1084 N MILWAUKEE, CHICAGO

HAND AND MACHINE

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.

https://www.facebook.com/events/1280285592006760/

Program Details:

Blue Line Chicago
2014, 10 minutes, 16mm
Architectural abstractions of the second city.

Ginza Strip
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.

LUX
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.

Crossing
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’.

Pancoran
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.

Last Train
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.

Etienne’s Hand
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, 8mm, architecture, archival, artist in attendance, Asian, cityscape, collaboration, documentary, expanded cinema, experimental, film, found footage, hand-processing, international, performance, Super 8mm, travel, triple projection, Uncategorized, urban

JOSH LEWIS & SIMON LIU

Recent 16mm Films from Negativland Lab
Filmmakers in Attendance!

chorus_lewis      the-marshes_liu

The Nightingale Cinema, 1084 N. Milwaukee
Thursday, September 29th, 7 pm, $7-10

The Nightingale welcomes Josh Lewis and Simon Liu as they interweave a selection of their 16mm films made by hand at Negativland MPL, an artist-run film lab in New York City, overlapping in their affinity for experimental processing and printing techniques. With Lewis working predominantly in direct chemical manipulation of exposed film surfaces, and Liu utilizing a roaming impressionistic camera paired with multiple passes on a contact printer, the program establishes the centrality of the Film Lab both as an epistemic concept and as a practical mode of production. Each film emerges out of a continual and rapid cycle of exposing, processing, projecting, repeat. As such, the films here are rarely the culmination of a process, but rather worthy points extracted from ongoing lines of investigation.

Program Details:

Pillager
2011 / 16mm / B&W / Optical Sound / 3:30 min. (Josh Lewis)

Chorus
2015 / 16mm / Color / Silent / 17 min. (Josh Lewis)

The Marshes
2016 / 16mm / Color / Sound / 11 min. (Simon Liu)

Doubt 3 & 4
2013 / 16mm / Color / Optical Sound / 6 min. (Josh Lewis)

Shuffle Cove
2016 / 16mm / Color / Sound / 8 min. (Simon Liu)

The Past is Past [but there is something now that I regret like I was about to do it]
2015 / 16mm Dual Projection / B&W / Silent / 6 min. (Josh Lewis)

Harbour City
2015 / 16mm Dual Projection / Color + B&W / Sound / 14 min. (Simon Liu)

I Guess It’s Always Been That Way, I Don’t Know Whether That’s Important Or Not.
2016 [Work In Progress] / 16mm Triple Projection / Color / Silent / 10 min. (Simon Liu)

Doubt 8 & 9
2013 / 16mm / Color / Silent / 6 min. (Josh Lewis)

TRT: 90 min.

 

JOSH LEWIS is an artist and experimental filmmaker working at a fluid intersection between abstraction, documentary, and narrative forms. Coming from a background working in photochemical film processing labs, Lewis’s handmade films explore the boundaries of manual knowledge, bodily struggle, and the persisting enigma of material potential. Lewis has shown work at Anthology Film Archives, Microscope Gallery, Eyebeam, Uniondocs, The Filmmaker’s Co-op NY, and at festivals such as The International Film Festival Rotterdam, Chicago Underground Film Festival, New Orleans Film Festival, Antimatter, Onion City and EDOC: Encuentros del otro cine festival internacional de cine documental. He is a 2015 recipient of a NYFA Film/Video Fellowship. Josh works as a lab technician and is the founder of the artist-run film lab Negativland MPL. joshlewisfilm.com

SIMON LIU lives and works in Brooklyn, New York. Born in Hong Kong and raised in both Hong Kong and Stoke-On-Trent, England, he moved to New York in 2006 and received a degree in Film Production from New York University. His work has been exhibited and distributed at festivals and institutions internationally including the International Film Festival Rotterdam, CROSSROADS, EXiS, Microscope Gallery, Mono No Aware IX, WNDX, FilMadrid, Paris Festival of Different & Experimental Cinemas, the British Film Institute and the Rio De Janeiro Film Festival. negativlandlab.com

 

Programmed by Lorenzo Gattorna



Filed under: 16mm, artist in attendance, documentary, dual projection, expanded cinema, experimental, film, hand-processing, international, landscape, performance, triple projection, Uncategorized

THE SPACES BETWEEN CITIES

& The Spaces Between Chicagos
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The Nightingale Cinema, 1084 N. Milwaukee
Thursday, September 8th, 8 pm, $7-10

An experiment in collective filmmaking and speculative collaboration featuring dozens of artists from across the globe!

Seattle-based filmmaker and EXcinema founder Salise Hughes commissioned twenty-one international experimental filmmakers spread across four continents to create a short works, resulting in a feature-length film set in North America, Europe, South America and Asia. Employing the cadavre exquis (exquisite corpse) technique invented by the surrealists, the filmmakers wove together a single story by relying on “prompts” for the beginning and ending of their contribution that were supplied to them in advance. The result is a playful experimental road movie in which the closing images of one work also signal the opening of a work created by another artist somewhere else in the world.

To poke around that collage corpus a bit more, ten Chicago artists have been drawn into the exquisite experiment to create a lean dream version of the same.

Tonight, the Chicago version makes its world premiere and the world version makes its Chicago premiere.

THE SPACES BETWEEN CITIES features Pip Chodorov, Charles Chadwick, Kate Lain, Amy Bassin & Mark Bickley, Reed O’Beirne, Konstantinos-Antonios Goutos, Stephen Broomer, Salise Hughes, Douglas Katelus, Blanca Rego, Arto Polus, Robert Zverina, Margaret Rorison,Dustin Zemel, Ben Popp, Insa Langhorst, Anna Kipervaser, Pablo Molina Guerrero, Milan Milosavljevic and Jesse Malmed.

THE SPACES BETWEEN CHICAGOS features Molly Hewitt, Lori Felker,Amir George, Christopher Renton, Paula Pinho Martins Nacif, Josh B Mabe, By Way of Today, Paul Dickinson, Blair Bogin and Jillian Hansen-Lewis.

(Still by Robert Zverina, The Spaces Between Cities. Shooting Location: Seattle, Washingtion)



Filed under: artist in attendance, experimental, international, narrative, new media, video

FIRE AFTER THE SUN

Five Videomakers from Mexico City

Tlate1

The Nightingale Cinema, 1084 N. Milwaukee
Friday, August 19th, 7:30 pm, $7-10


Fire After the Sun
presents the work of five videomakers from Mexico City addressing the legacy of delusionment/disillusionment after history, anecdotes around collective catastrophes, and deconstructions of national symbols.

The program creates a  dialogue between the antagonistic perspectives and conceptual coincidences between the different works. Originally they were all created as video installations. Thus they challenge the mono channel projection by creating non-linear narratives, departing from fiction and nonfiction film strategies through selected media archeologies and techniques.

 

Program Details

Isaac Torres

“Todo se derrumbó” Mini DV (05:17)

“La Marcha” Mini DV (11:11)

Amanda Gutierrez 

“Fallas de Tlatelolco” Mini DV, VHS and HD (3:17)

“Arqueología mediática” Mini DV, VHS and HD (8:00)

“Complot Mongol” HD video (00: 48)

Screen Shot 2016-08-02 at 10.11.06 PM

Paola De Anda

“Fogata del disturbio”  HD video(5:25)

Federico Martinez

“Forjar Dinero” HD video (1:35)

Adela Goldbard

“Enter the Dragon”  HD video(0:45)

“CoCa Cola Chrismas Tree” HD video (1:57)

“Microbus”  HD video(4:38)

“Oxxo”  HD video(2:57)

nightingale3

(more…)



Filed under: anarchy, artist in attendance, experimental, international, new media, video

LIGHTSHIP 103

Recent Short Films by Anna Kipervaser

 Lightship-ship-alt8

The Nightingale Cinema, 1084 N. Milwaukee
Saturday, August 6, 6 pm, $7-10

The Nightingale welcomes Anna Kipervaser as she takes her recent short films on the road. In her work, Anna Kipervaser explores intersections between realities, between abstraction and translation, structure and poetry, the internal and external. She deals with a variety of topics from the Middle East and Islam, to mythology, translation, and modernity-and-tradition.

Her work spans multiple disciplines including experimental and documentary moving image works in both 16mm film and HD video. Anna is also painter, printmaker, curator of exhibitions and programmer of screenings showcasing the works of contemporary international artists. She holds a BFA in Painting from the Art Academy of Cincinnati , Class 2003, a Graduate Certificate in Middle East Studies, and, an MFA in Experimental and Documentary Arts from Duke University, Class 2015.

Filmmaker will be in attendance for a post-screening discussion!

Program Details:

AZIZ AND VALE

2014 I 8:30 I Video I Silent

Kipervaser_Aziz-Vale

A minstrel cannot die in bed. He can only die on the road. During a journey. Dedicated to the guides of the minstrel.

 

FAIR WINDS+ FOLLOWING SEAS

2016 I 4:00 I 16mm I Silent

Kipervaser_FairWinds

The air is cut away before,

And closes from behind.

 

MYTH

2013 I 5:45 I Video I Silent

MYTH

Laid above and in front. A sacrifice and an elegy.

 

A MEETING, IN LIGHT

2014 I 4:45 I Video I Sound

Kipervaser_A Meeting, in Light

And I hold within my hand

Grains of the golden sand –How

few! yet how they creep

Through my fingers to the deep,

While I weep — while I weep!

 

IT WILL BE ADVANTAGEOUS TO CROSS THE GREAT STREAM

2014 I 5:40 I Video I Sound

Kipervaser_Advantageous

Sometimes, and only sometimes, do things magically fall into place. Always, the future is revealed. The past is never quite what it seemed. And if it’s true that destiny adores repetition , then the present is its silent resting place. All things move toward their end.

 

THE ORDER OF REVELATION: 1-5

2015 I 14:00 I 16mm I Silent

Kipervaser_TheOrderOfRevelation_Still

THE ORDER OF REVELATION is a long-form multipart film translating the Quran from Arabic to Visual, in the order in which it was revealed rather than the order in which it was canonized following the rules of recitation of the Quran, reclaiming the Visual as a Language and challenging prioritization of semantic meaning in translation in favor of considerations such as form fidelity.

 

THE INVISIBLE AX

2016 I 5:00 I Video I Sound

ax-still

He knew that the woods are full of forest demons who graze deer and hares like cattle, that the Chuhaistyr – who rends wood nymphs from limb to limb – roams about, inviting passers-by to join him in dance, and that the sound of the ax lives in the forest. He also knew about the Rusalky who emerge from the rivers on clear days to sing songs, to invent tales and prayers, and about the drowned men who dry their pale bodies on river boulders after sunset.

 

HORTUS CONCLUSUS

2015 I 6:45 I Video I Silent

Kipervaser_Hortus

A garden enclosed is my sister, my spouse;

a garden enclosed, a fountain sealed up.

 

Anna Kipervaser is a Ukrainian-born multimedia artist. Her work spans multiple disciplines including experimental and documentary moving image works. Anna is also painter, printmaker, installation artist, curator of exhibitions and programmer of screenings showcasing the works of contemporary international artists. Her moving image work has screened at Full Frame Documentary Film Festival, Anthology Film Archives, Crossroads Film Festival at the San Francisco Cinematheque, Big Sky Documentary Film Festival, Chicago Underground Film Festival, Athens International Film and Video Festival, Indie Grits Film Festival, Montreal Underground Film Festival, Haverhill Experimental Film Festival, Spectacle Theatre, Muestra Internacional Documental de Bogota, and 12Gates Video Art Fest. She holds a BFA in Painting from the Art Academy of Cincinnati, Class 2003, a Graduate Certificate in Middle East Studies, and, an MFA in Experimental and Documentary Arts from Duke University, Class 2015. annakipervaser.com

 

Programmed by Lorenzo Gattorna



Filed under: 16mm, artist in attendance, documentary, experimental, feminism, film, international, Uncategorized, video

SASHA LITVINTSEVA

Recent Work by Sasha Litvintseva
Artist in Attendance!

Screen Shot 2016-07-14 at 12.33.01 PM

Run of Life Experimental Documentary Series
Saturday, July 30, 7 pm, $7-10
The Nightingale, 1084 N. Milwaukee

 

Sasha Litvintseva is an artist, filmmaker, researcher and curator. She was born and raised in Russia and has been based in London since 2004. Her films excavate the layers of history, past and future, embedded in landscape and architecture, and juxtapose and entangle the monumental and the pictorial, narrative and infrastructure, the global and the personal, the human and the geologic, embodiment and temporality, politics and leisure, and ultimately the infinite and the everyday.

Her work has been exhibited worldwide including Wroclaw Media Art Biennale, Poland, The Moscow Biennale for Young Art, Modern Art Museum Moscow, Institute of Contemporary Art, London,  Ann Arbor Film Festival, Edinburgh Film Festival, Union Pacific gallery, London, Kasseler Dokfest, Carlos Ishikawa gallery, London, Festival Du Nouveau Cinema, Montreal, Kino Der Kunst, Munich, Cinema Du Reel, Paris among many others.

She has had solo shows and retrospective screenings at Union Docs, New York, Courtisane Film Festival, Ghent, Close-Up Film Centre, London, AC Institute, New York, Edinburgh Film Guild, Image/Movement, Berlin, Nightingale Cinema, Chicago and VISIONS, Montreal, and her film Evergreen was released on DVD by Filmarmalade in 2015. A graduate of the Slade School of Fine Art she is currently working on an AHRC CHASE funded practice based PhD proposing the concept of geological filmmaking at Goldsmiths, University of London, where she is a founding member of the Screen and Audiovisual Research Unit. She is also an independent curator of contemporary moving image and co-curator of the forthcoming inaugural November Film Festival.

 

Program, Details:
Alluvion  (2013, HD video, 31 min) 
A father and his grown children of unnamed nationality, make their way through a Turkish coastal landscape where ancient and modern histories transmute into material spectacle and the nights are filled with incessant entertainment. Amidst remains of mutated cultures, bodies are caught in rituals of sun worship, stagnating in a state of passivity. Disco-lights permeate all, and turquoise toenails float above the city. Millennia old columns are submerged in swimming pools. At a shipyard on the edge of town, a group of men are building an ark, labourers actively asserting meaningful influence upon their surroundings, they may or may not achieve salvation as the film and the world around them all are disintegrating toward an Atlantean End.

 

Immortality, home and elsewhere (2014, HD video, 12 min)
(this is not full definition)

Weaving around a theory of immortality based on the premise that our lives are a summation of all the information we consume and process, gleaned from existing theories from a number of scientific disciplines, the film draws on my personal history’s brush with a global nuclear disaster, to precipitate a meditation on the potential role of an individual in the imaginary film/event of our individual or collective death: as a protagonist, or as an extra appearing in a handful of frames at the very moment of their death.

The (im)possibility of a singular setting for such an event is at question, and there is a temporal flattening accompanying the spacial flattening, both as a collapse of history implied by the end of potential futures, but also the flattening of time implicit in our fascination with ruin.

The uncanny familiarity we gain with spaces through mainstream cinema, which is itself becoming increasingly domesticated, is not unlike what is made possible with streetview. By releasing locations such as the pyramids and the Taj Mahal, themselves monumental attempts at immortality, streetview is declaring itself as a competitor to tourism, tourism itself a chase of experience and self-documentation.

The virtual experience may not quite compare to the real thing yet, but the mediated virtual experience carries the same indexical value as the mediated real thing, being one step removed from the physical world. The question of authenticity in terms of cinematic authorship as well as consumption remains to be answered.

If you could experience everything that ever was, would you still be afraid?

 

Evergreen  (2014, HD video, 27 min)
Evergreen explores the crisis of grand narratives in the face of the photographic image. It is a self-deconstructing story of an immortal traveller’s undefinably temporal/spacial journey through inhabited theme parks and museums, islands of time, abandoned cities. A civilisation’s perpetual struggle for perfection and unquenchable documentation of itself, as if driven by knowledge of its looming demise. Heritage as spectacle, spectacle as heritage, nature as both.

 

Exile Exotic (2015, HD video, 14 min)
Steeped in elliptical history and historical simulacra, Exile Exotic is set at a hotel that is a replica of the Kremlin. Narrating the exotic beginnings of my mother’s and my exile from Russia, the film serves as a platform for us to visit the Kremlin again, albeit by the side of a pool. Soundtracked by an operatic score reminiscent of the song of the sirens making Odysseus stray on his long journey home, our story reverberates throughout the scope of Russian history’s limiting of free movement of individuals. This film is a pilgrimage. This film comes in waves.



Filed under: artist in attendance, documentary, experimental, international, Uncategorized, video

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