\nGhostdance For a New Century\u2026<\/span><\/strong>
\nA new work by Holly Fisher with live sound by Ha-Yang Kim (premiere)<\/span><\/strong>
\nfollowed by a screening of “Bullets for Breakfast”<\/span>
\nadmission $8 – artist in person<\/span><\/em><\/p>\n<\/h1>\n
![\"ghostdance\"](\"http:\/\/microscope.webfactional.com\/wp-content\/uploads\/2015\/09\/ghostdance.jpg\")
<\/p>\n
Still from “Ghostdance For a New Century…” (Holly Fisher, 2015) – image courtesy of the artist<\/span><\/p>\n <\/strong> We are very pleased to welcome to the gallery filmmaker Holly Fisher for the world premiere of her new video work\u00a0Ghostdance For a New Century\u2026<\/em>, with live\u00a0sound accompaniment by\u00a0cellist Ha-Yang Kim, as well as a\u00a0screening of Fisher’s acclaimed feature length 16mm film Bullets For Breakfast<\/em> (1992). <\/span><\/p>\n In\u00a0Ghostdance For a New Century\u2026<\/em>,\u00a0inspired by the centenary dance performed by Native Americans to encourage times of renewal and prosperity,\u00a0Fisher reworks her earlier double-projection film for performance\u00a0Ghost Dance<\/em>\u00a0into a multi-layered, constantly evolving\u00a0digital canvas enriched by a unique musical score composed\u00a0and\u00a0executed live by cellist Ha-Yang Kim. <\/span><\/p>\n The performance will be followed by the projection of Fisher’s 1992 feature\u00a0Bullets For Breakfast<\/em>, a 16mm film entirely made on the optical printer from about 80 rolls of original Super 8mm footage mixing Ford’s\u00a0My Darling Clementine<\/em>\u00a0with\u00a0Renaissance paintings, women workers, landscapes of Maine and poetry readings.\u00a0Bullets<\/em>\u00a0– described by the artist as “a Western filtered through a post-feminist movement sensibility” and by Scott MacDonald as an example of feminist structuralism – won the\u00a0\u201cBest Experimental Film Award\u201d at the Ann Arbor Film Festival in 1992.<\/span><\/p>\n Holly Fisher and Ha-Yang Kim will be in attendance and available for a Q&A after the screening. <\/span><\/p>\n <\/strong><\/p>\n Program:<\/span><\/strong> Ghostdance For a New Century\u2026\u00a0(premiere)<\/span><\/strong> “This new work is a digital re-imagining of my 16mm film from 1980,\u00a0GHOST DANCE, which back then was intended for performance, using dual side-by-side projection, played in concert while out of phase. The original project was made from a single roll of 8mm, shot while descending Canyon de Chelly, AZ \u2013\u2013 accidentally cooked in the glove box, kept in its (un-slit) original 16mm gauge, and later re-worked cyclically on 16mm film via optical printer. Dirt, scratches, cat hairs, and splices are part of original project. With this new piece I set multiple layers of the original work in counterpoint allowing accidental relationships to play out over time while introducing variations to keep the work moving, shifting, evolving\u2026” – HF<\/span><\/p>\n <\/strong><\/p>\n Bullets For Breakfast<\/span><\/strong> “Images from\u00a0My Darling Clementine\u00a0form the basis for thought-provoking interpretation in Fisher\u2019s\u00a0Bullets for Breakfast.<\/em>\u00a0Combining stunning optical printing with a dense weaving of poetry, storytelling, and visual narrative, Fisher\u2019s film explores the violent underside of another frontier – gender relations.\u00a0Juxtaposing a pulp-western writer with a feminist poet, or women working at a herring smokehouse with those depicted in paintings by European Masters, Fisher reorders stories and images like musical motifs. A captivating hybrid of experimental and documentary technique,\u00a0Bullets for Breakfast<\/em>\u00a0mines the depths of subjectivity, blurring the lines between myth and reality, fact and fiction.” – Jon Stout, Former Director, Los Angeles Filmforum<\/span><\/p>\n “…Bullets<\/em>\u00a0is, at once a work in the ‘structural’ tradition of Ken Jacob’s\u00a0Tom, Tom, The Piper’s Son<\/em>, Michael Snow’s\u00a0Wavelength<\/em>, and Larry Gottheim’s\u00a0Mouches Volantes<\/em>, and a feminist response to the (‘masculine’, ‘phallic’) rigidity of the structuralist tradition. In its reframing of images from Ford’s\u00a0My Darling Clementine<\/em>\u00a0and in its use of visual and auditory layering within which viewers continually detect subtle, complex, ambiguous connections and dissonances,\u00a0Bullets For Breakfast<\/em>\u00a0could have been inspired by Luce Irigeray’s\u00a0This Sex That Is Not One<\/em>.” – Scott MacDonald<\/span><\/p>\n <\/strong><\/p>\n _<\/span> Ha-Yang Kim<\/strong>\u00a0creates new music as a composer and cellist, regularly collaborating with ensembles and artists at festivals and diverse performance venues throughout the world.\u00a0Drawing from a breadth of western classical music, American experimentalism, rock, electronic, noise, avant-improv, to non-western sources (Balinese, South Indian, and Korean), Kim’s music is inspired by acoustic phenomena and ritual ceremonial processes. Kim has been artist-in-residence at Roulette Intermedium, ISSUE Project Room, Harvard, Princeton, Brown, and Brandeis Universities, Dartmouth College, and the Walden School for Young Composers.\u00a0She composed the original score for the documentary film, “DIOR AND I” which is currently released in theaters world-wide.\u00a0Awards and fellowships from the Jerome Foundation, Meet the Composer, Argosy Foundation, ASCAP, and the Hemera Foundation. Kim lives in NYC and Paris.<\/span><\/p>\n <\/strong><\/p>\n Still from “Bullets for Breakfast” (Holly Fisher, 1992) – image courtesy of the artist<\/span><\/p>\n","protected":false},"excerpt":{"rendered":" Friday October 2, 7:30pm Ghostdance For a New Century\u2026 A new work by Holly Fisher with live sound by Ha-Yang Kim (premiere) followed by a screening of “Bullets for Breakfast” admission $8 – artist in person Still from “Ghostdance For a New Century…” (Holly Fisher, 2015) – image courtesy of the artist We are very […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_mc_calendar":[],"footnotes":""},"class_list":["post-16760","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.microscopegallery.com\/archive\/index.php?rest_route=\/wp\/v2\/pages\/16760","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.microscopegallery.com\/archive\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.microscopegallery.com\/archive\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.microscopegallery.com\/archive\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.microscopegallery.com\/archive\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=16760"}],"version-history":[{"count":8,"href":"https:\/\/www.microscopegallery.com\/archive\/index.php?rest_route=\/wp\/v2\/pages\/16760\/revisions"}],"predecessor-version":[{"id":16770,"href":"https:\/\/www.microscopegallery.com\/archive\/index.php?rest_route=\/wp\/v2\/pages\/16760\/revisions\/16770"}],"wp:attachment":[{"href":"https:\/\/www.microscopegallery.com\/archive\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=16760"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\n<\/strong><\/p>\n
\n(running time: approx. 90 minutes)<\/span><\/em><\/p>\n
\nvideo, live sound, 2015, 16 minutes<\/span><\/em>
\n with live performance by composer\/cellist Ha-Yang Kim<\/span><\/em><\/p>\n
\n16mm, color, sound, 1992, 77 minutes<\/span><\/em><\/p>\n
\nHolly Fisher<\/strong>\u00a0has worked as independent filmmaker, print maker, teacher, and film editor\u00a0(Oscar-nominated documentary\u00a0Who Killed Vincent Chin?)\u00a0since the mid-sixties. Her experimental short and long-form essay films, explorations in time, memory and perception, have been screened in museums and film festivals worldwide, including The Museum of Modern Art, New York; Whitney Museum Biennials; Centre Pompidou, Paris; Film Forum, Japan; and two world premieres in the Berlinale. Her silent film\u00a0Rushlight\u00a0won the Grand Prize in the 1985 Black Maria Film Festival; and her first feature,\u00a0Bullets for Breakfast,\u00a0received \u201cBest Experimental Film Award\u201d at the Ann Arbor Film Festival, 1992. She has received grants from The Jerome Foundation, The Doris Duke Foundation, NYSCA, NYFA, The American Film Institute, and others. Fisher lives in NYC and Western MA.<\/span><\/p>\n![\"#38](\"http:\/\/microscope.webfactional.com\/wp-content\/uploads\/2015\/09\/38-tomato-7.jpg\")
<\/p>\n