1084 N MILWAUKEE, CHICAGO

A ROLL FOR PETER

A Tribute Screening for Peter Hutton
Contributors, Michael Wawzenek and           Paul Marcus, in attendance!

The Nightingale Cinema, 1084 N. Milwaukee
Saturday, March 25th, 7:00 pm, $7-10

The Nightingale is pleased to present A ROLL FOR PETER, a multi-maker, 16mm, black & white tribute to filmmaker Peter Hutton (1944-2016).

Participating filmmakers, Michael Wawzenek and Paul Marcus, in attendance!

Many filmmakers and artists were deeply affected by Peter’s death in June 2016. Twenty-plus former students, colleagues, and admirers of Peter Hutton answered an invitation to shoot A ROLL FOR PETER. The parameters were simple: shoot a single 100 foot roll of 16mm black and white reversal film. The rolls are strung together with black leader separating the rolls, as Peter often separated the single shots in his films. Organized and assembled by Jennifer Reeves and Mark Street, and set on tour thanks to the energies of Eric Theise, this series of pieces speaks to Peter’s strong contemplative aesthetic ethos. Each filmmaker has 2 minutes and 47 seconds of screen time to commune with Peter’s memory, and the collected rolls become more than the sum of their parts.

The organizers write, “Peter Hutton’s contemplative, visually arresting landscape and urban films invite us to take our time within silent cinematic tableaux of place, so that we may discover the beauty of overlooked moments. His carefully composed long-duration shots, whether of city, nature, sea or factory, remind us of the wonder we can discover in the familiar. As we observe with patience, humility and vulnerability, Peter’s work offers us a sanctuary from the frantic, goal oriented state of current visual culture.”

“To me one of the most attractive things about cinema is the fact that you can evoke a sense of mystery, of wonder or curiosity in an environment, a landscape, a room, anyplace, by suspending time. So much of the information that we perceive in film is explained or presented to us in such a way that we can’t help but rationalize it. Once someone leaves us to our own interpretive devices, we can feel a great reprieve and the opportunity to actually give something to the work. It’s like sitting and looking at a painting, at first it might not grab you, but the longer you look at it, the more things reveal themselves.” (Peter Hutton in A Critical Cinema 3, interview with Scott MacDonald)

Program Details:

A Roll for Peter (2016)
16mm and 16mm x 2, black & white, silent, 60 minutes

Participating Filmmakers:
Dominic Angerame, Roddy Bogawa, Cassandra Bull, Jacob Burckhardt, Jesse Cain, David Gatten, Richard Max Gavrich, George Griffin, Eve Heller, Mott Hupfel, Nikolas Jaeger, Amanda Katz & Josh Lewis, Theodore Rex King, Robbie Land, rebecca (marks) leopold, Paul Marcus, Daryl Meador, Mary Beth Reed, Jennifer Reeves, Dave Rodriguez, Peter Rose, Lynne Sachs, Josephine Shokrian, Fern Silva & students, Jordan Stone, Mark Street, G. Anthony Svatek & Zachary Nichols, Eric Theise, Audrey Turner, Michael Wawzenek, Max Weinman & Jake Carl Magee, Timoleon Wilkins

*Catalogues from the Thomas Cole Historic Site screening and tribute on October 9, 2016, which honored and recognized Peter Hutton as a Hudson River Filmmaker, will be available at The Nightingale on Saturday, March 25.

Further information about the film:
http://erictheise.com/films/a-roll-for-peter/

 


Programmed by Lorenzo Gattorna



Filed under: 16mm, artist in attendance, cityscape, collaboration, documentary, dual projection, experimental, film, geography, hand-processing, international, landscape, place, travel, Uncategorized

HOME BASE

The Work of Emily Eddy &
the Nightingale’s 9th Birthday!!

The Nightingale Cinema, 1084 N. Milwaukee
Saturday, April 1, 7:00 pm, $7-10

Join us as we celebrate the ninth affordable renewal of our lease with a new series presenting the work of the folks behind the Nightingale. Over the course of the next year, we will treat each programmer to a mini-retrospective as a vehicle to ask you, our community, what this place has been and should become as it nears a decade in existence.

First up is heir apparent, Emily K. Eddy.  She has been curating film, video, and new media works as Co-Director of the  Nightingale since 2013. She is also a film, video, and digital media artist in her own right. This program spans the last four years and includes outside works that heavily inform Emily’s thematic and aesthetic interests.

Emily graduated from The School of the Art Institute of Chicago in 2013, where she received her Bachelors in Fine Arts. Combining many different forms of moving image, her work utilizes strategies of video diaries, archival practices, and experimental documentaries. Emily has shown work and programmed screenings at many venues in Chicago, as well as her hometown, Portland, OR, Reykjavik, Iceland, and various mid-western cities. Her most recent curated program, HOW TO FIGHT LIKE A GIRL will be presented at Echo Park Film Center in Los Angeles on March 24.

As always at Nightingale birthdays there will be cake, questionable punch, and dancing.

 

Program Details
No Chick Is An Island
Digital Video, 6:59
2013

I (can?) not be defeated
Digital Video, Super 8mm, 9:02
2013

this must be the place
Digital Video, 6:09
2014

Vesturbæjar
Digital Video, 9:48
2017

 

 



Filed under: 8mm, BIRTHDAY PARTY, experimental, feminism, geography, iceland, icelandic, international, landscape, new media, performance, queer, rural, Super 8mm, travel, Uncategorized, urban, video

MOVEMENT MATERIAL

Camera/Dance Works by Jeremy Moss & Pamela Vail
Artists in Attendance!

chroma

The Nightingale Cinema, 1084 N. Milwaukee
Wednesday, December 7th, 7 pm, $7-10

The Nightingale welcomes Jeremy Moss and Pamela Vail to present a 60-minute program of video, 16mm projection, and live performance that highlights transfigurative gestures via the collision of camera and dance. This program explores the roles and functions of both the cinematographer (Jeremy Moss) and the dancer (Pamela Vail) while engaging questions of space, movement, and the ways in which the frame and the cut create alternate walls and rhythms. The progression of this camera/dance collaboration has led the artists to pointedly examine equality, balance, interactivity, and reciprocity between both forms.

Jeremy Moss and Pamela Vail have been actively collaborating since the fall of 2008 and their collective films and videos have shown at prominent national and international festivals including Experiments in Cinema, Crossroads in San Francisco, Cucalorus, Next Dance Cinema, Cinedans in Amsterdam, Arkipel in Jakarta, and at renowned North American venues such as the Northwest Film Forum, San Francisco Cinematheque, Vox Populi in Philadelphia, and Echo Park Film Center.

Their non-narrative visual explorations investigate and present the singular moving body via structural camera and rhythmic editing. Both durational and intense, phrasing of movement and cutting range from assaulting and severe to meditative and lulling. Through this program, the artists ask: how do/can camera and movement inform the other, and offer new possibilities without favoring one over the other? Can the camera act as a dynamic partner, more than simply a new “stage” or documenting device for the dancer? Can the dancer be more than a subject embedded within the frame and altered by the cut? What is the role of location when considering the duet between dancer and camera? How can the dance film continue the early investigations of camera and movement radically propelled by Maya Deren in the twentieth century.

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Filed under: 16mm, artist in attendance, collaboration, dance, experimental, hand-processing, landscape, music, performance, place, rural, sound, Uncategorized, video

CANTOS

Recent 16mm Films by Margaret Rorison
Filmmaker in Attendance!

funes_el_memorioso

The Nightingale Cinema, 1084 N. Milwaukee
Friday, November 18th, 7 pm, $7-10

The Nightingale welcomes Margaret Rorison to present a program of short films shot on 16mm from 2012-2016. Many of these works have developed from travel and explorations through rural and urban landscapes and function as odes to memories of experience. Some films are explorations of the relationship between time and the frame, between pacing and cut and of memory … Sound is an important component to these works as well. Rorison has composed many of the soundtracks with the use of field recordings, contact mics and lucid narrations made by her grandfather. One of her most recent films, Memory of August is an ode and portrait study of her 95 year old grandmother, Margaret Bennett, the widow of Harry Bennett who has been another strong influence in Rorison’s earlier work. Prior to filmmaking, Rorison worked primarily with painting and poetry and is interested in exploring these methods of language and thought through the medium of 16mm film.

“Rorison’s works frequently wander through empty or seemingly empty spaces. Her soundtracks—often consisting largely of electronic music on the drone/noise spectrum—often create a sense of warm alienation, coloring the films’ empty landscapes. Rorison’s films abound with “negative space” compositions—shots which frame a “nothing” (for example an empty sky, a wall, water) against borders of dark (shadows, bridges, walls)… this seems to suggest something of a turning away from the world of the social and a turn towards a state of introspection. These films relish solitude and alone-ness, and even while this solitude is sometimes tinged with dread or alienation, even as the filmmaker’s visions tend toward the apocalyptic, this solitude is asserted often as a source of strength.” — Steve Polta, Artistic Director, San Francisco Cinematheque

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Filed under: 16mm, 8mm, archival, artist in attendance, autobiography, documentary, essay, experimental, film, found footage, geography, hand-processing, landscape, literature, music, performance, place, poetry, social justice, sound, surveillance, travel, Uncategorized, video

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