Artists' Television Access

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  • Other Cinema: PSYCHO-GEOGRAPHY4

    NIK NERBURN RETROSPECTIVE +
    Erstwhile OC miracle-worker, the now at-large Mr. Nerburn bounces back into our Mission District safe-house for a feature-length review of his “punk-documentarian” practice. In the Shadow of Paul Bunyan criss-crosses the outsized myth of the jolly logger with the hidden history of the US-Dakota Indian War, told from the perspective of a native Minnesotan. Today I Am Going to Kill Myself but First I Am Going to Dance is Nik’s other Midwestern historiography, in this case about an immense insane asylum in Fergus Falls, where he excavated the ghosts in the graveyard and the local community that keeps their memory alive. MANIUM is an abstract exploration of the folk knowledge surrounding the black houses of Olympia, Washington, while Officer-Involved Shooting surveys the landscapes where Trayvon Martin, Walter Scott, and Jordan Davis died at the hands of white policemen.

  • Films of Still Here San Francisco

    Separate Together Still for Still Here An evening of short films by queer filmmakers raised in San Francisco and still living in the Bay Area. Short films programmed by Still Here Productions. Still Here Productions brings together artists and community to explore the experiences of Queer/LGBTQI individuals raised in San Francisco during the 1980s and 1990s in the context of the rise of HIV/ AIDS and currently still living in San Francisco/Bay Area. Still Here’s narratives of queerness, coming out, sex, loss, AIDS/HIV, memory, legacy, and more stake a claim to San Francisco. They disrupt the assumption that everyone in San Francisco is from somewhere else and redefine the meaning of home, family, and identity in a “gay mecca.”

    Still Here is produced by longtime best friends, Cristina E. Mitra and Natalia M. Vigil. To see more visit https://www.facebook.com/StillHereSanFrancisco

    Film Program:

    Sex Tapes: Portraits of Our City 1986-1996 by James Q. Chan and Tina Bartolome

    This experimental short documentary weaves together the candid re-telling of intimate queer experiences in San Francisco from 1986 to 1996 with current images of the places these encounters occurred. The filmmaker's set up a confidential voicemail to capture the poignant stories of queer people growing up in San Francisco and use them to create a powerful portrait of San Francisco.

    Sissy Song by Kegan Marling and Brian Thorstenson

    In this vivid collaborative short, images of San Francisco's diverse queer community illustrate the poem Sissy Song.

    Love Letter Project by Raquel Vigil and Amanda Vigil

    This documentary short for "anyone who's ever loved or lost in San Francisco" slices together LGBTQQ people raised in San Francisco as they share an actual love-letter they wrote as a San Francisco teen, a letter coming out to someone they didn’t get to come out to when they were younger, or a letter to a past queer love. The result is funny and heartfelt.

    Separate Together by Amanda Vigil

    A queer coming of age love story, an experimental narrative snapshot of fluid attraction and identity– San Francisco style.

  • Openings: works by Chris Love & Lindsey Filowitz

    Rapid Cycling: series by Chris Love

    April 1, 2016 – April 30, 2016

     The series utilizes distorted figurative realism combined with stylized organic forms and pattern, to create a psycho-emotive portrait. As humans, our experiences are often highly nuanced, each individually informed by memory, expectation, and the whims of neurotransmission. These works are a celebration of that complexity: Nervous laughter. Tears of joy. The vibrant reciprocity that gives shape and color to our electric existence.

    Lindsey Filowitz: Make Me Up

    April 13, 2016 – May 14, 2016

    Make Me Up, a series of videos by Lindsey Filowitz, documents the transformative ritual of painting our faces. Cosmetics is a billion dollar industry targeted towards human insecurity. Every day many people choose to hide behind a mask of “perfection,” to become someone else, someone better than the person they see reflected back at them. Filowitz’s videos depict the daily journey from the raw, intimate realm to the polished, presentable self. Through these videos we see idiosyncrasies and flaws that only a mirror would be privy to otherwise. Each piece reveals the painter’s unique style through the delicacy and duration of how their faces are stretched and scrunched. Make Me Up forces us to consider the implications of a heavily female, universally addictive routine whose purpose is to change the way we look.