Director, Alison O’Daniel, in attendance!
The Nightingale, 1084 N. Milwaukee
Friday, August 18, 8 PM, $ 7-10
The Nightingale is thrilled to present a screening of Los Angeles artist Alison O’Daniel’s The Tuba Thieves. O’Daniel’s long-term film project The Tuba Thieves, made in the wake of tuba robberies from Los Angeles schools, elliptically connects the story of a deaf drummer to the students, band directors, and school communities who must reconcile with missing sound following the thefts. The film is composed of portraits of music and silence in Los Angeles and beyond, and is interrupted by fictionalized re-enactments of two historic concerts: the 1952 premiere of John Cage’s 4’33” at the Maverick Concert Hall in Woodstock, NY and a 1979 punk concert hosted by Bruce Conner at The Deaf Club in San Francisco.
Reversing the typical process wherein a composer responds to filmic imagery, O’Daniel commissioned musical scores by three composers and worked ‘backwards”, accumulating a narrative through a process of deep listening. First-hand accounts and real life details from collaborations with students, musicians, composers, and actors are continuously altering the narrative, which is filmed in segments over time, eventually forming a feature length film. Featuring scores by Ethan Frederick Greene, Christine Sun Kim and Steve Roden.
Total running time: 52 minutes
Poster by Caroline Walp
ALISON O’DANIEL is a visual artist working across film, sculpture, performance and music, inviting audiences and collaborators to navigate, de-construct and re-imagine sound. Her current project The Tuba Thieves is composed of narrative film, performance and sculptures based on commissioned musical scores made in response to an epidemic of tuba thefts occurring in Los Angeles high schools.
She has presented solo exhibitions at Art In General, New York; Samuel Freeman Gallery, Los Angeles; Centre d’Art Contemporain Passerelle, Brest, France and performances at the Hammer Museum, Knockdown Center, and Art Los Angeles Contemporary. She received a BFA in Fibers and Material Studies from the Cleveland Institute of Art, a Post-graduate Diploma of Fine Art from Goldsmiths College, University of London, and a MFA in Studio Art from UC Irvine, CA.
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Filmmaker Sally Lawton in attendance!
The Nightingale Cinema, 1084 N. Milwaukee
Saturday, April 8th, 7:00 pm, $7-10
Join us for this special premiere screening of The Hard Earth, a feature documentary by Sally Lawton, preceded by The 51st Star, a short 16mm film by Ian Curry.
THE HARD EARTH is an experimental documentary charting the relationship of five Ukrainians and one Ukrainian American to the 2014 revolution and preceding war.
The film is shot over the central and western regions of Ukraine, immediately post-revolution. Six figures explain their relationship to previous and furthering events in their homes and towns. First the Euromaidan protests are discussed as a singular, illuminating event. After abstracted information, stories of the annexation of Crimea, war in the East, and the disillusionment of the USSR, reveal complex portraits.The director examines interpersonal relationships and how the making of the film impacts realizations. The guides and narrations take on specific forms, showing the miniature in global news stories. The elusive categorization of Ukraine, free and yet oppressed is framed by the difficulty and ease of documentation.
SALLY LAWTON is making film and video work in Chicago and grew up in Detroit. She owns Sincerely Productions which makes commercials for local businesses. She has done curatorial work with experimental film and documentary in Chicago. Her academic background is in film and nonprofit studies, graduating from DePaul University in 2013. Her interest in this project began after her friend, Maya Demianczuk, returned from the Euromaidan. Sally began filming interviews primarily for a public archiving project Maya began, which lead to traveling to Ukraine in summer 2015 and collecting material for the film.
IAN CURRY’s moving image work takes inspiration from the many genres within the 16mm format such as: silent, educational, experimental, avant garde, ethnographic, and documentary films. He combines formal strategies gleaned from celluloid’s history through experimentation to produce stunning imagery that embraces the feeling of a memory or reflection. His films use contact printing, multiple exposures, and in-camera editing or feature on the fly remixing with multiple projectors driving the audience down expanded cinema alley. Characterized by unique moments or observations, rushing energies of light, and striking rhythmic edits; concepts of film and performance are married into a raw celluloid trip with 16mm prints, projectors, and double system soundscapes.
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