Screen Based Work by SAIC Shapeshifters
Saturday, December 7th at 7:00 pm, $5-10
Shapeshifters work within an interdisciplinary framework to rearticulate an initial concept through two iterations, rethinking, reimagining and adapting their initial idea to fit the different contexts. With each reconfiguration, the students consider the history and specificity of the medium used in order to question, challenge and blur these boundaries. Together, students program, organize and promote the events. The first event took place at 6018 NORTH on October 26 and the second event takes place at The Nightingale on December 07. The Shapeshifters graduate seminar was developed and taught by Frédéric Moffet at the School of the Art Institute of Chicago.
Patrick John Segura
Samuel Adam Swope
Filed under: artist in attendance
LHI Record Release Party Featuring
Swedish TV Special with Lee Hazelwood,
Directed by Torbjörn Axelman
Sunday, December 15th at 8:00 pm, Free
Light In The Attic Records presents
‘Cowboy In Sweden’ Screening & LHI Record Release Party
After 7 intense years in the making, Seatlle’s Light in The Attic Records just released their most expansive and lavishly packaged project to date: There’s A Dream I’ve Been Saving, a box set commemorating the complete legacy of Lee Hazlewood Industries from 1966-1971.
Included in that box set is one of the several Swedish television specials Hazelwood made with filmmaker Torbjörn Axelman, COWBOY IN SWEDEN.
“…the film must have been exceedingly surreal, since the record exists in its own space and time. At its core, it’s a collection of country and cowboy tunes, but the production is cinematic and psychedelic, creating a druggy, discombobulated sound like no other. This is mind-altering music — the combination of country song structures, Hazlewood’s deep baritone, the sweet voices of Nina Lizell and Suzi Jane Hokom, rolling acoustic guitars, ominous strings, harpsichords and flutes, eerie pianos, and endless echo is stranger than outright avant-garde music…” – Stephen Thomas Erlewine, allmusic.com
COWBOY IN SWEDEN
(1970, 60 mins)
New digital transfer from the original 16mm master negative at the Swedish Broadcasting Co. Fully restored in HD with re-mastered sound. First time available anywhere in the world, and is featured in the new Light In The Attic boxset, Lee Hazlewood Industries: There’s A Dream I’ve Been Saving 1966-1971
Filed under: experimental
Works by Bill Brown &
Interstitials by Thomas Comerford
MEMORIAL LAND by Bill Brown
Friday, October 11th at 8pm, $7-10
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.
Filed under: documentary
Personal Ethnographies of Ross Lipman
Ross Lipman, Photo by Jennie Warren
Sunday, September 15 at 8pm, $7-10
Filmmaker/restorationist Ross Lipman presents this rotating assemblage of ultra-short personal ethnographies both homemade and collected: video essays, cine-poems, and fragments stitched together in the fabric of an evening. The works–ranging in length from several seconds to several minutes–include intimate glimpses of a range of prominent figures in the LA underground and international film communities. Included are portraits of or by Shirley and Wendy Clarke, Bruce Baillie, amateur film maverick Sid Laverents, Anthology Film Archives’ Andrew Lampert and Jonas Mekas, and the cast of Charles Burnett’s Killer of Sheep. Also in the mix are eccentric documents of performances and events by Monotrona, the Center for Land Use Interpretation, Nora Keyes, the LA sub-Cacophony Society, and the Here and Now. Together, these “macro-miniatures” comprise an ethnography that’s both ecstatic and meditative; at once coolly detached and extremely personal.
Filed under: documentary
, found footage