Works by Jennifer Chan
Saturday, November 16th at 8:00 pm, $7-10
Artists in Person!
Filed under: animation, artist in attendance, experimental, new media, performance
The NIGHTINGALE is delighted to present an evening of all 16mm work by Ian Curry. Show will include new work and several performative pieces including new work for 3 interlocking 16mm projectors.
Ian Curry is a filmmaker whose work celebrates the sensuality, magic, and history of the physical medium of 16 millimeter film. His work focuses on manipulating film through experimental processes and testing its limits by way of designed apparatuses for presentation. He often uses hand processing, optical printing, contact printing, and in-camera editing to reveal a passing moment’s brilliance or a presented moment’s faltering truth. Previously of Bridgewater, MA, and Boston, Curry has exhibited his works in gallery, screening, and performance contexts. He earned a BFA at the Massachusetts College of Art and Design in Boston and an MFA at the University of Illinois at Chicago.
(2009, color/silent, 16mm, 7 minutes)
HAVING HER BABY
(2009, color/double system sound, 16mm/18fps, 6 minutes)
GOOD MORNING, MY NAME IS MIKE
(2010, b&w reversal/double system sound, 16mm double projection, 13 minutes)
(2012, color/silent, 16mm/18fps, 8 minutes)
(2013, color/sound, 16mm projector performance, 8 minutes)
(2013, color/double system sound, 16mm interlocked triple projection, 10 minutes)
REMAINS TO BE SEEN
(2013, color and b&w/sound, 16mm interlocked triple projection, 6 minutes)
And other goodies!
Lonesome drifter of underground cinema Bill Brown will present his latest movie, Memorial Land, a documentary portrait of six people across the United States who built their own DIY 9/11 memorials. He will also screen Confederation Park, his 1999 essay about roadtripping across Canada.
In addition to the films, Bill will be reading from the just-released 15th issue of Dream Whip, his ongoing collection of stories about bike rides, bad coffee, and hard time on the Greyhound.
Bill will be joined by Chicago’s own Thomas Comerford of Kaspar Hauser fame, who will be providing musical magic throughout the evening.
MEMORIAL LAND (2012, Color/Sound, 16mm & DV, 28:14)
In the decade since the events of 9/11/2001, the United States has been engaged in a national act of memorial making. Some of these 9/11 memorials are contested sites, where conflicting visions and voices clash. But most are quiet and deeply personal. This short non-fiction film examines some of these memorials, and the reasons why six people made the unlikely decision to build them. A woman in Wisconsin hopes to franchise her homemade memorial in all 50 states. A gay priest in Kentucky dedicates a storefront church to a victim of 9/11. A man in New Jersey builds a scale model of the Twin Towers on his front lawn and decorates them with Christmas lights. None of these monument makers had lost any friends or relatives that day. All of them watched the tragedy unfold at a distance, and it is this distance that they hope to cross.
CONFEDERATION PARK (1999, Color/Sound, 16mm, 32:00)
In the voice-over to […] Confederation Park […], Texas filmmaker Bill Brown makes reference to “the secret languages of exile,” and while this reflective, even somber film presents a pastiche of places across Canada where Brown has lived, its real subject is the limits of knowledge. Its long takes are accompanied by verbal meditations on the nation’s recent history, including the separatist bombings in Quebec during the 60s, and the battle between English and French becomes a metaphor for the filmmaker’s divided mind. Brown applies stickers with city names to a huge outdoor map of Canada, his voice-over suggesting that “we’ve found our place in the universe” as a result of the “Copernican revolution”–but then the stickers are blown away by the wind. Brown implies that images are insufficient: we need to know their history, their locations, their meaning. But landscapes can’t be fully decoded, nor past events captured on film: in the final shot a woman sings, “I don’t know where he’s headin’ for,” while a car travels in a circle. –Fred Camper, Chicago Reader
Bill Brown has been making first person experimental documentaries since the mid-1990′s. His films explore the landscapes of North America, and have screened at venues around the world, including the Viennale, the Rotterdam Film Festival, the London Film Festival, the Sundance Film Festival, Lincoln Center, and the Museum of Modern Art in New York. He lives in Chapel Hill, NC these days and teaches filmmaking at Duke University.
Participating artists are randomly matched in sets of 3 && given 10mins to perform. NO MEDIA aims to bring together artists from a broad range of performable disciplines (poets + dancers + expanded cinemaistas + free jazzers + audio/video noise makers + etc) to challenge the conventions of their practice by responding in realtime to artists from other disciplines.
No Media At The Beginning!
[NO preparation is allowed. Bring your tools, devices, instruments, props, etc., but you’ve got to start with a blank slate. NO time will be allotted for ‘setup’. There will be a 2min turn around time where you can carry your stuff up and meet your collaborators]
No Media At The End!
[NO documentation allowed. It happens once && in realtime.]