<http://www.hi-beam.net/now.gif> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=ebaab167c9&e=f36020cad0> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=1cc5afc380&e=f36020cad0> This week [May 11 - 19, 2019] in avant garde cinema Enter your event announcements by going to the Flicker Weekly Listing Form <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=a2ed410e2b&e=f36020cad0> . To receive the weekly listing via email: Subscribe <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=1d669df869&e=f36020cad0> . <https://www.redcat.org/sites/redcat.org/files/styles/redcat-carousel-large/public/event/associated-images/2019-04/JulieMurray2_Frequency%20Objects%20still%202.jpg?itok=sfzfUxO1> Julie Murray: New Film and Digital Work <> [May 13, Los Angeles, CA United States] <http://www.dimcinema.ca/sites/default/files/Amarillo%20Ramp_still_600px.jpg> Take It Down! In Person: Sabine Gruffat, Bill Brown <> [May 13, Vancouver, British Columbia] <https://1.bp.blogspot.com/-G1al_VsuxBE/XNIG8J3qdfI/AAAAAAAAavc/svTcUKV2MSslfV_TRkdaUOj4utNid86JwCLcBGAs/s640/Our%2BSelves%2BUnknown%2B1.jpg> Cranc #18: Edwin Rostron <> [May 17, Barcelona] <https://www.redcat.org/sites/redcat.org/files/styles/redcat-carousel-large/public/event/associated-images/2018-12/MD01-003-2000x1200.jpg?itok=JFQ4ki1k> Maryanne Amacher: Adjacencies (1965) <> [May 18, Los Angeles, CA United States] <http://movingimage.us/images/calendar/media/Remains_to_Be_Seen_550x238-detail-main.jpg> Phil Solomon Memorial Screening <> [May 19, Astoria, New York] NEW CALLS FOR ENTRIES: Black Girl* Magic (Berlin, Germany; Deadline: May 20, 2019) http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=59b0d88efe&e=f36020cad0> &readfile=2029.ann Then, What If? (Torrington, CT, USA; Deadline: July 01, 2019) http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=323cc1d770&e=f36020cad0> &readfile=2030.ann DEADLINES APPROACHING: Coney Island Film Festival (Brooklyn, NY, USA; Deadline: June 07, 2019) http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=bce81a4ba2&e=f36020cad0> &readfile=1997.ann 25 FPS Festival (Zagreb, Croatia; Deadline: May 31, 2019) http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=d3d95987b7&e=f36020cad0> &readfile=2024.ann Paris Festival for Different and Experimental Cinemas (Paris, France; Deadline: May 20, 2019) http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=379003b2ce&e=f36020cad0> &readfile=2025.ann Black Girl* Magic (Berlin, Germany; Deadline: May 20, 2019) http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=f5e0dd47b3&e=f36020cad0> &readfile=2029.ann Events are sorted alphabetically BY CITY within each DATE. This week's programs (summary): * Triple Consciousness: Films By Akosua Adoma Owusu <> [May 11, San Francisco, CA United States] * Kashmere + Goldberg + Morrison's Letter <> [May 11, San Francisco] * Guy Sherwin and Peter Todd: Recent Work. <> [May 12, London, England] * Julie Murray: New Film and Digital Work <> [May 13, Los Angeles, CA United States] * Take It Down! In Person: Sabine Gruffat, Bill Brown <> [May 13, Vancouver, British Columbia] * Take It Down! In Person: Sabine Gruffat, Bill Brown <> [May 14, Victoria, BC] * Ellipsis: Jorge JÁCome'S Flores + Basma Alsharif'S Ouroboros <> [May 15, Brooklyn, NY United States] * Take It Down! In Person: Sabine Gruffat, Bill Brown <> [May 15, Seattle, WA] * Take It Down! In Person: Sabine Gruffat, Bill Brown <> [May 16, Los Angeles, California] * Cranc #18: Edwin Rostron <> [May 17, Barcelona] * Extremely Shorts Film Festival 2019 <> [May 17, Houston, TX United States] * Dallas Medianale <> [May 18, Dallas ] * Maryanne Amacher: Adjacencies (1965) <> [May 18, Los Angeles, CA United States] * Take It Down! In Person: Sabine Gruffat, Bill Brown <> [May 18, San Francisco, California] * Phil Solomon Memorial Screening <> [May 19, Astoria, New York] * Deep Cuts: Millennium Film Journal No. 69 <> [May 19, Brooklyn, NY United States] SATURDAY, MAY 11, 2019 5/11 San Francisco, CA United States: San Francisco Cinematheque http://www.sfcinematheque.org <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=4e0cba4dc7&e=f36020cad0> 2:00 PM, 701 Mission St TRIPLE CONSCIOUSNESS: FILMS BY AKOSUA ADOMA OWUSU **WITH SPECIAL GUESTS AKOSUA ADOMA OWUSU AND LEILA WEEFUR IN PERSON** Drawing from W.E.B. Du Bois’ concept of double consciousness—the split subjectivity of the oppressed African-American subject—Ghanaian-American filmmaker Akosua Adoma Owusu creates works of cinema embodying a “triple consciousness”—the collision of identities of the African immigrant in the United States. Working in the traditions of Third Cinema, Owusu’s films swirl with a mixture of intersecting subjectivities and perspectives including feminism, queerness and the experience of African immigrants interacting in African, white American, and black American cultures. Owusu appears in person with Leila Weefur of local curatorial collective The Black Aesthetic to discuss recent works including ON MONDAY OF LAST WEEK, MAHOGANY TOO, RELUCTANTLY QUEER and other works. Admission: $10 General/$6 Cinematheque Members 5/11 San Francisco: Other Cinema http://www.othercinema.com/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=9d0d6e8707&e=f36020cad0> 8pm, 992 Valencia Street KASHMERE + GOLDBERG + MORRISON'S LETTER Tonight’s leap into the newly energized field of Film Archiving sports the erudite editor of the cutting-edge INCITE journal, Brett Kashmere, here to share Neither/Nor, his crucial research on folk libraries. One such case-study is focused on the very 16mm repository under our microcinema’s floors! Brett’s take on the Anarchivist is answered by critic Max Goldberg’s report-back on the epochal California Light and Sound project, in which the State’s museums and historical societies are called to digitize their A/V holdings for an accessible online collection. AND lo-and-behold the exquisite textures of The Letter (NorCal premiere), in which early cinema re-animator extraordinaire Bill Morrison has uncannily collaged 7 silents, intertwining love triangles and texts-by-mail. PLUS shorts by Steven Kane, Naeem Mohaiemen, Bruce Conner, and some small-gauge anomalies from under the floorboards! SUNDAY, MAY 12, 2019 5/12 London, England: Close-Up Film Centre https://www.closeupfilmcentre.com/film_programmes/2019/guy-sherwin-and-peter-todd-recent-work/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=d6a56710fb&e=f36020cad0> 8.00pm., 97 Sclater Street London E1 6HR GUY SHERWIN AND PETER TODD: RECENT WORK. We’re thrilled to present a hybrid programme of digital videos by GUY SHERWIN and 16mm films by PETER TODD. These recent works will be shown in an indeterminate way, enabling connections to be made unique to the screening. Both filmmakers will be present throughout and will participate in a discussion following the screening. Total runtime ca 90 min. GUY SHERWIN exclusively made 16mm films for many years but lately has been working on a series of digital thoughts. Sherwin studied painting at Chelsea School of Art in the late 1960s. His subsequent film works often use serial forms and live elements, and engage with light, time and sound as fundamental to cinema. Recent works include installations made for exhibition spaces and performance collaborations with Lynn Loo working with multiple projectors and optical sound. He was guest curator of “Film in Space” an exhibition of expanded cinema at Camden Arts Centre London 2012-3. He taught printing and processing at the London Film-Makers’ Co-op (now LUX) during the mid-70s. His films were included in “Film as Film” Hayward Gallery 1979, “Live in Your Head” Whitechapel Gallery 2000, “Shoot Shoot Shoot” Tate Modern 2002, “A Century of Artists” Film & Video' Tate Britain 2003/4. He lives in London and teaches at Middlesex University and University of Wolverhampton. PETER TODD works in a continuum and intuitively (film, curating, collaboration); his thoughts on “recent” and “work” are fluid. “The objects that he has filmed, his house, a tree, a street, the underground are things that we come across every day and that seem to have come into the film by some chance operation. But he films these things with such determination, and with so much respect for their being that it seems as if they themselves had decided on the framing and the length of image and their place in the film and the filmmaker had only very conscientiously fulfilled their demands” – Renate Sami “In the film programmes that I’ve seen of yours, I’d say there is a strand, a sort of certain strand, that runs through them, that to call it poetic would be doing it a disservice, but it’s one way, it’s such a sort of, how can I say it, it’s a loaded term which doesn’t quite describe in filmic terms, in visual terms what we mean, when we say that word, but it does conjure at any rate, perhaps an outcome the films have, they don’t have a utilitarian outcome, there is no interest in narrative, there is very often no interest in scientific or natural documentary, in capturing, it’s quiet often I’d say, for me what I get from seeing your film programmes they are trying to describe, a feeling and a sensation or a place or an interaction, very small things, and these composite of small things, actually make up a greater whole, and help us towards, not only visual enjoyment, help lead us towards having a richer life.” – Luke Fowler MONDAY, MAY 13, 2019 5/13 Los Angeles, CA United States: Redcat http://www.redcat.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=5075384acd&e=f36020cad0> 8:30 PM, 631 W 2nd St JULIE MURRAY: NEW FILM AND DIGITAL WORK Irish-born Julie Murray’s works of the past decade further expand her singular, personal world of pictures and sounds as moments of intimate exploration and visceral sensation. Murray’s cinema discovers remarkable patterns and textures in ordinary objects–details filled with wonder that are impossible to see with the naked eye. A wizard with the camera, Murray is a master of texture, light, and the creative uses of sound, yielding complex montage works that imbue each element with ambiguity and evocative mystery. For her first REDCAT program since 2010, Murray presents several recent films and digital pieces, including material filmed in her Ireland homeland. Highly regarded as an experimental artist, she has been included in the Whitney Biennial, the Museum of Modern Art, international film festivals, and her work is included in collections of major museums. In person: Julie Murray “Julie Murray is one of the most significant female experimental filmmakers of the last twenty-five years, creating a beautiful and subtle body of work that moves between meticulously edited found footage films to richly beautiful first-person visual diary films.” —LIFT, Toronto Funded in part by the Ostrovsky Family Fund. Curated by Steve Anker and Bérénice Reynaud as part of the Jack H. Skirball Series. 5/13 Vancouver, British Columbia: DIM Cinema http://www.dimcinema.ca <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=9693c36bb5&e=f36020cad0> 7:30, The Cinematheque, 1131 Howe St. TAKE IT DOWN! IN PERSON: SABINE GRUFFAT, BILL BROWN In this collection of recent work by North Carolina artists Sabine Gruffat and Bill Brown, celluloid film serves as both a material register and a critical resource for interrogating the documentary image. Whether using discontinuous montage, handmade techniques, digital processing, or dramatic re-enactments, these experimental films aim to extend the formal possibilities of non-fiction filmmaking, while depicting such iconic subject matter as Confederate monuments, Earthworks, and the great American road trip. Take It Down | Sabine Gruffat/USA 2018. 12 min. XCTRY | Bill Brown/USA 2018. 6 min. Life On the Mississippi | Bill Brown/USA 2018. 28 min. Framelines | Sabine Gruffat/USA 2017. 10 min. Amarillo Ramp | Bill Brown, Sabine Gruffat/USA 2017. 24 min. TUESDAY, MAY 14, 2019 5/14 Victoria, BC: Deluge Contemporary http://deluge.ca <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=cfdbb11cdc&e=f36020cad0> 7PM, 636 Yates Street. TAKE IT DOWN! IN PERSON: SABINE GRUFFAT, BILL BROWN In this collection of recent work by North Carolina artists Sabine Gruffat and Bill Brown, celluloid film serves as both a material register and a critical resource for interrogating the documentary image. Whether using discontinuous montage, handmade techniques, digital processing, or dramatic re-enactments, these experimental films aim to extend the formal possibilities of non-fiction filmmaking, while depicting such iconic subject matter as Confederate monuments, Earthworks, and the great American road trip. Take It Down | Sabine Gruffat/USA 2018. 12 min. XCTRY | Bill Brown/USA 2018. 6 min. Life On the Mississippi | Bill Brown/USA 2018. 28 min. Framelines | Sabine Gruffat/USA 2017. 10 min. Amarillo Ramp | Bill Brown, Sabine Gruffat/USA 2017. 24 min. WEDNESDAY, MAY 15, 2019 5/15 Brooklyn, NY United States: Light Industry http://www.lightindustry.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=3914cd42d6&e=f36020cad0> 7:00 PM, 155 Freeman St ELLIPSIS: JORGE J&AACUTE;COME'S FLORES + BASMA ALSHARIF'S OUROBOROS lLight Industry hosts an evening with Ellipsis, a new quarterly screening series taking place in venues across New York City, organized by Mariana Sánchez Bueno and Ehm West. In the words of its founders, the goal of Ellipsis is to provide “a space in which different contexts and modes of storytelling can build off one another,” with each program “geared towards connecting two languages, either aesthetic or literal,” invigorating both the cinema and the gallery with perspectives that look to horizons beyond the Western canon. Tonight, Ellipsis will present Flores by Jorge Jácome and Ouroboros by Basma Alsharif. Flores, Jorge Jácome, 2017, digital projection, 26 mins A hypnagogic narrative rooted in both the speculations of science fiction and the investigative operations of documentary, Flores imagines an Azores that has become overrun with hydrangeas, a species already abundant in the region whose presence, in Jácome’s telling, has proliferated to the point of forcing all human inhabitants to emigrate to the Portuguese mainland. The story unfolds through the wanderings of a pair of soldiers who remain stationed on the islands, where they patrol a homeland now transformed into a flowery wilderness. Their military figures set against a tinted, lavender-blue landscape, the two young men become paradoxical emblems of tenderness and resilience, nostalgia and resignation. Ouroboros, Basma Alsharif, 2017, digital projection, 74 mins “An homage to the Gaza Strip and to the possibility of hope beyond hopelessness. Ouroboros, the symbol of the snake eating its tail, is both end and beginning: death as regeneration. An experimental narrative film that turns the destruction of Gaza into a story of heartbreak, Ouroboros asks what it means to be human when humanity has failed. Taking the form of a love story, the film’s central character is Diego Marcon, a man who embarks on a circular journey to shed his pain only to experience it, again and again. In the course of a single day, his travel fuses together Native American territories, the ancient Italian city of Matera, a castle in Brittany, and the ruins of the Gaza Strip into one single landscape.” - BA 5/15 Seattle, WA: Northwest Film Forum http://www.nwfilmforum.org <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=f5e5928793&e=f36020cad0> 8PM, 1515 12th Ave TAKE IT DOWN! IN PERSON: SABINE GRUFFAT, BILL BROWN In this collection of recent work by North Carolina artists Sabine Gruffat and Bill Brown, celluloid film serves as both a material register and a critical resource for interrogating the documentary image. Whether using discontinuous montage, handmade techniques, digital processing, or dramatic re-enactments, these experimental films aim to extend the formal possibilities of non-fiction filmmaking, while depicting such iconic subject matter as Confederate monuments, Earthworks, and the great American road trip. Take It Down | Sabine Gruffat/USA 2018. 12 min. XCTRY | Bill Brown/USA 2018. 6 min. Life On the Mississippi | Bill Brown/USA 2018. 28 min. Framelines | Sabine Gruffat/USA 2017. 10 min. Amarillo Ramp | Bill Brown, Sabine Gruffat/USA 2017. 24 min. THURSDAY, MAY 16, 2019 5/16 Los Angeles, California: Echo Park Film Center http://www.echoparkfilmcenter.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=17557eeaf5&e=f36020cad0> 8PM, 1200 N. Alvarado St. TAKE IT DOWN! IN PERSON: SABINE GRUFFAT, BILL BROWN In Person: Sabine Gruffat, Bill Brown In this collection of recent work by North Carolina artists Sabine Gruffat and Bill Brown, celluloid film serves as both a material register and a critical resource for interrogating the documentary image. Whether using discontinuous montage, handmade techniques, digital processing, or dramatic re-enactments, these experimental films aim to extend the formal possibilities of non-fiction filmmaking, while depicting such iconic subject matter as Confederate monuments, Earthworks, and the great American road trip. Take It Down | Sabine Gruffat/USA 2018. 12 min. XCTRY | Bill Brown/USA 2018. 6 min. Life On the Mississippi | Bill Brown/USA 2018. 28 min. Framelines | Sabine Gruffat/USA 2017. 10 min. Amarillo Ramp | Bill Brown, Sabine Gruffat/USA 2017. 24 min. FRIDAY, MAY 17, 2019 5/17 Barcelona: CRANC http://cranc-projeccions.blogspot.com/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=ba55574589&e=f36020cad0> 20:30h, Carrer Legalitat, 18 CRANC #18: EDWIN ROSTRON The English filmmaker and animator Edwin Rostron comes to Barcelona to show his films for the CRANC series. More information soon here: http://cranc-projeccions.blogspot.com/ 5/17 Houston, TX United States: Aurora Picture Show http://www.aurorapictureshow.org <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=51f6990c65&e=f36020cad0> 7:30 PM, 2442 Bartlett St EXTREMELY SHORTS FILM FESTIVAL 2019 Now in its 22nd year, Houston's lively, annual Extremely Shorts Film Festival features adventurous, short films under 3 minutes long of all kinds from around the world. The festival is produced by Aurora Picture Show, and is guest curated this year by New York-based writer, curator, and film programmer Dessane Lopez Cassell. 32 mini-masterpieces were selected from nearly 200 submissions. The festival program includes short films from USA, Canada, England, Cyprus, New Zealand, China, Singapore, and Iran. There will be two screenings of the festival program–on Friday and Saturday nights. Cassell and some participating filmmakers will be in attendance for Saturday’s special screening and awards reception, at which Audience and Juror Award-winners will be announced. Tickets are $10 general admission and free for current Aurora members. The Extremely Shorts Awards Reception is supported by Saint Arnold Brewery and Pepperoni's. Friday, May 17 (7:30PM) SCREENING 1 Saturday, May 18 (7:30PM) SCREENING 2 + AWARDS RECEPTION SATURDAY, MAY 18, 2019 5/18 Dallas : Video Association of Dallas http://www.dallasmedianale.com <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=3fbda9353a&e=f36020cad0> 7.00 pm, 1503 S Ervay St DALLAS MEDIANALE The Video Association of Dallas in partnership with The MAC presents Dallas Medianale 2019 Opening Reception Saturday, May 18, 6-9 On view May 18 through July 14, 2019 The MAC is pleased to present The Video Association of Dallas’ Dallas Medianale 2019, curated by Dee Mitchell. The Dallas Medianale 2019 exhibition makes its third return to The MAC, featuring works by internationally recognized artists, Samson Kambalu, Luke Murphy, Allison Schulnik, Barry Stone, and Penelope Umbrico, on view May 18 through July 14, 2019. An opening reception will be held Saturday, May 18 from 6-9 PM. Curator Charles Dee Mitchell focuses on video works for this year’s exhibition, but also incorporates work that explores the breadth of approach included in time-based media, examining the history of the technology that has evolved to make these exhibitions possible. Single-channel screenings and video performance curated by Bart Weiss will be held at the Latino Cultural Center on Wednesday, July 16 and Thursday, July 17. 5/18 Los Angeles, CA United States: Redcat http://www.redcat.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=04eeaf0848&e=f36020cad0> 8:30 PM, 631 W 2nd St MARYANNE AMACHER: ADJACENCIES (1965) Maryanne Amacher (1938–2009), a composer of large-scale, fixed-duration sound installations, and a highly original thinker in the areas of perception, sound spatialization, creative intelligence, and aural architecture. Known primarily as an electronic composer, she also wrote a handful of pieces for classical instruments using experimental forms of notation. "Adjacencies," a graphic score for two percussionists and electronics, was written in 1965. The work directs performers by sending their microphone signals to a changing array of speakers surrounding the audience, combining otherwise distinct worlds of sound. Ian Antonio and Russell Greenberg, of the experimental piano-percussion quartet Yarn/Wire, will perform Adjacencies, with sound distribution by Daniel Neumann and Woody Sullender. 5/18 San Francisco, California: Other Cinema http://www.othercinema.com/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=b8862996f7&e=f36020cad0> 8:30pm, 992 Valencia St TAKE IT DOWN! IN PERSON: SABINE GRUFFAT, BILL BROWN In this collection of recent work by North Carolina artists Sabine Gruffat and Bill Brown, celluloid film serves as both a material register and a critical resource for interrogating the documentary image. Whether using discontinuous montage, handmade techniques, digital processing, or dramatic re-enactments, these experimental films aim to extend the formal possibilities of non-fiction filmmaking, while depicting such iconic subject matter as Confederate monuments, Earthworks, and the great American road trip. Take It Down | Sabine Gruffat/USA 2018. 12 min. XCTRY | Bill Brown/USA 2018. 6 min. Life On the Mississippi | Bill Brown/USA 2018. 28 min. Framelines | Sabine Gruffat/USA 2017. 10 min. Amarillo Ramp | Bill Brown, Sabine Gruffat/USA 2017. 24 min. SUNDAY, MAY 19, 2019 5/19 Astoria, New York: Museum of the Moving Image http://movingimage.us/visit/calendar/2019/05/19/detail/phil-solomon-memorial-screening <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=41827bbca0&e=f36020cad0> 4:30 p.m., 36-01 35 Avenue PHIL SOLOMON MEMORIAL SCREENING Phil Solomon, who died this April, was one of the most beloved American avant-garde filmmakers. A student of Ken Jacobs at SUNY Binghmaton, and colleague of Stan Brakhage at the University of Colorado in Boulder, Solomon forged his own unique image alchemy, manipulating existing and original footage to create evocative, beautiful, and dreamlike works that reveal subterranean depths in their exquisite imagery. Generous, soft-spoken, equally serious and humorous, Solomon will be greatly missed. His work, miniaturist yet masterful, lives on, along with his legacy as an artist and teacher. This memorial screening will include 16mm prints of four of his greatest films (including a collaboration with Stan Brakhage). The program will include remarks by some of Solomon’s friends and colleagues. Thanks to Canyon Cinema, source of the 16mm prints.—David Schwartz, Curator-at-Large Films to be screened: The Secret Garden(1988, 23 mins.) “The Secret Garden is one of Solomon's most exquisite films. As with Leslie Thornton and Lewis Klahr, there is the shadow of a story here, one which deals with the passage from innocence and experience and invokes equally terror and ecstasy.” (Tom Gunning) The Exquisite Hour(1989-1994, 14 mins.) Partly a lullaby for the dying, partly a lament at the dusk of cinema. Based on the song by Reynaldo Hahn and Paul Verlaine. (from Canyon Cinema catalog) Remains to Be Seen(1989-1994, 17 mins.) “In the melancholic Remains to Be Seen, dedicated to the memory of Solomon's mother, the scratchy rhythm of a respirator intones menace. The film, optically crisscrossed with tiny eggshell cracks, often seems on the verge of shattering. The passage from life into death is chartered by fugitive images: pans of an operating room, an old home movie of a picnic, a bicyclist in vague outline against burnt orange and blue .... Solomon measures emotions with images that seem stolen from a family album of collective memory." (Manohla Dargis, The Village Voice) Seasons…(2002, 15 mins. Silent) “Stan Brakhage's frame-by-frame hand carvings and etchings directly into the film emulsion, sometimes photographically combined with paint, are illuminated by Solomon's optical printing; this footage was then edited by Solomon into a four part 'seasonal cycle.' Seasons… is inspired by the colors and textures found in the woodcuts of Hokusai and Hiroshige, and the playful sense of forms dancing in space from the film works of Robert Breer and Len Lye.” (Canyon Cinema) 5/19 Brooklyn, NY United States: UnionDocs http://www.uniondocs.org <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=19d90121ea&e=f36020cad0> 7:30 PM, 322 Union Ave DEEP CUTS: MILLENNIUM FILM JOURNAL NO. 69 UnionDocs is thrilled to takeover hosting duties for Millennium Film Journal's forthcoming volume launch while our pals at Anthology Film Archives undergo some improvements in their space. The Millennium Film Journal is bi-annual publication dedicated to artists’ cinema, where the term “cinema” includes all technologies of the moving image. Subscribers and stockists are international in scope and include major universities, libraries, museums, retail outlets, writers, artists, students, collectors, and the general public.We're delighted to host this program that brings together eight short films discussed in issue no. 69 of the Millennium Film Journal. Drawn from the 2018 Flaherty Seminar and elsewhere, the films all engage with landscape and language through formally innovative means. Though each filmmaker is of a different geographical location and uses varying techniques within their work, their films collectively produce a macrocosm of impetus and fellowship. This program will illustrate new resonances and curiosities, further supplemented by the writing in the latest issue of Millennium Film Journal.Program is partially funded by NYSCA through the Millennium Film Workshop, publisher of the Millennium Film Journal.Hard copies of Millennium Film Journal no. 69 and earlier issues will be available for purchase. Halimuhfack 14 min., 2016 By Christopher Harris (Flaherty Seminar 2018) Anti-Objects, or Space Without Path or Boundary 13 min., 2017 By Sky Hopinka (Flaherty Seminar 2018) SET 10 min., 2016 By Peter Miller Otro Usos 7 min., 2014 By Beatriz Santiago Muñoz (Flaherty Seminar 2018) An Extra Wander: for Chickie 8 min., 2018 By Pat O'Neill Trees of Syntax, Leaves of Axis 10 min., 2009 By Daïchi Saïto (Best of the Festival, 48th Ann Arbor Film Festival, Grand Jury Prize, 16th Media City Film Festival) H-E-L-L-O 11 min., 2014 By Cauleen Smith (Flaherty Seminar 2018) Nightfall 15 min., 2016 By Anocha Suwichakornpong & Tulapop Saenjaroen (Las Palmas de Gran Canaria International Film Festival, Flaherty Seminar 2018) _____ Let us know about your alternative film/video event! Enter your event announcements by going to the Flicker Weekly Listing Form <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=94eabace36&e=f36020cad0> . 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