STARTING TIME - 8pm (except where indicated)
Admission- $8 / $6 members.
OPEN SCREENING OCT. 28 (Fri.)
DVD, Mini-DV, Videotape, 16MM, S8MM. All works are shown on a first-come-first-served basis. Bring films, videos and/or come as a viewer. (Finished works only, limited to a maximum of 20 minutes per person). Refreshments will be available. Doors open at 7pm. Screening begins at 8pm and ends at 10:30pm. Admission by contribution.
NOV. 5 (Sat.) 3-9pm
ANOTHER EXPERIMENT BY WOMEN FILM FESTIVALLili White, DirectorThe second annual Another Experiment by Women Film Festival (AXWFF.com) will showcase, promote and nurture women filmmakers whose individual vision moves beyond what is typically offered in galleries or movie houses.
Women's own vision is unique: it often stems from and/or joins together political, familial, social or body issues. Films with such themes and form, and films made by women, are an alternative to what is presented at most theaters and/or "experimental" screenings. We want to screen something different, that challenges us to rethink what "experimental" means, outside of any standard form. By "film" we refer to a moving image, made with any media, that presents a transformative action or thought.
The festival will present 2 shows and a panel discussion led by Kerrie Welsh on November 5, 2011 at MILLENNIUM FILM WORKSHOP. Angela Ferraiolo will present her computer generated interactive video installation, YOU!THE LAST FOUR SECONDS and Rachael Guna will perform her 18FPS, 45RPM, 3SPI using Super 8 film and vinyl phonograph recording. Alice Cohen may also perform a live improvised soundtrack along with her film, TRANCE ACTIONS. AMERICAN PAPER OPTICS has generously donated ChromaDepth glasses to view the upcoming film, MY WINDOW, by Anabela Costa.
4:00 PM SCREENING
5:30 PM Panel discussion with Kerrie Welch (Free of charge).
8:00 PM SCREENINGFor show details and ticket sales visit the Another Experiment by Women Film Festival website (AXWFF.com).
NOV. 6 (Sun.) - 5pm
Stills - LEFT TO RIGHT: Deborah Phillips, Gina Carducci, Nazli Dinçel.
DEBORAH PHILLIPS (Berlin, GERMANY) joined by
GINA CARDUCCI (New York, US) & NAZLI DINCEL (San Francisco, US)Co-presented by MONO NO AWARE ARTISTS DEBORAH PHILLIPS AND GINA CARDUCCI IN PERSON
Deborah S Phillips has curated exhibitions as well as numerous film programmes both in Germany and abroad. Her film work on 16mm and Super 8 have been screened all over the world and are distributed by LightCone. She is on the board of kunstraum t27, an artists' run gallery /space and currently resides in Berlin, Germany working as a translator of art, architecture & film-related texts. This is Deborah's first visit to New York in over 12 years, do not miss this opportunity to see her work and meet her in person.
Gina Carducci is a contact printer by day and a filmmaker by night. Gina's film, Stone Welcome Mat, premiered at the Venice Film Festival. Generations, a collaboration with Barbara Hammer, premiered at MoMA in 2010 and won the Teddy Award for Best Short Film at the Berlin Film Festival. All That Sheltering Emptiness, a collaboration with Mattilda Bernstein Sycamore, was selected by invitation to International Film Festival Rotterdam 2011. Gina is currently shooting The 16mm Seasonal Seriesto premiere in the fall of 2012. As always, all shot on the Bolex, hand-processed in the kitchen and edited on the flatbed in Gina?s basement in Brooklyn. "Film is not dead." -G.C.
Nazli Dinçel's work derives from pure cinematic experiences. Dinçel grew up in Istanbul, Turkey, immigrating to the states to pursue Art. Her films have been shown at local film festivals and art galleries in Milwaukee where she finished her film degree. Her work is heading to the west coast as she pursues a masters degree: exploring the human body with an eastern female sensitivity. She currently lives and works in San Francisco, CA.
PROGRAM:
TRT: Approx. 51 minutes + post screening discussion.NOOR by Deborah Philips (6 min, 16 mm, silent)
Noor = light. Light & colour induce hope. This is composition reacting to a whinging zeitgeist, threatened with the possibility of war. A still-life in time, a means of having hope. The Allam house in Esfahan was being renovated when we were there. It had been damaged during the Iran-Iraq war. Other footage was shot (super 8), in Berlin and in the Polish countryside.CAPSICUM by Deborah Philips (11 min, 16mm, sound) Music by Wolfgang in der Wiesche, sound collage by Ruth Wiesenfeld.
I spent years as a girl fighting to be allowed to have a Bas Mitzvah and read from the Torah, like the boys. I was given a portion containing four weird lines about a perfect red heifer, out of context. I have, since then, identified with this cow. And I've thought about it while cooking, as an architectural student and as a woman who prefers blue to red...71 by Deborah Phillips, (7 min, 16mm, sound) with music by The Betel Nuts Brothers (Taiwan) and Urban Myth (UK).
71 is guided by impressions and feelings of the artist during shooting: a feeling of absurdity that comes when one travels to the back of beyond without ever reaching anywhere.HERMAN(N) by Deborah Phillips, (8 min, 16 mm, silent) NEW YORK PREMIERE.
Although this part of Neukölln (a district in Berlin) has a reputation as a dangerous place, I see it, through golden late summer light, as an inviting place. I have lived, for 10 years, on a side street of the Hermannstraße, first on the one side, then on the other. Gentrification has already commenced a few blocks north of where I live: there's a gradual progression heading south on Hermannstraße; closer to Hermannplatz, things get busier. North of the famous square is as trendy as in many other parts of town now. This multimedia project (16mm film and installation) is an attempt to make the very different segments of this street palatable to viewers: it's not a matter of relaying a message, but more a feeling of the place...FONTANESTR by Deborah Phillips, (2 min, Super 8mm, silent) WORLD PREMIERE.
How I cherished watching the goings on from the balcony of my former flat. When I learned that I would have to move, I made this little film to record the atmosphere...DE LA JONCTION by Deborah Phillips in collaboration with Marie Wilz, (3 min, Super 8mm, sound) US PREMIERE.
Brussels is a hard place to pin down. Its neighbourhoods are often very dfferent. When Marie & I realised an installation together there, we tried to capture some of the genus locii...STONE WELCOME MAT by Gina Carducci, (6 min, 16mm, color, silent).
Stone Welcome Matexposes formal imperfections of film as a metaphor for language and memory. Carducci discovers a new visual language as she weaves together her grandfather?s 8mm Kodachrome home movie footage with her hand-processed super-8 Ektachrome film shot 30 years later outside of his old house in Pratola Peligna de l?Aquila, Italy.LEAFLESS by Nazli Dinçel (8min, 16mm, color, silent) NEW YORK PREMIERE.
Leafless is an experiment of expansion of time in film, a hand processed love poem of textures about becoming familiar with a significant others body in reservation with its landscape.
NOV. 12 (Sat.) - 8pm
FILM AND VIDEO OF CAROLEE SCHNEEMANN:
A CELEBRATION OF MILLENNIUM FILM JOURNAL No. 54Filmmaker in Person The Millennium is pleased to have Carolee Schneemann present to show and discuss her work in regards to this special issue of the Journal devoted in large part to her long and distinguished career.
"Carolee Schneemann, a groundbreaking performance and multidisciplinary artist, has used film and video since the 1960s. Shattering taboos and redefining the notion of the erotic, she confronts sexuality, gender, and the social construction of the female body. Her seminal performances of the 1970s were as transgressive as they were influential. Schneemann continues to provoke, as she explores female sexuality in relation to art-making, ritual, and culture."- Electronic Arts Intermix on-line catalog."Program- KITCH'S LAST MEAL (30 min.-version-1973-76), PRECARIOUS (5 min., 2009), MYSTERIES OF THE PUSSIES (6 min., 1998-2010), ASK THE GODDESS (7 min., 1991), AMERICA I-CHING APPLE PIE (17 min., 2007).
A WEEKEND WITH PAUL GARRIN
Media artist and political activist Paul Garrin will give a talk on Friday evening and screen and discuss a selection of his provocative videos on Saturday evening. Since his work as an assistant to Nam June Paik and Shigeko Kubota in the 1980s he has been working to open up public space on the internet through his creation of infrastructural projects such as Name Space.
NOV. 18 (Fri) URBAN CYBER PLANNING- A TALK "Like many members of the international Net community Paul Garrin fundamentally criticized the Domain Name System (DNS), which he attested created an artificial scarcity of Top Level Domains. According to Garrin the monopoly power of NSI represents a privatization of public commons, and the selling of domain names (whose numbers are artificially kept low) represents a commercialization of the public space/domain of the Internet. Garrin said in a interview: "I see the Internet as a public space ? like the streets. In the US streets get increasingly privatized. If you go out onto a street somebody has bought, or a shopping mall [?] you access private property, and you no longer have the right to freely voice your opinion, a right guaranteed by the constitution. The more places get privatized, the less public spaces there are where you can say what you think. During the past years there has been this gentrification of whole city quarters, and now starts a disneyfication of the net which is as dangerous." Garrin therefore, with the support of his company pgMedia, wanted to replace the domain name system with his own system. With Name.Space he wanted to prove that at least technically speaking there was no limit for the number of (top level) domains"- from an article by Inke Arns, "This is Not a Toy War: Political Activism in Times of the Internet."
NOV. 19 (Sat.) PAUL GARRIN Paul Garrin is best known as a politically active video artist from the 1990s. His most famous work is Man with a Video Camera (1989), in which he videotapes a riot in Tompkins Square Park in New York City's Lower East Side. The video records police officers with covered badge numbers beating protesters, and Garrin himself being pulled off a van and assaulted for shooting video tape. In the video, Garrin proposes a new revolution is coming; a reverse Big Brother state in which citizens armed with camcorders are continually watching the government. Another well known work is Free Society (1988), an intensely processed video using images representative of a police state.
Garrin was an artist living and working in the Lower East Side during its last days of creative production. His work straddled a gap between the highest technology available and hands-on street video, all for a common political cause. Later on, Garrin collaborated with video artist Nam June Paik, producing numerous works between 1982 and 1996. Since the 1990s, Garrin has carried his politicized style of action artmaking onto the internet, founding companies and projects that work to free the internet from corporate and government control.
Program- MAN WITH A VIDEO CAMERA, REVERSE BIG BROTHER- HOME(LESS) IS WHERE THE REVOLUTION IS (Music by Elliot Sharp), FREE SOCIETY and other works.
OPEN SCREENING NOV. 25 (Fri.)
DVD, Mini-DV, Videotape, 16MM, S8MM. All works are shown on a first-come-first-served basis. Bring films, videos and/or come as a viewer. (Finished works only, limited to a maximum of 20 minutes per person). Refreshments will be available. Doors open at 7pm. Screening begins at 8pm and ends at 10:30pm. Admission by contribution.DEC. 3 (Sat.)
JAKE BARNINGHAM Barningham's work is concerned first and foremost with the textures, rhythms and colors possible in video. Largely using re-appropriated footage from amateur meteorologists across the country, the videos in this program re-invision landscapes not as majestic natural sculptures but as objects, like video, that are struggling to exist. Colors and shapes snap, gesticulate and then dissolve in a membrane of pixels. Trees and clouds shift restlessly against ill-defined spaces and tremble at the hand of invisible forces. Large fields bathe in scattered rays of light which arrive as quickly and as painfully as they vanish.
Program - Again (2011, 4.5 min, DV, sound), And Again (2011, 3min, DV, sound), Charles Ives' Three Quarter-Tone Pieces "Chorale" (1924, 4.5min, CD), Hills (2011, 2min, DV, silent), Easter (2011, 2min, DV, silent), Color Copy (2011, 3min, DV, silent), Playing (2011, 2min, DV, silent), Arrangements 1 (2011, 3min, DV, silent), Arrangements 2 (2011, 2min DV, silent), View from a Cemetery (2011, 4min, DV, silent), A Pass (2011, 2min, DV, silent), Silence (2011, 2min, DV, silent), All (2011, 2min, DV, silent), Parts (2011, 4min, DV, silent), Tropical (2011, 5min, MiniDV, silent), Back Yard (2011, 4min, DV, silent), "Wood Cart Group" 1. Wood Cart (2011, 5min, DV, silent), 2. SometimesatNight (2011, 6.5min, DV, silent), 3. I Hear Strange Laughter (2011, 6min, DV, silent), 4. Buster Keaton (2011, 5min, DV, silent).
DEC. 10 (Sat.)
GEORGE KUCHAR - The Early Videos
George Kuchar, a beloved and enormously prolific filmmaker, passed away this past September. For many years the Millennium has been presenting annual programs of new work by George and his twin brother Mike Kuchar, so we are particularly saddened by this loss. This screening consists of videotapes, made with 8mm camcorders, premiered in NYC at Millennium in 1988 and 1989. These works marked a new beginning for Kuchar as a video artist and a turning away from 16mm film.
Program- RAINY SEASON (30 min.-1987), WE THE NORMAL (15 min.-1988), LOW-LIGHT LIFE (15 min.-1988), PRECIOUS PRODUCTS (15 min.-1988).
George was born in the Bronx, and along with his bother Mike, was very much a part of the experimental film explosion in New York during the 1960s. In 1971 he was invited to teach filmmaking at the San Francisco Art Institute where he remained on the faculty until this year.
"He showed you can make movies for practically nothing, using your friends and your ingenuity. His influence is incalculable- the whole world of YouTube is where you see it. He was a guy who just wanted to keep making films. I don't think he even wanted to be 'discovered' by Hollywood." - P. Adams Sitney.
"His oral stream on consciousness is a collage of lines from B movies and their trailers, their more or less throwaway delivery, colored by an awareness of the guilty pleasure and the profound inevitability of quotation." - Amy Taubin (VILLAGE VOICE).
OPEN SCREENING DEC. 16 (Fri.)
DVD, Mini-DV, Videotape, 16MM, S8MM. All works are shown on a first-come-first-served basis. Bring films, videos and/or come as a viewer. (Finished works only, limited to a maximum of 20 minutes per person). Refreshments will be available. Doors open at 7pm. Screening begins at 8pm and ends at 10:30pm. Admission by contribution.
DEC. 17 (Sat.)
BENEFIT SCREENING FOR THE FILM-MAKERS' COOP
The Millennium is pleased to present its annual, pre-Christmas benefit screening and party to support this venerable and worthy cinema institution. Since its founding in 1962, the Coop has played a vital role in the development of a truly independent, avant-garde cinema in the United States and abroad. It has been a model for other organizations around the world. The Coop is open to all film/video makers regardless of style, subject matter, geography. Artists set the rental prices, write the descriptions for the catalog, receive equal treatment in regards to publicity, and care and handling of work. Come early, refreshments will be served.
ADMISSION BY $10 CONTRIBUTION.
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