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Archive for the ‘Reading’ Category

New Limited Edition Book with print and DVD

Posted in Exhibitions, Experimental film, Experimental video, Reading on September 24, 2011 |

Peter Hay Halpert Fine Arts is now accepting pre-orders of Ron Diorio’s new photography book, Empire City. Printed in a very limited edition of only 50 copies, every signed and numbered copy includes a corresponding print and DVD of Diorio’s video work. Empire City exclusively features Diorio’s architectural photography, and follows the 2010 publication of Comin’ Around Again, a book containing every photograph in Diorio’s three most recent solo exhibitions in New York and London. Contact the gallery via email (phh@phhfineart.com) for more information on either publication.

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NYFF Views from the Avant Garde Day 3: Song Cycle

Posted in Reading, Thinking, Watching, tagged , , , , , , , , on October 11, 2010 | 1 Comment »

Song Cycle

Pastourelle Nathaniel Dorsky, USA, 2010, 16.5m.
There was some buzz in line about seeing “Nathaniel’s” new film so I was happy to know that as the first film in this set I would see it before I was going leave. I felt like I had been dropped into a midtown church in the middle of the afternoon, first recognizing the slow, quiet thoughtfulness of the moment and followed after a while by how uncomfortable slow, quiet thoughtfulness can be for this city boy.

Ouverture Christopher Becks, France, 2010, 5m.
One of the interesting things about this film was that I felt Mr. Becks had captured the feeling of “discovery” in these five minutes. As I sat and watched his movements and edits it seemed more like a recollection than a recording. A bit magical.

The Suppliant Robert Beavers, USA/Switzerland, 2010, 5m.
I had been looking forward to Mr. Beavers film having read some positive reviews. However I had a hard time seeing it. It seemed to project too dark – the film stills seemed clearer. I was disappointed.

Hanging upside down in the branches Ute Aurand, Germany, 2009, 15m.
One last film. Ms. Aurand spoke briefly before the showing about losing her parents and her implied regrets for having not captured enough on film. Loss, love, life – a remembrance.

I ended my marathon here. Apologies to the other artists below for not getting to see their films, I will track them down on the web over the next few weeks.

Film for Invisible Ink, case no. 323: ONCE UPON A TIME IN THE WEST David Gatten, USA, 2010, 20m.
In a Year with 13 Deaths Jonathan Schwartz, USA, 2008, 3m.
One Eve Heller, USA/Austria, 2010, 4m.
Shibiyu-Tokyo Tomanari Nishikawa, Japan, 2010, 10m.
Beneath Your Skin of Deep Hollow Malena Szlam, Chile/Canada, 2010, 3m.
Gesturings Peter Herwitz, USA, 2010, 5m.
Day Dream Jim Jennings, USA, 2010, 7m.

Fatal Attractions: An Introduction to Black and White Magic

These Blaezing Starrs Deborah Stratman, USA, 2010, 14.4m.
Tranquility Sigfried A. Fruhauf, Austria, 2010, 6.30m.
To Another Josh Mabe, USA, 2010, 48sec.
Sugar Slim Says Lewis Klahr, USA, 2010, 7m.
Sorry Luther Price, USA, 2010, 14m.
Shutter Alexi Mani, Canada, 2009, 7m.
Floor of the World Janie Geiser, USA, 2010, 8m.
Toads Milena Gierke, Germany, 1997/2008, 6m.
Pigs Pavel Wojtasik, U.S., 2010, 7.45m.
Shadow Cut Martin Arnold, Austria, 2010, 4m.
Coming Attractions Peter Tscherkassky, Austria, 2010, 23.40m.

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NYFF Views from the Avant Garde Day 3: Séance

Posted in Reading, Thinking, Watching, tagged , , , , , , , , , , , , , , , , , , , on October 9, 2010 |

Séance

bust chance Stephanie Barber, USA, 2010, 7m.
The third consecutive Barber piece in the program and clocking only seven minutes bust chance didn’t have me checking my watch. This was a smart use of someone else’s footage and added manipulated audience reaction soundtrack. If I put aside “razor’s edge” Ms. Barber is one of my favorite artists to discover here and one that I will seek out seeing more of.

Love Rose Bobby Abate, USA, 2010, 13.7m.
Old TV tube cameras created a “look” however it was very clean and had little of the aging video artifacts that I was anticipating. Strong narrative elements and performance by Mr. Abate.

Kindless Villain Janie Geiser, USA, 2010, 5m.
One of my disappointments was that I didn’t have enough time to do research on all of the artists in the festival. If I had done that research I would have put Ms. Geiser contribution at the top of the list of things I was looking forward to see. One of two pieces by Ms. Geisler on this program, I found myself immediately wanting to see it again.

So Sure of Nowhere Buying Times to Come David Gatten, USA, 2010, 9m.
Although beautifully captured there were moments where I felt the elements were too composed/constructed and not just “found” like you would see in an ESPN documentary.

April Snow Lewis Klahr, USA, 2010, 10m.
What happens when one of your favorite artists at the festival, uses one of your favorite songs by one of your favorite recording artists. When the needle dropped on Springsteen’s “Racing in the street” I felt uncomfortable like two old girl friends meeting. I also wasn’t sure that it was the best counterpoint to the other song – I closed my eyes and listened to Bruce. Sorry Lewis …..

Facts Told at Retail (after Henry James) Erin Espelie, USA, 2010, 7m.
I felt this Ms. Espeile piece was more accessible to me. I am also interested in her use of literature as a starting point for her work. More Googling to be done.

Ghost Algebra Janie Geiser, USA, 2009 7.5m.
I need an evening of Janie Geiser. If she had a DVD I would order it from NetFlix and never send it back. Although that would mean sending back Greenaway’s “The Falls”.

Tokyo-Ebisu Tomonari Nishikawa, Japan, 2010, 5m.
Mr. Nishikawa should turn his lens on the 53rd St and Lexington E Train platform. I could use some perspective.

Possessed Fred Worden, USA, 2010, 8m.
I felt that this was the best re-imagining of existing imagery in the program and right up there with Jacobs “a loft’ for tight rythmic editing.

These Hammers Don’t Hurt Us Michael Robinson, USA, 2010, 13m.
I left the theater before seeing this. Apologies to Mr Robinson.

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NYFF Views from the Avant Garde Day 3: Landing on the Edge

Posted in Reading, Thinking, Watching, tagged , , , , , , , , , , , , , , , on October 8, 2010 |

Landing on the Edge

Place for Landing Shambhavi Kaul, USA, 2010, 6m.
Ms. Kaul noted before the film that it was entirely shot in mirrors which created some interesting framing choices. A good choice to lead off this session.

Hearts are Trump Again Dani Leventhal, USA, 2010, 14m.
Two and half days in and the first laughter generated by any of the films! Maybe because there seemed to be real life in this film it came across as honest. If one piece could be said to feel comfortable in its own skin this was it.

Ray’s Birds Deborah Stratman, USA, 2010, 7m.
Interesting profile of Ray. Well made. Not sure what is avant garde here.

In the Absence of Light, Darkness Prevails Fern Silva, Brazil/USA, 2010, 13m.
Another film that came to life with music and rhythms. The soundtrack/mix made this memorable and complemented Mr Silva’s story telling. I was glad to be able to see a second piece for Mr. Silva. I want to see more.

Slave Ship T. Marie, USA, 2010, 4m.
Beautiful work in its simplicity.

Someone Should Be Happy Here April Simmons, USA, 2010, 5m.
I am sure this was clever, however I could not connect with it.

THE HUNCH THAT CAUSED THE WINNING STREAK AND FOUGHT THE DOLDRUMS MIGHTILY Stephanie Barber, USA, 2010, 2m.
Imaginative. Hope to see it at the Tate as part of their program next time I am in the UK.

razor’s edge Stephanie Barber and Xav LePlae, USA, 2010, 44m.
The 44 minutes seemed three times that long. Maybe that was the point?

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NYFF Views from the Avant Garde Day 3: Sea Scrolls

Posted in Reading, Thinking, Watching, tagged , , , , , , , , , , , , , , , on October 7, 2010 |

Sea Scrolls

Atlantis Pieter Geenen, China/Belgium, 2008, 11.18m.
If Google Street was in the experimental movie business, this might be the kind of movie they would deliver. The never blinking eye, always scanning, never stopping, never making judgments.

Dining Cars Arianne Olthaar, Netherlands, 2009, 15.5m.
I remember going to Flordia by train and having dinner with my family in a dining car. Ms. Olthaar’s film is an attempt at an aesthetic that I would describe as an unsentimental b-roll lyrical.

Sea Series #7: Naufrage aux îles de Madeleine John Price, Canada, 2010, 3.39m.
This was some of the best matched photography to subject that I saw over the three days. At 3.39m Mr Price delivers an efficient and complete work.

Atlantiques Mati Diop, Senegal/France, 2009, 11m.
This may have been the most traditional based narrative that I saw – strong use of spoken word imagery which locked into Diop’s visual storytelling.

Distance Julie Murray, USA, 2010, 12m.
I have no recollection of this film.

Travelogue Vincent Grenier, USA, 2010, 8.8m.
There is a comfort in scanning the rolling highway, I wish that Mr. Grenier brought a little more to this work. It carries a certain “lostness” that I reacted to.

Shrimp Boat Log David Gatten, USA, 2010, 6m.
I have been spending time with Peter Greenaway’s short and early films so I really enjoyed the overlaying structure that Mr. Gatten brought to this work. I also liked that this a piece of a bigger ongoing work which made me want to dig deeper into his catalog.

blue mantle Rebecca Meyers, USA, 2010, 34m.
Ms. Myers “blue mantle” was the best and possibly the most mainstream of all the works I saw. A David McCullough voice over or Ken Burns pan would not have been out place in this moody ode to place and sea..

At this point I am wondering who is clearing the music/recordings in all of these films.

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