FLEXFEST 2011 -SELECTED WORKS FROM THE FLORIDA EXPERIMENTAL FILM/VIDEO FESTIVAL 2011 presented by Roger Beebe, artistic director of Flexfest
Thursday, 26 May 2011 // 21:00 // Director’s Lounge at Z-Bar // Bergstraße 2 // 10115 Berlin-Mitte // FLEX: the Florida Experimental Film and Video Festival presents a program of highlights from their 2011 biennial competitive festival. FLEX is interested in an expansive notion of experimental media. “Work may draw on documentary, animation, avant-garde, underground, or other traditions—or no traditions at all.“ As such the programming comprises a variety of mediums from 16mm direct animation to found video and from laconic place studies to experimental love poems.
Since its start in 2004, Flexfest has become one of the most important festivals for experimental media in USA, challenging us to rethink what ‘experimental’ means. Roger Beebe, who is the artistic director of Flexfest, and who is currently teaching a 5 week workshop at LaborBerlin, will present the program. Roger Beebe will be available for Q&A.
Program: Utopia, Part 3:The World’s Biggest Shopping Mall, Sam Green (13:09/HD/2009/USA) Iron-Wood, Richard Tuohy (7:00/16mm/2009/Australia) The Voyagers, Penny Lane (16:30/DV/Jun. 2010/USA) Horizon Line, Katherin McInnis (1:00/HDV/USA) Somewhere Only We Know, Jesse McLean (5:15/Video/2009/USA) Tusslemuscle, Steve Cossman (5:00/16mm/Nov. 2009/USA) Portrait #2: Trojan, Vanessa Renwick (5:00/35MM TO VIDEO/2006) White House, Georg Koszulinski (8:00/DV/2009/USA) Day/Night (Devil’s Milhopper), Andres E. Arocha (4:56/16mm/Apr. 2009/USA) 28.IV.81(Bedouin Sparks), Christopher Harris (2:49/16mm/Jan. 2009/USA)
Dear all, you are cordially invited to the opening of the exhibition Point It At Gran, featuring works by Clara Bausch, Rick Buckley, Sebastian Dacey, Iris van Dongen, Fabian Fobbe, Valentin Just, and Malte Urbschat. Friday May 20th, at 19:00 – open end.
Exhibition on view May 21st and 22nd, 13:00 – 17:00
2. Hinterhof / 1. OG
10967 Berlin (U-Bhf Hermannplatz)
Workshop: Cinematic Cartographies, with Roger Beebe and Wes Kline May 16th through June 17th, Monday to Friday 10:30 to 13:00.
This is a film production course, but its approach is primarily theoretical rather than technical.
How do we locate ourselves within the new global economic system? What connections can we make between our local environment and the bigger stage of multinational capitalism? These are the big questions that this course hopes to begin to answer by the end of the semester, but it will start more modestly with a series of mappings of more local areas and structures (specific buildings, streets, neighborhoods, etc.) before building to representations of the city itself and then finally tackling the more abstract issues of nation and the world system of global capital. We will be looking at various historical attempts at representing the world on these different scales (mostly in experimental film and video), but we will also look at some of the more ambitious literary and theoretical attempts at such mapping, including Fredric Jameson’s work on “cognitive mapping,” the Situationists’ radical urbanism, contemporary architectural theory, etc.
Practically, the course will focus on aesthetic approaches to this project of cognitive mapping. Students will produce a series of short exercises designed to tackle these progressively larger scales of representation while simultaneously exploring the basics of moving-image work. The course should provide a good way of engaging with Berlin, its geography, its history, and its people while concurrently developing a set of technical and aesthetic strategies. While the primary focus will be on super 8mm filmmaking, students may elect instead to do photo-essays, write fictions, or experiment in non-traditional essay forms instead. In cooperation with the University of Florida, Gainesville.
Robert Beavers und P. Adams Sitney im Arsenal, 15.5.2011 // 19:00 // “My Hand Outstretched to the Winged Distance and Sightless Measure”: “In diesem Zyklustitel verbirgt sich durchaus Praktisches: Die ausgestreckte Hand. Der geflügelte Abstand (oder auch: Ferne, Wegstrecke, Zwischenraum, Zeitraum). Sowie das blinde Maß – ein Begriff, der unter anderem besagt, dass Robert Beavers bei der Montage kaum je das Bildfenster des Schneidetischs im Auge hat, sondern den Filmstreifen selbst, und dass er dabei stark auf die Erinnerung an den Moment des Filmens vertraut.” (Filmmuseum Wien) Niemand hat die poetische Kraft der Filme von Beavers anschaulicher hervorgehoben als P. Adams Sitney in seinen Schriften. Wir freuen uns, beide als unsere Gäste begrüßen zu dürfen.
Robert Beavers and P. Adams Sitney at Arsenal, 15.5.2011 // 19:00 //
“My Hand Outstretched to the Winged Distance and Sightless Measure”: “The title of this cycle hides something very practical: The outstretched hand. The winged distance [or also: distance, space, time]. Just like the sightless measure – a term that also points out that Robert Beavers does not have his eye on the image aperture during the montage but on the filmstrip itself, and that he deeply trusts the moment of filming.” (Filmmuseum Wien] “No-one has done more to elucidate Beaver’s poetic strength than cultural historian P. Adams Sitney.” (M.Guillen) We are pleased to welcome both as guests.
Anja Dornieden and Juan David Gonzales Monroy‘s short films not only screened at the spring edition of Experiments in Cinema V6.3 in Albuquerque, New Mexico (USA), but were also released on the festival DVD, available on eBay. Check out the line up which features some great shorts by friends and colleagues, most of whom share the love for celluloid film, champion the D-I-Y spirit, and value personal expression. Note that all proceeds will be invested in ensuring the success of next year’s Experiments in Cinema festival.
Please note that the regular (individual) price for this 3 disc set (which includes one pair of 3-D glasses) is US$30, plus shipping. The institutional price for this special collection is US$80.
Disc 1 – The Saddest Music In The World by Jodie Mack Ioka by Kyle Glowacky Terrarium by Su Hudson Trusted by Peter Snowdon Small Secrets by Tricia McInroy Unconcealments of the Aftermaths by Toh Hun Ping You Can See The Sun In Late December by Sasha Waters-Freyer How To Write An Autobiography by Penny Lane Girl Next Door by Julie Perini Enter by Anja Dornieden A Movie by Jennifer Proctor by Jennifer Proctor What? DMCA Violation by Desiree d’Alessandro We Want To Give You $40 Ask Us How by Deron Williams Follow Me by Melanie Beisswenger Phantasm by Andrew Milne Cet Air La by Marie Losier
Disc 2 – Chaos Engine by Mauri Lehtonen Marvelous Discourse by David Finkelstein America by Taylor Lane Poolside Manners by Ed Rankus Suspension of Belief by Wago Kreider A Time Shared Unlimited by Zachary Epcar Twin Propellors by Jason Halprin The Constable by Marika Borgeson Piel Canela by Linda Scobie Winged by Jennifer Hardacker Compressive/Percussive by Scott Stark Weapons Expert Demonstration by Robert Todd Pin Up in 3-D by Kerry Laitala
Disc 3 – Hopper Repair by Ross Nugent Puhelinkoppi by Hope Tucker The Indeserian Tablets by Peter Rose Twist of Fate by Karen Aqua The Garden by Ann Steuernagel Drexciya by Akosua Adoma Owusu Knife by Nancy Baric 28.IV.81 (Descending Figures) by Christopher Harris Alika by Richard Weibe Tokyo-Ebisu by Tominari Nishikawa How To Catch A Mole by Juan David Gonzales Monroy In The Conservatory by Caryn Cline All This Day Is Good For by Tom Konyves Lloyd ____Fein Must Die by Charles Lum
Melissa Dullius & Gustavo Jahn have a new film Cat Effect which screened at BAFICI in Buenos Aires, Argentina, among other festivals. In the film “a woman goes alone through the streets of Moscow getting on and off subway trains on her way to a meeting that includes a screening of a film about a cat. And that’s it; or so it is for those who believe the plot is the best part of cinema. Because as they search for that visual purity that’s historically connected to experimental cinema –equally far from theatricals as from the written word– the Jahn / Dullius duet makes an enigmatic film in which abstraction interrupts a nightmare-like story close to Maya Deren and Georges Franju trance films, and they leave one thing clear: cinema is all about images.” [Distrktur]
On Wednesday, April 6th, after our regular monthly meeting, we’ll present the Analógika workshop results at 10PM. During a 9-day-workshop, led by LaborBerlin members Linn Löffler and Michel Balagué, in Budapest, Hungary, 16 participants learned to work with analog film material (super 8 and 16 mm) including shooting, developing and editing.
films by: Tamás Novinszki, Bálint Márk Túri, David Fekete, Szilárd Szarvas, Mihály Lukács, Csilla Latos, Vékony Dorottya, Charles Thibeault, Ember Sári, Róbert Sági, Ákos Nyoszoli, Ilona Fedor, Marin Coper, Irina Ioana Alexiu, Norbert Tihanics, and Mikulik Péter Huba
« L’Abominable » is in danger of being evicted and no solution has been found yet. Please support l’Abominable by signing a petition and spreading the word. Click here to sign the petition
Why it is important to help « L’Abominable » as it is in danger of being evicted.
The industry of cinema, as we all know and increasingly experience, is « going digital. » After years of hype, digital projection of films in commercial cinemas in France and in Europe is spreading dramatically. Via a ricochet effect, the technical industries are feeling the sting of reduced orders for film prints as well as fewer films being shot on celluloid. Throughout the sector, restructuring and layoffs are rampant.
Yet at the same time, the interest of many contemporary artists express for analog film is symptomatic. From being a medium that was extensively used by an industry, analog film is becoming a medium specifically and consciously chosen by a number of filmmakers and artists for specific kinds of artistic expression. Could this be a temporary flare up of interest, colored by nostalgia? This is doubtful, considering the young age of some of these artists and the interest shown by artistic institutions in these new creations. Rather, it has to do with a shift, comparable to the one experienced by engraving at the end of the 19th century: a shift from the industrial scale to the more limited and precise activity of artistic creation.
But in order to create, these filmmakers and artists must be able to access the appropriate technical means. Along with the transformation of the commercial film industry comes the disappearance of the necessary machines, technical knowledge and services available to fringe productions. The American filmmaker James Benning, whom the Galerie Nationale du Jeu de Paume recently honored with a retrospective in Paris, is abandoning the film medium after having made more than 20 feature-length pieces between 1976 and 2010. The British artist Tacita Dean, whose 16mm works are exhibited in contemporary art museums and galleries all over the world, is being forced to give up printing her films in her own country, in the absence of a film lab willing to continue to offer this service. Many hundreds of other, lesser known artists and filmmakers are faced with the same difficulties.
At the same time, on the world scale and particularly over the last ten years, filmmakers have been organizing workshops with the very equipment the labs have abandoned, freeing themselves up from the industry in order to create their films, performances and installations using celluloid. France is particularly rich in these initiatives. These are grass-roots initiatives, often modest and not highly visible, but without them we may reasonably ask ourselves how filmmakers wishing to work on film will be able to produce work in ten or twenty years.
Among these, the non-profit organization « L’Abominable » in the suburbs of Paris, has been able to gather the energy, competence and equipment to offer an impressive range of techniques for the processing and the printing of Super-8, 16mm and 35mm film, as well as digital transfers to and from these formats. The association functions by apprenticeship: the filmmakers more proficient in the equipment teach others how to operate and use tools which were previously thought to be inaccessible and too complicated to be used by the general public. This do-it-yourself operation has yielded its fruit: more than 250 works have benefited from L’Abominable’s existence since its creation in 1996. Its activity and experience in this particular area, the wide range of services it offers and the quality of the works created with its assistance have given it an internationally recognized reputation and a particular importance within the network of artist-run film labs in Europe and abroad, even though its public funding remains minimal.
But all this was possible only because « L’Abominable » paid almost no rent. At a time when this organization is finding itself evicted from the inexpensive premises where it was created some 15 years ago, thereby threatening its very existence, public funding bodies must understand the contemporary issue that represents the passage of cinematographic tools away from the industry and into the hands of the artists themselves. While the digitalization of commercial cinemas is heavily funded, a structure such as L’Abominable must be given the means to survive this transition, in order to continue and develop its activities to the full potential of its technical tools and expertise it has assembled over the years through obstinate perseverance.
Asnières-sur-Seine, march 2011
Common web site of more than 20 artist-run film labs in the world: www.filmlabs.org