B. BROWN/S. GRUFFAT on R. SMITHSON’s RAMP +
Welcome back Bill Brown and Sabine Gruffat, Durham NC-based teachers, writers, and legendary bringers-of-light! They’re all the way out here on the Coast to unveil their ambitious Amarillo Ramp, a 40-min. essay on the north Texas land-art piece by since-deceased Robert Smithson. Smithson died at the site of another large-scale earth-sculpting work, Spiral Jetty, crashing in a small plane while making photo documentation. Author of Professor Know It All’s Guide to DIY Film/Video, Mr. Brown demonstrates his fiercely independent attitude through two earlier masterworks—The Other Side, on the now center-stage US/Mexico border-zone, and his first 16mm outing, Roswell, which sees our eager seeker scouring the White Sands of New Mexico for Spaceboy and his interstellar craft. Come early for Russ Forster‘s streetwise busking.
Author: Fara
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PSYCHOGEO3
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Everything Everywhere All the Time
Everything Everywhere All the Time feels like big data sugar cane imploding, twisting into an Ouroboros of infinite digital regress, containing within the empty centers of the streaming figure 8 some true black pulsating with a 50-60 hertz hum – near silence. The media scrum suddenly becomes meditative. Then the image. The image of an image. Riffing with the relentless antisocial spectacle. Improvising attention. Learning to love the mediocre. Everything not there now maybe there in the spirit of play – but images of what? America’s Funniest Home Videos’ hyena cruelty. Vitamin infused false caring. Mom practices knife throwing on the kids in the back
yard. Hookers caught on tape. Mad about you, baby. Rushing water. Dancing light thanks to Nam June Paik’s Wobbulator. All in all the heart beat seeking its highest resolution, something other, even everything in retrospect, where there is really nothing, only the mediation, live relationships performed. Everything Everywhere All the Time is the latest project by media performer and “visionary poet” 99 Hooker (Seattle Times). Found and generated audio visual content is mixed live to fashion a “riveting” improvisation
(The New Yorker). Pop stars, Medieval monastics, surveillance footage and one hot pink dream catcher. Everything Everywhere All the Time incorporates work by many contemporary artists including Donald O’Finn, Feedbuck Galore, Akio Mokuno, Thollem McDonas, Mango Johnstone, Jin Hi Kim and others.99 Hooker founded the pioneering media collective rev.99 (2000) which has performed at The Hirshhorn, Bowery Ballroom and was for many years the “house media band” at Freddy’s Backroom in Brooklyn, NY. 99 began performing media in San Francisco in the 90s with Benton C. Bainbridge, Lord Knows Compost and others. His work with filmmaker Martha Colburn has screened at numerous venues including Museum of Art & Design, dozens of film fests and universities. 99 has created many music videos, documentaries and live performances including for Questlove with Bainbridge at One Step Beyond (Museum of Natural History). As a musician and poet 99 has performed often. His recordings appear on Megaphone, Tzadik, Radical House, Label Bleu (FR) and many others.
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Resistance Made Visual: Animations by Kelly Gallagher
SF Cinematheque in association with the SFSU Documentary Film Institute’s Pluralities Nonfiction Film Conference present:Kelly Gallagher in personAdvance tickets available here
animation as transformation, animation as fluidity, animation as resurrection, animation as change, animation as slowing down time in order to examine it — Kelly Gallagher
The riotous collage animations of Kelly Gallagher are hand-crafted girl-powered glitter bombs exploding with scintillating color which stand as inspired exemplars of DIY cinema activism. Vibrating with a playfully innocent intimacy which belies a stridently radical politics, Gallagher’s works express a commitment to amplifying voices of the oppressed and marginalized while modeling a practice of engaged and accessible filmmaking. In a frantic fifteen minutes, Herstory of the Female Filmmaker (2009) presents a whirlwind revision of the cinema arts canon, a catalog of women filmmakers overlooked by mainstream narratives and patriarchal film school syllabi. Ceallaigh at Kilmainham (2013), filmed on the occasion of a personal pilgrimage to the filmmaker’s ancestral Ireland, is a more personal story of female family lineage, while Pennsylvania (2012) is a lush and abstract evocation of home and distance. Program also includes a trilogy of films dramatizing anti-racist action and anti-imperialist resistance—From Ally to Accomplice (2015), on John Brown and Marilyn Buck; Pearl Pistols (2014) on Queen Mother Moore and More Dangerous Than a Thousand Rioters (2016), on Lucy Parsons—and the recent Do You Want to Go for a Drive? (2016), a reflective, romantic and militant quasi-narrative on consent culture, sexual agency, love, violence and vengeance. As a special Bay Area bonus, Gallagher provides an exclusive in-progress preview of her newest work My Gossip. (Steve Polta)
Pictured: Kelly Gallagher: From Ally to Accomplice (2015)