2008 saw the first 9 months of The Nightingale’s existence and it has only been possible because of the help of so many people. We would like to heartily thank all of the following folks for their participation, expertise and support:
Josh Mabe . . . Reece Thornbery . . . Tim Weidelman . . . Jennfier Fieber . . . Jason Halprin . . Patrick Friel and WHITE LIGHT CINEMA . . . ONION CITY . . . Bryan Wendorf and Chloe Connelly and CUFF . . . Darnell Witt and CINE-FILE . . . James Bond and CINEMA BOREALIS . . . Ben Russell . . . JESS IS DEAD . . . Amy Beste and CATE . . . Todd Lillethun and CHICAGO FILMMAKERS . . . Gabe Klinger and CHICAGO CINEMA FORUM . . . Alexander Stewart and ROOTS AND CULTURE . . . Ed Mar and SELECT MEDIA . . . Dave Dobie, Clara Alcott and HEAVEN GALLERY . . . UIC FILM and VIDEO BFA Program . . . Video Data Bank . . . SAIC Dept. of Film Video and New Media . . . Celeste Neuhaus . . .Lori Felker . . . Jodie Mack . . . Scott Foley . . . Jim Trainor . . . Mary Robnett . . . Marshal Greenhouse and Shannon Smiley . . . Colin Palombi . . . Thomas Comerford . . . Bill Stamets . . . Michelle Citron . . . Robert Snowden . . . Eric Fleischauer . . . Latham Zearfoss . . . Ethan White . . . Lauren Carter . . . Joe Grimm
Filed under: Uncategorized
by Animator Lewis Klahr
PICTURE BOOKS FOR ADULTS & THE PHARAOH’S BELT
PICTURE BOOKS FOR ADULTS (1983-85), an eight film series, is Lewis Klahr‘s earliest work available for screening. In a very rare presentation, it will be shown it its original Super-8mm format-the first time anywhere in almost a decade.
Still one of Klahr’s major works, THE PHARAOH’S BELT (1994) was a breakthrough film, both in its length (43 minutes) and in establishing Klahr’s signature cutout animation style.
Over the past thirty years, Los Angeles-based filmmaker has created a stunning body of work that easily places him at the forefront of avant-garde artists. Moving from the intimacy of his early Super-8 films to his current digital works (with a long sojourn in 16mm), Klahr has always taken advantage of the particular characteristics of his various media. This appreciation of the textures and looks of each format is not surprising, though-Klahr’s meticulously constructed films (his early found footage collage works and his more well known cut-out animation films) all benefit from his careful attention to small details. From the constant lookout for source material (old magazines, comic books, diverse other printed matter, photographs, and even occasional three-dimensional objects), the selection of those materials for a particular project, and the combinations and juxtapositions of those materials within a film, Klahr exhibits an unerring eye for the telling, resonant, and evocative.
Klahr’s films are works of mystery and wonder. More than any other filmmaker working today they are psychic excavations of our shared mid and late-twentieth century cultural memory.
PICTURE BOOKS FOR ADULTS (1983-85, 37 min, Super 8mm)
Deep Fishtank Birding (1983, 3 min, b/w, sound)
Enchantment (1983, 2.5 min, color, sound)
Pulls (1985, 5 min, color, sound)
What’s Going on Here, Joe? (1985, 5 min, color, sound)
The River Sieve (1984, 5 min, color, sound)
Candy’s 16! (1984, 2.5 min, color, sound)
Deep Fishtank Too (1985, 5.5 min, b/w, sound)
1966 (1984, 8 min, color, sound)
THE PHARAOH’S BELT (1993, 43 min, 16mm)
We will also show uncut footage from our recent Friendsgiving trailer shoot immediately before the program.
Extra Special Thanks to James Bond for the new wall damper.
Filed under: Super 8mm
A YouTube curatorial endeavor
Curated by Robert Snowden and Eric Fleischauer
December 14, 2008
The Internet’s unwanted or digital detritus is constantly being scraped off the web’s cluttered floor and being broken apart and frankensteined into the new. Definitions over ownership and authorship are being elasticized and altered by this constant meddling and re-arranging, and in the process, the line between viral video, Art Art, and just plain unwanted is being happily smudged.
So how do we culture-makers address our new medium, venue, and potential audiences? How do we incorporate and process this superstructure of meaning, whether we are dilettantes, starry-eyed devotees or television-loyalists? And how can you find that good, weird shit out there when there is so much to look at?
Internalizing media’s place in our everyday lives is already assured, but thankfully these videos go above and beyond to perform the inevitable. By extricating the banal and taking it to its logical end, these artists create bizarro worlds of displacement and repetition.
As those who stare at computers all day, we feel guilty about this misspent time wandering the internet. By creating a perpetual side project of cataloging, archiving and presenting the best the internet has to offer, we are slowly turning procrastination into productivity. While We Were Working is exemplary for using our time wisely so you don’t have to.
John Michael Boling
Andrew Filippone Jr.
David Leye Roth
TRT 57 min
Special thanks to INCUBATE for their support of this program.
Filed under: Uncategorized
(WORK IN PROGRESS)
Director, Michael Almereyda in person!
Co-presented by CHICAGO CINEMA FORUM
December 11, 2008
The filmmaker considers the episodes in this movie to be like pages torn from a sketchbook, a visual diary kept over many years. Each episode runs about the length of a pop song. Friends and strangers, kids and adults, are featured in roughly equal proportions, in settings split between familiar American cities – New York, Los Angeles, New Orleans – and unlikely, far-flung places: Tehran, Krakow, Seoul. The film’s fragmentary nature is held in check by thematic contrasts and links – between innocence and experience; art and commerce; searching and finding. There’s also the overarching idea that life is made up of brief paradisiacal moments – moments that are often taken for granted, and always slipping away, but which can, on occasion, be captured and shared.
Michael Almereyda is best-known for his version of HAMLET (2000) set in contemporary New York City and starring Ethan Hawke. He is also the director of ANOTHER GIRL ANOTHER PLANET (1992), shot entirely in Pixelvision, NADJA (1994), a lyrical vampire film produced by David Lynch, THIS SO-CALLED DISASTER (2003), filmed around the rehearsals of Sam Shepard’s The Late Henry Moss, and WILLIAM EGGLESTON IN THE REAL WORLD (2005), a cine-essay and conversation with the photographer of the title.
Filed under: artist in attendance
New Curators’ Fest (PART TWO)
Sunday, December 7, 2008
The Web of Cokaygne; Candle and Bell
Curated by Dain Oh
THE WEB OF COKAYGNE; CANDLE AND BELL is a screening of various web-based moving images curated by Dain Oh. This program investigates the production, distribution and cultural stigma that is held uniquely by different web-based medium including open source data bases, cliparts and animated GIFs. By placing them in relation to the history of the moving image as a new form of expression, they are brought to the table as their own distinctive language tools as well as borrowing some from previous mediums of revolution such as photo, film, video etc.
]P3||.|=r@//3.//()r|<][ (aka 0P3NFR4M3W0RK aka open frame work) initiated by Jon Satrom (2006)
787 CLIPARTS by Oliver Laric (2006)
GIF ANIATION SCREENING, a curatorial experiment by Dain Oh (2008) Including the works of artists: Petra Cortright, Olia Lialina, Guthrie Lonergan, Tom Moody, Jon Satrom and Paul Slocum.
Stuffed: An exploration of food and sexuality
Curated by Holly Foster & Michael Cone
HEY! BABY CHICKEY by Nina Sobell (1978, 7:15, mini-DV)
HARD FAT by Frederic Moffet (2002, 23:00, min-DV)
MEASUREMENTS by Ivy (2004, 3:55, mini-DV)
MEASURING TAPE by Ivy (2008, 2:54, mini-DV)
FEEDERISM FACTS by Ivy (2006, 9:21, mini-DV)
BUTTER BALLS by George Kuchar (2003, 25:00, mini-DV)
Curated by KEVIN RONN
They say knowledge is power, but they also say power corrupts. This show will consist of young artists spreading their wings for the first time in film, animation, and other things that at the time were alien to them. These films are not the most polished from the artists’ career, but they show the uncorrupted vision they once had.
Including work by Vicky Yen, Emily Wang, Marko Jevtic, & Petrina Chiu.
Filed under: Uncategorized