Saturday // June 18th // 6:00 pm (on time) // Friendly reminder! LaborBerlin invites everyone to come out and see two traveling film programs: Cut + Run from California, and FLEX FEST from Florida, USA. The two short film programs comprise works on Super 8, 16mm film, and on video. Cut + Run curators Mallary Abel and Brenda Contreras, Flex founder and filmmaker Roger Beebe, and LaborBerlin member and filmmaker Philip Widmann will be at the show in person to present their works. Click here for the line up. The screening takes place at Panke at Gerichtstrasse 23, in Wedding.
Before the screening we’ll have a barbeque in Panke’s garden by the canal in good weather, or in Panke’s roofed driveway if it rains. We’ll start at around 6pm, come early, meet the filmmakers, programmers, and organisers, and hang out! After the screening there will be a record release party of DZA, who will play a complete live set with support by the Finest Ego DJ’s Area Boy, Binh, Gordon & Puzzle. The night will host a broad sonic mixture between Hip Hop, Electronic, Dubstep, Wonky and Glitch. Find more info about the party here.
Please note, the screening will start at 8:30 sharp, so please be on time!
Saturday // June 18th // 8:30 pm (on time!) // LaborBerlin is honored to host two traveling film programs: Cut + Run from California, and FLEX FEST from Florida, USA. The two short film programs comprise works on Super 8, 16mm film, and on video. Cut + Run curators Mallary Abel and Brenda Contreras, Flex founder and filmmaker Roger Beebe, and LaborBerlin member and filmmaker Philip Widmann will be at the show in person to present their works. The screening takes place at Panke at Gerichtstrasse 23, in Wedding. Doors open at 8, show starts at 8:30!
Cut + Run presents: The Autonomy of Place Gathering by Robert Todd How to Draw Clouds by Salise Hughes SAVE by Roger Beebe Irma by Charles Fairbanks 5 Lessons and 9 Questions about Chinatown by Shelly Silver Cusps by Sara Zia Ebrahimi Passeggiata by Rick Bahto
Best of FLEX (vol. 2) 2005 Census by Bryan Boyce Varfix by Kotaro Tanaka Head Garden by Lilli Carré Beaver Skull Magick by Steve Reinke Collide-o-scope by Naren Wilks Tokyo-Ebisu by Tomonari Nishikawa Destination Finale by Philip Widmann Light from the Mesa by Paul Clipson
S A V E by Roger Beebe
Traveling film festival, Cut + Run, hits the road again for their 3rd annual tour of experimental short films. This year C+R presents the work of American filmmakers from throughout the country each exploring the fringes of the Autonomy of Place. Each film uniquely investigates the capacities in which we recognize the politics and philosophies of the forgotten, overlooked, and sometimes untold landscapes of our time and place.
Cut and Run began in early 2009 in San Francisco as a single screening event at Artists Television Access. It has since evolved into an annual traveling film festival, nationally and now internationally, featuring experimental and avant-garde cinema, both contemporary and past works. C + R celebrates works that deviate from mainstream and traditional cinema and opt towards authentic, brave, challenging, stylized, alternative and imagined subjects.
Light from the Mesa by Paul Clipson
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.
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]