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The Stars are Beautiful—Outdoor Screening!
Cinema Project continues our outdoor film screening series with another one-night only event underneath the Portland stars. Bridges-Go-Round by noted photographer/filmmaker Shirley Clarke is a rhythmic examination of the bridges of Manhatten, while Glimpse of the Garden by Marie Menken is an exploration of a flower garden with extreme magnification and flashing color harmonies. Bouquets 21-30 by Rose Lowder is a part of the ecological Bouquets series, consisting of one-minute films composed in the camera by weaving the characteristics of different environments with the activities there at the time. Lions and Tigers and Bears by Rebecca Meyers focuses on urban wildlife, both real and simulated, with which we share our cities. There's A Pervert In Our Pool! by Martha Colburn contains lots of nasty and funny events that take place in a pool of perverts who include Eedgar G. Hoover, dogs, penguins, giraffes in bondage and more. Finally we conclude the night with Stan Brakhage's amazing sound film, The Stars Are Beautiful, with Brakhage narrating!
September 1
Bridges Go-Round by Shirley Clarke [1958, 16mm, color, sound, 4 min]
Glimpse of the Garden by Marie Menken [1957, 16mm, color, sound 5 min]
Bouquets 21-30 by Rose Lowder [2001-2005, 16mm color, silent, 14 min]
Lions and Tigers and Bears by Rebecca Meyers [2005, 16mm, color, 12 min]
There's A Pervert In Our Pool! by Martha Colburn [1998, 16mm, sound, 3 min]
The Stars Are Beautiful by Stan Brakhage [1974, 16mm, color, sound, 19 min]
+Live music by Jean Paul Jenkins and friends
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simple actions and aberrant behaviors
September 15 + 16
[Northwest Film Center's Whitsell Auditorium | 4:00pm]
Co-Presented with PICA/TBA Festival and Northwest Film Center
curated by Pablo de Ocampo
In placing oneself both behind and in front of the lens, an artist creates an inescapable connection between the work and their own lives, regardless of the actual corollaries between that "presence" caught on tape and the lives of the performers making those actions. This collection of recent videos demonstrate a variety of strategies—from simple endurance based actions to more elaborately staged events. Through discomforting and disorienting poses and movements, Patty Chang, Deirdre Logue and Reza Afisina speak to both the fragility and strength of the human psyche. Their actions at once spectacularly mundane and incredibly perverse, from self-flagellation to being embraced (or is it eaten alive?) by a mattress. The other four works in the program represent a more traditional view of the performer as actor, singer and dancer: from Joe Gibbons' monologue to a flower; to Oliver Husain's juxtaposition of an actor reading his diaries with an elaborately choreographed "traditional" folk dance; to the restaging of an old Madonna tune in Benny Nemerofsky Ramsay's piece and a call and response blues ballad by Kalup Linzy.
September 15 + 16
Untitled (Eels) by Patty Chang [2001, video, sound, 16 min]
Beyond the Usual Limits: Part 1 by Deirdre Logue [2005, video, color, sound, 3 min]
What by Reza Afisina [2003, video, color, sound, 11 min]
A Time to Die by Joe Gibbons [2006, video, color, sound, 9 min]
Squiggle by Oliver Husain [2005, video, color, sound, 21 min]
Lollypop by Kalup Linzy [2006, video, color, sound, 3 min]
Live to Tell by Benny Nemerofsky Ramsay [2002, video, color, sound, 6 min]
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the Affair at the jupiter hotel
September 15 + 16 [Jupiter Hotel]
Cinema Project will be participating in this years Affair at the Jupiter
Hotel where we will present Light Spill, an installation by Luis Recoder and Sandra Gibson. In Light Spill, the artists use the base materials of a cinema projector and celluloid to examine light, space, and time. Seated in a gallery, a 16mm projector is setup without a take-up reel, the machine spills its contents on to the floor of the gallery, slowly accumulating throughout the run of the exhibition. In addition on September 14th there will be a screening of films by Bruce McClure, Stan Brakhage, Shirley Clarke, and Marie Menken.
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Estatic Transformation & Emotional Realism
– duke & Battersby
October 1 + 2 [New American Art Union | 7:30pm]
Cooper Battersby and Emily Vey Duke have been working collaboratively since June 1994. They work in printed matter, installation, curation and sound, but their primary practice is the production of single-channel video. Combining animation, live action, song, and text their work explores themes of identity, addiction, alienation as well as the spiritual, material, and natural world. Duke and Battersby use themselves as the actors in their videos, filling them with wit, sorrow, smarts and sexiness; this work is intensely pleasurable. Cinema Project is pleased to have Duke and Battersby in Portland to present two programs: Estatic Transformation, a selection of their own work and the curated program Emotional Realism.
There's a principle from quantum physics [and anthropology] that relates: when a process is observed, it changes. This principle holds at the level of the photon as well as for human behavior. The artists in Emotional Realism acknowledge this rather than trying to conceal it, which allows the viewer to trust in the integrity of the works.—Duke and Battersby
—ARTISTS IN ATTENDANCE—
October 1
Being Fucked Up [2001,video, color, sound, 10 min]
My Heart the Lumberjack [2002, video, color, sound, 13 sec]
Bad Ideas for Paradise [2002, video, color sound, 20 min]
The Fine Arts [2002, video, color, sound, 3 min]
Curious About Existence [2003, video, color, sound, 11 min]
The New Freedom Founders: A Trilogy [2005, video, color, sound, 26 min]
Songs of Praise for the Heart Beyond Cure [2006, video, color, sound, 14 min]
October 2
Rebecka by Miriam Backstrom [2004, video, color, sound, 42 min]
A Mother to Hold by LaToya Ruby Frazier [2006, video, color, sound, 7 min]
Five More Minutes by Dena DeCola & Karin E. Wandner [2005, video, sound, 17 min]
Consolation Service by Eija-Liisa Ahtila [1999, 35mm/video, color, sound, 23 min]
In My Language by Amanda Baggs [2007, video, color, sound, 9 min]
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Shoot Shoot Shoot
October 16 + 17 [New American Art Union | 7:30pm]
The 1960s and 1970s were groundbreaking decades in which independent filmmakers challenged cinematic convention. In England, much of the innovation took place at the London Film-Makers' Co-operative, an artist-led organization that enabled filmmakers to control every aspect of the creative process. LFMC members conducted an investigation of celluloid that echoed contemporary developments in painting and sculpture. During this same period, British filmmakers also made significant innovations in the field of "expanded cinema", creating multi-screen projections, film environments and live performance pieces.
The physical production of a film (its printing and processing) became integral to its form and content as Malcolm Le Grice, Lis Rhodes, Peter Gidal and others explored the material and mechanics of cinema, making radical new works that contributed to a new visual language. The London Film-Makers' Co-operative, established in 1966, grew from a film society at the heart of London’s sixties counterculture to become Europe's largest distributor of experimental cinema and was recognized internationally as a major centre for avant-garde film.
October 16
Slides by Annabel Nicolson [1970, 16mm, color, silent, 11 min]
At the Academy by Guy Sherwin [1974, 16mm, b&w, sound, 5 min]
Shepherd's Bush by Mike Leggett [1971, 16mm, b&w, sound, 15 min]
Film No. 1 by David Crosswaite [1971, 16mm, color, sound, 10 min]
Dresden Dynamo by Lis Rhodes [1971, 16mm, color, sound, 5 min]
Versailles I & II by Chris Garratt [1976, 16mm, b&w, sound, 11 min]
Silver Surfer by Mike Dunford [1972, 16mm, b&w, sound, 15 min]
Footsteps by Marilyn Halford [1974, 16mm, b&w, sound, 6 min]
October 17
Threshold by Malcolm Le Grice [1972, 16mm color, sound, 10 min]
Seven Days by Chris Welsby [1974, 16mm, color, sound, 20 min]
Key by Peter Gidal, [1968, 16mm, color, sound, 10 min]
Moment by Stephen Dwoskin [1968, 16mm, color, sound, 12 min]
Deck by Gill Eatherley [1971, 16mm, color, sound, 13 min]
Colours of this Time by William Raban [1972, 16mm, color, silent, 3 min]
Associations by John Smith [1975, 16mm, color, sound, 7 min]
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for life against the war/for life against the war...again
november 6 + 7 [New American Art Union | 7:30pm]
In 1967, a group of artists put out a call for "a personal declaration by American filmmakers for life and against the War." Sixty films running under three minutes were eventually compiled and screened as part of The Week of the Angry Arts, a music and arts festival which mobilized the protest movement. This remarkable compilation includes contributions from Manfred Kirkheimer, Stan Vanderbeek, Robert Fiore, Larry Jordan, Rudy Burckhardt, Nina Feinberg, Shirley Clarke, Robert Breer, Ken Jacobs, Jonas Mekas, Michael Snow, and Joyce Wieland.
40 years later in a similar spirit New York Film-makers Cooperative issued an invitation to protest yet another war. The response was overwhelming, bringing together 26 new works from several generations of artists unified by a singular goal of a cinema of peace. Thus was born For Life Against The War...Again with works by Barabra Hammer, Lynne Sachs, Ken Jacobs, Lynn Marie Kirby, Mark Street, Bradley Eros, Bill Morrison, MM Serra, and others. Cinema Project will present these two compilations of short films and videos aside each other over two evenings.
November 6
For Life Against The War pt. 1 [1967, 16mm, b&w/color, 75 min]
For Life Against the War...Again pt. 1 [2006, video, b&w/color, 39 min]
November 7
For Life Against The War pt. 2 [1967, 16mm, b&w/color, 75 min]
For Life Against The War...Again pt. 2 [2006, video, b&w/color, 39 min]
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Amorous Nightmares of Delay—film and video by michael robinson
november 18 + 19 [New American Art Union 7:30pm]
Michael Robinson has been working in film, video, and photography for the past six years. Developing a substantial body of work in a short period of time, he fuses traditions of avant-garde filmmaking with structural elements of contemporary video art. These works bring together disparate elements, forgotten pieces of pop cultural and mass media, creating a beautiful new world. Michael Robinson has screened his films and videos at festivals around the world including Rotterdam International Film Festival, The Images Festival, New York Film Festival's and Views From the Avant-Garde; please join us in welcoming him to Portland.
By unraveling and subverting the mechanics of mass media I aim to open new possibilities for progressive thought and sincere expression within a society perpetuating its decline through a reliance upon commercial ministries.—Michael Robinson
—artist in attendance—
november 18 + 19
You Don't Bring Me Flowers [2005, 16mm, sound, 8 min]
Untitled [2007, video, color, sound, 8 min]
The General Returns From One Place to Another [2006, video, sound, 11 min]
Tidal [2001, 16mm color, sound, 7 min]
And We All Shine On [2006, 16mm, color, sound, 7 min]
Light Is Waiting [2007, video, sound, 11 min]
Chiquitita and the Soft Escape [2003, 16mm, color, sound, 10 min]
Victory Over the Sun [2007, 16mm, color, sound, 13 min]
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MAGELLAN—FILMS BY HOLLIS FRAMPTON
november 26 + 27 [New american art union at 7:30pm]
Hollis Frampton (1936-1984) is known for the broad and restless intelligence he brought to the films he made. In addition to being an important experimental filmmaker, he was also an accomplished photographer and writer, and in the 1970s made significant contributions to the emerging field of computer science.
"Magellan, Hollis Frampton's most ambitious and complex film project, is generally less recognized than his other work, and its invisibility is understandable. The spectator who approaches the unfinished Magellan confronts only fragments; the completed Magellan films comprise only about 8 out of the 36 hours planned. Moreover, Frampton intended Magellan to be a calendrical cycle, with specific films to be shown on each day of the year—properly viewed it would be 369 days long. Metaphorically modeled on Ferdinand Magellan's exploratory circumnavigation of the world, the project aspired to remarkable aesthetic, historiographic, and conceptual challenges to cinema and perception."—Robert Haller
november 26 + 27
Noctiluca (Magellan’s Toy's) [1974, 16mm, color, silent, 4 min]
Autumnal Equinox (Solariumagelani) [1974, 16mm, color, silent, 27 min]
Otherwise Unexplained Fires [1976, 16mm, color, silent, 14 min]
Mindfall Parts I & VI (Birth of Magellan) [1980, 16mm, color, sound, 36 min]
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Inventing Obscurities—
Beckett, Bourque, & Sherman
December 11 + 12 [New American Art Union 7:30pm]
And all these questions I ask myself. It is not in a spirit of curiosity. I cannot be silent. About myself I need know nothing. Here all is clear. No, all is not clear. But the discourse must go on. So one invents obscurities. Rhetoric.—Samuel Beckett
Stuart Sherman's 10 films (Typewriting, Eating, Bridge Film and others) resemble his one-man shows through suggestive juxtapositions and intense physical presence. "Like riddles, jokes, koan, and paradoxes, Sherman's films operate on this edge of sense, in a world of wonder." (Sally Banes) In Just Words Louise Bourque explores the internal struggle of World War II generation women using home movie footage of her mother and sister alternating with footage from an intense performance of Samuel Beckett's Not I creating an unnerving and touching experience. Film was the only work that Samuel Beckett wrote specifically for the cinema. Starring Buster Keaton, and featuring no dialogue or music, Beckett explores the eighteenth century Irish philosopher Berkeley's dictum that "to be is to be perceived". Film has two characters, "O" or the "object", played by Keaton, who throughout the film is pursued by the subject "E" or the "camera-eye".
december 11 + 12
Film by Samuel Beckett [1965, 16mm, b&w, sound, 22 min]
10 Films by Stuart Sherman [1980-87, 16mm, b&w/color, sound/silent, TRT 33 min]
Just Words by Louise Bourque [1991, 16mm, color, sound 10 min]
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