. Macarena Cordiviola takes the writings of French modernist poet Blaise Cendrars on a road trip enacting multiple and simultaneous displacements. Felipe Esparza explores the journey of the spirit outside of the body in a black and white translation of the Quechua’s Ayahuasca experience. Louise Botkay uses ‘Vertières’ as a portal to time travel to the battle that gave Latin America its first independence from European colonialism. Dalia Huerta follows the circulation of commodities around the globe, especially the archetypal Latin American export, the banana, and weaves together an idiosyncratic essay about the values associated with these objects. La Mirada Foránea Un travelling, una toma en la que la cámara se desliza horizontalmente y fluidamente por el espacio, es un elemento básico del lenguaje cinematográfico. Este programa toma los travellings como punto de partida: la sensación de movimiento, el desplazamiento, el exilio, la confusión y disonancia, el dislocamiento y el contacto con lo foráneo. Leandro Katz trabaja de forma rigurosa y aparentemente simple con un rollo de Super 8 filmado en la periferia de un sitio arqueológico en Guatemala. Este modesto cortometraje comparte las preocupaciones del cine estructuralista —la tensión fundamental entre la fotografía fija y la ilusión de movimiento cinematográfico— y los complejos cálculos astronómicos de los antiguos arquitectos mayas en las ruinas cercanas de Quiriguá. Edgar Jorge-Baralt viaja por California del sur, encontrando ecos de su país natal, Venezuela. Macarena Cordiviola lleva los escritos del poeta francés modernista Blaise Cendrars a un road trip recreando desplazamientos múltiples y simultáneos. Felipe Esparza explora el viaje del espíritu fuera del cuerpo en una traducción en blanco y negro de una experiencia quechua con ayahuasca. Louise Botkay usa ‘Vertières’ como un portal para viajar en el tiempo y llegar a la primera guerra de independencia del colonialismo europeo en América Latina. Dalia Huerta sigue la circulación de mercancías alrededor del mundo, especialmente del producto de exportación arquetípico de Latinoamérica, el plátano, creando un ensayo idiosincrático sobre los valores asociados a este producto. 9/10 New York, NY: Anthology Film Archives <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=1a5a5c50a2&e=f36020cad0> http://www.anthologyfilmarchives.org/ 7:30 PM, 32 Second Avenue VITO ACCONCI: PROGRAM 8 DANCE MEDLEY 1970, 5 min, Super-8mm-to-16mm & MY WORD 1973-1974, 91 min, silent, Super-8mm-to-digital Total running time: ca. 100 min. 9/10 Paris, France: Light Cone 8:30pm, 20 Rue du Temple LES PREMIERS DE SÉRIE Patrice Kirchhofer described himself as "Filmmaker, musician, painter, author, organizer of conferences". And he was much more than that. In the 1970s, Patrice Kirchhofer became a world-level, seminal figure of experimental film. By 1981, he had directed nearly two dozen films and was a major filmmaker, an important name in the world of independent cinema. In 1973 he joined the Collectif Jeune Cinéma and later founded the magazine "Cinéma Différent". In 1976 he incites a division in order to create the Coopérative des Cinéastes, followed by the KMP group, a more restrained circle of colleagues dedicated to the creation and distribution of films, which produced the "Grey Report" on the notorious meetings organized by the CNC in Lyon, Avignon and Paris. Because, for him, the ideal cinema cooperative would imply sharing the means of production and assuming the entire chain of film fabrication, all the way to distribution, a vision that was far from the concerns of the other independent film groups in France at the time. He ended up relegating his films to storage, no longer making any effort to show them, becoming interested instead in other fields that inspired him: mathematics, topography, language and psychoanalysis... As if he had taken time for a new experiment, his research ended up nurturing his film work. Trying new forms, easily casting aside unfinished works, to take up again later, or not. This is part of the work. This program presents the first serial films made in the 1970s, three of which remained as stand-alone pieces: "Rémanence I", "Hors Titre I" and "Ataraxie I". Nevertheless, the numbering allowed for the possibility of a continuation. "Sensitométrie VI", which will be shown in the reception space, is a "film test" made in 1970, at the age of 17. Essentially his first film. Mischievously, he titled the films according to their place in the series or in order of completion. "Sensitométrie II" (1973-74) is called the "First film", while "Sensitométrie I" is the first film in the series, an animation from 1973. SENSITOMÉTRIE I by Patrice KIRCHHOFER 1973 / 16mm / colour / sound / 3' 00 CHROMATICITÉ I by Patrice KIRCHHOFER 1977 / 16mm / colour / sound / 11' 00 DENSITÉ OPTIQUE I by Patrice KIRCHHOFER 1977 / 16mm / colour / sound / 27' 00 ATARAXIE I by Patrice KIRCHHOFER 1977 / 16mm / colour / silent / 3' 00 / double screen REMANENCE I by Patrice KIRCHHOFER 1978 / 16mm / b&w / silent / 6' 00 ANOREXIE I by Patrice KIRCHHOFER 1979 / 16mm / b&w / silent / 3' 00 HORS TITRE I by Patrice KIRCHHOFER 1981 / 16mm / b&w / silent / 11' 00 SENSITOMÉTRIE VI by Patrice KIRCHHOFER 1970 / 16mm / colour / sound / 20' 00 9/10 Portland, Oregon: Boathouse Microcinema boathousemicrocinema.com 8:00, 822 N River St STAFF AREA Video work by Sean Christensen, Cosmic Siblings, Dylan Jones, Midnight Variety Hour, Erin Tanner, Fern Wiley WEDNESDAY, SEPTEMBER 11, 2019 9/11 Berkeley, California: Pacific Film Archive <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=46089f7d7d&e=f36020cad0> http://www.bampfa.berkeley.edu/ 7pm, 2155 Center Street SURREALISTIC ANIMATIONS BY STACEY STEERS In Person Stacey Steers Stacey Steers’s handmade, hypnotic collage animations draw on a wide range of materials, including nineteenth-century prints, Eadweard Muybridge’s 1887 motion studies, and silent cinema footage, particularly images of Lillian Gish and Janet Gaynor. The resulting narratives are dreamlike and mysterious, while exploring the subterranean depths of women’s inner experience. For the late filmmaker Phil Solomon, Steers’s most recent film, Edge of Alchemy, “is the epitome of [her] unique vision of collaged re-examination animations, an uncanny way to carry on in the great tradition of surrealist cinema.” Steers herself elaborates, “Like the Surrealists, my working process is intuitive and allows the unconscious and non-rational to play a role. I unite elements with no obvious shared context and try to create an atmosphere where their alignment feels somehow natural and poetically sound.” Steers also screens her hand-drawn Totem and presents a 10-minute PowerPoint lecture on the creative process. Films in this Screening Totem, Stacey Steers, United States, 2000 Phantom Canyon, Stacey Steers, United States, 2006 Night Hunter, Stacey Steers, United States, 2011 Edge of Alchemy Stacey Steers, United States, 2017 9/11 New York, NY: Anthology Film Archives <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=7c292471ad&e=f36020cad0> http://www.anthologyfilmarchives.org/ 7:30 PM, 32 Second Avenue VITO ACCONCI: PROGRAM 9 (1974) TURN-ON (1974, 22 min, video) FACE OF THE EARTH 1974, 22 min, video OPEN BOOK 1974, 10 min, video SHOOT 1974, 10 min, video Total running time: ca. 70 min. 9/11 New York, NY: Anthology Film Archives <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=1fbb470192&e=f36020cad0> http://www.anthologyfilmarchives.org/ 8:00 PM, 32 Second Avenue SHOW & TELL: TAKASHI MAKINO: PROGRAM 1 Among Japan's most prolific and adventurous filmmakers, Takashi Makino is remarkable both for the hypnotic, near-cosmic immersiveness of his imagery and for his distinctive, highly collaborative approach to his soundtracks. Sound and image in his work are of equal importance, and interact in unusual, unpredictable ways thanks to his method of creating his soundtracks in close and often free collaboration with some of the most gifted contemporary avant-garde composers. Often performed live, the music tracks variously act in counterpoint to, merge with, or run in parallel to the richly layered, ever morphing imagery, creating a profoundly dialectical experience. Makino graduated in 2001 from the Cinema Department of Nihon University College of Art, and then moved to the UK, where he developed his skills in various aspects of image, lighting, and music production at the Brothers Quay's Atelier Koninck, and worked as a colorist on feature films, commercials, and music videos. He established himself as a solo artist in 2004, and after returning to Japan he met Jim O'Rourke, which accelerated his filmmaking pace and helped launch his practice of working in close collaboration with musicians and composers. For this very special installment of "Show & Tell," we'll be hosting three programs surveying his work, including the U.S. premiere of his brand-new, hour-long piece, MEMENTO STELLA. "Makino proclaims, 'I always want to make Imaginary Cinema,' to resist the use of cinema as propaganda - a real danger in contemporary Japan - by generating an ever-transforming 'third image' between his projected images and those created within each viewer's imagination. He describes this as a 'creative collaboration with filmmaker and audience,' in which each act of watching 'giv[es] birth to a new cosmos…an act of true creativity.' Makino's ideal film would 'give rise to the same number of new cosmoses as there are viewers.'" -Marianne Shaneen, BOMB MAGAZINE Presented with generous support from the Japan Foundation, New York; special thanks to Sanae Tani & Koji Nozaki. PROGRAM 1: CINÉMA CONCRET (2015, 24 min, DCP. Music by Machinefabriek.) THE PICTURE FROM DARKNESS (2016, 30 min, DCP. Music by Simon John Fisher Turner.) ON GENERATION AND CORRUPTION (2017, 26 min, DCP. Music by Jim O'Rourke.) Total running time: ca. 85 min. THURSDAY, SEPTEMBER 12, 2019 9/12 New York, NY: Anthology Film Archives <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=f22f6fd038&e=f36020cad0> http://www.anthologyfilmarchives.org/ 7:30 PM, 32 Second Avenue VITO ACCONCI: PROGRAM 10 (1974-75) Works playing before and after the programs - as audiences enter and exit - will include RUNNING TAPE (1969, 30 min, CD), PULL (1971, 33 min, digital), and RECORDING STUDIO FROM AIR TIME (1973, 37 min, digital). PROGRAM 10 (1974-75): COMMAND PERFORMANCE (1974, 57 min, video) & LIFE HISTORIES OF THE NORTH AMERICAN MARSH BIRDS (1975, 8 min, Super-8mm-to-16mm) Total running time: ca. 70 min. FRIDAY, SEPTEMBER 13, 2019 9/13 New York, NY: Anthology Film Archives <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=2b61bb86f4&e=f36020cad0> http://www.anthologyfilmarchives.org/ 7:30 PM, 32 Second Avenue VITO ACCONCI: PROGRAM 11 PROGRAM 11: THE RED TAPES (1977, 141 min, video) & ELECTION TAPE '84 (1984, 2 min, video) Total running time: ca. 145 min. SATURDAY, SEPTEMBER 14, 2019 9/14 New York, NY: Anthology Film Archives <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=a23777fe6c&e=f36020cad0> http://www.anthologyfilmarchives.org/ 6:00 PM, 32 Second Avenue VITO ACCONCI: PROGRAM 1 (1970) PROGRAM 1 (1970): BREAK-THROUGH (1970, 3.5 min, Super-8mm-to-16mm) FILLING UP SPACE (1970, 3.5 min, Super-8mm-to-16mm) THREE FRAME STUDIES (1970, 11.5 min, Super-8mm-to-16mm) TWO COVER STUDIES (1970, 8 min, Super-8mm-to-16mm) CONCENTRATION/CONTEMPLATION PIECE (1970, 3.5 min, Super-8mm-to-16mm) LICK (1970, 5 min, Super-8mm-to-16mm) AIR TIME (1973, 21.5 min, Super-8mm-to-16mm) Total running time: ca. 65 min. 9/14 New York, NY: Anthology Film Archives <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=ab5236c3f8&e=f36020cad0> http://www.anthologyfilmarchives.org/ 8:15 PM, 32 Second Avenue VITO ACCONCI: PROGRAM 2 (1970) PROGRAM 2 (1970): RUN OFF (1970, 10 min, Super-8mm-to-16mm) CORRECTIONS (1970, 7 min, video) APPLICATIONS (1970, 20 min, Super-8mm-to-16mm) OPENINGS (1970, 15 min, Super-8mm-to-16mm) RUBBINGS (1970, 8 min, Super-8mm-to-16mm) SEE THROUGH (1970, 6 min, Super-8mm-to-16mm) SEEING RED (1970, 5 min, Super-8mm-to-16mm) Total running time: ca. 75 min. 9/14 San Francisco, California: Other Cinema <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=767cbd0b60&e=f36020cad0> http://www.othercinema.com/ 8:30pm, 992 Valencia ROURKE + BICKFORD + JORDAN + COLBURN + We kick off our 66th season with our by-now-eagerly anticipated X/Animation showcase, this time boasting more than a dozen dazzlers! Spotlit is the launch of local hero Jeremy Rourke’s domo domo, an expanded/performative account of his wild bike-packing pilgrimage through the mountains of northern Japan, with field recordings providing the ground for his post-Basho road songs and delightful hand-drawn pixilations. AnOther focus is on recently deceased Bruce Bickford, the Seattle hermit-genius whose claymation Prometheus’ Garden will ever remain THEE break-out piece of personal fantasy and libidinal imagination. Larry Jordan, our own elder statesman of experimental animation, tops the roster with the world premiere of Oz, a 16mm blessing buoyed by a John Davis track! PLUS Martha Colburn’s Spiders in Love, Lewis Klahr’s Dead Celebrity, Kelly Sears’ Applied Pressure, Salise Hughes’ Antarctica, Ellie Vanderlip’s Feet Flat, Eric Leiser’s Anthrophic Principle, and Skizz Cyzik’s Pataphysics (on Alfred Jarry!). Free toast and nutella!! *$8 SUNDAY, SEPTEMBER 15, 2019 9/15 New York, NY: Anthology Film Archives <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=14da6a5523&e=f36020cad0> http://www.anthologyfilmarchives.org/ 6:00 PM, 32 Second Avenue VITO ACCONCI: PROGRAM 3 (1971) BREATH IN(TO) / BREATH OUT(OF) (1971, 3.5 min, Super-8mm-to-16mm) WATCH (1971, 10 min, Super-8mm-to-16mm) WATERWAYS (BURST; STORAGE) (1971, 8 min, Super-8mm-to-16mm) TRAINING GROUND (1971, 10 min, Super-8mm-to-16mm) DIRECTIONS (1971, 18.5 min, Super-8mm-to-16mm) Total running time: ca. 55 min. 9/15 New York, NY: Anthology Film Archives <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=048a5723ae&e=f36020cad0> http://www.anthologyfilmarchives.org/ 8:15 PM, 32 Second Avenue VITO ACCONCI: PROGRAM 4 (1972) CROSS-FRONTS (1972, 25 min, Super-8mm-to-16mm) FACE TO FACE (1972, 16 min, Super-8mm-to-16mm) HAND TO HAND (1972, 13 min, Super-8mm-to-16mm) GO BETWEEN (1972, 10 min, Super-8mm-to-16mm) ANCHORS (1972, 21.5 min, Super-8mm-to-16mm) Total running time: ca. 90 min. _____ Let us know about your alternative film/video event! 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