WEEKEND FILM SCHEDULE
Saturday
MARCH 4
Poledna/Williams
Sunday
MARCH 5
Cameron Jamie
Saturday
MARCH 11
Parrino/Koether
Sunday
MARCH 12
Andrew Lampert
Friday
MARCH 17
Ira Cohen
Saturday
MARCH 18
Snow, Liotta, Bourque, Battle,
Colburn/Gatten, Klahr
Sunday
MARCH 19
Henry, Gibbons, Losier/
Benning
Saturday
MARCH 25
Angerame, SFC: Osama/Reeves
Sunday
MARCH 26
Cameron Jamie
Saturday
APRIL 1
Taylor Mead
Sunday
APRIL 2
Cheatle & Wright/Butler
Saturday
APRIL 8
Henry, Gibbons, Losier /
Benning
Sunday
APRIL 9
Cameron Jamie
Saturday
APRIL 15
SFC: Calypso Dreams, Taste of
Cherry
Sunday
APRIL 16
SFC: Carnival Roots,
Esso Trinidad Steelband,
Crossing Over
Saturday
APRIL 22
Anger/Durham, Bernadette
Corporation
Sunday
APRIL 23
Snow, Liotta, Bourque, Battle,
Colburn/Gatten, Klahr
Saturday
APRIL 29
Cheatle & Wright/Butler
Sunday
APRIL 30
Taylor Mead
Saturday
MAY 6
Andrew Lampert
Sunday
MAY 7
Angerame, SFC: Osama/Reeves
Friday
MAY 12
Ira Cohen
Saturday
MAY 13
Anger/Durham, Bernadette
Corporation
Sunday
MAY 14
Poledna/Williams
Saturday
MAY 20
Cameron Jamie
Sunday
MAY 21
Cameron Jamie
Saturday
MAY 27
Cameron Jamie
Sunday
MAY 28
Cameron Jamie

>> Click to purchase a Film Only ticket online <<

FILM INSTALLATION: CAMERON JAMIE
MARCH 5, 26; APRIL 9; MAY 20–28
WEDNESDAY–THURSDAY 11AM–6PM
FRIDAY 1–9PM, UNLESS OTHERWISE NOTED
SATURDAY–SUNDAY 11AM–1:30PM

Cameron Jamie

  • Kranky Klaus, 2002–03. Video, color, sound; 26:10 min. Soundtrack by the Melvins. Commissioned and produced by Artangel, London; courtesy Artangel, London • Jamie documents the pagan myth of Krampus—a shaggy beast said to roam the valleys of Austria on the night of December 6—with a score by the Melvins.

LIVE PERFORMANCE AT SYMPHONY SPACE
Cameron Jamie, The Melvins, and Keiji Haino
WEDNESDAY, MAY 17; 8PM

  • Post-punk band the Melvins plays the live score to Kranky Klaus/BB/Spook House; avant-garde musician Keiji Haino performs to Jamie’s most recent film, JO.
    The performance will occur at Symphony Space, located at 2537 Broadway at 95th Street; tickets available at www.symphonyspace.org.
    Presented in conjunction with the 2006 Biennial.

PROGRAM 1 SATURDAY, MARCH 4; SUNDAY, MAY 14
2PM

FILMS WITH MUSIC FROM CHINA HAITI JAMAICA
NORTH AMERICA

Organized by Mathias Poledna in conjunction with his film installation Version on view in the 2006 Biennial, the program will feature Maya Deren’s 1948 movement study Meditation on Violence and Poledna’s Minimal dance sequence, Sufferers’ Version.

  • Maya Deren, Meditation on Violence, 1948. 16mm film, black-and-white, sound; 13 min.
  • Mathias Poledna, Sufferers’ Version, 2004. 35mm, black-and-white, sound;
    6:20 min.

2:30PM
PROGRAM.
MARCH 4
Two programs of films organized by Christopher Williams

  • Otto Mühl, Grimuid, 1967. 16mm film (shown on DVD), black-and-white, silent; 13 min.
  • Joris Ivens, De Brug (The Bridge), 1928. 16mm film, black-and-white, silent; 11 min.
  • Harun Farocki, Ein Bild (An Image), 1983. 16mm film, color, sound; 25 min.
  • Peter Kubelka, Arnulf Rainer, 1958–60. 35mm film, black-and-white, sound;
    6:30 min.
  • David Lamelas, A Study of Relationships between Inner andOuter Space, 1969. 16mm film, black-and-white, sound; 20 min.
  • Yves Allégret and Eli Lotar, Ténériffe, 1932. 35mm film, black-and-white, sound; 20 min.
  • Jean Painlevé, Les Amours de la pieuvre (The Love Life of the Octopus), 1965. 16mm film, color, sound; 13 min.
  • Jean Rouch, Les Maîtres fous (Mad Masters), 1955. 16mm film, color, sound; 36 min.
  • Morgan Fisher, Picture and Sound Rushes, 1973. 16mm film, black-and-white, sound; 11 min.
            

MAY 14

  • Otto Mühl, Grimuid, 1967. 16mm film (shown on DVD), black-and-white, silent; 13 min.
  • Carl Theodor Dreyer, Storstrømsbroen (The Storstrom Bridge), 1950. 35mm film, black-and-white, sound; 7 min.
  • Tony Conrad, The Flicker, 1966. 16mm film, black-and-white, sound; 30 min.
  • Joris Ivens, A Valparaiso, 1963. 35mm film, black-and-white and color, sound; 37 min.
  • Peter Kubelka, Unsere Afrikareise (Our Trip to Africa), 1961–66. 16mm film, color, sound; 12:30 min.
  • John Baldessari, Ice Cubes Sliding, 1974. Super-8 film (shown on DVD), color, silent; 3 min. loop
  • Luis Buñuel, Las Hurdes, tierra sín pan (Land Without Bread), 1932. 16mm film, black-and-white, sound; 27 min.
PROGRAM 2: THROUGH A GLASS DARKLY SATURDAY, MARCH 11
2PM, 4PM

  • Steven Parrino, NECROPOLIS (THE LUCIFER CRANK) for ANGER, 2004. 16mm film, black and white, sound; 27 min. Camera: Amy Granat and Larry 7. Estate of the artist; courtesy Team Gallery, New York
  • Jutta Koether and Steven Parrino, Electrophilia, 2002. Video, color, sound; 30 min. • Recorded live at Manhattan Avenue, Brooklyn, New York, summer 2002
  • Jutta Koether, Holler Holler Coler and Electrophilia, 2003. Video, color, sound; 35 min. • Recorded live at Greene Naftali Gallery, New York, March 2003
PROGRAM 3: VARIETIES OF SLOW SUNDAY, MARCH 12; SATURDAY, MAY 6
11:30AM–6PM

Andrew Lampert

  • Lampert’s triple-screen installation is an “ultimate slowing down”—a shot of book spines is projected over a variable period of time. Shown alongside a sound work inspired by Morton Feldman. A performance with cellist Okkyung Lee follows at 5pm on May 6.
  • Varieties of Slow, 2005. Super-8 film performance, triple projection, black-and-white and color, silent; duration variable. Courtesy Public Opinion Laboratory, New York
  • Piano and String Quartet Piano and String Quartet, 2004. Sound work on two CDs; duration variable
    Okkyung Duet, 2004–05. Live film and music performance

PROGRAM 4: IRA COHEN FRIDAY, MARCH 17; FRIDAY, MAY 12
7PM

  • Poet, photographer, and filmmaker Ira Cohen reads from his work, along with a special screening of his psychedelic film The Invasion of Thunderbolt Pagoda (1968).

PROGRAM 5: EXPERIMENTAL I SATURDAY, MARCH 18; SUNDAY, APRIL 23
2PM

Michael Snow

  • WVLNT (Wavelength for Those Who Don’t Have the Time. Originally 45 Minutes, Now 15!), 1966–67/2003. Digital video, color, sound; 15 min. Courtesy Jack Shainman Gallery, New York • A contemporary spin on Snow’s best known film, Wavelength.
  • SSHTOORRTY, 2005. 35mm film transferred to video, color sound; 20 min. Courtesy Jack Shainman Gallery, New York • Snow’s most recent work is a short story doubled onto itself: a narrative filmed in one take then cut into two and superimposed repeatedly.
  • Jeanne Liotta, Eclipse, 2005. 16mm film, color, sound; 3:30 min. Sound
    by BDF • A lunar eclipse observed from the roof of Liotta’s New York
    City apartment building, originally filmed on luminous Super-8 Kodachrome film.

Louise Bourque

  • Jours en fleurs, 2003. 35mm film, color, sound; 4:30 min. • Reflecting on gestation and decay, Bourque transforms images of blossoms through menstrual blood.
  • L’éclat du mal/The Bleeding Heart of It, 2005. 35mm film (widescreen),
    color, sound; 8 min. • Using deteriorated home movies shot by her father, Bourque casts an unsparing eye on unfulfilled promises and
    lost innocence.
  • Christina Battle
  • nostalgia (april 2001 to present), 2005. 16mm film, color, sound; 4 min.
  • the distance between here and there, 2005. 16mm film, color, sound;
    7:30 min.
  • buffalo lifts, 2004. 16mm film, color, silent; 3 min. • Treating the celluloid strip as though she were applying layers of paint to canvas, Battle profoundly transforms the texture and surface of her photographic imagery.
  • Martha Colburn, Cosmetic Emergency, 2005. 35mm film, color, sound; 8 min. • Colburn explores the contemporary obsession with youth, beauty, and plastic surgery in her trademark exuberant, kinetic animation.

4PM
SERIAL PLEASURES

  • David Gatten, The Great Art of Knowing, 2004. 16mm film (reversal), black-and-white, silent; 37 min. • The most recent installment in Gatten’s series inspired by the William Byrd library focuses on Athanasius Kircher’s seventeenth-century encyclopedia and Evelyn Byrd’s for-
    bidden romance.
  • Lewis Klahr, The Two Minutes to Zero Trilogy, 2003–04
  • Two Days to Zero, 2004. 16mm film, color, sound; 23 min.
  • Two Hours to Zero, 2004. 16mm film, color, sound; 9 min.
    Two Minutes to Zero, 2003. 16mm film, color, sound; 1 min. Music by
    Glenn Branca from The Ascension (1981)
  • Klahr explores the pleasure and power of narrative compression by using vintage comic books to tell a fast-paced elliptical crime story three times in succession.

PROGRAM 6: EXPERIMENTAL II SUNDAY, MARCH 19; SATURDAY, APRIL 8
2PM
WITH A LITTLE HELP FROM MY FRIENDS

Doug Henry

  • Not Afraid of Bob, 2003. 16mm film, color, sound; 8 sec.
  • Winners, 2003. 16mm film, color, silent; 38 sec.
  • Hey/What, 2003. 16mm film, color, sound; 30 sec.
  • Mickey Mouse Ears, 2003. 16mm film, color, sound; 36 sec.
  • Deadpan exercises in reduction, Henry’s short films create an “experience in which appearance is meaning.”

Joe Gibbons

  • A Time to Die, 2005. Video, color, sound; 8 min. • Gibbons is an irascible hit man accosting autumnal flowers for hanging on to their beauty after their prime.
  • Doppelganger Part 1, 2005. Video, color, sound; approx. 15 min. • Mining Freudian territory, the artist plays a man who believes he is being followed by his double.
  • Tony Conrad with Joe Gibbons and Louise Bourque, TheProducer, 2005. Video, color, sound; 17 min. • Conrad stars as a suave Hollywood type; Bourque, Gibbons, and Buffalo’s Lenox Hotel appear in supporting roles.
  • Marie Losier, The Ontological Cowboy, 2005. 16mm film, black-and-white and color, sound; 13 min. • An experimental documentary portraying Richard Foreman, legendary playwright and director of the Ontological-Hysteric Theater.

3PM
James Benning

  • 13 Lakes, 2005. 16mm film, color, sound; 135 min. • Benning’s contemplative, mesmerizing study records lakes from Arizona to Alaska in static takes and documents subtle changes in the water and sky over an extended period of time.
  • One Way Boogie Woogie/27 Years Later, 1978/2005. 16mm film, color, sound; 121 min. • A shot-by-shot restaging of a 1977 film documenting his decaying industrial hometown, Benning traces urban renewal and the passage of the filmmaker’s own life.
    * There will be a 15-minute intermission between the two films. 

PROGRAM 7: POLITICS I PROGRAM
SATURDAY, MARCH 25; SUNDAY, MAY 7
2PM
PICTURES FROM AFGHANISTAN

  • Dominic Angerame, Anaconda Targets, 2004. Digital video, black-and-white, sound; 12 min. • Angerame presents chilling footage of a 2002 military operation recorded aboard a United States gunship helicopter.
  • Siddiq Barmak, Osama, 2003. 35mm film, color, sound; 83 min. • Studio Film Club presents Barmak’s Osama, the first feature film made in post-Taliban Afghanistan.
    *See below (April 15–16) for further Studio Film Club screenings.

4PM
THE TIME WE KILLED

  • Jennifer Reeves, The Time We Killed, 2004. 16mm film, black-and-white, sound; 94 min. • Set in the aftermath of September 11, Reeves’s experimental feature is about an agoraphobic poet whose mental turmoil parallels the events taking place outside.

PROGRAM 8: TAYLOR MEAD SATURDAY, APRIL 1; SUNDAY, APRIL 30
2PM

  • Actor, poet, and film legend Mead reads poetry live. The program also includes Excavating Taylor Mead (2005), a film by William A. Kirkley that documents his life.

PROGRAM 9: POLITICS II SUNDAY, APRIL 2; SATURDAY, APRIL 29
2PM
THIS LAND IS YOUR LAND

  • Lori Cheatle and Daisy Wright, This Land Is Your Land, 2004. Video, color, sound; 87 min. • Cheatle and Wright explore the influence of corporations on everyday life in the U.S. through the voices of people from across the country.

4PM
GOING UPRIVER

  • George Butler, Going Upriver: The Long War of John Kerry, 2004. 35mm film, black-and-white and color, sound; 89 min. • Released at the height of the 2004 presidential campaign, Butler’s film recounts his longtime friend and former nominee John Kerry’s engagement in the Vietnam War, documenting his journey from youthful idealism to disillusionment.

PROGRAM 10: STUDIO FILM CLUB I SATURDAY, APRIL 15
A selection of features from Peter Doig and Che Lovelace’s film series screened in Doig’s Trinidad studio.

2PM

  • Geoffrey Dunn and Michael Horne, Calypso Dreams, 2003. 35mm film (shown on DVD), color, sound; 120 min.

4PM

  • Abbas Kiarostami, The Taste of Cherry (Ta’m E Guilass), 1997. 35mm film, color, sound; 98 min.


PROGRAM 11: STUDIO FILM CLUB II  SUNDAY, APRIL 16
2PM

  • Peter Chelkowski, Carnival Roots, 2003. 35mm film, color, sound; 90 min.

4PM

  • Bud Smith, The Esso Trinidad Steelband, 1971. Video, color, sound; 25 min. Produced by Van Dyke Parks and Durrie Parks
  • Christopher Laird and Nii Bampoe Addo, Crossing Over, 1988. Video, color, sound; 58 min.

PROGRAM 12 SATURDAY, APRIL 22; SATURDAY, MAY 13
2PM
KENNETH ANGER

  • Mouse Heaven, 2005. Digital video, color, sound; 10 min.
    Lucifer Rising, 1980. 16mm film, color, sound; 30 min.
    Invocation of My Demon Brother, 1969. 16mm film, color, sound; 11 min.
             • A selection of work made by Anger from the late 1960s to his most recent film, Mouse Heaven

4PM
GLOBAL FOLLIES

  • Jimmie Durham, La Poursuite du bonheur (The Pursuit of Happiness), 2003. 35mm film, color, sound; 13 min. • A fictional Native American artist played by Albanian filmmaker Anri Sala makes it to the top after a successful show of art made from trash.
  • Bernadette Corporation, Pedestrian Cinema, 2006. Video, color, sound; approx. 60 min. • Bernadette Corporation cannily critiques a global culture that constructs its identity through consumption and branding.