October 24 – Brett Kashmere: From Deep

Posted by | Raven Munsell | Posted on | October 18, 2013

Thursday, October 24, 6p.m. | Special preview screening | Brett Kashmere in person!

Pittsburgh-based artist Brett Kashmere presents a special preview of From Deep, which looks at basketball and its profound role in American life—as an everyday street game played by millions around the country; a force in fashion, music, and mass media; and a platform for thornier issues of race and class. Drawing his imagery from neighborhood pick-up games, contemporary films, music videos, and spectacular sports footage, Kashmere charts a history of the game over the last century, including its rapid cultural rise in the 1980s, with the global branding of Michael Jordan; basketball’s connection with hip hop culture; and its growing fan culture, which laid the groundwork for the sport’s significance today.

2013, USA, HD Video, 85 min + discussion

BRETT KASHMERE (b. 1977, White City, Saskatchewan Canada) is a filmmaker, curator, and writer. His experimental documentaries explore history, popular culture, and collective identities and have screened at festivals, microcinemas, cinematheques, and galleries around the world. His curatorial projects include the touring expanded cinema installation and DVD-format catalog, Industry: Recent Works by Richard Kerr and the touring retrospective Arthur Lipsett: About Time, which traveled to venues in France, Belgium, England, and Canada. Kashmere is also the founding editor and publisher of INCITE Journal of Experimental Media and his writing on film has appeared in The Canadian Journal of Film Studies and Millennium Film Journal, among many others. He is co-editing a book on Arthur Lipsett titled Strange Codes.

 

Interview with Pablo Marín

Posted by | Raven Munsell | Posted on | October 14, 2013

Could you tell us a little bit about the program you’ll be screening for Conversations at the Edge this fall? How did you become interested in this subject matter?

Ghost Anthology is part of a series of programs about Argentine experimental cinema that I’ve been working on for a couple of years. In a way it’s a supplement to my own research in that field which started as soon as I discovered the films of Claudio Caldini, Narcisa Hirsch, Jorge Honik, and some of the other filmmakers from that period. I was shocked by the radicalism of their powerful images, and even more shocked to find out that there was virtually nothing written about all those works which to me constituted some of the most lucid ideas of film, as an art form, ever to be produced in Argentina.

So, the idea behind this program is to present a curated perspective of this history, whose artistic impact has yet to be  discussed or addressed at length not only nationally but especially outside of Argentina. To (try to) fill a void. In this sense, each program is different and subjective, as I intend to escape the creation of a canon, even when there are obvious key figures and films in this tradition. For this program, the line-up of films focuses on the most vibrant period for avant-garde film in Argentina, from the 1970s to the early 1980s, and its relation to a younger generation. Also, the idea behind these programs is to present work in their best possible form, which in this case means that all the films will be screened from their original camera materials.

Ghost Anthology is composed entirely of work on Super 8mm — could you tell us more about the importance of this format for your makers?  Why do you think it has continued to appeal to younger generations of Argentine filmmakers?

In an article written in 1978, Claudio Caldini stated that, “Super 8 imposes other relationships with cinema, from conception to screening. … Which ones? Those that the artists imagine and make happen. They are the ones who decide what kind of film to make, their audiences, and how to reach them. A self-determination that many professionals would bless. Super 8 demands the rediscovery of the trade.” I think this is true, and perhaps the main reason why so many filmmakers in Argentina (at least all the ones included in the program) have chosen Super 8 as their principal medium of work. Besides being less expensive than 16mm or 35mm (which I won’t deny it was/is an important factor here), I think Super 8 has been always a more “accessible” aesthetic tool. With its reduced size and simplified functions, filmmaking becomes a truly personal (individual) and infinite process. I think that infinite quality that leads to a rediscovery of the trade is very well represented in all of these challenging films.

What artists are you following right now?

I’m interested in many artists, especially those working in the field of film (as in photochemical imagery), but I would say I try to keep up with the work of Luther Price, Frank Biesendorfer, and Helga Fanderl, three artists that are very prolific and show mostly their originals (also projected by themselves)—a bad combination for someone who likes their stuff and doesn’t travel that much.

Besides them, and other international figures, I closely follow the work of many of my friends and colleagues in Argentina.

Tell us a bit about your artistic practice. What are you working on now?

In addition to curating and writing (and a little teaching now and then) about experimental film, I also make films. Which sometimes can be kind of hard, in terms of detaching myself from all the work that I see and think about from a critical point of view and focusing on my own work. It’s a mixed feeling, I guess. Because I ultimately think that it’s always better to keep yourself informed, to know what’s out there, than to be isolated. But anyway, right now I’m finishing a series of films about nature that are being shot on Super 8 and will be blown-up to 16mm at the Liaison of Independent Filmmakers of Toronto (LIFT), as part of a great residency program they offer. The films propose an approach to nature from a very structural (geometrical) perspective using in-camera superimpositions as the main resource (a procedure I’m very interested in).

I’m also editing and translating an anthology of Stan Brakhage’s texts and essays which will be published next year. I’m very excited about this book, have been working on it for years, but that’s another story …

Pablo Marín will be presenting his program, Ghost Anthology, at CATE on Thursday, October 17 at 6PM

October 17 – Ghost Anthology: A History of Argentine Experimental Film

Posted by | Raven Munsell | Posted on | October 11, 2013

Thursday, October 17, 6pm | Curator Pablo Marín in person!

Organized by Buenos Aires-based filmmaker and curator Pablo Marín, Ghost Anthology charts an eye-opening course through the last 40 years of Argentina’s rugged experimental film history, showcasing a collection of films rarely exhibited in the US. The movement exploded in the 1970s, just as the country came under the control of a military dictatorship. Forced underground, artists experimented with small, consumer-grade film cameras and developed informal collectives to produce collaborative, deeply personal, and formally dazzling works. Included here are films by such pivotal makers as Narcisa Hirsch, Horacio Vallereggio, Jorge Honik, Gabriel Romano, and Claudio Caldini, as well as contemporary artists Sergio Subero, and Pablo Mazzolo, among others.

1976–2013, Argentina, Super-8mm, 75 min + discussion

PABLO MARÍN (1982, Buenos Aires, Argentina) is a filmmaker, curator, and scholar. His works have been featured at the London, Oberhausen, and Rotterdam Film Festivals; Austrian Film Museum, Vienna; Anthology Film Archives, New York; and Pacific Film Archive, Berkeley; among others. He has presented programs of Argentine films throughout Europe and curated the DVD Dialéctica en suspenso: Argentine Experimental Film and Video, published by Antennae Collection. He writes about the history of Argentine experimental film on his website, La Región Central. He lives and works in Buenos Aires.

::PROGRAM::

Testamento y vida interior (Narcisa Hirsch, 1977, Argentina, Super-8mm, Sound, 18 min.)

Espectro (Sergio Subero, 2010, Argentina, Super-8mm, Sound, 9 min.)

Untitled (Gabriel Romano, 1982, Argentina, Super-8mm, Silent, 2 min.)

Gamelan (Claudio Caldini, 1981, Argentina, Super-8mm, Sound, 12 min.)

Triste, triste (Horacio Vallereggio, 1976, Argentina, Super-8mm, Sound, 4 min.)

Passacaglia y fuga (Jorge Honik & Laura Abel, 1976, Argentina, Super-8mm, Sound, 18 min.)

El Quilpo sueña cataratas (Pablo Mazzolo, 2012, Argentina, Super-8mm, Sound, 11 min.)

October 10 – Kurt Hentschläger

Posted by | Raven Munsell | Posted on | October 4, 2013

Thursday, October 10, 6pm | Kurt Hentschläger in person!

An evening with Chicago-based Austrian artist (and SAIC visiting faculty) Kurt Hentschläger whose work explores human perception through intricate, multi-sensorial environments and live, audiovisual performances. Renowned for his immersive installations, the majority of Hentschläger’s works are generated or orchestrated by computer, employing atmospheric and drone soundscapes, figurative visuals, and strobe lights. He provides an overview of his practice and a live demonstration of his sophisticated realtime process.

2003–12, multiple countries, multiple formats, 60 min + discussion

Trained as a fine artist, KURT HENTSCHLÄGER (b. 1960, Linz, Austria) began his career building surreal machine-objects before turning to video, computer animation, and sound. From 1993 until 2003 Hentschläger worked collaboratively with Ulf Langheinrich as a part of Granular-Synthesis. Selected exhibitions include the Venice Biennial; Venice Theater Biennial; National Art Museum of China, Beijing; Stedelijk Museum, Amsterdam; PS1 New York; and Creative Time, Inc., New York; among many others. In 2010 he won a Quartz Electronic Music Award. He is a visiting artist at SAIC and lives in Chicago.

Interview with Erin Cosgrove

Posted by | Raven Munsell | Posted on | September 30, 2013

Could you tell us a little bit about the program you’ll be screening for Conversations at the Edge this fall?

A Heart Lies Beneath comes from my 7 Romance Novels Project—which is what it sounds like, sort of—7 romance novels written by 7 different authors, all of them named Erin Cosgrove. They are satires that take the logic of pulp romance novels from the 1960’s to the late 80’s, and magnify their tropes to ridiculous degrees. I made covers for each book that feature myself and Fabio, as a way to visualize where romance and I meet, which is, needless to say, a strange place. A Heart Lies Beneath is based on The Baader-Meinhof Affair, the only book in the series that was published. The video is somewhat like a mini pilot of the book. It was my first foray into animation.

What inspired you to make this work?

I’ll answer this question for the other video I’m screening, What Manner Of Person Art Thou?, which came directly from my second romance novel, False Puppy Love. False Puppy Love had two characters I called the Renegade Hutterites. They were completely fictional creations, as Hutterites are notoriously nonviolent. I needed to make a work that responded to 9/11 and the change of zeitgeist that resulted from it. People flew airplanes into buildings “for god” and “god fearing” people cried for Afghanistan to be bombed into a parking lot. I felt like I had fallen into a wormhole where the Enlightenment never took place, and for the two violent characters in this piece, it hadn’t. I see it as a cautionary tale and a kind of humanist plea.

Tell us a bit about your process: how do you start a piece, and how do you know when it’s finished.

First, I get interested/angry about something. Then I think of a project that might channel or address that interest/anger. Then I throw everything into the project for two to six years. Then I look at the results in abject horror. Then I add, edit, and repeat the last two steps until I can’t stand looking at it anymore. It’s never finished, I’m just done with it.

What have you read recently that is most interesting to you?

This summer I struggled my way through Intuition Pumps and Other Tools for Thinking by Daniel Dennett. There are a couple chapters where Dennett uses the example of an engineer who makes a giant robot to protect the engineer’s frozen body for 400 years into the future. In the end, this thought experiment dismantles some bad “intelligent” design arguments. At the end of the example you may come to think of your autonomy and ultimate life purpose differently. Another book I’ve read recently is a great translation of The Epic of Gilgamesh by Stephan Mitchell. The Epic of Gilgamesh is one of the earliest surviving works of literature, and it’s also engaging, strange, and unabashedly sexual. It famously precedes Noah and the Ark with its own great flood tale. And there are alternate versions of the epic where Gilgamesh and Enkidu appear to be lovers, which seems to prove, unsurprisingly, that fanfics and slash have existed as long as writing has.

Tell us a bit about the next project you’ll be working on.

I’ve been working on The Living Book for four or so years. It’s about the last surviving couple who accidentally destroy all records of human culture. It’s an allegory of cultural and historical amnesia, with a caution that history is what you remember. The title comes from the Christian sect, the Doukhobors. Following the 17^th Century Russian Danilo Filipov, who threw his “dead” bible into the Volga river, the Doukhobors created a “living book” of faith transmitted from one generation to the next through song.

Americans have such a bizarre relationship with their past. Even, or is it especially, our politicians who bungle our history. Remember when Congresswoman Michelle Bachman said the Founding Fathers, “…worked tirelessly until slavery was no more in the United States.” When the general populace is more aware of the latest celebutard than they are of, say, Elizabeth Warren, you get cynical. Still, as an artist, I’d like to think that I’m leaving something else behind, my cultural offspring.

Erin Cosgrove will be presenting her work at CATE on Thursday, October 3 at 6PM

October 3 – Erin Cosgrove: What Manner of Person Art Thou?

Posted by | Raven Munsell | Posted on | September 27, 2013

Thursday, October 3, 6pm | Erin Cosgrove in person!

Los Angeles–based artist, animator, and author Erin Cosgrove mixes pop culture and a range of historical references—Fabio, the Baader-Meinhof gang, America’s founding fathers, Bible fan fiction—to offer dark and often wickedly funny critiques of contemporary political culture, particularly the role of history and religion. Cosgrove screens her 2008 tour-de-force animated feature, What Manner of Person Art Thou? Drawn in the style of a medieval tapestry, the film relates the twisted tale of Elijah Yoder and Enoch Troyer, true-believers whose faith puts them at odds with modern society.

2008–12, USA, digital file, 75 min + discussion

ERIN COSGROVE  (b. 1969, St. Paul, MN) received her BFA from the University of Minnesota, Minneapolis, in 1996, and her MFA from the University of California, Los Angeles, in 2001. Her work has been exhibited at the Hammer Museum, Los Angeles; Printed Matter, New York; and the Museum of Modern Art, New York; among others. In 2008 she received a Creative Capital Film Grant and was awarded the John Simon Guggenheim Fellowship in 2004. In 2003 Sundance Channel’s TVLab produced her live-action video, A Heart Lies Beneath; that same year Printed Matter published her novel, The Baader-Meinhof Affair.

::PROGRAM::

A Heart Lies Beneath (2004, USA, digital file, Color, Sound, 7 min.)

What Manner of Person Art Thou? (2004-08, USA, HD digital file, Color, Sound, 65 min.)

September 26 – Tomomi Adachi and Takahiko Iimura: Films and Performances

Posted by | Raven Munsell | Posted on | September 20, 2013

Thursday, September 26, 6pm | Tomomi Adachi and Takahiko Iimura in person!

In a rare joint appearance, filmmaking luminary Takahiko Iimura and Tokyo-based sound artist Tomomi Adachi present an evening of films and performances. Since the early 1960s, Iimura has been renowned for his groundbreaking films and videos, ranging from surreal underground narratives to elegant explorations of time and perception, many produced with performance artists and avant-garde composers. Adachi has garnered similar acclaim for his work with voice, electronics, and self-made instruments. The two will present four of Iimura’s early films, a selection of Adachi’s sound works, including the Chicago premiere of the ten-voice Song for Everyone, and a new collaboration for film, voice, and electronics.

Co-presented with the experimental music series Lampo with support from SAIC’s Department of Sound.

1962–2013, Japan/USA, multiple formats, 90 min + discussion

TAKAHIKO IIMURA (b. 1937, Tokyo, Japan) is a pioneering figure in the world of experimental and underground cinema in the United States and Japan. He began making films in Tokyo in the early 1960s and played an important role in the establishment of a number the city’s seminal film collectives and screening series. Iimura moved to the United States  in 1966 where he became an established fixture of New York’s experimental film scene. His works span film, video, and computer art and have been exhibited widely, including the Museum of Modern Art, New York; Centre George Pompidou, Paris; and the Tokyo Metropolitan Museum of Photography, Tokyo; among many others. He divides his time between New York and Tokyo.

TOMOMI ADACHI (b. 1972, Kanazawa, Japan) is a performer, composer, sound poet, installation artist, and theater director, working in voice, live electronics, and self-made instruments. He founded the punk-style choir “Adachi Tomomi Royal Chorus” in 1997 and the “Ensemble for Experimental Music and Theater” in 2011. Adachi has collaborated with numerous sound artists, dancers, and theater troupes and has presented works around the world, including at the Tate Modern, London; Centre Georges Pompidou, Paris; Walker Art Center, Minneapolis; ZKM, Karlsruhe; Museum of Art Osaka; La Mama Theatre Melbourne; among others. He lives in Tokyo and Berlin.

 

September 19 – An Evening with Ximena Cuevas

Posted by | Raven Munsell | Posted on | September 13, 2013

Thursday, September 19, 6 p.m. 

Due to travel disruptions in Mexico caused by Hurricane Ingrid and Tropical Depression Manuel, Ximena Cuevas is not able to join us tonight. An additional surprise piece will be added to the lineup.

Pioneering Mexican video artist Ximena Cuevascreates smart, playful works that mix performance, autobiography, and mass-media excess to explore national identity, celebrity star worship, and life’s everyday melodramas. In celebration of the Video Data Bank’s release of her retrospective box set Half-Lies, the artist returns to CATE after more than a decade to screen a selection of recent videos including the experimental biography Marina Abramović, From Tuesday to Friday (2010). Co-presented by the Video Data Bank.

2003–13, Mexico, multiple formats, 75 min + discussion

XIMENA CUEVAS (b. 1963, Mexico City, Mexico) studied film at the New School for Social Research and Columbia University in New York City. Between 1980 and 1990 she worked on more than 20 feature films, “retiring” in 1991 to her own practice. Her videos have been exhibited at Sundance and the New York, Berlin, and Montreal Film Festivals. She is the recipient of numerous grants and awards, including Mexico’s National Fund for Culture and Arts (FONCA), Eastman Kodak, and an intercultural grant from the Rockefeller-MacArthur-Lampiada Foundations. Her work is in the collection of the Museum of Modern Art, New York.

::PROGRAM::

Someone Behind the Door (2005, digital file, B&W, Sound, 13 min.)

El Diablo en la Piel (1998, digital file, Color, Sound, 5 min.)

Contemporary Artist (1999, digital file, B&W, Sound, 5 min.)

Marina  Abramović, From Tuesday to Friday (2010, digital file, B&W, Sound, 35 min.)

CATE Fall 2013 Season Starts Sept 19!

Posted by | Raven Munsell | Posted on | September 4, 2013

Conversations at the Edge kicks off its Fall 2013 season with pioneering Mexican video artist Ximena Cuevas on September 19!

Other highlights this season include a rare live performance by filmmaker Takahiko Iimura and Japanese sound artist Tomomi Adachi (9/26); an appearance by LA-based artist Erin Cosgrove with an epic animated feature (10/3); a peek at SAIC visiting faculty Kurt Hentschläger’s practice and process (10/10); and new work and performances by SAIC alumna Jodie Mack (10/31).

We’re also excited to screen special previews of new features by Brett Kashmere (10/24) and Tirtza Even (11/14).

Catch Ghost Anthology (10/17), a program that explores the history of Argentine experimental film, curated by Buenos-Aires based filmmaker Pablo Marín, and Now: The Body and the Screen (11/7) a program organized by new media artist Jennifer Chan that explores the relation between the body and the screen in contemporary performance and web-based video.

Check out the full line-up here!

Interview with Jacqueline Stewart, co-curator of L.A. Rebellion: Creating a New Black Cinema

Posted by | Raven Munsell | Posted on | May 17, 2013

Still from Four Women (Julie Dash, 1975)

Interview by Felicia Mings

I had the privilege of chatting with Jacqueline Stewart shortly after attending the March 28^th L.A. Rebellion film screening of shorts by Ben Caldwell, Barbara McCullough, O.Fummilayo Makarah at the Gene Siskel Film Center. This event kicked off a series of film screenings across Chicago that dig into the archive of the L.A. Rebellion, a collective of former students of UCLA’s School of Theater, Film and Television who were dedicated to exploring the social, cultural, and political issues of their time—the 1970’s and 1980’s.

My interest in the intersection of curatorial practice and art education made me extremely excited to delve into Stewart’s experience of curating a collection that contains historic, documentary, and fictional works by seminal African American filmmakers.

Felicia Mings: What drew you to this curatorial project?

Jacqueline Stewart: I am a film historian specializing in African American film and when I was doing research on early black filmmakers, I found it frustrating that very few of the films had survived.  I ended up conducting most of my research by looking at old black newspapers. This really sparked my interest in learning more about film archiving and preservation, and through Jan-Christopher Horak, Director of the UCLA Film and Television Archives I had the opportunity to do that.

For future film programmers and curators, could you share a bit about the process of collectively curating films with Allyson Nadia Field, Jan-Christopher Horak and Shannon Kelley?

Chris Horak and Shannon Kelley have more experience in curating and programming than Allyson and I. Chris has curated work for decades as an archivist presenting public programs on a variety of subjects at UCLA, George Eastman House and abroad.  Allyson and I are scholars, and we were able to bring a deep historical knowledge of African American film to the project. Each member of the team brought different strengths and bodies of knowledge, which helped determine what would be in the show.

There are two different versions of this film program, an extensive one that ran for three months in the fall of 2011 at the UCLA Film and Television Archive, and a shorter version that is on tour. I will focus on the shorter version that is currently in Chicago. For this program one thing that we came to agreement on was spreading the attention across as many of the filmmakers as possible. Some of the filmmakers are more widely known than others. People who know a lot about African American film are familiar with Charles Burnett and Julie Dash. There have been a few retrospectives of these individual artists, but the work of many others has been left out. [1] We wanted to show work by each filmmaker participating in the project, and that is why we only included one feature film by each of the better-known artists in the program. In addition, we wanted to include work they created as students and as well as their shorter films because people tend to focus on feature length films. The tour consists of four programs made up of shorts, and eight programs that show feature length films that are each preceded by a short.

After the program is done touring, how can people access these films?

At the UCLA Film and Television Archive there is a copy of everything that we have uncovered during the course of the project—the archivists have said that the material has been gaining a lot of use. The archive’s website features an extensive L.A. Rebellion section that features some short student works.  We hope to possibly have DVD releases of some of the films some time in the future. Although, an issue that comes up around these films is often copyright. As students, the filmmakers often used music without purchasing or clearing the rights to it, making DVD distribution one of the biggest and most expensive challenges. Therefore, it will be a slow process but it is one that the archive is committed to. Milestone Films released Burnett’s Killer of Sheep and My Brother’s Wedding and some shorts on DVD in 2007.  And a number of shorts and early student works by others are distributed by Third World Newsreel and Women Make Movies, for rental or purchase.

Who are the African-American students and emerging filmmakers that you are watching out for? How is this new wave of artists work similar or and perhaps divergent to the work of the LA Rebellion filmmakers in relation to content, form, and possible social and political aims?

One person that comes to mind, although she is not a student, is Cauleen Smith, and her film Drylongso. Cauleen comes to mind because she went to UCLA for film school, and she pursued her undergraduate degree at San Francisco State, studying under L.A. Rebellion filmmaker Larry Clark who directed Passing Through. Cauleen was inspired by him as a teacher, and talks in incredible detail about how he taught students to shoot dark-skinned people using proper lighting and film stock appropriate to their skin tones. He was very thorough about these issues that many cinematographers ignore or take for granted, and you can see that Cauleen works to show that beauty and diversity in her work. She is descendant of this movement.

Do you have other curatorial projects on the horizon that we should be aware of?

I have kept pretty busy with the LA Rebellion program touring, but I will be presenting something at an upcoming Orphan Film Symposium at the Academy Film Archive. Organized by Dan Streible, the Orphan Film Symposia bring together archivists, scholars, and filmmakers to discuss and screen neglected films. I have been working with S. Pearl Sharp, a filmmaker, poet, actor and activist who lives in LA.  She shared with me work she did back in the 1980s with the Black Entertainment Television network (BET). When BET first came on the air they would show older black films from the 1970s, and even back to the 1930s and 1940s.  These were preceded by short video introductions Sharp produced and directed with Thom Eubanks. These introductions are really informative pieces in which she talks with actors and actresses from the films such as Rosalind Cash, Max Julien and Ron O’Neal, as well as interviews with scholars like Henry T. Sampson.  These tapes reveal some of the early history of BET. It is important to me that these are all shot on videotape, as there has been a lot of attention paid to the preservation of film, but video is in more danger of deteriorating because people don’t attach the same historical value or see it as aesthetically significant. This project has made me start to think of strategies for preserving other African American video works.

Felicia Mings is a graduate student in Visual and Critical Studies at the School of the Art Institute of Chicago. Her experiences in developing youth arts programming in Toronto and St. Catharines, Ontario has led to her interest in exploring intersections between curatorial practice, art education and community development, specifically in relation to contemporary African Canadian art.

—————————————————————————————————————————

[1] In 2011 the MOMA did a retrospective of Charles Burnett’s work titled Charles Burnett: The Power to Endure. Many institutions have honored him.

The moment the LA Rebellion got named was when Clyde Taylor, curated a show at the Whitney Museum in 1986 called  “The L.A. Rebellion: A Turning Point in Black Cinema.” This was one of the first times these films and filmmakers were exposed to a large audience. It was difficult to get access to those films before.

 

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About

Conversations at the Edge is a weekly series of screenings, performances, and talks by groundbreaking media artists.

 

CATE is organized by SAIC's Department of Film, Video, New Media, and Animation in collaboration with the Gene Siskel Film Center and SAIC's Video Data Bank.

 

Programs take place at the Gene Siskel Film Center (164 N. State / Chicago, IL / 312.846.2600), unless otherwise noted.






 

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