$6 - 10 sliding scale tickets for each program available at the door
Festival Pass: $50 General / $30 Members
Login or Register to reserve a pass
NOTE FOR SUNDAY PROGRAM: In celebration of the late Barbara Hammer, Light Field, in collaboration with Canyon Cinema has added an additional short program to Sunday's lineup. We'll be screening her films Superdyke and Pools - free and open to the public, 6PM at The Lab! Please note that we've also shifted the schedule for Programs 6 and 7 - instead of 5PM and 8PM, these programs will now be screening at 7PM and 9PM respectively.
Light Field is an international exhibition of recent and historical moving image art on celluloid, held in the San Francisco Bay Area. It is artist-run and collectively organized by Samuel Breslin, Emily Chao, Zachary Epcar, Trisha Low, tooth, and Syd Staiti.
Light Field 2019 features the work of: Stephanie Barber, JJ Murphy, Nazlı Dinçel, Alee Peoples, Anja Dornieden and Juan David González Monroy, Kioto Aoki, Malic Amalya, Greta Snider, Wenhua Shi, Sofia Canales, Sílvia das Fadas (née Sílvia Salgueiro), Cauleen Smith, Guillaume Vallée , Lyra Hill, George Kuchar, Eva Kolcze, Sandra Davis, Ernie Gehr, Emmanuelle Nègre, Deborah Stratman, James Edmonds, Rose Lowder, Rob Daglish, Philip Hoffman, Meganelizabeth Diamond, Karissa Hahn, Alexander Stewart, Simon Liu, Ross Meckfessel, Lucy Kerr, Andrew Busti, Steve Polta, Eric Stewart, Josh Lewis, Adriana Vila Guevara, Amy Halpern, Henry Hills, Annalisa D. Quagliata, Aldo Tambellini, Esther Urlus, Lily Jue Sheng, Bill Brand, Paul Sharits, Richard Tuohy and Dianna Barrie
Festive Lineup:
Program 1
curated by Zachary Epcar
Friday, March 15, 2019 @ 7pm (doors 6:30)
Total running time: 59 minutes
the parent trap
Stephanie Barber
2017 | 3 minutes | USA | 16mm | color | sound
Another in a series of sculptural pieces I’m currently building. Like its partner, 3 peonies, this is a short 16mm film made as a memorial for my grandmother who passed away this spring, her voice can be heard singing a bit of song. What goes when the body goes? How many parents have we got stacked upon us into eternity like ladders to the afterlife?
-SB
Sky Blue Water Light Sign
JJ Murphy
1972 | 9 minutes | USA | 16mm | color | sound
“Sky Blue Water Light Sign is best seen in total innocence.”
-Scott MacDonald
Instructions on How to Make a Film
Nazlı Dinçel
2018 | 13 minutes | USA | 16mm | b&w | sound
Shot at the Film Farm in Mt.Forest, this comedy is a quest about performance, educational voiceover, analogue filmmaking, ASCII, language, ethics of ethnography and narrative storytelling under a metaphor of instructions to farm land. Text by Barbara Kirshenblatt-Gimblett and Wikihow/shoot-film.
-ND
Them Oracles
Alee Peoples
2012 | 8 minutes | USA | 16mm | color | sound
Them Oracles is a skeptic investigation of what an oracle can be and what it would sound like. Human desire and blind faith allow, and maybe even will, these mystic soothsayers to exist.
-AP
Comfort Stations
Anja Dornieden & Juan David González Monroy
2018 | 26 minutes | Germany | 16mm | color | sound
Comfort Stations consists of a found set of images and sounds with an instruction text making up some sort of psychological test. Participants should open themselves to experiencing the events with all of their senses. Feel free to participate but please remember to treat these experiences with caution.
-AD & JDGM
Program 2
curated by Trisha Low
Friday, March 15, 2019 @ 9pm (doors 8:30)
Total running time: 60 minutes
frame, ways, inflection
Kioto Aoki
2018 | 3 minutes | USA | 16mm | b&w | silent
A piece about the movement of bodies through space for the site-specific installation at 6018|North for the show "Living Architecture," inspired by architect Bernard Cache's notion of inflections. The film activates two existing works at the gallery: "Duchamp Door" in the basement and Vlatka Horvat's "Door to Door" on the second floor and projected in the closet behind a rearranged version of Horvat's piece.
-KA
Song for Rent, after Jack Smith
Malic Amalya
2018 | 6 minutes | USA | 16mm | color | sound
With Kate Smith singing God Bless America looped in the background, experimental filmmaker Jack Smith starred as Rose Courtyard—a drag character based on Rose Kennedy—in his 1969 film, Song for Rent. In this adaptation, Barbarella Bush joins Rose in a campy exploration of US nationalism, queer assimilation, and denunciation.
-MA
Futility
Greta Snider
1989 | 9 minutes | USA | 16mm | b&w | sound
Futility's narrative is told in two disarmingly honest and personal voice-overs, with images reprinted from found and archival footage. The first section is a woman's story about a pregnancy and subsequent difficulties in scheduling an abortion. The second is a moribund love letter read by the same narrator. The images are never an illustration of the voice-over, nor do they constitute a narrative of their own, but blow in and out randomly, constituting a kind of peripheral vision.
-GS
Senses of Time
Wenhua Shi
2018 | 5 minutes | USA | 16mm | color | sound
Senses of Time depicts the lyrical and poetic passage of time. The work reflects on time and focuses on defining subjective and perceptual time with close attention to stillness, decay, disappearance, and ruins.
-WS
Mujer
Sofia Canales
2012 | 10 minutes | USA | 16mm | b&w | sound
Three Latina women of different generations take pleasure in helping each other bathe, dress up, and cook a meal for themselves. Mujer flows like a dream, guided by the small mutual generosities of domestic life. It is less of an observational analysis and more of an up-close intimate experience.
-SC
Between Relating and Use
Nazlı Dinçel
2018 | 9 minutes | Argentina/USA | 16mm | color | sound
"Exhibitions, whether of objects or people, are displays of the artifacts of our disciplines. They are for this reason also exhibits for those who make them, no matter what their ostensible subject. The first order of business is therefore to examine critically the conventions guiding ethnographic display..."* Borrowing words from Laura Mark's "Transnational Object" and DW Winnicott's "Transitional Object", this film is an attempt to ethically make work in a foreign land. Transitioning from assuming the position of an ethnographer, we turn and explore inwards- on how we use our lovers.
*Destination Culture by Barbara Kirshenblatt-Gimblett, 1998
-ND
Square Dance, Los Angeles County, California, 2013
Sílvia das Fadas
2013 | 9 minutes | USA | 16mm | color | sound
"The people are what is not there yet, never in the right place, never ascribable to the place and time where anxieties and dreams await."
-Jacques Rancière
Chronicles of a Lying Spirit (By Kelly Gabron)
Cauleen Smith
1995 | 6 minutes | USA | 16mm | color | sound
"Chronicles of a Lying Spirit (By Kelly Gabron) is less a depiction of 'reality' than an exploration of the implications of the mediation of Black history by film, television, magazines and newspapers. Using her alter ego, Kelly Gabron, Smith fabricates a personal history of her emergence as an artist from white-male-dominated American history (and American film history). Smith collages images and bits of text from a scrapbook by 'Kelly Gabron' that had been completed before the film was begun, and provides female narration by 'Kelly Gabron' that, slowly but surely, makes itself felt over the male narration about Kelly Gabron (Chris Brown is the male voice). The film's barrage of image, text and voice is repeated twice, and is followed by a coda. That most viewers see the second presentation of the imagery differently from the original presentation demonstrates one problem with trusting any media representation."
-Scott MacDonald
What is beyond the Hellraiser?
Guillaume Vallée
2017 | 3 minutes | France/Canada | super 8 | color | sound
- The journey is up to you -
-GV
Program 3
curated by Samuel Breslin
Saturday, March 16, 2019 @ 5pm (doors 4:30)
Total running time: 54 minutes
Uzi's Party
Lyra Hill
2017 | 30 minutes | USA | 16mm | color | sound
In this experimental teen dramedy, five young women gather for a Ouija session and gossip, bicker and flirt until someone gets possessed. All effects in camera.
-LH
3 peonies
Stephanie Barber
2017 | 3 minutes | USA | 16mm | color | sound
A brief, poetic 16mm film on a simple sculptural action. What becomes apparent is the humor possible in material interactions and the tender and sometimes melodramatic symbolism of cut flowers. What begins as a reverence for natural beauty ends up pointing towards the abstract expressionism and color field work of high modernism which, in many cases eschewed the banality of such ‘natural’ beauty. The collaged soundtrack suggests weightier concerns, gently insistent behind the flatness of the utilitarian sounds of ripping tape.
-SB
Gold Moon, Sharp Arrow
Malic Amalia & Max Garnet
2012 | 11 minutes | USA | 16mm | color | sound
Against a backdrop of electrocution, dominance, and scientific precision, wasps nest in an abandoned refrigerator, curtains blow in open windows, and queers congregate. Adapting Stanley Milgram's 1963 experiment on obedience to authority, Gold Moon, Sharp Arrowstraddles tensions between language as a site of transgression and of regulation.
-MA
I, An Actress
George Kuchar
1977 | 10 minutes | USA | 16mm | b&w | sound
This film was shot in ten minutes with four or five students of mine at the San Francisco Art Institute. It was to be a screen test for a girl in the class. She wanted something to show producers of theatrical productions, as the girl was interested in an acting career. By the time all the heavy equipment was set up the class was just about over; all we had was ten minutes. Since 400 feet of film takes ten minutes to run through the camera… that was the answer: Just start it and don’t stop till it runs out. I had to get into the act to speed things up so, in a way, this film gives an insight into my directing techniques while under pressure.
-GK
Program 4
curated by Syd Staiti
Saturday, March 16, 2019 @ 7pm (doors 6:30)
Total running time: 58 minutes
Facing the Waves
Eva Kolcze
2016 | 4 minutes | Canada | 16mm | color | silent
A study of light and shadows on a late summer afternoon.
-EK
FOR A YOUNG FILMMAKER
Sandra Davis
2014 | 7 minutes | USA | 16mm | color | sound
FOR A YOUNG FILMMAKER is a shorter form, an ode - a kind of little story without a narrative. Ode in the french sense of a reverie for a moment in time, and for me, a passion of place. All vocal material exists in english and in french, so as to be understood by both native speakers. French is used also for its sonorous qualities, and because it is so exact, and at moments, so capricious, in its whimseys of potential metaphor. All vocal material exists in english and in french, so as to be understood by both native speakers. French is used also for its sonorous qualities, and because it is so exact, and at moments, so capricious, in its whimseys of potential metaphor.
-SD
Rear Window
Ernie Gehr
1991 | 10 minutes | USA | 16mm | color | silent
"A view from a Brooklyn apartment sublimates Hitchcock's voyeurism into a frenzied engagement with the visible. The film varies exposure or racks focus so that the flickering, spatially ambiguous patterns that press the limits of the frame momentarily dissolve themselves as tree branches or a fire escape or a shadow caught on the screen of someone's laundry rippling in the breeze. 'I cupped one of my hands in front of the camera lens and attempted to make tactile to myself light, color and image,' Gehr explains in his notes, linking the film to his father's death and calling it a 'hopeless attempt' to render the ephemeral tangible."
-J. Hoberman
Sea side
Emmanuelle Negre
2018 | 4 minutes | France | 16mm | color | sound
Seaside is an experimental found footage film. People are playing and having fun at the beach. Removing the emulsion on people's silhouettes erase identity and what the film was made for, fixing people's image throughout time and memory.
-EN
The Magician's House
Deborah Stratman
2007 | 6 minutes | USA | 16mm | color | sound
Sometimes the supernatural lingers plainly in the most ordinary places, secret only in so much as its trace goes unnoticed. Both a letter to a cancer stricken alchemist-filmmaker friend, and a quiet tribute to the vanishing art of celluloid, The Magician’s House is full of ghosts. Including that of Athanasius Kircher, inventor of the Magic Lantern or “Sorcerer’s Lamp”. The music, “La lutte des Mages” (The Struggle of the Magicians) was composed by Armenian mystic Georges Gurdjieff and Thomas De Hartmann. Gurdjieff thought man was a "transmitting station of forces." To him, most people move around in a state of waking sleep, so he sought to provide aural conditions that would induce awareness.
-DS
A Return
James Edmonds
2018 | 6 minutes | UK | 16mm | color | sound
To return again. To re-align is the object of these visits, perhaps. Geography of origin becoming catalyst for an inner re-alignment with the secret, private, unspoken work of one’s being. Peering into layers, sliding planes of windows and time, the fragmentary gesture of the dance.
A series of rapid contrasts, a synthesis of elemental and everyday experience.
Structures shift and intermingle, two worlds become one.
-JE
Sous de Soleil
Rose Lowder
2011 | 4 minutes | France | 16mm | color | sound
In the heat of summer solar panel reflections blend with butterflies on flowers and a little bird eating the mulberries.
-RL
Waking With a Dead Arm
Rob Daglish
2018 | 3 minutes | UK | 16mm | color | sound
A neurological short story told through edited archival film.
-RD
Chimera
Philip Hoffman
1995 | 15 minutes | Canada | 16mm | color | sound
In 1989 I finished the film Kitchener-Berlin and put a close to a cycle of work which dealt directly with myself, and how self is expressed/constructed cinematically. At the same time I took my old super-8 camera out of the closet, and began collecting images, using the single-frame-zoom. Cubist in its visual delivery, the single-frame-zoom builds a splayed reality that brings together disparate vantage points simultaneously, and serves as the glue that blends and bonds peoples, places and spaces in Chimera.
-PH
Program 5
curated by Emily Chao
Saturday, March 16, 2019 @ 9pm (doors 8:30)
Total running time: 56 minutes
What Lit the Earth
Meganelizabeth Diamond
2017 | 3 minutes | Canada | super 8 | color | sound
a super 8 one take about the eclipse / once upon a time there was love in the light, now there's only love in the dark
-MD
FUTURE LIGHT (2021)
Karissa Hahn
2018 | 7 minutes | USA | 16mm | color | sound
the year 2021 - experience the duration of 1 year in 24 frames for 24 hours of the day - 365 strips of film inkjet printed with the precise amount of light per day, including accurate twilight times.
feel the seasons change....inkjet printing process creating constellations....
darkness - dawn- day - dusk- darkness - dawn - day - dusk - darkness
-KH
Void Vision
Alexander Stewart
2018 | 8 minutes | USA | 16mm | color | sound
Void Vision is an abstract science-fiction short in which the real and the simulated are equally constructions; a space where doubles, twins, duplicates, re-creations, and copies blend into one another.
-AS
Fallen Arches
Simon Liu
2018 | 10 minutes | UK/USA/Hong Kong | 35mm | color | silent
Views of British coastlines and windows into family gatherings are absorbed by store-front displays and flickering glimpses of skyscrapers. Imagery both diaristic and impersonal to the filmmaker overlap,
contradict and trace movements between Stoke-On-Trent, Hong Kong and New York. In an act of dedication, Fallen Arches is at once a celebration and questioning of fleeting fascinations as boundaries between distant spaces dissipate into multi-chromatic rushes.
The Air of the Earth in Your Lungs
Ross Meckfessel
2018 | 11 minutes | USA/Japan | 16mm | color | sound
Drones and GoPros survey the land while users roam digital forests, oceans, and lakes. Those clouds look compressed. That tree looks pixelated. A landscape film for the 21st century.
-RM
The Skin is Good
Anja Dornieden & Juan David González Monroy
2018 | 12 minutes | Germany | 16mm | color | silent
The skin fiend is a stranger. He sent us strange messages (and a package). In the last message the skin fiend said,
“Try to be skin fiends for a moment. How, you ask? Well, to be a skin fiend one has to summon the skin demon. To summon the skin demon, one has to say the skin prayer (see attached). Before one says the skin prayer, one has to take command of the skin receptacles (see package). But the skin receptacles must never be touched. They are objects of the mind. One may only interact with the skin receptacles through sense memory. How can one remember what has never been physically experienced?
The skin fiend remembers the future. In the future, he remembers that the skin fiend has already seen the skin demon. In the future, he remembers that the skin fiend has already touched the skin demon. In the future, he remembers that the skin fiend and the skin demon are the same because in the future, the skin fiend has no eyes and the skin demon has no hands and yet the skin demon can touch what the skin fiend sees, and the skin fiend can see what the skin demon touches. But what the skin demon touches and what the skin fiend sees evaporate from memory once seen and touched. In the future, he remembers that the skin fiend remembers the sense of having forgotten. This sense is marked by a trace. The trace is a scent. In the future you remember, perhaps you will remember this scent and with any luck you will also forget it.”
We made this film for you, skin fiend. What do you think?
-AD & JDGM
Lydon
Lucy Kerr
2018 | 3 minutes | USA | 16mm | color | sound
Lydon explores the potential of a minimal gesture in relationship with the space surrounding them.
-LK
BINARY STARS
Andrew Busti
2017 | 4 minutes | USA | 35mm Scope-Anamorphic | b&w | sound
A set of formal instructions detailing the proper operation of a light switch while a landscape shrinks at an alarming rate of 2:1
-AB
SPECIAL PROGRAM
Sunday, March 17, 2019 @ 6pm
Total running time: 28 minutes
Superdyke
Barbara Hammer | 1975 | 20 minutes | COLOR | SOUND | 16mm film
A comedy about a troop of shield-bearing Amazons who take over city institutions before relaxing in the country.
"SUPERDYKE takes women into the streets when Barbara arms of a platoon of vagina warriors with Amazon shields in an attempt to overthrow San Francisco. They march through City Hall, usurp the bus lines, demythologize the consumer mentality at Macy's (to the recorded astonishment of casual shoppers), and wander through the erotic art museum. Barbara's frenetic handheld lens catches the startled reactions and the glee of the participants. SUPERDYKE has a home-movie quality to it, but its committed and loose moments in the playground confirm its comic rationale." - PGS
Preservation print of Superdyke made in 2018 available from Canyon Cinema.
This film was preserved by Electronic Arts Intermix and the Academy Film Archive through the National Film Preservation Foundation's Avant-Garde Masters Grant program and The Film Foundation. Funding provided by the George Lucas Family Foundation.
Pools
Barbara Hammer | 1981 | 8 minutes | COLOR/B&W | SOUND | 16mm film
Made with Barbara Klutinis.
"POOLS is a pictorially and technically impressive sampling of spectacular swimming pools at W.R. Hearst's San Simeon and manages to validate itself from within, or at least within its own frame of identification." - RTJ
My aesthetics in co-making POOLS with Barbara Klutinis was to bring an experiential and physiological sense of the body to the members of the audience watching the film in terms of the locations, the swimming pools designed by the first woman architect to graduate from the School of Beaux Arts in Paris, Julia Morgan. I want the viewers to have the experience of swimming in architectural space for two reasons. First and foremost, I want to activate my audience, I want them to come alive, not be passive through watching cinema, and then to extend that "aliveness" into their lives through conscious expansive living and responsible politics. The second reason I swam and filmed in those pools was to break a taboo. No visitors are allowed to swim in these gorgeous examples of Morgan's work. At least by getting permission to swim there myself with an underwater camera I could extend through vision this extraordinary physical experience.
Program 6
curated by tooth
Sunday, March 17, 2019 @ 7pm (doors 6:30)
Total running time: 56 minutes
1997c (Red Sketch)
Steve Polta
1997 | 6 minutes | USA | super 8 | color | sound
in the real world
that there was the real world brought in chaos and it brought in
unpredictability and the richness of the flow of light spectrum and color
spectrum had a lot more going
-SP
Studio Sunrise
Kioto Aoki
2018 | 3 minutes | USA | 16mm | b&w | silent
A reflected self-portrait imitating celestial movements of the sun.
-KA
Helios
Eric Stewart
2018 | 5 minutes | USA | 16mm | color | sound
Time-lapses of cacti and succulent over the course of a year. Environmental data drives the tone and filtration of the sounds while the rising and setting of the sun illuminates plant growth in and out phase with each each other.
-ES
An Empty Threat
Josh Lewis
2018 | 8 minutes | USA | 16mm | b&w | sound
A sequence of truces. A personality test offering mostly slippage.
-JL
Intertropical Vision
Adriana Vila Guevara
2018 | 5 minutes | Spain/Venezuela | 16mm | color | sound
Contrary to the standardization of a single hegemonic point of view, the “center” in the tropics is not the whole. It is the starting point of a powerful range of visions. This is a trip into the core of its multiple indomitable condition.
-AVG
Filament (The Hands)
Amy Halpern
1975 | 7 minutes | USA | 16mm | b&w | silent
In the politically charged atmosphere of the early 70s, Mikis Theodorakis conducted a concert of his music in Philadelphia. His music was banned in Greece, his own country, at that time by the US-funded junta. Visiting the US on a limited visa, he was restricted to musical appearances only - no public speaking permitted. His hands, eloquent even when their gestures are deprived (by silent filming) of the music they are making, speak. Several in-camera phenomena resulted from the highly-charged nature of the shoot. Flashes of lightning appear, in directional continuity with Theodorakis' movements. These are the product of static electricity, which caused flashes of light inside the camera to make additional exposures on the film while it was being exposed through the lens. The apparent double exposures are the result of the speed of the gestures interacting with the camera shutter speed, and seem to multiply the hands' locations. A shift from Plus X to Double X and finally to Tri X film stock causes the image to become progressively grainier, and the hands more glowing and halated.
-AH
Porter Springs 3
Henry Hills
1977 | 5 minutes | USA | 16mm | color | silent
These beautiful, intricately animated reflections were unfortunately shot in ECO which has proved to be remarkably unstable, turning blue before I had an internegative made. Therefore, this is one of only three prints of this "elegant and serene experience"
-Pat O'Neill
Xochipilli
Annalisa D. Quagliata
2018 | 1:20 minutes | Mexico | 16mm | b&w | silent
Short film that captures fragments of the statue Xochipilli "The prince of flowers;" aztec god of art, dance and poetry. The statue is covered with flowers, some of them psychoactive plants. The figure seems to be in a trance; looking up to the sky, in communication with the divine.
-ADG
Black Out
Aldo Tambellini
1965 | 9 minutes | USA | 16mm | b&w | sound
This film, like an action painting by Franz Kline, is a rising crescendo of abstract images. Rapid cuts of white forms on a black background supplemented by an equally abstract soundtrack give the impression of a bombardment in celestial space or on a battlefield where cannons fire on an unseen enemy into the night.
-Grove Press Film Catalog
Elli
Esther Urlus
2016 | 8 minutes | Amsterdam | 16mm | color | sound
Calm shots of a seascape also examine optical color mixing using various flicker effects. Shot on the exact spot in Greece that marked the country’s entrance into World War II.
-EU
Change 变
Lily Jue Sheng
2017 | 6 minutes | USA | 16mm x 2 | color | sound
Change is a 16mm text animation that deconstructs and manipulates Chinese language in its representation of morphology, Taoist principles, and celestial cycles of time. The title refers to the I Ching, the Book of Changes, and 变 (traditional: 變), the Chinese word for 'change', in its translation that implies 'transformation'. The film structure surveys Chinese seal script, Traditional Chinese, and Simplified Chinese, repeating 64 variations of 8 cosmic colors - red, green, blue, cyan, magenta, yellow, black, and white. Each string of characters correspond to a revolution of time in lunisolar and astronomical denominations. The allegorical usage of radicals and colors convey a universal interconnectivity, articulating meanings outside the confines of literacy, acting instead as a cryptogram, machine/mind symbiosis, series of rituals, and play of metronomic afterimages.
-LJS
Program 7
curated by tooth
Sunday, March 17, 2019 @ 9pm (doors 8:30)
Total running time: 57 minutes
Rate of Change
Bill Brand
1972 | 18 minutes | USA | 16mm | color | silent
Acts of Light is a trilogy consisting of Rate of Change, Angular Momentum, and Circles of Confusion. Together they develop a study of pure color based on the notion that film is essentially change rather than motion. The films build one on the other as first pure change, then relational change, and finally, irrational change. They can be seen together or as separate works. Rate of Change has no original, no frames, only slow continuously shifting colors, cycling around the perimeter of the spectrum. The changes are so slow as to be unseen, yet they alter perception of the color.
-BB
Shutter Interface
Paul Sharits
1975 | 25 minutes | USA | 16mm x 2 | color | sound
The central idea was to create a metaphor of the basic intermittency mechanism of cinema: the shutter. If one slows down a projector, one observes a "flicker"; this flickering reveals the rotating shutter activity of the system. Instead of slowing down a projector, one can metaphorically suggest the frame-by-frame structure of film (which is what necessitates a shutter blade mechanism) by differentiating each frame of the film by radical shifts in value or hue; this metaphor was a guiding principle in my work in the 1960's, in my so-called "color flicker films." I discovered, two years ago, that I could heighten this metaphor by partially overlapping two screens of related but different "flicker footage" and the conception of four overlapping screens began to evolve. For installation pieces, I prefer to use long film loops, each a slightly different length, so that the relationships within the system go through many phases, maintains the piece seem to be beyond duration, to exist as on-going environments of visual-aural activity (I regard them as "locations").
-PS
Cyclone Tracery
Richard Tuohy & Dianna Barrie
2018 | 15 minutes | Australia | 16mm x 2 | b&w | sound
On Christmas eve in 1974, the city of Darwin in tropical northern Australia was devastated by Cyclone Tracy. In this expanded cinema piece, a single film print, featuring only concentric circles is bi-packed against itself in two 16mm projectors simultaneously. Through this approach, the quadrupled image of circles is transformed into troubled patterns of pulsating and swirling interference and whaling sounds of tropical violence.
-RT & DB
Filmmaker Bios
Program 1
Stephanie Barber is an American writer and artist. She has created a poetic, conceptual and philosophical body of work in a variety of media. Her videos are concerned with the content, musicality and experiential qualities of language and her language is concerned with the emotional impact of moments and ideas. Each ferry viewers through philosophical inquiry with the unexpected oars of empathy, play, story and humor. Her videos are distributed by Video Data Bank and her films can be found at Canyon Cinema and Fandor.com. Her books Night Moves and these here separated... were published by Publishing Genius Press in 2013 and 2010 respectively. Her collection of very short stories All The People was published by Ink Press Productions in 2015. Barber is currently a resident artist at The Mt. Royal MFA for Interdisciplinary Art at MICA in Baltimore, MD.
JJ Murphy has been active as a filmmaker since 1971 and is interested in American Indie Cinema, screenwriting, avant–garde cinema, contemporary art, and the films of Andy Warhol. His films have been screened at the Museum of Modern Art, the Whitney Museum of American Art, the National Gallery of Art, and the Centre Georges Pompidou.
Nazlı Dinçel’s hand-made work reflects on experiences of disruption. She records the body in context with arousal, immigration, dislocation and desire with the film object: its texture, color and the tractable emulsion of the 16mm material. Her use of text as image, language and sound imitates the failure of memory and her own displacement within a western society. Born in Ankara, Turkey, Dinçel immigrated to the United States at the age of 17. Dinçel resides in Milwaukee, WI where she is currently building an artist run film laboratory. She obtained her MFA in filmmaking from UW-Milwaukee. Her works have been exhibited in numerous venues around the world including Tiger Shorts competition at IFFR, New York Film Festival, Edinburgh International Film Festival and Dallas Contemporary. She recently won the Marian McMahon Akimbo award at the 2017 Images Festival with Untitled (2016) and was also awarded Best Experimental Film at the 2015 Chicago Underground Film Festival with Her Silent Seaming (2014). In addition to exhibiting with institutions, Dinçel avidly self-distributes and tours with her work in micro-cinemas, artist run laboratories and alternative screening spaces in order to support and circulate handmade filmmaking to communities outside of institutions.
Alee Peoples (born 1981, Oklahoma City) maintains a varied artistic practice that involves screen-printing, sewing, sculpture and film. Currently living in Los Angeles, she has taught youth classes at Echo Park Film Center and shown her sculpture and film work at GAIT and 4th Wall. She is inspired by pedestrian histories, pop song lyrics and invested in the hand-made.
Anja Dornieden and Juan David González Monroy are filmmakers based in Berlin. They work together under the moniker OJOBOCA. Together they practice Horrorism, a simulated method of inner and outer transformation. Since 2010 they are members of the artist-run film lab LaborBerlin.
Program 2
Kioto Aoki is a visual artist whose practice includes photography, film, books and installations to engage the material specificity of the analogue image and image-making process. Using the nuances of time, space, form, light and motion, her work explores different modes of perception as it relates to the space between the still and the moving image; as well as the human body within the device of photographic frame. She has exhibited and screened in Chicago, Berlin, Los Angeles, San Francisco, London and Japan. Her work is held in Joan Flasch Artists’ Book Collection and the Museum of Contemporary Art Chicago Library. Kioto received her MFA from The School of the Art Institute of Chicago and is currently a HATCH Projects artist-in-resident at the Chicago Artists Coalition.
Malic Amalya is queercore filmmaker working in 16mm and video. He lives in Oakland and teaches at the California College of the Arts and City College of San Francisco.
Greta Snider is an experimental filmmaker. Her earlier work on 16mm includes a collection of audio and visual experiences that combines photography, found footage, and her own experiences of the San Francisco punk scene in the early 1990s. Her work includes experiments with simultaneous soundtracks (Blood Story, 1990), engaging personal accounts of a scraped-together journey with friends (Portland, 1996), and an audio travelogue of the San Francisco punk scene. Greta's more recent work includes, in collaboration with Johunna Grayson, a series of slide show projections comprised of hand-processed photographs and stereoscopic images. The series is described as an update on the "campy Viewmaster format," riffing on the concept of the travelogue to present the unseen and underground aspects. Subjects range from forgotten aspects of the everyday ("old man bars," flowers, parts of the body) to the extreme (a Viewmaster series of atomic test blasts). Snider's films explore the importance of small memories, retrieving pieces of ephemera from the underground and re-presenting them on screen.
Wenhua Shi pursues a poetic approach to moving image making, and investigates conceptual depth in film, video, interactive installations and sound sculptures. His work has been presented at museums, galleries, and film festivals, including International Film Festival Rotterdam, European Media Art Festival, Athens Film and Video Festival, Ann Arbor Film Festival, Pacific Film Archive, West Bund 2013: a Biennale of Architecture and Contemporary art, Shanghai, Shenzhen & Hong Kong Bi-City Biennale of Urbanism, and the Arsenale of Venice in Italy. He has received awards including the New York Foundation for the Arts, the New York State Council on the Arts, and Juror’s Awards from the Black Maria Film and Video Festival.
Sofia Canales is a filmmaker and artist born and based in Los Angeles. She holds a BFA in Film/Video and an MFA in Experimental Sound Practices from the California Institute of the Arts. Her work lovingly explores familial narratives and images through wide eyes and open ears. Her films have shown at Slamdance Film Festival, Morelia International Film Festival, and LA Plaza de Cultura y Artes.
Nazlı Dinçel’s hand-made work reflects on experiences of disruption. She records the body in context with arousal, immigration, dislocation and desire with the film object: its texture, color and the tractable emulsion of the 16mm material. Her use of text as image, language and sound imitates the failure of memory and her own displacement within a western society. Born in Ankara, Turkey, Dinçel immigrated to the United Sates at age 17. Dinçel resides in Milwaukee, WI where she is currently building an artist run film laboratory. She obtained her MFA in filmmaking from UW-Milwaukee. Her works have been exhibited in numerous venues around the world including MoMA, IFFR, NYFF, BAFICI, EIFF and HKIFF. She recently won the Helen Hill Award at the 2018 Orphan Film Symposium, the Eileen Maitland Award at the 2018 AAFF, Jury Awards at 2018 ICdocs and MUFF for Between Relating and Use (2018). In addition to exhibiting with institutions, Dinçel avidly self-distributes and tours with her work in micro-cinemas, artist run laboratories and alternative screening spaces in order to support and circulate handmade filmmaking to communities outside of institutions.
Sílvia das Fadas (née Sílvia Salgueiro) is a filmmaker, a researcher, a teacher, a wanderer. Born in Portugal in 1983, she studied cinema and aesthetics, committing herself to the material learning of film at ANIM (The Portuguese Moving Image Archive) and the Portuguese Cinematheque in Lisbon. Driven by a militant nostalgia, she moved to Los Angeles where she continued to craft her personal films in 16mm, at the California Institute of the Arts. She worked as a Visual History Researcher for the Academy of Motion Picture Arts and Sciences, and collaborated with Los Angeles Filmforum until her visa expired and she moved to Vienna in search of a lively film culture. There she worked as a film projectionist for the Austrian Film Museum, while teaching cinema at the Academy of Fine Arts Vienna, where she is currently a participant in the PhD in Practice program. She is the recipient of a Fundação Calouste Gulbenkian/ FLAD Scholarship, a CalArts School of Film/Video Scholarship, an Akademie Schloss Solitude Cooperation Fellowship with Staatliche Akademie der Bildenden Künste Stuttgart, and a Fundação para a Ciência e Tecnologia Doctoral Fellowship. Her films have been shown at numerous festivals, cinematheques and minor cinemas. She is interested in the politics intrinsic to cinematic practices and in cinema as a way of being together in restlessness and brokenness.
Cauleen Smith (born Riverside, California, 1967) is an interdisciplinary artist whose work reflects upon the everyday possibilities of the imagination. Operating in multiple materials and arenas, Smith roots her work firmly within the discourse of mid-twentieth-century experimental film. Drawing from structuralism, third world cinema, and science fiction, she makes things that deploy the tactics of these disciplines while offering a phenomenological experience for spectators and participants. Her films, objects, and installations have been featured in group exhibitions. Studio Museum of Harlem, Houston Contemporary Art Museum; Yerba Buena Center for Art, and the New Museum, New York, D21 Leipzig and Decad, Berlin. She has had solo shows for her films and installations at The Kitchen, MCA Chicago, Threewalls, Chicago. She shows her drawings and 2D work with Corbett vs. Dempsey. Smith is the recipient of several grants and awards including the Rockefeller Media Arts Award, Creative Capital Film /Video, Chicago 3Arts Grant, and the Foundation for Contemporary Arts, Chicago Expo Artadia Award, and Rauschenberg Residency. Smith was born in Riverside, California and grew up in Sacramento. She earned a BA in Creative Arts from San Francisco Sate University and an MFA from the University of California, Los Angeles School of Theater Film and Television. Smith is based in the great city of Chicago and serves as faculty for the Vermont College of Fine Arts low-residency MFA program.
Experimental filmmaker, video artist and independant curator, Guillaume Vallée graduated from Concordia University with a Major in Film Animation and MFA in Studio Arts - Film Production option. He's interested in alternative forms of moving images in analogue forms as a way of considering the direct interaction between different mediums. His work is an exploration of materiality within the creative process. In attempts of creating a more complex relationship with his subject matter, Vallée makes use of cross-medium forms that range from camera-less techniques to optical effects, glitch, video feedback, resulting in expended & hybrid pieces. Vallée is questionning the notions of recycling & reappropriation, treating all material as found footage within a collaborative practice, in film, video & performance. His audiovisual performances have been shown in various festivals in Canada, USA and France (MUTEK, O.F.N.I., FICFA, Les Percéides, WUFF (...)) and his experimental films and videos, distributed by Vidéographe and Winnipeg Film Group, have been screened internationnaly. His short film, Le bulbe tragique, won the ''Best Canadian Work'' at WNDX (Festival of Moving Image) in 2016. He's also the co-founder & programmer of Ibrida*Pluri Festival, along with Sonya Stefan & Samuel Bonony. Guillaume Vallée's completing a PhD in Études et Pratiques des Arts at UQAM, under the direction of Louis Jacob & Mario Côté. His Research-Creation thesis is about the notions of DIY apparatus, scene and the artist as bricoleur, around the practices of experimental cinema.
Program 3
Lyra Hill is a cartoonist, filmmaker, and performer who lives in Chicago. She created and organized the performative-comix reading series Brain Frame between 2011 and 2014. Lyra works mostly with 16mm and S8mm, and focuses on the avant-garde in both her film and comics work.
Stephanie Barber is an American writer and artist. She has created a poetic, conceptual and philosophical body of work in a variety of media. Her videos are concerned with the content, musicality and experiential qualities of language and her language is concerned with the emotional impact of moments and ideas. Each ferry viewers through philosophical inquiry with the unexpected oars of empathy, play, story and humor. Her videos are distributed by Video Data Bank and her films can be found at Canyon Cinema and Fandor.com. Her books Night Moves and these here separated... were published by Publishing Genius Press in 2013 and 2010 respectively. Her collection of very short stories All The People was published by Ink Press Productions in 2015. Barber is currently a resident artist at The Mt. Royal MFA for Interdisciplinary Art at MICA in Baltimore, MD.
Malic Amalya is queercore filmmaker working in 16mm and video. He lives in Oakland and teaches at the California College of the Arts and City College of San Francisco.
George Kuchar was born in New York City in 1942 and is one of a twin (Mike Kuchar is the other half). At an early age the twins made pictures on paper and on 8-mm movie film, and later attended the High School of Industrial Art in N.Y.C. (which is now the High School of Art and Design). Employed in the world of commercial art in Manhattan, George Kuchar was later laid off from work and never went back to that snake-pit; instead, he embarked on his movie career full-time. Having been introduced to the avant-garde film scene in the early 1960s, he acquired an audience for his low-budget dramas and was hired by the San Francisco Art Institute to teach filmmaking. In 1985 he began making 8-mm video diaries and has completed about 50 works in that medium. The works are edited in-camera and there are no post-production embellishments to bloat the budget, so the low-budget tradition continues in full swing.
Program 4
Eva Kolcze is a Toronto-based artist who creates films and installations that investigate themes of landscape, architecture and the body. Her work has screened at venues and festivals including the National Gallery of Canada, Musée d’art contemporain de Montréal (MAC),Anthology Film Archives, the Gardiner Museum, Nuit Blanche, Cinémathèque québécoise, Birch Contemporary and the Images Festival.
Sandra Davis is a San Francisco-based experimental filmmaker and curator whose work has been exhibited at film showcases and festivals worldwide, including the Museum of Modern Art, New York; Museum of Modern Art, Pompidou Center, Paris. She has held teaching positions at the School of the Art Institute of Chicago, the University of South Florida, and the San Francisco Art Institute. She has lectured widely in the US and Europe on experimental cinema and its place within modern and contemporary art.
The films of Ernie Gehr investigate deceptively simple materials and landscapes of everyday encounter as radically potent portals into the continually unfolding mysteries hidden beneath the surface of our perception. Gehr’s intuitive capacity for elegantly executed, yet perpetually probing works bring new light to a shifting definition of the “experimental” in film. A self taught filmmaker who became a central figure in the fields of Structural Film and the avant-garde communities of New York and San Francisco as well as a long time teacher in of the SFAI Film Department, Gehr continues to make works that expand and investigate our ways of seeing.
Emmanuelle Nègre is born in France in 1986 and studied at the Villa Arson School of fine Art where she got Master in 2010. She was co-director at Catalyst Arts's Belfast from 2011 to 2013. Also resident at La Station in Nice from 2013 to 2017. In 2017 she started to program screenings under the name Fovéa. Emmanuelle is showing her work locally and internationally as part of exhibitions and screening.
Deborah Stratman is an artist and filmmaker interested in landscapes and systems. Much of her work points to the relationships between physical environments and human struggles for power and control that play out on the land. Recent projects have addressed freedom, expansionism, surveillance, sonic warfare, public speech, ghosts, sinkholes, levitation, propagation, orthoptera, raptors, comets, exodus and faith. She has exhibited internationally at venues including the MoMA (NY), Centre Pompidou (Paris), Hammer Museum (LA), Mercer Union (Toronto), Witte de With (Rotterdam), Tabakalera (San Sebastian), Film Museum (Vienna), Whitney Biennial (NY) and festivals including Sundance, Viennale, Berlinale, CPH/DOX, Toronto, Oberhausen, True/False, and Rotterdam. Stratman is the recipient of Fulbright, Guggenheim and USA Collins Fellowships, an Alpert Award, Sundance Art of Nonfiction Award and grants from Creative Capital, Graham Foundation, and Wexner Center for the Arts. She lives in Chicago where she teaches at the University of Illinois / UIC.
James Edmonds is a filmmaker and painter from England living in Berlin. His work is driven by a personal poetics which explores the intersection of the recorded image as a material, formal reality and subjective experience as a synthesis of everyday existence and memory.His films, paintings and sound works are sometimes combined in space along with found materials, suggesting complex overlapping subjectivities and landscapes.He has presented work at film festivals such as TIFF Toronto, NYFF New York, L’ ge d’Or Brussels, Flex Fest Florida, Process Festival Riga and Fronteira Festival Brasil. Solo presentations have occurred at 3 137 Athens, Cinema Parenthèse Brussels, Nocturnal Reflections Milan, Auslands-Filme Berlin and Another Vacant Space Berlin. He occasionally also writes and since 2015 organizes a film series in Berlin called Light Movement.
Rose Lowder “I trained as a painter and sculptor in Lima, Peru, then in London. I worked for a decade as an artist while earning a living as a film editor. I became interested in research in film from 1977 onwards, establishing with Alain-Alcide Sudre a non-profit organization, the Experimental Film Archives of Avignon. The Archives have become a collection of 16mm films as well as a paper document collection. The first is made available to the public with films rented from other sources by means of annual screenings and the second can be consulted freely as a reference library. At one point I wrote a doctoral dissertation entitled "The Experimental Film as an Instrument for Visual Research." I also teach a filmmaking course at the Sorbonne, Paris, with the grand title of Associate Professor. Although I began filmmaking by pursuing concerns common to other contemporary art practices, my attention was rapidly attracted by a twofold feature of the photographic procedure which allows one to handle the content and the form of the material while the process inscribes automatically some of the traces and characteristics of the reality being recorded. This paradox led me to study perception, the possibilities and problematics of research in art as well as how theoretical approaches to experimental film and traditional cinema have evolved. Underlying these studies is a search for meaningful ways to work with film regarding our contemporary society controlled by multinational economics. As the totalitarian environments of urban landscapes become more and more uninhabitable, I seek, against the grain in our "virtual" space age it seems, a more human physical home.”
Rob Daglish is a London based artist filmmaker.
Born in Kitchener-Waterloo, Ontario, Philip Hoffman’s filmmaking began with his boyhood interest in photography. As semi-official historian of family life, Hoffman became intrigued by questions of reality in photography and later in cinema. After completing his formal education which includes a Diploma in Media Arts at Sheridan College and a Bachelor of Arts in Literature at Wilfrid Laurier University, Hoffman began working on his films, as well as teaching film, electronic and computer-based media in the Media Arts Program at Sheridan College. Currently Hoffman teaches in the Cinema and Media Arts Department at York University. A film artist of memory and association, Philip Hoffman has long been recognized as Canada’s pre-eminent diary filmmaker. He apprenticed in Europe with Peter Greenaway in 1985, where he made ?O,Zoo! (The Making of a Fiction Film) (1985), which was nominated for a Canadian Genie Award. Hoffman has been honored with more than a dozen retrospectives of his work. Since 1994, he has been the artistic director of the Independent Imaging Retreat (Film Farm), a one week workshop in artisanal filmmaking in Mount Forest, Ontario. In 2016 Hoffman received the Governor General’s Award in Visual and Media Arts.
Program 5
Meganelizabeth Diamond is an interdisciplinary artist from Hazelridge + Winnipeg, Manitoba currently based out of Camp Morton, Manitoba. Her practice utilizes both analog and digital forms of image capturing, collaging and film-making. She is a collective member of Open City Cinema and co-programs the Winnipeg Underground Film Festival. Her work has shown throughout artist run centres and festivals across Canada and the United States. Meganelizabeth sits on the board of directors of PLATFORM photographic centre + digital arts and she completed her BFA at the University of Manitoba.
Karissa Hahn is a visual artist based in Los Angeles who works between film and video. Hahn has shown around the planet Earth in various cinemas, galleries, and institutions such as the New York Film Festival, MoMA, Rotterdam, Wavelengths, Crossroads, Ann Arbor Film Festival, and the Anthology Film Archives.
Alexander Stewart (1981, Mobile, Alabama) received his MFA from the School of the Art Institute of Chicago. His short films have screened internationally, including at the International Film Festival Rotterdam, the Ottawa International Animation Festival, the Ann Arbor Film Festival, and Image Forum in Japan. He is co-founder of the Eyeworks Festival of Experimental Animation, and curated the film and video screening series at Roots & Culture Contemporary Art Center in Chicago from 2006 to 2013. He lives in Los Angeles and teaches in the Experimental Animation program at CalArts.
Simon Liu was raised between Hong Kong and Stoke-On-Trent, UK and now lives in Brooklyn, USA. His films and multiple 16mm projection works have been presented at film festivals and with institutions internationally including the International Film Festival Rotterdam, Toronto International Film Festival, BFI London Film Festival, Edinburgh IFF, Hong Kong IFF, M+ Museum, CROSSROADS @ SF MoMA, Tai Kwun Contemporary, Festival du Nouvéau Cinéma, Maryland Film Festival, Hamburg Kurzfilmtage, Light Industry, and IMAGE FORUM. His most recent 16mm multiple projection work Cluster Click City Sundays premiered as a part of DREAMLANDS: EXPANDED - an expanded-cinema series organized by Microscope Gallery as a part of the Whitney Museum of American Art's exhibition “Dreamlands: Immersive Cinema & Art, 1905 - 2016”. Liu is a member of Negativland Motion Picture Lab, an artist-run film lab where he prints, processes and completes his films on 16mm and 35mm film. He has given lectures and performed as a visiting artist at institutions such as the China Central Academy of Fine Arts, Yale University, the Beijing Film Academy and the New School. In 2018 he was a recipient of the NYSCA and Wave Farm Media Arts Assistance Fund.
Ross Meckfessel is an artist and filmmaker who works primarily in Super 8 and 16mm film. His films often emphasize materiality and poetic structures while depicting the condition of modern life through apocalyptic obsession, contemporary ennui, and the technological landscape. His work has screened internationally and throughout the United States including Projections at the New York Film Festival, Wavelengths at Toronto International Film Festival, San Francisco Cinematheque’s CROSSROADS Film Festival, Internationales Kurzfilm Festival Hamburg, Antimatter [Media Art], Iowa City International Documentary Film Festival, and The Artifact Small Format Film Festival where he was awarded best 16mm film.
Anja Dornieden and Juan David González Monroy are filmmakers based in Berlin. Since 2010 they have been working together under the moniker OJOBOCA. Together they practice Horrorism, a simulated method of inner and outer transformation. They are currently members of the artist-run film lab LaborBerlin.
Lucy Kerr is a choreographer, filmmaker, artist, and curator based in Los Angeles and in Brooklyn, NY. She is a current MFA candidate in Film/Video and in Art at California Institute of the Arts. Her work has been presented by The Brooklyn Museum, Anthology Film Archives, Echo Park Film Center, The Chimney NYC, La Mama, Cucalorus, The Aurora Picture Show, Brooklyn Studios for Dance, Lubov Gallery NYC, The Match Houston, and The Center for Performance Research, among others. Kerr co-curated and co-organized the 7 week dance on film festival, Dance Film; Deconstructed, in Fall 2017 in partnership with Emily Smith at Brooklyn Studios for Dance and with collaborating organizations Mono No Aware and Dance Films Association.
Andrew Busti has been making "handmade" films in various forms since 1999. His work revolves around the idea of the subjective and the languages that evolve through experience and perception. His current 16mm film series, titled: 26 Pulse Wrought- Film for Rewinds are films that approach cinema as projected data feeds, articulate signals, and loci of information to be seen, heard, intuited...and eventually interpreted. He is the head of technical resources and an integral part of the new media preservation program for the Cinema Studies and Moving Image Arts Department at University of Colorado in Boulder where he teaches classes in Alternative Process and Alchemical Cinema. He fervently works with artists, museums, and archives through the name Analogue Industries Ltd., facilitating new works, helping to preserve works regardless of classification, while always striving to support analog cinema in all its ongoing forms. He is a founding member of Process Reversal, a nonprofit artist-run analog film initiative that currently educates, informs, supports, and outfits artist-run film labs and communities around the globe. When not working long hours and helping others make films or actually making his own, he might be found singing to his 11 month old baby boy and obsessing about the reclamation and refining of silver from the photographic process for at least .999 percent of his time.
Program 6
Steve Polta is a San Francisco a filmmaker, occasional writer, occasional historian and former taxi driver who lives in Oakland. He is the Director of San Francisco Cinematheque and curator (and co-founder) of the annual CROSSROADS film festival.
Kioto Aoki is a visual artist whose practice includes photography, film, books and installations to engage the material specificity of the analogue image and image-making process. Using the nuances of time, space, form, light and motion, her work explores different modes of perception as it relates to the space between the still and the moving image; as well as the human body within the device of photographic frame. She has exhibited and screened in Chicago, Berlin, Los Angeles, San Francisco, London and Japan. Her work is held in Joan Flasch Artists’ Book Collection and the Museum of Contemporary Art Chicago Library. Kioto received her MFA from The School of the Art Institute of Chicago and is currently a HATCH Projects artist-in-resident at the Chicago Artists Coalition.
Eric Stewart is an interdisciplinary multimedia artist and educator. Working predominantly with 16mm film his artistic practice invokes photochemical and darkroom processes to investigate landscape, place and cultural identity in the American West. Before moving to Colorado in 2013, Eric lived in the San Francisco Bay Area where he taught a biweekly analogue filmmaking workshop called “The Elements of Image Making”. He was awarded the 2015 Mono No Aware Award for Excellence in Filmmaking at the Haverhill Experimental Film Festival and his films have shown at: The Yerba Buena Center for Fine Arts (SF), Yale University, Crossroads Film Festival (SF Cinematheque), 25fps (Zagreb) and The Florida Experimental Film Festival. His current film examines the philosophy of science, ecology and the 19th century natural sciences as a window into contemporary issues of globalization, climate change, and social perspectives on wilderness. He holds a BFA from the School of the Art Institute of Chicago, an MFA from the University of Colorado, Boulder. He currently splits his time between Central New York and Southern Colorado where he works an Assistant Professor in Photography at Adams State University in the beautiful San Luis Valley of Southern Colorado.
Josh Lewis is an artist and filmmaker working primarily with photo-chemical media. His handmade films look to explore the boundaries of manual knowledge and the persisting enigmas of material potential. He's shown work at venues such as The Centre Pompidou, Anthology Film Archives, Microscope Gallery, Eyebeam, Uniondocs, and at festivals such as The International Film Festival Rotterdam, Ann Arbor Film Festival, 25fps, Chicago Underground Film Festival, and Antimatter. He is the founder and co-runner of Negativeland, an artist workspace dedicated to experimental filmmaking located in Ridgewood, NY.
Adriana Vila Guevara cofounded the analogue film lab Crater-Lab. Since 2010 she has created expanded film pieces and given performances at a number of film festivals, art centres and alternative spaces across Europe, the United States and Latin America. She has a PhD in Anthropology and Ethnography from the University of Barcelona.
Amy Halpern is a New York filmmaker, living & working in Los Angeles. Since childhood, composing with movement and light, and making 16mm abstract films since 1972. Taught film for many years, most recently 7 years at U.S.C, also at California State University L.A., Cal. State Northridge, Otis-Parsons Art Institute and a second grade class in L.A. Unified School District. She has collaborations (lights, camera, person) with Charles Burnett's My Brother's Wedding, Pat O'Neill's The Decay of Fiction, Julie Dash's Illusions and David Lebrun's Breaking the Maya Code and Dance of the Maize God. She also appears in several of Chick Strand's films, Soft Fiction, Krystalnacht, Cartoon Le Moose & Fever Dream. Born and raised in New York City, Halpern studied & performed in modern dance with Anna Sokolow & Lynda Gudde, worked in the early 1970s in 3-D shadow-play with Ken Jacobs' New York Apparition Theatre and co-founded New York's Collective For Living Cinema with 3 other guys.
Henry Hills has been making dense, intensely rhythmic experimental films since 1975. A longtime resident of New York's East Village, he has ongoing working relationships with the L=A=N=G=U=A=G=E Poets, composer John Zorn, and choreographer Sally Silvers. Since 2005 he has been Visiting Professor at FAMU, the Czech national film academy in Prague, and currently lives in Vienna. He received a 2009 John Simon Guggenheim Memorial Fellowship & his films, which are included in the permanent collection of the Museum of Modern Art, are available on DVD from Tzadik. His most recent work, arcana, was awarded Best Experimental Film at both Curtas Vila do Conde festival in Portugal and the Melbourne International Film Festival in Australia. His films, with an eccentric humor, seek abstraction within sharply-focused naturalistic imagery & the ethereal within the mundane, promoting an active attentiveness through a relentlessly concentrated montage.
Annalisa D. Quagliata (b. Veracruz, Mexico) is a visual artist whose films and installations focus on the human body and portraiture. In her work the body is explored as a mirror that reflects different states of being; spanning from the personal to the social and political. She has a strong interest in analog and handmade film as a medium that captures the poetics of light and the moving image. Annalisa grew up in Mexico City but has lived in Taiwan, New York and Boston. She is a graduate from Massachusetts College of Art and Design where she majored in Film/Video and Studio for Interrelated Media. Her work has been screened and exhibited internationally, including the Museum of the Moving Image and Mono No Aware Festival in New York, Museo Tamayo in Mexico, Bienal de la Imagen en Movimiento in Argentina, Fronteira Festival in Brazil, Analogica Festival in Italy, and otherfilm festivals and venues. She is a Princess Grace Foundation Honoraria and recipient of the Stephen D. Paine Scholarship. Annalisa currently resides and works in Mexico City.
As a key figure in the 1960s underground scene of New York – a missing link between the European avant-garde and the artistic movements that followed Abstract Expressionism – Aldo Tambellini (born 1930 in Syracuse, NY, US) is an experimenter, agitator, and a major catalyst of innovation in the field of multimedia art. Tambellini took the transformational potential of artistic expression that stems from painting and sculpture and brought it to the experiences of Expanded Cinema.
Esther Urlus is a Rotterdam-based artist working with motion picture film formats Super8, 16mm and 35mm. Resulting in films, performances and installations, her works always arise from DIY methods. Kneading the material, by trial, error and (re) inventing, she creates new work.
Urlus’ work has been exhibited and screened at film festivals worldwide, among other 25FPS festival Zagreb, Ann Arbor Film Festival, Oberhausen Short Film Festival, Sonic Acts, and the International Film Festival Rotterdam. Urlus is the founder of WORM Filmwerkplaats, Rotterdam, an artist-run workspace dedicated to motion picture film as an artistic, expressive medium. More and more it’s the artist-run film lab that represents the leading standard in contemporary analogue filmmaking. These labs have acquired professional, but commercially discarded equipment from all over the world. Now that artists have access to these tools, combined with the open culture-based knowledge sharing, they can move forward and innovate independently from the industry.
Lily Jue Sheng works across film, video, 2D, performance, and installation. She studied at the School of the Museum of Fine Arts in Boston, Massachusetts, and is currently based in New York City & New Jersey. Her work has shown at the Whitney Museum of American Art, Parrish Art Museum, Knockdown Center, Eyebeam, Artbook @ MoMA PS1, and Microscope Gallery in New York City; Mana Contemporary in Jersey City; the Museum of Fine Arts in Boston; the Musée d’art contemporain de Montréal in Montreal; the 1933 Slaughterhouse (老场坊) and West Bund Art & Design Fair in Shanghai; and 3331 Arts Chiyoda in Tokyo.
Program 7
Bill Brand is a multi-disciplinary artist whose films, public artwork, installations and works-on-paper have exhibited worldwide in museums, galleries microcinemas and on television. His 1980 Masstransiscope, an animated mural installed in the New York City subway, is in the MTA Arts and Design permanent collection. Bill Brand’s artwork has been featured at Museum of Modern Art, Whitney Museum, Smithsonian American Art Museum, National Gallery of Art, Anthology Film Archive and Shanghai Duolun Museum of Modern Art. He is represented by Galerie Arnaud Lefebvre, Paris. His films have been presented at major film festivals including the Berlin Film Festival, New Directors/ New Films Festival, Tribeca Film Festival and Rotterdam Film Festival.
Trained as a graphic artist and a painter, Paul Sharits became an avant-garde filmmaker noted for manipulating the film stock itself to create a variety of fascinating, abstract light and colorplays when projected on the screen. Fans hail the effects hallucinogenic, while his detractors find them garish. Sharits is also known for establishing experimental film groups at prominent universities, including one at the University of Indiana where he studied. He later taught and developed an undergraduate film program at Antioch College. Between 1973 and 1992, Sharits taught at the Center for Media Study at the State University of New York. His films can be seen in various U.S. and European museums, film centers, and libraries. Much of his work can be found in the Anthology Film Archives in New York City.
Richard Tuohy (b. 1969, Melbourne, Aus.) began making works on super 8 in the late nineteen eighties. Since 2009 he has been an active and vocal member of the international artist run film lab scene. In 2011 Richard and Dianna started the Artist Film Workshop which in 2012 became a membership based artist-run film lab, itself also part of the international labs network. An advocate for the possibilities of hand made cinema, Tuohy has devoted much time and effort in sharing his knowledge through workshops and classes both in his native Australia and internationally.
Dianna Barrie (b. 1972, Melbourne) found her way into filmmaking as a middle ground between the pursuit of abstract music and philosophy, both of which she has studied formally at the post graduate level. Ever pushing the limits of the hand processing of super 8 led to the establishment of nanolab withRichard Tuohy in 2006. Dianna's film work could perhaps be characterised as 'direct chemical' filmmaking. Works generally begin with some form of camera image capture. This is followed by interventions during hand processing and exacting editing and/or printing processes. Dianna has emerged as a noticeable figure in the international artist-run film labs movement. She and her partner spend a significant amount of time each year touring their joint film programs and conducting workshops and masterclasses in hand-made film practice.
_______________________________________________________
http://www.lightfieldfilm.org/