Artists' Television Access

Author: Fara

  • BREAKING UP IS HARD TO DO: A PROGRAM OF LOVE, HEARTACHE AND SENSUALITY

    A special VALENTINES DAY screening @ ARTIST TELEVISION ACCESS in PARTNERSHIP WITH CANYON CINEMA.
     
    FILMS TO BE SCREENED:
     
    CAROLEE SCHNEEMANN – PLUMB LINE, 1968-71, COLOR, 15M
    Plumb Line: Plump line full rounded plumbs drop or descent abounding in, plume abrupt plunge, testing vertically/perpendicularity of wall, sounding (downright), level, true, ecactly, (U.S. slang) utterly crazy, measure, depth, make vertical. Pendulum (Carpentry), Plumber, lead ball, join, joint.)
    Plumb Line is made from scrap. Footage shot in 8mm and 16mm ’68-69, a film diary of daily movements-the couple. Sounds of my cat singing, repeated cries of ‘no’, sirens screaming, my voice describing food from the maze of a breakdown, his voice ‘tell me a story…I’ve got a truck you know’. Moving footage into freeze frames, stills animated, 8mm mirror printed as 16mm, images in 16mm reshot in 8. A portrait of a man and the dissolution of a relationship and of the film itself. The accumulation patterns of imagery are finally set on fire. Sound and images edited during ’70-72. – C.S.
     
    Plumb Line was beautiful, it seemed to be laying everything open, even more than Fuses – a very private film, and as clear as crystal.’ – David Curtis.

    The dissolution of a relationship unravels through visual and aural equivalences. Schneemann splits and recomposes actions of the lovers in a streaming montage of disruptive permutations: 8 mm is printed as 16 mm, moving images freeze, frames recur and dissolve until the film bursts into flames, consuming its own substance. -EAI
     
    SU FRIEDRICH – RULES OF THE ROAD, 1993, COLOR, 31M
     
    Rules of the Road tells the story of a love affair and its demise through one of the objects shared by the couple: an old beige station wagon with fake wood paneling.

    A typical American family car for an atypical American family, it provides the women at first with all the familiar comforts. But when their relationship ends, the car becomes the property of one and the bane of the other’s existence. Even long after their separation, this tangible reminder of their life together—and thousands of its imitators—continues to prowl the streets of the city, haunting the woman who no longer holds the keys either to the car or the other woman’s heart.

    Through spoken text, popular music and images from the streets of New York, Rules of the Road takes a somewhat whimsical, somewhat caustic look at how our dreams of freedom, pleasure, security, and family are so often symbolized by the automobile.

    “… the light, almost whimsical tone of the film should not blind us to the part of it that is irreducibly personal. Station wagons are everywhere; everybody’s got a sad love story. But only one filmmaker, to my knowledge, has Su Friedrich’s eye….With Rules of the Road, she creates a film like a perfect short story.”
    —Stuart Klawans, THE NATION

    CHICK STRAND – FEVER DREAM, 1979, B/W, 7M

    A wet hot dream about sensuality.
    ***** 
    This screening is a part of the Canyon Cinema 50 project. Canyon Cinema is thankful for the long term support of the George Lucas Family Foundation. Dedicated project funding for Canyon Cinema 50 has been generously provided by the Andy Warhol Foundation for the Visual Arts, National Endowment for the Arts, Owsley Brown III Foundation, Phyllis C. Wattis Foundation and The Fleishhacker Foundation.

  • Not Reconciled (German: Nicht versöhnt)

    Not Reconciled (German: Nicht versöhnt) is a 1965 West German drama film directed by Jean-Marie Straub. It has the subtitle Only Violence Helps Where Violence Reigns (Es hilft nur Gewalt wo Gewalt herrscht).

     

    Please watch the film on youtube and come for viewing and discussion at ATA on Monday 2/13 @ 7:30 pm.

    https://www.youtube.com/watch?v=CvC-JECLwqI

  • ANALOGICA SELECTION /// 2017 SCREENINGS

    ANALOGICA is a yearly international festival for disseminating and learning about analog technologies (film, music, photography). It takes place during the first weekend of October in northern Italy, in Ora (BZ) a small town in the Alps. All works will be digitally presented.

    On ira à Neuilly inch’allah / Anna Salzberg & Mehdi Ahoudig / 19′ / 16mm / 2015 / France

    We hear the first strike of young workers from Velib, the Parisian rental bike company. We hear them learning how to drive and organize a demonstration, with the typical language of African working-class areas. We see Paris in black and white, in early morning with only few people on the street, in a long and slow, never ending travelling from the outskirts to Velib headquarters in Neuilly.

    In Light, In! / Ken Paul Rosenthal / 12′ / 2014 / Found Footage / USA

    A haunting, visual essay about the awkward and angry junctures where our culture struggles to manage its emotional distress. Images recycled from 1950’s-era educational films are accompanied by original compositions by world-renowned cellist, Zoe Keating. Ken Paul Rosenthal is a cinema artist and mental health advocate whose current work explores the geography of madness through the regenerative power of nature, urban landscapes, home movies, and archival footage from social hygiene films.

    Yapi / Aaron Khandros, Nathaniel Draper / 09:08 / 2015 / 16mm / Greece

    Greece is covered in concrete tumors — yapi, half-finished buildings left in permanent limbo, skeletal structures like temples to some obscure future gods. People don’t explicitly speak of them or really even seem to see them. They’ve just grown from the landscape, a symptom of European change. Emerging from their obscurity, the yapia grow to take on a life of their own. The future of their meaning, and their moment, are up for grabs.

    TRiplete Plástico / Ignacio Tamarit / 1′ 36” / 2015 / found footage /Argentina

    Over the years I painted super 8 film strips that for some reason I discarded and stored in boxes. After a while I wanted to give a new use to this material, or at least recycle it. So I started to view and select only the parts that interested me the most of all this footage. I ended up taking 3 frames here, 5 here and collected an entire folder of small frames.

    San Guerrero / Jeff Zorrilla / 3′ / Super8 / 2015 / Argentina

    A short Documentary about an American ex-pat who lives in Buenos Aires and works as a city tour guide during the day and a sexual tour guide during the night. The film was first short on vision 3 negative super 8 and then refilmed we color reversal super 8 from my computer screen so that I can project it live. It is a first glimpse of my full-length feature called Monger. Jeff Zorrilla was born in 1984 in the United States. He studied film at the University of Santa Cruz (California, USA), and the University of Copenhagen (Denmark). He currently lives and works in Buenos Aires, Argentina. He’s directed numerous short films in Super 8 which have gone on to play in festivals in Cannes, La Paz, Montevideo, Taipei, and New York.

    Ora d’aria / Francesco Fei / 6′ 53” / 16mm / 2015 / Italy

    (Yard time) Ex Prison of Sant’Agata in Bergamo. Francesco Fei was born in Florence and lives in Milan. In 2004 he shoot and produce his first feature film, “Onde”. The movie has been selected for many festivals worldwide and has been recognized by critics as one of the most interesting Italian first movies of the last few years. With the documentary in 16mm “Armenia!” he participated at the Trieste Film Festival, 2016 and the Bellaria Film Festival, Red House Art Doc 2014. He is teaching at the Academy of Fine Art in Bergamo and at IED in Milan.

    Over&Over / Michael Fleming / 8′ / Found Footage / 2016 / the Netherlands

    A 35mm found-footage hand-manipulated collage film focusing on the depiction of fear and revenge seen in commercial cinema. Manipulating our fear of mortality, it suggests we decimate what threatens us. The surface of the film material has been treated in the same way: peeling, scalping, cutting, and burning the image. Michael Fleming is a visual artist and a VJ. He ‘paints’ with manipulated film and found footage from kitsch, cult and news broadcasts. Fleming has shared his work on festivals, in clubs, during live performances, in galleries and several museums all over the globe.

    Les Châssis de Lourdes / Rhayne Vermette / 18′ / 2016 / Found Footage / Canada

    “…while many architects through their time have sought a ‘true house’ or a ‘true architecture’, their truth was something of the past and not so true in the present […] here architecture is a child of the sea, arose from its substance…” — Gio Ponti

    Following a departure from architectural academia, Rhayne Vermette (b. 1982, Notre Dame de Lourdes, MB), structured her practice within constructing images. Self-taught, and under the influence of post-war Italian architects, Rhayne is rooted in notions of decadence and the indeterminate. Favouring forms of moving image, her 16mm experimental films have screened across the globe including the Architecture Biennale, Images Film Festival, E.M.A.F, etc. etc.

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    Artists’ Television Access
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