New Video Works By Grace Mitchell
1084 N. Milwaukee
Friday, June 16th, 7:00 pm, $7-10
Grace is an image maker whose work is often inspired or facilitated by writing and language (body-language, spoken language, and other communicating forms). Discourse in her films functions much like how talking to yourself does: it lingers, disagrees; it’s sporadic and disjointed. Rarely concludes.
Join us for a special screening of new video work by Milwaukee based artist Grace Mitchell. Artist in attendance!
Accompanying the screening will be issues 3, 4 & 5 of Cineviews, an experimental publication revolving around filmic endeavours, founded by Mitchell with the designing forte and collaborative efforts of Reece Ousey, as well as a yet-to-be-released book of images created by Mitchell and published through Martian Press, a risograph printing press run by Stephanie Gage, located in Milwaukee, WI.
Fate Parts (3 min)
Ilse, Irene (5 min)
Another’s Window (7 min)
Red Heel In Field (2 min)
Top Thrill (7 min)
Yards (7 min)
Been Waiting (6 min)
Was Here (4 min)
Sunset Song (5 min)
Filed under: artist in attendance
The Nightingale will host a screening of first year SAIC MFA students’ film, video, and new media work.
The Nightingale Cinema, 1084 N. Milwaukee
Friday, May 6th, 7 pm, $7-10
Ranging from experimental documentary to 3D and 2D experimental animation, these films and videos represent the culmination of a year spent in thought and labor at the School of the Art Institute of Chicago. These works, produced as first year students in the MFA program, explore themes of loss and displacement, the role of the accordion in Chinese culture, and chance operations. Join us for a screening of works completed and in progress, including a live kazoo soundtrack.
Joe Houlberg – BIRTHz
Ricardo Salcedo Martínez – Home(s)
Julia Pello – In the Time//In the House\\ of Slow Sex
Emily Sasmor – COWBOYS, COWBOYS, COWBOYS, MINERS, COWBOYS – ACT III – THE GIRL GANG AND THE PONY
Benji Sayed – ihavefailedyouall
Kelsey Velez – Pinwheel
Peng Zuqiang – Accordion Class
Joe Houlberg is an Ecuadorian film director, born in 1986. He studied Film and Philosophy at Universidad San Francisco de Quito. At the moment, Houlberg is studying an MFA in Filmography at the School of the Art Institute of Chicago.
Throughout his career, Joe has explored the forms of communication present among the living beings, beyond words. This exploration may be experienced in SED, his first feature film (Chicago Latino Film Fest), as well as in BEUEU (Best Short film: Cero Latitud, Official Selection: Chicago Latino, Lakino Berlin), NO VA A NINGÚN LADO (Official Selection: Cine- marea, Tamaulipas, Espejo) and NIEBLA MUDA (Honorable Mention: La Orquídea).
Ricardo Salcedo Martínez was born in Cuenca, Ecuador in 1989. He got his undergraduate degree Film at the School of Arts and Social Sciences in Chile. Through fiction, documentary and essay film forms his work often delves into questions of identity, belonging and perception. He is currently studying for his Master’s at SAIC.
Julia Pello is a Russian-born poet and filmmaker who has shown work around the world including at The Getty, Le Centre Pompidou, and the Bangkok International Film Festival among many others. She has collaborated on various audio-visual projects including Hour of Star and Zerkalo and presented live projections at such venues as Cité de La Musique. Julia is currently a Master of Fine Arts candidate at the School of the Art Institute of Chicago.
Emily Sasmor’s work focuses on power relationships. Telling narratives focusing on interpersonal relationships allows her to talk about domination on both a small and large scale. Using both tangible and intangible materials, she brings up the roles that reality and the imaginary play within them. The stories and spaces she creates are meant to leave questions. None of which are answered. By reveling in these interactions, the viewer is asked to enter into limbos, engaging with unending, repetitious power struggles.
Desi-Corean artist Benji is interested in glitch, noise, and game environments to explore concepts of identity loss, alienation, anxiety, and failure.
Kelsey Velez is an MFA candidate at the School of the Art Institute of Chicago. Her work has screened at Indie Grits in Columbia, SC, New Orleans, LA & in Athens, Greece. She is interested in marrying traditions of representation and abstraction to depict and distort ideas of recreation, diversion and sport.
Peng Zuqiang is a filmmaker and translator born in Changsha, China in 1992. His film and video works speculate and question the potential and condition of collectivism through exploring historical objects and environments. Recent exhibitions include: “De arrogantie van De jeugd” (2015) at Galerie Gabriel Rolt, Amsterdam. “Casual Contradictions” (2014) at MOCA Shijiazhuang, and “The Temporary: 01” (2014), at ARTicle Gallery, Birmingham. His has participated in screenings at Acadia Missa and Chinese Visual Festival, both in London where he completed his BA at Goldsmiths College. He is currently a candidate of MFA in Film at the School of Art Institute in Chicago.
Programmed by Emily Eddy and Kelsey Velez
Filed under: 16mm
, new media
Films by Saul Levine
Saul Levine in person!
Saturday, May 2, 8 pm, $7-10
The Nightingale Cinema, 1084 N Milwaukee, Chicago, IL
“Saul Levine is the foremost dissenting filmmaker in America. With about 35 years of consistent production behind him, and no signs of fatigue, he can show us the shape of a life passionately and uncompromisingly devoted to filmmaking. His works are high-energy messages of friendship, records of sexual love and political activism, radiated by humor, prophetic anger, loneliness and even though rarely, representing repose.” — P. Adams Sitney (**)
“A friend of mine who worked for Yale’s AV department showed me three films that changed my life. Maya Deren’s AT LAND, CHOREOGRAPHY FOR THE CAMERA, and Viking Eggling’s SYMPHONIE DIAGONAL. From Deren’s films I saw that cinemas ability to represent figures in time and space poetically could be a paradigm of consciousness; Eggling showed me that nonfigurative shapes could evolve and change musically. I saw that I could use film to understand the world around me directly. I could also use editing to make relationships between what I was seeing in front of the camera and what was going on in my mind. I stopped making editing decisions based on story and started making them based on shape, memory and association.” -Saul Levine (*)
The program title KALEIDOSCOPIC VISIONS was inspired by P. Adams Sitney’s description of Saul’s unique style of shooting and cutting as “…fused with the kaleidoscopic fury of memory…”. The program selects films by Saul Levine from 1973 to 2011. The films represent roughly three of Saul’s major formal approaches to the small gauge formats of Regular 8mm (presented as a digital transfers and a 16mm blow up) and Super 8mm (presented in Super 8mm and 16mm blow ups).
The first part of the program, ON THE SPOT (1973) and NEARSIGHT (1977-78), showcase Saul’s early rigorous in-camera work that directly responds to his subjects. Saul uses single frame shooting, repetitious movement, and variations in exposure to create “nonfigurative shapes that evolve and change musically” (*). These two films differentiate themselves from structuralist films of that era by their personal and intuitive sense. In Saul’s films we feel through his camerawork an emotionally raw response to the world that allows the viewer to “hitch a ride” into the author’s “state of mind” or “level of consciousness” (***).
The middle of the program, BOPPING THE GREAT WALL OF CHINA BLUE and A FEW TUNES GOING OUT: GROOVE TO GROOVE, represent two films from Saul’s innovative body of Super 8mm Sound work that uses splicing to layer sounds over images from varied places or moments. Saul’s frame by frame cutting technique challenges the apparatus of the projector to represent records of “real time”. It exploits the difference in time and space of twenty six frames between the projected image and the projector’s sound head. By doing this he creates experiences of coinciding events within a single moment- multiple thoughts, memories, personal, political, local or global. Both from the series A FEW TUNES GOING OUT, the second film GROOVE TO GROOVE, shows Saul editing with this single frame and two frame method.
A comedic break, AS IS IS, is a personal and insightful portrait of the struggles of owning a pet chameleon.
The last portion of the program shows Saul’s recent experimentations of recording light with the Super 8mm camera in his working series titled: LIGHT LICKS:BY THE WATERS OF BABYLON. JAMMING reflects on a 2004 demonstration at the National Republican Convention in New York while I WANT TO PAINT IT BLACK is “inspired by the absence of a contemporary Jewish community” (**) in Prague. Both films show the rich visual records Saul captures by spilling light into the frame beyond the camera’s aperture (see the still below)
Filed under: 16mm
, artist in attendance
, Super 8mm
MASTERPIECES ON THE SUBJECT OF PAINTING
Sunday, July 27, 2008
[Special Field Trip Screening to Cinema Borealis because of flooding]
In his time, Jack Chambers was considered among the greatest of Canadian painters. His brilliant films (Hart Of London, for example) have recently received their belated reputation as some of the greatest film work of the 20th century. Guy Fihman is a filmmaker of great acclaim in France, who co-founded the filmmaking group Melba and its self-named journal.
R-34 (1967, 26 min, 16mm) by Jack Chambers, is a two-fold work – on the one hand, it is a document of the Canadian artist Greg Curnoe at work; on the other, it is an appropriation of the images of Curnoe’s paintings and collages and the action of the artist in motion by Chambers to make a wholly separate work of film art. Filmmaking legend Stan Brakhage says, “R-34 is the greatest film on the creative process I’ve yet seen.”
Ultrarouge-Infraviolet (1974, 31 min, 16mm) by Guy Fihman is a film that reworks the colors of Pissarro’s Les toits rouges. Working from a photo reproduction of the painting, Fihman animates over 20,000 variations of the colors using Xerox pigment. The film uses the materiality of the Impressionist’s pigments to explore the immateriality of film’s light. It’s a classic of French experimental work and of “Structural Film.”
Very Special Thanks to James Bond for hosting the screening.
Filed under: 16mm