Recent 16mm Films by Richard Tuohy and Dianna Barrie
Filmmakers in attendance!
The Nightingale Cinema, 1084 N. Milwaukee
Wednesday, March 15th, 7:00 pm, $7-10
Cinema was the first inescapably mechanical art. But in this post-mechanical age, the traditional apparatus of cinema has all to rapidly been deemed obsolete and primitive. Yet the handing over of industrial machinery to anti-industrial users represents one of the prime creative opportunities for re-appraising and re-interpreting the nature of ourselves as transformed by the age of machines.
Post mechanical age, the humanness of the machine can be made evident. Post mechanical age, machine craft is the new hand craft. The Nightingale welcomes Australian DIY cine experimentalists Richard Tuohy and Dianna Barrie to present this program of seven recent film works exploring the primitive apparatus of cinema and the relation between hand and machine.
Blue Line Chicago
2014, 10 minutes, 16mm
Architectural abstractions of the second city.
2014, 9 minutes, 16mm
The Ginza of fable and memory. This is the first film I have finished using the ‘chromaflex’ technique that we developed. This is a very much hands on color developing procedure that allows selected areas of the film to be colour positive, colour negative, or black and white.
2010, 6 minutes, 16mm, Dianna Barrie
‘L’, ‘U’ and ‘X’ shapes in an inner urban industrial suburb captured on regular 8mm as the old ‘Lux’ stove factory undergoes conversion into more apartments than the brain can comfortably imagine. The rise and fall of industry, the rise and rise of apartments in a seething, pulsating transition.
2016, 11 minutes, 16mm, Richard Tuohy and Dianna Barrie
Across the sea. Across the street. Cross processed super 8 footage of fraught neighbours Korea and Japan in grain focused enlargement.
Invention of the Wheel
2015, 14 minutes, 16mm, Richard Tuohy and Dianna Barrie
On man and machine. On the wheel upon which man turns and is turned. On ‘homo mechanicus’ – ‘machine man’.
2017, 7 minutes, 16mm, Richard Tuohy and Dianna Barrie
Jakarta traffic moves with the harmonious chaos of complex self organising entities everywhere. Through contact printer matteing techniques this mass transport becomes denser and denser until only the fluid futility of motion/motionlessness remains.
Jakarta traffic stands as proof of the paradox of motion.
2016, 12 minutes, 16mm, Dianna Barrie and Richard Tuohy
Found in the (now lost) archive of Lab Laba Laba, footage from a trailer for the Indonesian film ‘Kereta Api Terakhir’ (The Last Train) melts into a soup of chemigrammed perforations.
A film made in seven cities, and none.
2011, 13 minutes, 16mm, Richard Tuohy
A movement study of a restless hand. Made from one five second shot. Sound constructed from an old French folk tune played on a hand cranked music box.
Inside the Machine
2016, 12 minutes, 3 x 16mm, Richard Tuohy and Dianna Barrie
Lines. Direct optical sound. An alarm from the past and the voice of the machine.
Richard Tuohy (b. 1969, Melbourne, Aus.) began making works on super 8 in the late nineteen eighties. After a brief hiatus from cinema (including formal study in philosophy for seven years) he returned to filmmaking in 2004. Since then he has created almost 40 films. His films have screened at venues including the Melbourne IFF, EMAF (Osnabruck), Rotterdam IFF, New York FF, Ann Arbor and Media City and he has toured Europe, North America and Asia presenting solo programs of his work. His films are typically highly structured and and have strongly formalist concerns. He is the proprietor of the artist-run film lab nanolab – the only lab for small gauge film in Australia. His works are firmly in the ‘hand-made’ film tradition. An advocate for the possibilities of hand made cinema, Tuohy has devoted much time and effort in sharing his knowledge through workshops and classes both in his native Australia (notably through the Artist Film Workshop in Melbourne of which he is the founder and convener) and internationally. He was also a co-founder of the AIEFF experimental film festival in Melbourne.
As a young person Dianna Barrie found her way into filmmaking as a middle ground between the pursuit of abstract music and philosophy. Ever pushing the limits of the hand processing of super 8 led to the establishment of nanolab with Richard Tuohy, and into the intersection of hand making and industrial cinema technology. This exploration has spread beyond individual work to the establishment of Artist Film Workshop, where celluloid is embraced and advocated by a community of practitioners in Melbourne.
Programmed by Lorenzo Gattorna
Filed under: 16mm
, artist in attendance
, expanded cinema
, found footage
, Super 8mm
, triple projection
ALL PROCEEDS GO TO THE ARTS OF LIFE
The Nightingale Cinema, 1084 N. Milwaukee
Saturday, March 4th, 7:00 pm, $7-10
The Nightingale is proud to present a special screening of the experimental social issue documentary ELEANORE & THE TIMEKEEPER, in remembrance of Eleanore Hickman, who passed away on November 25th, 2016, at the age of 100.
This event is also a fundraiser for the Arts of Life Inc., a Chicago based organization serving disabled artists by providing studios, classes and opportunities for growth.
Thomas Comerford’s band will be performing live at the event.
$7 – $10 Suggested Donation at the Door
ELEANORE & THE TIMEKEEPER
Documentary, 76 minutes, 16mm film on video, 2010, USA
Directed by Danièle Wilmouth
The complexities of a mother’s sacrifice are discovered when Eleanore, at age 91, moves her developmentally disabled son Ronnie into a group home, after 64 years of devoted companionship and daily ritual in their modest Pennsylvania farmhouse. ELEANORE & THE TIMEKEEPER chronicles the lives of Eleanore and Ronnie Hickman, the Director’s grandmother and uncle. Shot on 16mm, the film is a quiet love story between a mother and son, which records the inevitable transformation in their relationship, and shifting definitions of home over a seven-year span.
Set in a farming and logging community in rural Pennsylvania, ELEANORE & THE TIMEKEEPER celebrates the minor spectacle of the everyday. Featuring a rich and textured musical score composed by the New York avant-garde string quartet ETHEL, the film re-frames social issues, including end of life preparations, resources for adults with disabilities, and loneliness among the elderly. Through the magnified lens of this mother and son relationship, ELEANORE & THE TIMEKEEPER celebrates life’s natural cycles of monotony and impermanence.
Awards: Nesnandy + Schwartz Feature Documentary Competition, 2nd Place, Cleveland Int. Film Festival (2011), and Best Documentary Feature, 2nd Place, Athens International Film Festival (2012).
* In English, with English subtitles for the hearing impaired.
** Please Note: The Nightingale Cinema itself is ADA accessible, however it does not have an accessible bathroom. We apologize for this inconvenience!
ABOUT ARTS OF LIFE:
The Arts of Life opened in 2000 on Chicago’s near west side and is the first Alternative Day Program in Chicago for people with disabilities that focused on artistic vocational opportunities. Today, The Arts of Life has two professional art studios that support over sixty artists with intellectual and developmental disabilities to engage in a variety of artistic mediums.
The Arts of Life is guided by Four Core Values, which encourage personal and professional development of its artists and Teaching Artist Residency Program participants: Inspiring Artistic Expression, Building Community, Promoting Self-Respect and Developing Independence.
An event space featuring independant and experimental films and performances. http://nightingalecinema.org/
Their address is:
1084 N Milwaukee Ave
Chicago, IL 60642
ABOUT DANIELE WILMOUTH:
Danièle Wilmouth creates hybrids of experimental, narrative and non-fiction cinema. Her works have been exhibited at a variety of venues around the globe including; the Kunst Museum Bonn, the National Gallery of Armenia, Television Canal+(a), Argentina, PBS WTTW, Arsenal Institute for Film and Video Art, Tampere Short Film Festival, Anthology Film Archives, Ann Arbor Film Festival, Cambridge International Film Festival, the American Dance Festival, Margaret Mead Film and Video Festival, Thessaloniki Film Festival, Museum of Contemporary Art Chicago, the National Gallery, and the Los Angeles County Museum of Art. A collection of her short films was recently included in the 2016 BODY+ACT exhibition at the National Museum of Modern and Contemporary Art in Seoul, South Korea. In 2013, she was featured in Dance Films Association’s ‘Meet the Artist Series’ with a solo show at the Film Society of Lincoln Center. Retrospectives of Wilmouth’s works have been held in Russia (2004, St. Petersburg International Dance Film Festival), and South Korea (2012, EXiS Film Festival, Korean Film Archives, Seoul). She currently teaches Film, Video, New Media and Performance at The School of the Art Institute of Chicago and Columbia College.
ABOUT THOMAS COMERFORD:
Since 2010, Comerford’s backing band has always had a number of friends and players coming and going from show to show and LP to LP, but lately has coalesced around drummer Kriss Bataille (Urge Overkill); singer-percussionist Beth Yates (Smog; The Pillowhammer); bassist Matty Cummings (Big Buildings; Magic Gloves); pedal steel guitarist Tom McGettrick (Mar Caribe); singer Crystal Hartford (Dust Bunnies; Hartford-Focht); and lead guitarist John Roeser (Innkeepers; Electric Airlines). Once this lineup fell into place in the winter of 2015, Comerford began writing a collection of new songs which the band began to track in the fall of 2015. Comerford has also been moving forward on new material in the studio with an array of other players, including the Chicago band Panoramic and True; acclaimed upright bassist Tatsu Aoki; cellist Jamie Kempkers (Miyumi Project); drummer Seth Vanek (Roommate; Thin Hymns); engineer Nick Broste (Shape Shoppe); singer Angela James and long-time collaborators Robbie Hamilton (Robbie Skye) and Gregg Ostrom. Writes Comerford, “The idea is to keep working on the writing, revising, arranging and recording whenever opportunities present themselves, and bringing material that calls on the strengths of the particular collaborators to any given session. Not too worried about what this is yet as far as LP, EP, Boxed Set or what — just trying to stay focused on the songs and the performances.” Comerford plans to continue recording the new material through the 2017 before deciding on the release plans for it — as of February 2017, there are approximately 20-some songs in-progress.
Filed under: 16mm
, artist in attendance