{"id":7997,"date":"2012-09-17T23:43:00","date_gmt":"2012-09-18T03:43:00","guid":{"rendered":"http:\/\/www.microscopegallery.com\/?page_id=7997"},"modified":"2018-09-30T14:19:29","modified_gmt":"2018-09-30T18:19:29","slug":"7997-2","status":"publish","type":"page","link":"https:\/\/www.microscopegallery.com\/archive\/?page_id=7997","title":{"rendered":""},"content":{"rendered":"

Events 2011-2012<\/span>
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\nJUBILEE<\/strong><\/span>
\n a film by Derek Jarman<\/strong><\/span>
\n MONDAY JULY 30, 7PM<\/span>
\n preceded by the short Art of Mirrors<\/em><\/span>
\n Suggested Donation $6<\/span><\/h1>\n
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\nWe present Derek Jarman’s masterpiece the feature length film Jublilee<\/em> shot in London in 1977 during the celebrations of the Queen’s Silver Jubilee. The work originated from an idea for a Super8 film about the punk icon Jordan, who the director met around that time at Victoria Station. Jubilee<\/em> questions the future of England, imagined through a rare combination of anarchy, the sublime, <\/em>and ultimately, freedom.<\/div>\n

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\nNumerous punk icons appear in the film including Jordan (Pamela Rooke), Toyah Willcox, Nell Campbell, Adam Ant, Demoriane and others. It features performances by Wayne County and Adam and the Ants and cameo appearances by The Slits and Siouxsie and the Banshees. Film score by Brian Eno.
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\nThe film will be preceded by the Jarman\u2019s 1973 short Art of Mirrors<\/em>, originally shot in super 8mm.<\/p>\n

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Jubilee<\/strong>
\nby Derek Jarman
\nOriginally shot in 16mm (transferred to video), color, sound, 1978, 100 minutes<\/p>\n

“One of the things that Jarman tried to depict in Jubilee was how everybody gets corrupted – even punks posturing as iconoclasts who would never sell out. He wanted to show too that there was no future in England’s dreaming. Later, he believed events proved him right. In the second volume of his memoirs, Dancing Ledge, published in 1993, a year before his death, Jarman wrote: Afterwards, the film turned prophetic. Dr Dee’s vision came true – the streets burned in Brixton and Toxteth, Adam was on Top of the Pops and signed up with Margaret Thatcher to sing at the Falklands Ball. They all sign up in one way or another<\/em>.” — Stuart Jeffries, The Guardian, 2007<\/em><\/p>\n

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– – –
\nDerek Jarman (1942 \u2013 1994) was a British avant garde film director, stage designer, painter, and writer. His body of work includes 11 feature films and over 30 short films shot on Super 8mm, 16mm and 35mm, made between 1970 and 1993. His works are considered radical and highly controversial for the times.
\nHe died in 1994 from complications related to AIDS.<\/p>\n

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INFINITE REGRESS<\/strong><\/span>
\n Performance by Jeff Donaldson<\/strong><\/span>
\n MONDAY JULY 9, 7PM<\/span>
\n Admission $6<\/span><\/h1>\n

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We are very pleased to welcome Jeff Donaldson back to Microscope. Last year he brought his 8-bit Nintendo based works to Microscope for a a live performance and then as an installation piece in the \u201cBushwick in the Box\u201d exhibition we presented at White Box in Manhattan. This time, Donaldson returns with a real-time audio\/visual improvisation generated with a Panasonic WJ-MX12 video mixer. We have been looking forward to this night for months.<\/p>\n

\u201cFor Infinite Regress<\/em>, the video output signal is split into two signals: one signal is sent to an audio processing device and the other is sent back into the video input of the Panasonic creating a feedback loop. Audio and video are therefore perceived as an abstract continuum which is guided live. What one sees is what one hears and what one hears is what one sees.\u201d — JD<\/p>\n

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\nJeff Donaldson is an audio\/visual artist who has been working with feedback systems since the late 1980s. At the beginning of the new millennium, Donaldson began applying the concept of feedback to video game systems, transforming them into generative audio\/visual instruments. Since publishing his video work online, Donaldson has exhibited internationally as well as helped to pioneer the fields of video bending and glitch aesthetics.<\/p>\n

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\u00a9 All images are courtesy of Jeff Donaldson<\/em>
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Re=Do<\/strong><\/span>
\n Stop-motion videos by Jake Scharbach<\/strong><\/span>
\n w\/ sound by Scharbach and Adam Steiglitz<\/span>
\n SATURDAY JULY 7, 7PM<\/span>
\n Admission $6 – Artist in person<\/span><\/h1>\n

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We welcome Brooklyn-based artists Jake Scharbach to Microscope to present his stop-motion video serial works, made over the past 5 years. The videos show the artist at work, painting and re-painting, constructing and de-constructing his artwork. In the end, the videos are \u201cthe art\u201d made from the process.<\/p>\n

The short videos are grouped into several series: Wreckdom, Recent Past, Studio Tests, Trophies, Junkshop, and Human Nature. A additional work, Trophies 3, originally presented at Chashama as part of the exhibition \u201cBig Institutional White Box\u201d will also be shown.<\/p>\n

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PROGRAM<\/strong>
\ntrt: approx. 45 minutes<\/p>\n

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Wreckdom Series<\/strong>, 2007\u20132008
\nThe process of making a drawing to completion both forwards and backwards. The content is from Scharbach’s sketches and photography. The first of his serial works.<\/p>\n

Recent Past Series<\/strong>, 2008
\nThe making of two paintings and a drawing. Each picture is painted to completion, only to be painted over. In the end, the picture is painted white\u2014erased to become a surface on which the video is projected on a continuous feeder loop.<\/p>\n

Studio Tests Series<\/strong>, 2008
\nIn these videos, an isolated image, photographed from faded advertisements, is used as a fixed blueprint. Change occurs while quietly transforming and distorting the whole.<\/p>\n

Trophies Series<\/strong>, 2008
\nPortraits of trophies, each one obscuring the last. The trophies were from a thrift store, which led to the Junkshop series.<\/p>\n

Chashama<\/strong>, Big Institutional White Box 2008, Harlem
\nIn 2008, Scharbach was part of a group of artists who were invited to change, alter, or inhabit the interior of an empty storefront in Harlem. With the Trophies project already underway, Scharbach decided to use the whole space as an environment for the videos as he drew the trophies along the tops of the walls.<\/p>\n

Junkshop Series<\/strong>, 2008\u20132009
\nPhotographs of the interior of a junkshop are used as source material, building compositions by overlaying, grounding, and piling the images. The videos play backwards, like an archeological dig.<\/p>\n

Human Nature<\/strong>, 2011
\nA single video that takes an autobiographical look at nature, humankind, and Scharbach’s feelings about his relationship to the world.<\/p>\n

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\nJake Scharbach is a painter, photographer, and video artist from Washington State now living in Brooklyn, New York. His work has exhibited at Family Business, the Fountain Art Fair, Marketplace Gallery, the ACE Film Festival, Chashama, and Brooklyn Art Museum.<\/p>\n

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\u00a9 All images are courtesy of Jake Scharbach<\/em>
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COMPOUND EYES<\/strong><\/span>
\nSuper8mm Films By Paul Clipson<\/strong><\/span>
\n SATURDAY JUNE 30, 7PM<\/span>
\n Admission $6 – Filmmaker in person<\/span><\/h1>\n

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We are thrilled to welcome San Francisco-based filmmaker and Super-8 specialist Paul Clipson to Microscope for an evening of his recent Super8 works. The program includes four b&w\/color films made from 2009 to 2011, with footage shot during Clipson’s numerous travels throughout the US and abroad, and Clipson’s 2011 Compound Eyes No.1-5, <\/em>a collection of five film studies on insects and animal life filmed in the Golden Gate Park Botanical Gardens and other sites in San Francisco. In each of the works in the show, Clipson utilizes Super8mm reversal film and complex superimposition through in camera editing to transform and transcend his subject matter.<\/p>\n

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Program:<\/strong>
\nTRT – 65 minutes<\/p>\n

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SPHINX ON THE SEINE<\/strong> (2009) Super 8mm, 9 minutes, color\/B&W, music by Jefre Cantu-Ledesma
\nThe beginning of a journey, musing on a series of brief, but enigmatic images taken from around the world. These images follow one after the other, but geographically span thousands of miles and large passages of time between each cut. Time, space, and memory collide within a visual fabric of abstractions, landscapes, textures, superimpositions and graphic forms, to suggest the first moments of dream-sleep.<\/p>\n

CHORUS <\/strong>(2009\/2011) 8 min., Super 8mm, sound, color\/B&W, music by Gregg Kowalsky
\nThree cities become one in this nocturnal journey in which space, color and light pass through the eye of the camera to create thoughts visualized before their conception. Shot in San Francisco, New York and Rotterdam.<\/p>\n

LIGHT FROM THE MESA<\/strong> (2010) 7 min., Super 8mm, sound, color\/B&W, music by Barn Owl
\nA collage of foliage, trees and sun: green, grey, red and golden yellow, weaving, spinning and bursting outwards from within the density of Barn Owl\u2019s twin guitar fusion. Filmed in Rotterdam, San Francisco and Orlando, Florida.<\/p>\n

UNION<\/strong> (2010) Super 8mm, 14 min. color\/B&W, music by Jefre Cantu-Ledesma
\nA figurative exploration of movement, woven into layers of time, and photographed in natural and nocturnal urban spaces, ambiguous within a confluence of lights, colors and darkness.<\/p>\n

COMPOUND EYES No.1-5<\/strong> (2011), Super 8mm, sound, color\/B&W, music by Jefre Cantu-Ledesma
\nA series of short film studies, commissioned by the San Francisco Exploratorium, studying aspects of insect , animal life, viewed within a succession of environments in unexpected ways. Filmed in the Golden Gate Park Botanical Gardens, Academy of Arts & Sciences and San Francisco.<\/p>\n

COMPOUND EYES (No. 1) <\/strong>– 7 min. , color\/B&W.
\nA macro-menagerie of natural life-forms are introduced in a forest\u2019s tapestry of earth, water and air: Spiders, slugs, flies, bees, and ants navigate their lives in darkness and light.<\/p>\n

ODONATA (No. 2) <\/strong>– 5 min., color.
\nThe expectations of damselflies, skyscrapers and all of the indeterminate space between them.<\/p>\n

DIPTERA AND LEPIDOPTERA (No. 3) <\/strong>– 5 min., color.
\nFlies and butterflies pollinate in a series of beautiful landing maneuvers.<\/p>\n

ARANEAE (No. 4) <\/strong>– 5 min., color\/B&W.
\nThe fear dream of a spider, a web and a factory.<\/p>\n

CARIDEA AND ICHTHYES (No. 5) <\/strong>– 6 min., color.
\nFish and crustaceans appear to swim within an ether of natural and unnatural energies.
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\n– – –
\nSan Francisco-based filmmaker Paul Clipson has shown his work internationally in various galleries, festivals and performance venues throughout the U.S., Europe, Russia and Japan, screening work at the Rotterdam Film Festival, the Cinematheque Francaise and the New York Film Festival. He works primarily in Super 8mm film, collaborating on live performances and installations with sound artists and musicians.
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\n\u00a9 All images are courtesy of Paul Clipson<\/em>
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POOL PARTY (#1)<\/strong><\/span>
\n Group video screening<\/strong><\/span>
\n SUNDAY JUNE 24, 7PM<\/span>
\n Admission $6 <\/em><\/span><\/h1>\n

Featuring works by: <\/strong>Hey-Yeun Jang, Jayson Haebich, Amanda Katz, Bradford Kessler, Grace Kim, Jason Martin, Jean-Michel Rolland, Manuela Schinin\u00e1, Joel Schlemowitz, Benjamin Schultz-Figueroa and Ursula Sommer.<\/p>\n

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\nStill from Emergence <\/em>by Jayson Heibich (2012)
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As the summer heat wave begins we think it is time to refresh our event series with a group screening of works in film and video picked from our submissions pool. Pool Party <\/em>features 11 short works not bound by any particular theme, made recently by both local and international artists, established and emergent, who over the past year have been submitting their work and ideas to Microscope. We would also like this occasion to thank all the artists who have sent us works since we opened. Please, continue to send us your works!<\/p>\n

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\nStills from Everness <\/em>by Grace Kim (2012) and I Still Live Here <\/em>by Amanda Katz (2011)
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\nPROGRAM<\/strong> includes:<\/p>\n

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(k)now (t)here<\/strong>, by Hey-Yeun Jang, US, color, sound, 16mm transfer to video, 8min 50sec, 2011
\n\u201cA film diary about series of journeys of summer 2009 that was simply to be ‘on the road’.\u201d (HJ)<\/p>\n

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Emergence<\/strong> by Jayson Haebich, Australia, HD video, color, sound, 2 min. 22 sec, 2012
\n\u201cThis generative audio visual piece is based on the concept of emergence, a mathematical term used to describe the creation of complex behaviour from simple rules whereby randomness results in complex and attractive orderly structures. Emergence is often used to describe natural processes such as the behaviour of insects, weather patterns, the formation of cliffs and mountains and other complex phenomena. Using the emergence principle a custom written piece of software was developed that generates complex, mesmerising visual and audio patterns\u2026.\u201d \u2013 JH<\/p>\n

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Saving the Planet<\/strong>, by Bradford Kessler, US, video animation, color, sound, 6 min 11 sec, 2011
\nIn this public service announcement from Charles Darwin, the naturalist reenacts comedian George Carlin’s infamous stand up “Saving the Planet” in the voice of bioexorcist Beetlejuice. (performed by voice actor Jordan Lannan)<\/p>\n

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I still live here (a self-portrait)<\/strong>, by Amanda Katz, US, Super16mm & Super 8 film transferred to video, color, sound, 15min 30sec, 2011
\nA self-portrait shot on Super-16mm and Super-8mm. Street-cinematography, as opposed to street-photography, combined with moving portraits of the filmmaker’s friends that she sees most often, culminating in a moving self-portrait. Explores the idea of what it is like to hold a camera, and how in deciding what to film the filmmaker or cameraman reveals something about themselves, and becomes a part of the image before them. A representation of the filmmaker in the East Village in the now (Fall 2011).<\/p>\n

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Everness<\/strong>, by Grace Kim, US, digital video , color, sound, 3 min 7 sec, 2012
\n\u201cEverness<\/em> imagines an existential, poetic landscape where different narrative of time and space co-exist. I have layered moving conditions upon an image of landscape of stillness. A symbolic fiction unfolds, bringing into form that which is unseen and unperceivable, but perhaps in a poetic way, more than reality itself\u2026\u201d — GK<\/p>\n

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Power Animals Wolf Vs. Lion #12, <\/strong>by Jason Martin, US, HD video, color, sound, 3 minutes, 2012
\nThe wolf and lioness meet in again in battle on the crackly static semi-physical plane of standard definition video with a series of erotic hieroglyphs. The soundtrack was created in a hypnotic state with a handheld cassette recorder, containing mysterious messages whose meaning is unclear.<\/p>\n

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Burning Matches<\/strong>, by Jean-Michel Rolland, France, HD video, color, sound, 2 min. 30 sec, 2012
\nAn audiovisual experiment about the light and sound generated by a burning match. Based on accumulation, this video is a declaration of love to the fire element.<\/p>\n

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Isle of Man<\/strong>, by Manuela Schinin\u00e1, Germany, video, 1 minute 47 seconds, 2010
\nIsle of Man<\/em> is a video and sound collage, a \u201cre-edit\u201d comprised of clips posted on online motor racing fan pages. The original footage is alterated through the montage, with the aim to emphasize the voyeristic gaze of the fans and their conscious\/unconscious desire. The result is a reflection on homoeroticism in sport and the connection between game and maleness, and the enigmatic world of the \u201chomo ludens\u201d (playing man), where victory is as godgiven as death.<\/p>\n

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Mars Bar Cinema! <\/strong>by Joel Schlemowitz, US, HD video, color, sound, 2-1\/2 min, 2011
\nA cinematic last hurrah at the venerable East Village holdout to gentrification, the Mars Bar, filmed on one of the final days before its sad demise. Projections by Bradley Eros, Sarah Halpern, Lary Seven, Tim Geraghty and others. Music: “The Jolly Coopersmith” Arthur Pryor’s Band, 1902<\/p>\n

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The House of Sizzle 733, <\/strong>by Benjamin Schultz-Figueroa, US, video, color, sound, 13 minutes, 2012
\nOriginally inspired by Borges’ short story “La Casa de Asteri\u00f3n,” “The House of Sizzle 733” investigates what it is to be a Brown Swiss Cow.Shot in central Vermont, the camera lingers with these expansive animals as they inhabit their space. Contained within the walls of her farm, the film asks where the horizon of the world begins and ends for Sizzle 733.<\/p>\n

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Heater<\/strong>, by Ursula Sommer, US, digital video, color, sound, 7 min 43 sec, 2012
\nPropane powered heat lamp.<\/p>\n

(TRT: approximately 65 minutes)
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\nStill from Isle of Man <\/em>by Manuela Schinin\u00e1 (2010)
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BIOS<\/h2>\n

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\nHey-Yeun Jang<\/strong> is Korea-born, New York based artist. She has exhibited widely in museums in the U.S and abroad. Within last few years her work has been featured at Haus der Kulturen der Welt(Berlin, Germany), Wurttembergischer Kunstverein Stuttgart (Stuttgart, Germany), Carrillo Gil Museum (Mexico City, Mexico), Centro Cultural Tijuana(Tijuana, Mexico), National Museum of Contemporary Museum (Korea), Museum 63 Artist Commune (Hong Kong, China) and Queens Museum (NY, USA) and Poznan in Poland and Havana in Cuba. Her film has been screened at Metropolitan Museum of Art, Brooklyn Museum of Art, Anthology Film Archives, Los Angeles County Museum and Berkeley Art Museum. She received awards from NY State Council and the National Endowment for the Arts.<\/p>\n

Jayson Haebich<\/strong> is a Melbourne based new media artist who uses his skills as a computer programmer to create diverse and innovative works ranging from light sculptures, digital artworks, site specific installations, data visualisations, film clips and much more.<\/p>\n

Bradford Kessler<\/strong> was born on the high plains of Kansas in 1982. After receiving a BFA in sculpture from the University of Kansas in 2005, he relocated to Asia living in both Tokyo and Beijing where he was a studio assistant to the artist Ai Weiwei. In 2010, Kessler relocated to Brooklyn, NY and enrolled in the MFA Art Practice program at the School of Visual Arts. He is currently an adjunct professor at Parsons the New School for Design. His films and videos have exhibited at such venues as Tokyo Big Site; Taipei Film Archive; Central Academy of Fine Arts, Beijing; Anthology Film Archives, New York.<\/p>\n

Amanda Katz<\/strong> is a South Florida-native, currently studying Film at NYU’s Tisch School of the Arts. Amanda Katz (21) has many aspirations. Soon she will graduate college, then she will start.<\/p>\n

Grace Kim<\/strong> studied at the School of Visual Arts and International Center of Photography in New York, and is currently a Master of Arts candidate in philosophy and media at the European Graduate School in Saas-F\u00e9e, Switzerland. She is the recipient of an AHL Foundation Visual Arts Award and BRIC Arts Media Fellowship, and has recently completed residencies at the Center for Photography at Woodstock and GlogauAIR Berlin. Her work has been shown internationally at White Box (NY), G.A.S-station (Berlin), Zet Foundation (Amsterdam), Hania Bailly (Geneva) and The Last Gallery (Tokyo), among others, and was featured in the Humble Arts Foundation Collector’s Guide to New Art Photography Vol.2. She currently lives and works between New York and Berlin.<\/p>\n

Jason Martin<\/strong> is a visual artist and musician who makes species-queer animal-human hybrid space canine wildcat videos, performances, and photographs, that conduct rituals. After years of operating outside academia, Martin got his MFA from NYU in 2010. He has exhibited videos internationally under his own name and as a member of groups, collectives, and under various aliases. As a musician, Martin continues to perform live music, playing in friends’ bands, solo performances, and with his own group THE JASON MARTIN ELECTRICAL BAND. He has toured, recorded, or performed with a variety of acts including J. Mascis (Dinosaur Jr), Suzanne Thorpe (Mercury Rev, Wounded Knees, thenumber46), His Name Is Alive, Devendra Banhart, Dan Deacon, Raphe Malik, The Bunnybrains, Lettuce Little, Denim and Diamonds, and many others.<\/p>\n

Jean-Michel Rolland<\/strong> is a musician and artist from Paris who uses video to combine the two medium: sound and image. The result is a series of experimental videos where sound and image are inseparable; one without the other would lose its meaning.<\/p>\n

Manuela Schinin\u00e1<\/strong>, (1978, Sicily\/Italy) Studied architecture in Italy and worked as architect in Barcelona, Spain. Since 2006 \u2013 after moving to Berlin \u2013 she has worked as an artist, filmmaker and most recently as a gardener. She is active in many collectives, that deal primarily with the representation of women and the queer community in media culture, organizing film programs, workshops and hybrid events (involving art, video, music, performance, living archives).<\/p>\n

Joel Schlemowitz<\/strong> is a Brooklyn based experimental filmmaker. His short works have shown at the Tribeca Film Festival, The Chicago and New York film festivals, The New York Underground and Chicago Underground film festivals, and venues including Union Docs, Anthology Film Archives, Millennium Film Workshop, and the Seattle Film Forum.<\/p>\n

Benjamin Schultz-Figueroa<\/strong> is an artist and independent curator based out of Brooklyn, New York. He recently received an MA in Media Studies at the New School for General Studies and will begin pursuing his PhD in Film and Digital Media at UC Santa Cruz in the Fall. Schultz-Figueroa has curated and screened works at venues such as Light Industry, Artists\u2019 Television Access, Northwest Film Forum, and Show Cave Gallery.<\/p>\n

Ursula Sommer<\/strong> received her BA in Art History from Colorado College and lives and works in Brooklyn. Past exhibitions include two collaborations with artist Rita A ckermann Insanticlaus, Nuit Blanche (New York, 2011-12), Yeah, I Can Feel it. I Can Feel the Shift of Time, The New Museum’s Festival of Ideas for the New City (New York, 2011-12), and a solo screening with CoWorker Projects (New York, 2012). Later this year, Ursula Sommer will show Performer’s Body (working title), a collaboration with Marta Jovanovic, at Location One (New York). Ursula Sommer’s work recontextualizes the mundane nature of objects generally regarded for their utilitarian functions. She isolates an object’s aural and visual qualities unearthing unfamiliar details of its existence and uses this newly revealed information to give voice to the object’s aesthetic life. Ursula seeks out objects that are relics of a past steeped in tactile relationships with function rather than the smooth, invisible processes of today’s digital tools.
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\nStill from Power Animals Wolf Vs. Lion #12<\/em> by Jason Martin (2012)<\/p>\n

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EMMA’S DILEMMA<\/strong>
\nby Henry Hills<\/strong>
\nMONDAY JUNE 18, 7PM
\nAdmission $6 – Filmmaker in person<\/em>
\nReservation recommended at rsvp@microscopegallery.com<\/a>
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We welcome filmmaker Henry Hills to Microscope to present for the first time the final complete version of his epic portrait of the downtown art scene \u201cEmma\u2019s Dilemma” featuring an adolescent Emma Bee Bernstein as she is introduced to artists, filmmakers, poets, performers including Tony Oursler, Carolee Schneemann, Jackson MacLow, Ken & Flo Jacobs and many others. Taping for the work began in 1997 when Bernstein was 12 and continued through her late teens. This screening is in conjunction with our current exhibit Exquisite Fucking Boredom<\/a><\/strong> featuring Polaroids and video by Emma Bee Bernstein on view through June 25.<\/p>\n

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Emma’s Dilemma<\/strong>
\nHenry Hills, digital video, color and black & white, sound, 1997-2012, 82 minutes<\/p>\n

Henry Hills\u2019 Emma\u2019s Dilemma<\/em> reinvents the portrait for the age of digital reproduction. In a set of tour-de-force probes into the images and essences of such downtown luminaries as Richard Foreman, Ken Jacobs, Tony Oursler, Carolee Schneemann, and Fiona Templeton, Hills\u2019 cinematic inventions literally turn the screen upside down and inside out. In this epic journey into the picaresque, we follow Emma Bee Bernstein, our intrepid protagonist, from her pre-teen innocence to her late teen-attitude, as she learns about the downtown art scene firsthand. In the process, Hills reimagines the art of video in a style that achieves the density, complexity, and visual richness of his greatest films.<\/p>\n

With: Emma Bee Bernstein, with Jackson Mac Low, Eduardo Allegria & dancers, Fiona Templeton, Richard Foreman, Ken & Flo Jacobs, Roberto Juarez, Kenny Goldsmith, Susan Howe, Tony Oursler, Cheryl Donegan, Felix Bernstein, Keith Sanborn, Julie Patton, Susan Bee, Carolee Schneemann, Lee Ann Brown, and Charles Bernstein.<\/p>\n

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Henry Hills on Emma’s Dilemma<\/em>:<\/strong><\/p>\n

I knew Emma her entire life. I was inspired to work with her on this project upon hearing her comments after attending a screening of my films when she was 9. The sophistication of her observations was uncanny for such a child. This was before mini-DV, though, and I was uncomfortable working in 8mm video and was unable to raise funds to shoot with her in 16mm. She had just turned 12 in 1997 when we began shooting. The project was to consist of her interviewing a range of artists about their work. Poet Jackson Mac Low was the first subject, followed after a few months by interviews with Ken Jacobs and Richard Foreman which became separate films, NERVOUS KEN (2003) and KING RICHARD (2004). We continued working together on a more or less regular basis until she was 16 and then did a final shoot the next year. As we progressed I felt the main center of focus subtly shifting from my artist subjects to my teen protagonist. I had all along intended to take an experimental (rather than documentary) approach to the interview material, to fragment and reassemble it in various ways, frequently riffing on the subjects’ own work, exploring qualities of this new medium of digital video. In this final version these explorations strangely function as interstitial material.<\/p>\n

When this exhibit of Emma’s polaroids was announced, my longtime dear friend, poet Charles Bernstein, Emma’s father, asked me to put together some unseen outtakes out of the 30 or so hours I had shot with Emma. I took this opportunity to finally finish this project which had lain dormant for so many years. I had been somewhat fearful of approaching the material after Emma’s death. There is a bizarre aspect to editing, intensely focussing on and analyzing minute moments of time, revealing gestures and vocabularies and manners of speaking and moving, which to the editor seems like spending time with those recorded (even if I never met them). It was fantastic to hang out with Emma one last time, and only when I finished, really in the sound mix, did I feel the tragedy. I sent a preview copy to Charles and he wrote me yesterday:<\/p>\n

You really pulled the whole work together in the new version. It takes on a narrative force, as a quest, with the time stopping or opening up in those stuttering moments, which operate as networks of stoppages in Duchamp’s sense..It’s like having Emma back, in flickering moments; and then not.<\/em><\/p>\n

The material is basically assembled in chronological order. This is primarily a film about Emma and her changes from 12-17 (before she made any of the work in this show), but it includes much of the archaeology of it’s making.<\/p>\n

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– – –
\nHenry Hills has been making experimental films since 1975. His has screened extensively across the US and internationally. His classic 80’s film MONEY was recently preserved to 35mm by Anthology Film Archives with funding from the Andy Warhol Foundation. His work is in the permanent collection of the Museum of Modern Art among other institutions. In 2009, he was a recipient of a Guggenheim Fellowship. www.henryhills.com<\/a><\/p>\n

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\u00a9 All images are courtesy of Henry Hills<\/em><\/p>\n

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Infinity SS<\/strong>
\n& Plastic Boner Band<\/strong>
\nLive sound performances
\nMONDAY JUNE 11, 7PM
\nAdmission $6<\/em>
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Microscope hosts a night of noise from New York musicians Infinity SS followed by Plastic Boner Band visiting from Chicago. Infinity SS is an art\/noise manifestation founded in 2004 in the Lower East Side, inspired by looming gentrification, graffiti culture, cafe dining dj’s, and commercialism. Members Craig Klein, Philly Kondor 8, and James Curtright will join us for this show. Plastic Boner Band is a harsh meditative analog solo project of Chicagoan Sam Henry, utilizing handbuilt electronics, filters, and a slew of pedals whose sound has been described as \u201ca pressurized blast of blizzard noise,\u201d \u201cprickly static swarm,\u201d and \u201ca choir of tiny drills, chirping away a flurry of enamel.\u201d<\/p>\n

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– – –
\nInfinity SS<\/strong> is an art collective spanning every medium and organized only by their dis-organization. Founding members included Carlucci Bencivenga (aka ELFmpc), Philly Kondor 8, James Curtright, and Craig Klein. They eventually joined forces with Steve Ellis, Mayuka Nobuta, Kosuke Aoki, and many more NY based artists to create the Fanatic Voyage tour. Their work has been shown in countless galleries and performance spaces including a pop-up shop with a toll free hotline to speak directly to the artists. Infinity SS has never written a song. you.are.invited.to.be.or.not.be.the.band<\/p>\n

Plastic Boner Band<\/strong> has releases on Dokuro, Catholic Tapes, Power Silence, Anabolic Dimensions, Earjerk, and more. Henry has performed with Peaking Lights, Mark Solotroff, Yellow Years, Ahlzagailzehguh, Aaron Dilloway, Treetops, Dead Machines, John Olson, Hive Mind, Jason Zeh, Hex Breaker Quartet, Mike Shiflet, and others.<\/p>\n

http:\/\/soundcloud.com\/plastic-boner-band<\/a>
\nhttp:\/\/plasticbonerband.bandcamp.com\/<\/a><\/p>\n

Both Sam Henry & Craig Klein were close friends of Emma Bee Bernstein whose works is currently on view at Microscope.<\/p>\n

\u00a9 All images are courtesy of the artists<\/em>
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\nCIRCA<\/strong>
\nA selection of 16mm film works by Katherine Bauer<\/strong>
\nSATURDAY JUNE 9, 7PM
\nAdmission $6 – Filmmaker in person<\/em><\/p>\n

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We are very pleased to welcome filmmaker Katherine Bauer to Microscope for a solo evening of her 16mm films. Bauer just performed as part of the live multi-projection\/sound performance at Holy BOS! film and video programs that we curated last weekend.<\/p>\n

Bauer has divided the night into two sections. The first \u201cFuries\u201d features seven short films depicting \u201c the conjoined fates of civilization, wilderness and desire fading into one another, where the familiar transforms into the bizarre and the bizarre is brought close again\u2026\u201d. The second half of the program, \u201cCystallus,\u201d includes a selection of segments of her continuing apocalyptic sci-fi horror epic of the same name.<\/p>\n

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Part 1: Furies<\/strong><\/p>\n

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Ichor <\/strong>(2007) color, 3min
\nIchor is defined as the fluid that flows like blood from the Gods. This film documents a transformation ritual performed by two girls who successfully conjure the spirits of the Egyptian Goddesses of the sun and the moon. Shot in Los Angeles during the winter solstice underneath a full moon.<\/p>\n

Vanitas <\/strong>(2009) color, 3min
\nThe blood is beauty as it is carved from one form of life into another.<\/p>\n

Circa <\/strong>(2009) color, 7min
\nThrough the circles of alchemical concoctions and symbolism, a witch performs her spells and controls the explosions in the slag pot. She is an enchantress like Circe who changed Odysseys’ men into pigs with her potions.<\/p>\n

Death Love<\/strong> (2011) color, 10 min
\nLove is what lies beneath.<\/p>\n

Arcade Isle<\/strong> (2011) color, 8 min
\nWandering the boardwalk of Coney Island, she loses herself in many islands and oceans.<\/p>\n

Domestic\/Vortex\/Thrust <\/strong>(2010) black and white, 6 min
\nA triptych of daily life hypnotized through cats\u2019 eyes.<\/p>\n

39.8280,-76.0121<\/strong> (2012) black and white, 3 min
\nIn collaboration with Agnes Lux. Spiral through her graphite and postcard pieces, out of her East Village studio window and then back into the blocks that are both building and destroying themselves within the cityscape.<\/p>\n

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Part 2: Crystallus<\/strong><\/p>\n

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Crystallus: Astral Erotic Impact Phase<\/strong> (2012) color, 13 min
\nWithin the film that constitutes it, the split-second after impact carries with it echoes of the Feline Demiurge\u2019s sensual pleasure, and it also carries with it all the determinations of the apocalyptic succession of events already present in the material logic at work in the chemical compounds.<\/p>\n

Crystallus: Discontinuity and Nucleation Phases<\/strong> (2009) black and white and color, 12 min
\nFrom the Shiny Sorceress\u2019 belly, blood crystals have fallen to Earth, now lost within its cold crust. Matter is multiplying itself. The air is becoming saturated. The thickness of minerals that mingle under the Earth are sucked away. The saturation is becoming thicker and thicker. The process of crystallization has started to take place. It will trap her within an infinite reflection of herself.<\/p>\n

Crystallus: Crystal Death Phase <\/strong>(2011) color, 6min
\nThe interstellar mutation of the carbon cycle becomes fatal as it reaches into the inner logic of material being, transforming the world and all those who live in it into the glimmering lifeless crystal, choking out the beautiful lives with beauty itself.<\/p>\n

(TRT: approx. 60 minutes)<\/p>\n

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– – –
\nKatherine Bauer works primarily with 16mm film and its material potential for sculpture, photography and installation. Much of her work involves mythologies, folklores, and narratives. The celluloid of film gives bodily presence to these narratives and enacts their themes of decay, eroticism and horror. Katherine received a BA from Bard College where she majored in Film and Electronic Arts. She is currently working on a MFA from NYU in Studio Art where she also teaches 16mm filmmaking. She is on the Board of Directors at the Filmmakers Cooperative and member of the film collective Optipus. With Optipus she has performed at The Kitchen, Participant Inc., and Millennium Film Workshop among others. Her work has been shown across the United States and internationally in a variety of venues and galleries. Recently she has performed or shown work at Bobby Redd Project Space, 80WSE Gallery, NYU Deutsch Haus Gallery, The Knitting Factory, The Stone, Anthology Film Archives, St. Cecilia\u2019s Convent, Millennium Film Workshop, Tribes Gallery, Microscope Gallery, Mono No Aware, Union Docs, DC #03 in D\u00fcsseldorf Germany, Unsmoke Systems Gallery in Braddock, Television Access Gallery in San Francisco, Havana Film Festival in Cuba, among others. Her films are available as rentals from The Film-Makers Cooperative in New York City.
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\n\u00a9 All images are courtesy of Katherine Bauer<\/em>
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INFO & FULL PROGRAM <\/span><\/a><\/strong><\/span><\/h1>\n

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\nI\u2019m Sawwy, So Sawwy: An Evening of Apologetic Sound, Video, and Conversation<\/strong>
\nPerformance videos by Heather Warren-Crow
\nDiscussion afterwards with Sarah Giovanniello
\nSATURDAY MAY 26, 7PM
\nAdmission $6<\/em><\/p>\n

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Milwaukee-based artist Heather Warren-Crow joins us this week to present a program of 7 performance videos made in the last year. The 40-minute screening will be followed by a discussion lead by independent curator, writer, performer and researcher Sarah Giovanniello.<\/p>\n

Collectively titled I\u2019m Sawwy, So Sawwy,<\/em> this group of media-based performances considers the power and failure of words in our increasingly public lives. Moved by an undying love of the verse-chorus song form, the comforting clich\u00e9s of television advertising, the efficiency of textspeak, and the whatevers of Valley Girls, Warren-Crow uses vocal repetition and rhythm to illuminate the architecture of words. Most importantly, these works attempt to measure the space between the buildings of \u201cI,\u201d \u201cyou,\u201d and \u201cwe\u201d. This is the space of treachery and of desire. What lovely gardens grow between \u201cscrew you\u201d and \u201cmy bad\u201d?<\/p>\n

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PROGRAM:<\/p>\n

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3 Birds Saying I\u2019m Sorry (an introduction)<\/em> <\/strong>(2012) 1:48 min
\nHashtag Confession Part I <\/em>(2011) 3:13 min
\nBedtime Ritual for Suffragettes (At Any Given Time, Someone in the World is Taking to Her Bed) <\/em>(2011) 5:30 min
\n139 Assisted Confessions (After 1984 After 1984, or Confession is the Princess of Evidence) <\/em>(2011) 12 min
\nPraise Be Our Ancestors Who Fucked Upright (Funeral Poem For 2 Men Whose Hearts Were the 1%) <\/em>(2012) 5 min
\nListen 2 Me Work<\/em> (2011) 7:30 min
\nHashtag Confession Part II <\/em>(2011) 2:29 min<\/p>\n

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– – –<\/p>\n

Heather Warren-Crow is a performance and sound artist. She creates live and pre-recorded performances that screw around with forms of identity brought into being by the mass media. Her work fuses the vernacular of low art (the language of pop music, social networking websites, and Internet memes) with the rhetoric of body art to critique the American Brand Identity. She has exhibited at the University of Virginia; Woodland Pattern Gallery (Milwaukee, WI); UC Berkeley; Artspace West, Arizona State University; Iron Gate Studios Gallery (Austin, TX); 21 Grand Gallery (Oakland, CA); Co-Lab (Austin, TX); Hemispheric Institute of Performance and Politics (New York City) and at venues in Argentina, Brazil, Colombia, El Salvador, India, Japan, Mexico, Tanzania, Trinidad and Tobago, and across Europe. Warren-Crow has a PhD in Performance Studies from the University of California at Berkeley.<\/p>\n

Sarah Giovanniello is an independent curator, writer, performer, and researcher from Washington, DC, by way of Philadelphia. She currently works as the Research Assistant in the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum, where she\u2019s supported the programming, exhibitions, and collection research and development of the Center since 2008. Sarah is currently busy with several curatorial collaborations including the “Bad Feminist Reading Series,” and “LTO:LIMITED TIME ONLY,” along with ongoing performance research and writings.<\/p>\n

\u00a9 All images are courtesy of Heather Warren-Crow <\/em>
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Inner\/Outer Space <\/strong>(Gregory Zinman, Leo Goldsmith and Nat Hawks)
\n+ New Reality Band<\/strong> (Nick Hallett & Zach Layton)
\nSound and a\/v performances
\nSUNDAY MAY 20, 7PM
\nAdmission $6<\/em><\/p>\n

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We are very pleased to welcome New Reality Band (Nick Hallett & Zach Layton) and Inner\/Outer Space, (an A\/V project of Gregory Zinman, Leo Goldsmith and Nat Hawks) to Microscope for a night of sound and A\/V performances. New Reality Band will open the night.<\/p>\n

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New Reality Band<\/strong>
\nNick Hallett (electronics) and Zach Layton (electronics)<\/p>\n

New Reality Band is a new project of Nick Hallett and Zach Layton. They developed their sound at Columbia-Princeton Electronic Music Center, Cooperative Studio for Electronic Music, Experimental Television Center, Jikken Kobo, Public Access Synthesizer Studio, San Francisco Tape Music Center, Treasure Isle Studios, BBC Radiophonic Workshop, WDR Electronic Music Center, TIMARA Studio 4, Bell Laboratories, Institute of Sonology, Kling Klang Studio, and IRCAM.<\/p>\n

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SOUND EXCERPTS:<\/p>\n

http:\/\/soundcloud.com\/nicklcat\/new-reality-i<\/a><\/p>\n

http:\/\/soundcloud.com\/nicklcat\/new-reality-2<\/a><\/p>\n

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Inner\/Outer Space<\/strong>
\nGregory Zinman (video)
\nLeo Goldsmith + Nat Hawks = Christian Science Minotaur (electro-acoustics)<\/p>\n

Taking its name from works by Andy Warhol and Robert Breer, Inner\/Outer Space presents a live video mix exploring the space race and psychedelic consciousness expansion. The A\/V journey brings together interstellar NASA footage with abstract depictions of interiority via the films and videos of Stan Brakhage, Jos\u00e9 Antonio Sistiaga, Adam K. Beckett, Jim Davis, Ture Sj\u00f6lander, Elias Romero, and others. Featuring a live musical score by electro\/acoustic folk-psych masters Christian Science Minotaur (www.myspace.com\/littlefurythingsrecords<\/a>).<\/p>\n

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Images are courtesy of Inner\/Outer Space and New Reality Band \u00a9 2012<\/em><\/p>\n

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Just A Girl <\/strong>
\nTwo live performances by
\nAngela Washko \/ Ann Hirsch
\nFRIDAY MAY 18, 7PM
\nAdmission $6<\/p>\n

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We are very pleased to have Angel Washko and Ann Hirsch join us for a night of live performance, with each of the two NYC artists presenting a new work. In “Cause A Flat Chested Woman Might As Well Be A Man”, Washko will introduce audience members into what she describes as the incredibly misogynistic realms within World of Warcraft (the massive multi-player on-line role playing game). Then she will invite them to evaluate actual players responses to her questions regarding feminism. The performance is an extension of her recent founding of The Council on Gender Sensitivity and Behavioral Awareness in WoW.<\/p>\n

Ann Hirsch\u2019s performance “BDD” is a completely new piece in which she grapples with her \u201cnew\u201d body, including appropriating a famous William Wegman video performance and imitating various bodily functions as she continues to investigate what it means to be a female performance artist in the age of the internet. Growing up, Ann Hirsch was a late bloomer. She says that it has taken longer than normal, but she has finally developed her womanly body.<\/p>\n

(TRT: approximately 50 minutes)<\/p>\n

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– – –<\/p>\n

Angela Washko is a visual artist and independent curator based in New York City. Exploring the territories of advertising psychology and perceptions of women created in the media, her works are a call-to-action, demanding a drastic attitude change in our collective consciousness. Her work has been exhibited both nationally and internationally including most recently at The Rotterdam International Film Festival, Spanien 19c in Denmark, Grace Exhibition Space in NYC, LUMEN in NYC, Garage Gallery in San Diego, Carnival of e-Creativity in New Dehli, Videopolis in Barcelona, and The Budapest Short Film Festival. Washko has recently been granted the Terminal Award from Austin Peay State University and has completed artist residencies at Flux Factory in NYC, Gullkistan in Iceland, Contemporary Artists Center at Woodside in Troy, and The Fabric Workshop and Museum in Philadelphia. Her work has been featured in Rhizome, Hyperallergic, The New York Times, Time Out NY, and the Huffington Post.<\/p>\n

Ann Hirsch is a video and performance artist engaging with the contemporary portrayal of women in media. She often acts as an amateur social scientist, inserting herself into popular culture and reporting back her findings in the form of art works. Hirsch has exhibited incarnations of her projects nationally and internationally, including video installations at the Video and Digital Arts Festival in Girona, Spain, SKOL in Montreal, Central Utah Artist’s Space and has given performances at Vogt gallery in Chelsea, Flux Factory in Queens, Grace Exhibition Space in Brooklyn, NOMA gallery in San Francisco, Sarah Lawrence College and more. She has completed residencies at the Atlantic Center for the Arts and Yaddo. Her work has been written about by The New York Times, Rhizome and Artinfo.com<\/a>. You can read more about her shenanigans at TheRealAnnHirsch.com<\/a>.
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\nImages are courtesy of Angela Washko and Ann Hirsch \u00a9 2012<\/em>
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VISIONES DEL MEXICO<\/strong>
\nFilms & videos curated by Microscope
\nMONDAY MAY 14, 7PM
\nAdmission $6<\/p>\n

With works by: Martha Colburn, Raul Vincent Enriquez, Sergio Garc\u00eda, Ron Rice, Caspar Stracke & Gabriela Monroy, Moira Tierney, Nick Zedd, and others<\/em><\/p>\n

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\nStills from: Secrets of Mexuality<\/em> (Martha Colburn, \u00a9 2002) and Penny & Brian: Lots of Love…<\/em> (Caspar Spracke and Gabriela Monroy, \u00a9 2010)<\/p>\n

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\n<\/strong><\/em>We indulge our current obsession with our southern neighbor \u2013 a country neither of us have yet had the chance to visit – with a program of works from US, European and Mexican experimental film and video artists made in or dealing with Mexico. Collectively the works in the program span more than 50 years, from Ron Rice\u2019s rarely seen The Mexican Footage<\/em><\/strong> filmed in the 50s, to Sergio Garc\u00eda\u2019s 1970 El Fin<\/em><\/strong> (originally in Super8) to a new video work Cock Fight<\/em><\/strong> by former New York\/current Mexico City resident Nick Zedd completed this month. Featuring animation, appropriated footage, personal\/diarist, installation and documentary works by Martha Colburn, Raul Vincent Enriquez, Sergio Garc\u00eda, Ron Rice, Caspar Stracke &amp; Gabriela Monroy, Moira Tierney, Nick Zedd and others.
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PROGRAM includes:<\/strong>
\n(Approximately 60 minutes)<\/p>\n

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Secrets of Mexuality<\/strong>
\nby Martha Colburn, 16mm transfer to video, color, 5 min, 2002<\/p>\n

A dense and highly detailed film exploring sexuality in the specific realms of Mexican wrestling and kitsch paintings through rapid-fire transformations. Much of the film is hand scratched frame by frame, hand painted (over collage animation). This film was made as a commission by the Mexican Composer Felipe Waller and screened live in Europe and Mexico with live accompaniment by the Dutch group ‘Martin Altena Ensemble’.<\/p>\n

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El Fin<\/strong>
\nDirector, camera and editor: Sergio Garc\u00cca
\nSuper-8mm film transferred to video, color, sound, 9 min, 1970<\/p>\n

\u201cSynchronizes very studied images with American folk music and can be synthesized with the mention of certain episodes juxtaposed with great ease and an irony which is at once metonymical and direct. A man is pursued, beaten and imprisoned by a group of soldiers. Idyllic nudes in a forest of chaste hippie lovers. A young person smoking marijuana; the joint is removed and he is given a Coca-Cola. A timid employee gets in a car and drives around listening to “Adoro” by Manzanero. All presented in a brilliant and impulsive montage.\u201d — Jorge Ayala Blanco in Exc\u00e9lsior, 1971<\/em><\/p>\n

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The Mexican Footage<\/strong>
\nby Ron Rice, 16mm, color & b\/w, 10 min, 1950s<\/p>\n

“When Ron Rice died, in Mexico, he left a dozen rolls of exposed film. This sample contains four rolls of beautiful color and black and white, shot in Mexico.” –– Jonas Mekas<\/em><\/p>\n

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\u201cPenny & Brian: Lots of Love\u2026\u201d<\/strong>
\nby Caspar Stracke & Gabriela Monroy, video, b&w, sound, 3 minutes 2010<\/p>\n

A film made while the filmmakers were living in Mexico for the occasion of the marriage of filmmakers Brian Frye and Penny Lane.<\/p>\n

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Lucha Libre<\/strong>
\nby Moira Tierney, 16mm, b\/w, silent, 4 minutes, 2009<\/p>\n

Shot in El DF \u2013 Mexico City \u2013 canvas pounding and divided allegiances.<\/p>\n

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Cock Fight<\/strong>
\nby Nick Zedd, video, color, sound, 15:30 minutes, 2012<\/p>\n

COCKFIGHT features homeless kids on the street in Tequisciapan along with candid backstage footage of Mexican entertainment royalty Sylvia Pinal (Simon of the Desert), singer Enrique Guzman and their daughter, singer Alejandra Guzman. In a remote arena in Pachuca illegal cockfights wire people up, preceding a sensational concert appearance by Alejandra Guzman backed by Moderatto.<\/p>\n

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Also on view:
\nAndrew Dasburg\u2019s Lucifer <\/strong>(animated digital photographs, made for ipod, 2008) by Raul Vincent Enriquez will be projected on installation before and after the screening.<\/p>\n

\u201cI was asked by the db Foundation to physically or conceptually disarm a work of my choosing from the original Armory Show, the 1913 International Exhibition of Modern Art. \u201d \u2013 R V E<\/p>\n

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Stills from Sergio Garcia’s El Fin<\/em> (1970)
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Visions of Burroughs<\/strong>
\nWilliam S. Burroughs film collaborations, interview, and more
\nSUNDAY MAY 13, 7PM
\nSuggested Donation $6<\/p>\n

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We spend a night in the company of William S. Burroughs screening several of his \u201ccut up\u201d films along with an excerpt from a portrait film of Burroughs by German filmmaker Klaus Maeck. The complete series of \u201cCut-Up\u201d films were made over a decade with shooting on \u201cTowers Open Fire\u201d in Paris and Gibraltra beginning in 1961. All Burroughs \u201ccut-up\u201d films – his earliest work with the medium – are collaborations with UK director Antony Balch.
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\nBalch met the artist\/writer Brion Gysin, who was developing separately and collaboratively with Burroughs their \u201ccut up\u201d technique in writing. Balch approached Burroughs about trying to achieve a cinematic equivalent in the language of film. Their aim was for utter \u201cdisorientation of the senses”. Reports from the first screening of \u201cThe Cut-Ups\u201d (in London) describe the audience as suffering from nausea and vomiting and of leaving behind numerous personal items – umbrellas, pants, shoes – out of confusion.<\/p>\n

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“The method is simple. Here is one way to do it. Take a page. Like this page. Now cut down the middle and cross the middle. You have four sections: 1 2 3 4 . . . one two three four. Now rearrange the sections placing section four with section one and section two with section three. And you have a new page. Sometimes it says much the same thing. Sometimes something quite different\u2014cutting up political speeches is an interesting exercise\u2014in any case you will find that it says something and something quite definite. Take any poet or writer you fancy. Here, say, or poems you have read over many times. The words have lost meaning and life through years of repetition. Now take the poem and type out selected passages. Fill a page with excerpts. Now cut the page. You have a new poem. As many poems as you like. As many Shakespeare Rimbaud poems as you like.”
\n— William S. Burroughs (from “The Cut-Up Method of Brion Gysin”, 1962)<\/em><\/p>\n

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PROGRAM<\/strong>
\nApproximately 60 minutes
\n(please note we are screening video transfers of the 16mm films)<\/p>\n

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William Buys a Parrot<\/strong>
\n1963, USA, col, silent, 1:25 min<\/em>
\n cinematography by Antony Balch<\/em>
\n screenplay: William S. Burroughs<\/em><\/p>\n

A bizarre silent short film showing author William S. Burroughs negotiating to buy a parrot
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Towers Open Fire<\/strong>
\n1963, UK, b&w, sound, 9:29 min<\/em>
\n cinematography by Antony Balch<\/em>
\n screenplay: William S. Burroughs<\/em>
\n featuring: Antony Balch, William S. Burroughs, David Jacobs, Bachoo Sen, Alexander Trocchi<\/em><\/p>\n

An accessible montage of Burroughs\u2019 routines, recorded on a Grundig tape recorder, cut-up to Balch\u2019s filmed and found images of a \u201ccrumbling society. The first of the \u201ccut-up\u201d films shot between 1961 and 1962 in Paris and Gibralta. The work features Gysin\u2019s dream machine.
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The Cut-Ups<\/strong>
\n1966, UK, b&w, sound, 18:45 min<\/em>
\n cinematography by Antony Balch<\/em>
\n screenplay: William S. Burroughs<\/em>
\n audio by Burroughs & Ian Somerville<\/em>
\n with William S. Burroughs and Brion Gysin<\/em><\/p>\n

Filmed between 1961 and 1965 in Tangiers and Paris. Some of the footage was originally intended as a documentary called Guerilla Conditions<\/em>. Involves the \u201ccut-up\u201dtechnique applied literally to film.
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Excerpt from:
\nCommissioner of Sewers<\/strong>
\n1991, GER, b\/w, sound, 30 min<\/em>
\n by Klaus Maeck<\/em><\/p>\n

“As I was a Burroughs addict since the late 70s I always wanted to meet my idol in person, and one day I achieved this by pretending to be a journalist doing an interview for a German ‘Zeitgeist’ magazine…” – Klaus Maeck<\/p>\n

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\nMIGRATING FORMS<\/em> <\/strong>
\nA feature film by James Fotopoulos<\/strong>
\nMONDAY MAY 7, 7PM
\nPreceded by the 6-minute film Growth<\/em>
\nAdmission $6 – Artist in person<\/em><\/p>\n

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Ahead of the Migrating Forms film festival, which opens May 11 at Anthology Film Archives, James Fotopoulos joins us to present his 16mm break-through film from which the event derived its name. Fotopoulos\u2019 second feature – made when he was just 23 years old – presents a bleak view of the infectious nature of sexual relationships. The work won Best Feature<\/em> at the New York Underground Film Festival where it premiered in 2000. It was also among Amy Taubin\u2019 top 20 films of the year at the Village Voice, and prompted film critic Ed Halter to declare Fotopoulos \u201cthe most important new director I have seen in many years\u2026\u201d<\/em>. The film will be preceded by the related 6-minute short Growth.<\/em><\/p>\n

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PROGRAM:<\/em><\/p>\n

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Growth<\/em><\/strong>
\n16mm, color & b\/w, 6 min, 1999<\/p>\n

Growth<\/em> is made with footage from a scene originally intended to be included in the feature Migrating Forms<\/em>. Fotopoulos instead chose to make it a stand-alone short film.<\/p>\n

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Migrating Forms<\/em><\/strong>
\n16mm, b\/w, 80 min, sound mono, 1999 (filmed 1997)<\/p>\n

A Best Feature<\/em> award winner at the New York Underground Film Festival, Migrating Forms<\/em> is a masterful, minimalist exploration of empty sexuality and its psychic and physical consequences. In a stark, nearly empty room, a man and a woman meet for passionless sex. A growth on the woman’s back infects the man, but the implications of the infection, like the characters themselves, remain elusive.<\/p>\n

“Migrating Forms <\/em>has a formal purity and obsessive power that’s all too rare these days.”
\n– Amy Taubin, The Village Voice<\/em><\/p>\n

“Fotopoulos’s exquisitely minimalist black-and-white experiment is a surprising treat that leaves us holding a messy array of enigmas in our laps. It’s a weird, disturbing work of elemental cinema made by a particularly obsessive “independent filmmaker”, a breed that has become increasingly rare and less pure in America.”
\n– Cis Bierinckx, City Pages<\/em><\/p>\n

“Migrating Forms<\/em> is as complete a vision as any film has the right to be, and generates more intrigue and mystery than most ever do.”
\n– Walker Art Center<\/p>\n

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– – –
\nJames Fotopoulos was born in Chicago and currently lives and works in Brooklyn, NY. His films and videos have been screened internationally including the International Film Festival Rotterdam, the New York Underground Film Festival, the Sundance Film Festival, the Walker Art Center and the Andy Warhol Museum, among others. His works have also been featured in a retrospective at Anthology Film Archives, 2004 Whitney Biennial, and at Museum of Modern Art (NY). Fotopoulos has collaborated with Raymond Pettibon, Barney Rosset, Cory Arcangel, Torsten Zenas Burns, Ben Coonley, and many others.His works have exhibited at: Momenta Art; Museo de Arte Contemportaneo del Zulia, Venezuela; Parsons Hall Project Space, Holyoke, MA; Triskel Art Center, Cork, Ireland; Bienniale for Videoart, Mechelen, Belgium; Vertex List NYC; Rhode Island School of Design (RISD) and Microscope Gallery, NYC among others.<\/p>\n

Images are courtesy of the artist \u00a9 James Fotopoulos<\/em>
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Cinco de Mayo with Raul Vincent Enriquez<\/strong>
\nSATURDAY MAY 5, 6-9PM<\/strong>
\nFeaturing outtakes from \u201cI in the Sky\u201d public art project
\n& a quesadillas and tequila shot performance<\/em>
\nDonations suggested<\/em><\/p>\n

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In connection with his current exhibition PRIMP<\/a><\/strong>, media artist Raul Vincent Enriquez presents a rare night of projection and performance. Throughout the evening he will project never-before-screened selection of outtakes from his I in the Sky<\/em> public art project that took place in Times Square for 2 months in 2008. In addition, Enriquez will be making his special quesadillas with salsa verde and serving tequila shots as part of his Cinco de Mayo<\/em> performance.<\/p>\n

The I in the Sky<\/em> project consisted of a street-level photo-booth paired with the Cond\u00e9 Nast Lumacom screen at 4 Times Square in New York City. The Lumacom screen broadcast animated versions of rapid-fire digital self-portraits by visitors to the artist\u2019s photo-booth. The entire process took about 20 minutes per person, was free of charge, and the portraits were visible throughout the city and from the New Jersey side of the Hudson River.<\/p>\n

About the I in the Sky<\/em> Enriquez says, \u201cI find portraits to be a timeless and accessible art form. The flip-book-style images I’ve been creating for years are moving image portraits derived from series of digital photographs. In each portrait, several photos are sequenced and animated, framed to create the impression of extreme eye contact. Eye contact is a form of nonverbal communication which has a pervasive influence on social behavior, a fact long exploited by advertisers. My goal is to restore a sense of real interaction, of individuality, connection, and community in Times Square.\u201d I in the Sky <\/em>was presented by Chashama and the Durst Organization and the photo booth was designed by Michael Casselli.<\/p>\n

More info about I IN THE SKY<\/a><\/strong><\/p>\n

The performance is in conjunction with the exhibition PRIMP: New Works by Raul Vincent Enriquez<\/a>, running from April 22 through May 20.<\/p>\n

More info under EXHIBITIONS<\/a><\/strong><\/p>\n

Image courtesy of the artist \u00a9 Raul Vincent Enriquez<\/em><\/p>\n


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MIXED SIGNALS<\/strong>
\nWorks by Lee Arnold<\/strong>
\nMONDAY APRIL 16, 7PM
\nAdmission $6 – Artist in person<\/em><\/p>\n

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\nStill from Mixed Signals <\/em>(2011) \u00a9 Lee Arnold
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\nMicroscope is very pleased to present a solo screening of works by Brooklyn-based artist Lee Arnold.
\nArnold’s work spans numerous media from drawings to photography and moving image works. His films and videos – often conceived for installation – constitute an elemental part of his work, but rarely have been been presented together. The program consists of 14 short videos made from 2006 through 2011 and displays side-by-side such varied range of works as time-lapse films of nature, digital animations and other formal, software-based experiments. Arnold’s video work is currently featured in Videorover: Season 3, <\/em>a group exhibition at NurtureArt, in Bushwick, on view through May 17.<\/p>\n

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PROGRAM<\/strong><\/p>\n

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Die Farben<\/em>, 2007
\nFeat. Die Farben (stadium)<\/em>, Die Farben (escalator)<\/em> and Die Farben (pool) <\/em>(1 min each)
\nA series of black and white photographs shot in Berlin to which have been added simple abstract animations inspired by Goethe’s “Theory of Colors”.<\/p>\n

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Stereo<\/em>, 2007 (music composed by Jaques Tati; performed by Chris Dingman<\/a>) Video, 3:12 min
\nA film about memory and nostalgia shot with Super 8 on a journey traveling south through Germany, France and Italy. Shown as a stereo image, the world is presented as both dream and reality.<\/p>\n

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S-Bahn<\/em>, 2006 (music by David Bowie & Brian Eno; recorded Berlin, 1977) Video, 5 min
\nA document of a train loop through Berlin. A formerly divided city that also serves as the border between eastern and western Europe, 21st century architecture has left the layers of Berlin’s history exposed to plain view.<\/p>\n

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Alpinia<\/em>, 2006 (Video, 1:37 min)
\nThe virtual camera travels through a 3D world comprised of simple 2D geometric shapes, suggesting a perfect Swiss landscape.<\/p>\n

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Twenty-Four Colors<\/em>, 2005 (Video, 4:12 min)
\nA series of gradients that represent the changing light of a cloudless sky over the course of a full twenty-four hour day.<\/p>\n

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Clouds<\/em>, 2008 (Video, 1:15 min)
\nTime-lapse photography of the changing sky over Brooklyn shot during a single fall day.<\/p>\n

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In-Transit<\/em>, 2005 (Video, 7 min)
\nIn-Transit represents the experience of traveling but never arriving. The work isolates the original video footage into two separate forms: line and color. The color is divided into a grid in which each section represents the average light of the scene, while the drawing is isolated as a single-bit image. The two forms are then combined to create a series of images that are both literal and abstract.<\/p>\n

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Ice<\/em>, 2009 (music by Hans Otte from “The Book of Sounds”) Video, 8:36 min
\nTime-lapse photography of ice melting on a window on a winter morning in Vermont.<\/p>\n

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Utopia,<\/em> 2009 (Video, 1:30 min)
\nFrom Fritz Lang to Buckminster Fuller, utopian and dystopian visions of the future had a major aesthetic influence on the 20th century. <\/em>With audio recorded on the same MOOG used by Wendy Carlos to perform Switched on Bach, Utopia<\/em> takes a nostalgic look at imagining a perfect world.<\/p>\n

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Circles, <\/em>2009 (Video, 24 sec)
\nAnimated drawings in a circle.<\/p>\n

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View from Governors Island<\/em>, 2010 (Video, 3 min)
\nTime-Lapse pinhole photography of Lower Manhattan from dawn to dusk (Sept. 9, 2010).<\/p>\n

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Walpurgis Night<\/em>, 2011 (Video, 1 min)
\nTime-lapse photography of the view from the Hotel Schatzalp in Davos, Switzerland where Thomas Mann’s novel The Magic Mountain is set. I imagine this to be what Hans Castorp, the protagonist, saw from his balcony during the final chapter of the novel. Walpurgis Night is also most famously referenced in Goethe’s Faust, and is traditionally the night when witches and sorcerers come out to celebrate.<\/p>\n

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The Magic Mountain<\/em>, 2011 (8mm transfer to video, 7 min)
\nA film shot on Single 8 in Lucerne and Davos, Switzerland. The accompanying music is “Stille vor dem Sturm” and “Gewitter und Sturm, Abstieg” from “Eine Alpinesymphonie Op. 64”, written and conducted by Richard Strauss and performed by the Munich Radio Orchestra in 1936.<\/p>\n

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Mixed Signals<\/em>, 2011 (Video, 1:10 min)
\nInspired by the neurological condition of synethesia, this work translates a single note played on a glockenspiel into microtones which are then represented as a series of colors.<\/p>\n

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– – –
\nLee Arnold was born in London in 1972 and lives in Brooklyn. In his work he explores the nature of time and perception using a variety of media, including film, video, photography, drawing and sound. He has exhibited in the U.S. and abroad at venues including NURTUREart in New York, Fleisher-Ollman in Philadelphia, and SIGGRAPH in Los Angeles. He is the recipient of fellowships from the MacDowell Colony, the Lower Manhattan Cultural Council and the DAAD, Berlin.<\/p>\n

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Still from The Magic Mountain<\/em> <\/em>(2011) \u00a9 Lee Arnold<\/p>\n

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PEGGY AHWESH<\/strong>
\nAudio & Vision Machines<\/strong>
\n<\/strong>APRIL 15, 6PM – Admission $6
\nIntroduced by Rebecca Cleman of Electronic Arts Intermix (EAI)<\/em><\/p>\n

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We are very pleased to announce a screening of rare films, videos, and audio recordings by media artist Peggy Ahwesh in connection with INSIDE CIRCLE, her current solo exhibition at Microscope Gallery. The program of new and old works, which include Bethlehem, Philosophy in the Bedroom Parts 1 & 2, The Vision Machine and several others (full program is below), span almost 20 years and illuminate the thinking behind the exhibition. The issues of women and identity, friendship, and the ethnography of everyday life are brought together in works based in play-acting and improvisation, embracing a marginal and radical subjectivity in the Warholian tradition. Pittsburgh poet and filmmaker, luminary and social butterfly, Natalka Voslakov, appears in several of the works contributing \u201cmuch of the irony, social critique, and visual pleasure\u201d of the films.” A series of answering messages left by Voslakov over a 10 year period are the inspiration for the exhibition, which is on view through April 16.<\/p>\n

“I didn\u2019t call you to just ask you about what I should do and my problems. I’ll shut up for a change. . . but, the suicide pack exists, baby. If we don\u2019t have our features done by the millennium … \u2019cause we got to be there. And I\u2019m in the minus, minus 97 bucks in the bank account. I know I owe you 140 bucks but I bounced my phone bill and the proofs from the lab, can\u2019t pay for them. Now the 14th is this Saturday… get on the bus or whatever. You got to be here for the big opening of the Warhol Museum…”<\/p>\n

Excerpts from an answering machine message from Natalka Voslakov during the summer of 1994: From \u201cFilm, baby\u201d by Peggy Ahwesh (Catalogue essay for Big As Life: An American History of 8mm Film presented at the Museum of Modern Art, New York<\/p>\n

Full Essay here<\/a><\/strong><\/p>\n

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PROGRAM:<\/strong>
\nIntroduced by Rebecca Cleman of Electronic Arts Intermix (EAI)<\/p>\n

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Bethlehem<\/strong> by Peggy Ahwesh (8 min, 2008)<\/p>\n

Working through my archive of accumulated video footage, I pretended it was found footage from anonymous sources. What began as a tribute to Bruce Conner of the period of Valse Triste and Take the 5:10 to Dreamland, with their deliberate pace and bittersweet memory of home, ended as a dedication to my father as I wound my way through miscellany with distance and another aim. \u2013Peggy Ahwesh<\/p>\n

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Current Autobiography According to Bargain Basement Sinatra<\/strong> by Natalka Voslakov (18 min, 1979)<\/p>\n

This film of the director’s real and reel life is more of a parody on the popular cultural conditioning of the nature of courting rituals and the techniques of women to manipulate men. The use of music by Frank Sinatra is one of her personal favorites in ironic reference to Natalka\u2019s background and her failure at achieving romantic love.<\/p>\n

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Audio Listening session: \u2018The Geisha Life\u2019 & ‘Totally Alone\u2019<\/strong> mash up of soundtracks featuring Natalka Voslavka, by Peggy Ahwesh (10 min, 2012)<\/p>\n

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Philosophy in the Bedroom, Pts 1 and 2<\/strong> by Peggy Ahwesh (16 min, 1993)<\/p>\n

\u201cA S8 home-movie paean to the Marquis de Sade, Philosophy in the Bedroom plumbs the depths of boudoir small talk. In the first part, a newly-acquainted odd couple discuss desire\u2014and lack thereof\u2014over a bag of potato chips. In the second part, a recumbent woman describes her partner and herself as “the John and Yoko of the ’90s.” (“We’re in bed most of the time,” she explains.) The two read aloud, nap and argue beneath the blankets. Ahwesh manipulates the image through chemical and mechanical means, gradually shifting the color scheme from blue to yellow\u201d. (from EAI catalogue)<\/p>\n

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The Vision Machine<\/strong> by Peggy Ahwesh (20 min, 1996)<\/p>\n

Marcel Duchamp is one of our most inventive humorists — his roto-reliefs for example are sexualized, off-color, and defiant. THE VISION MACHINE attempts to combine my interests in the roto-reliefs, joke telling, song lyrics and how all these texts relate to women. \u2013 Peggy Ahwesh<\/p>\n

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Above: Natalka Voslakov in her film Current Autobiography According to Bargain Basement Sinatra <\/em>(1976)
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– – –
\nPeggy Ahwesh is a media artist who got her start in the 1970’s with feminism, punk and amateur Super 8 filmmaking. Ahwesh says \u201cThese formats, points of view, political positions and life styles inspired by those areas of investigation remain relevant today and linger with a trace on everything I do.\u201d Ahwesh has exhibited worldwide including most recently at the Carnegie Museum of Art, Pittsburgh; Goethe House, NYC; The Tate Modern, London; The Virginia Museum of Art; Microscope Gallery, NYC; James Gallery, NYC; and Guggeheim Museum, Bilboa. She has been featured at the Whitney Biennial (1991, 1995, 1997, 2002, 2008), The American Century at the Whitney 2000, and WACK! Art and the Feminist Revolution 2008, P.S.1, Queens, NY. Her works are in the permanent collection of the Museum of Modern Art and the Library of Congress. And she has received many grants and awards including from Jerome Foundation, the Guggenheim Foundation, Creative Capital, NYSC and the prestigious Alpert Award in the Arts. Peggy Ahwesh is Professor of Film & Electronic Arts at Bard College where she has taught for many years. She was born in Pittsburgh, PA and currently lives and works in Brooklyn, NY.<\/p>\n

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INSIDE CIRCLE, new works by Peggy Ahwesh runs through Monday April 16. Featuring anamorphic photographic prints, audia recordings and record players, and new video. Gallery Hours: Thurs to Monday 1-6PM and by appointment.<\/p>\n

More info about INSIDE CIRCLE<\/a><\/p>\n

Below: Still from Bethlehem (video, 2008) \/ Blue Flight <\/em>(video, digital frame, silver tube, 2012)<\/p>\n

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All images are courtesy of and copyright \u00a9 Peggy Ahwesh<\/em>
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Of Death: a night of performance and films<\/strong>
\nSATURDAY APRIL 7
\n6PM Our Dresses<\/strong>: Final Action dance\/performance by Camila Ca\u00f1eque
\n7PM screening of The Dead Man<\/strong> by Peggy Ahwesh & Keith Sanborn
\n& The End<\/strong> by Christopher Maclaine
\nAdmission to performance is free, screening $6<\/em><\/p>\n

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Our Dresses<\/em> – a performance by\u00a0Camila Ca\u00f1eque \u00a0– \u00a9 \u00a0Camila Ca\u00f1eque<\/p>\n

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For this Easter Holiday weekend, we confront our mortality with a unique evening of performance and film works in which death is the unabashed subject. At 6PM, we are pleased to present the final act of Spanish dancer\/performer Camila Ca\u00f1eque\u2019s 27-day durational project \u201cOur Dresses\u201d, which included shows at the The Armory and the Itinerant Performance Festival this past month.\u00a0 The performance is followed by two groundbreaking films: Peggy Ahwesh and Keith Sanborn\u2019s George Bataille influenced \u201cThe Deadman\u201d (1990) and Christopher Maclaine\u2019s rare 16mm Beat film \u201cThe End\u201d (1953), which will be introduced by Pip Chodorov of RE:VOIR films.\u00a0 This is the first time these two works have screened together.<\/p>\n

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PROGRAM<\/strong><\/p>\n

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OUR DRESSES: FINAL ACTION<\/strong>
\nCamila Ca\u00f1eque
\n60 minute durational performance
\nAudience may enter and exit as they please<\/em><\/p>\n

For 27 days, the number of letters in the Spanish alphabet because of the letter \u00d1, the challenge has been to cross the legendary American space and experience the clash between the Spanish folkloric dress and the Yankee Empire. Our Dresses explores the progressive homogenization of society and the cultural insecurity caused by the threat to local identity.<\/p>\n

The \u201cFinal Action\u201d segment is a short piece revealing the essence and the conclusion of the experimental main Performance made for 27 days, 24\/7. The action consists in the personification of the vanquished or defeated. Camila Ca\u00f1eque is lying down still, wearing the Dress and 27 red Spanish carnations around the exhausted body, generating the expectation of movement, of life. The idea of tension of non-activity, exploration of passion by his antagonism: death.<\/p>\n

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THE DEADMAN<\/strong>
\nPeggy Ahwesh & Keith Sanborn
\n1989, b&w, sound, 16 mm film on video, 36 min<\/p>\n

Based on Le Mort by Georges Bataille, the story of Marie and her last night of extremes. The Deadman <\/em>has screened in numerous film festivals in the US and abroad and was a selection for the Whitney Biennial in 1991.<\/p>\n

\u201cThe Deadman is based on a story by Bataille, charting “the adventures of a near-naked heroine who sets in motion a scabrous free-from orgy before returning to the house to die \u2014 a combination of elegance, raunchy defilement and barbaric splendor.” \u2014 Jonathan Rosenbaum, Chicago Reader.<\/p>\n

“The most unique film of the 1990s American avant-garde” — Jonas Mekas<\/p>\n

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THE END<\/strong>
\nChristopher Maclaine
\n1953, 16mm film, 35 minutes
\nPresented by Pip Chodorov of RE:VOIR films<\/em><\/p>\n

The End<\/em>\u00a0presents a series of people on the last day of each of their lives, none of whom are aware as they depart that that \u201cthe end\u201d for all is about to take place. The film is considered a pivotal work of the American avant garde and Maclaine\u2019s masterpiece. We are screening the work in it\u2019s original format.\u00a0The End<\/em>\u00a0is available for rental at the Film-maker\u2019s Cooperative. Last year, RE:VOIR released the film on DVD and it is available for purchase.<\/p>\n

\u201cWith Maclaine, we are going back to the source of the Beats; he was the filmmaker who chronicled the movement as it happened and created a center of one of the aspects of the Beat myth seven or eight years before the grand epic of Beat became nationally known with Allen Ginsberg and Jack Kerouac…. I have seen THE END more than fifty times, and there are moments when I still begin to tremble at the psychological blockages and outright terror of it.\u201d – Stan Brakhage
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\nStills from The Deadman –\u00a0\u00a9 1989 \u00a0Peggy Ahwesh & Keith Sanborn\u00a0<\/em><\/p>\n

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– – – – –
\nCamila Ca\u00f1eque<\/strong> (Barcelona, b. 1984) is a conceptual and performance artist whose work explores the construction of contemporary identity and self-representation. Ca\u00f1eque transforms into a role or persona over extended periods of time -from 27 days to a year- and documents her new life through photography, film and video. Deriving from autobiographical experiences and anthropological concerns, her fictional characters are always condemned to live displaced. She has performed and screened her work in New York during the last month at The Armory Show, Intinerant Performance Art Festival, and The Kitchen.<\/p>\n

Peggy Ahwesh<\/strong> is a media artist who got her start in the 1970\u2032s with feminism, punk and amateur Super 8 filmmaking. Ahwesh has exhibited worldwide including most recently at the Carnegie Museum of Art, Pittsburgh; Goethe House, NYC; The Tate Modern, London; The Virginia Museum of Art; Microscope Gallery, NYC; James Gallery, NYC; and Guggeheim Museum, Bilboa. Her solo exhibition \u201cInside Circle\u201d is currently on view at Microscope Gallery through April 16.<\/p>\n

Keith Sanborn<\/strong>\u2019s \u00a0work has been included in major survey exhibitions such as the Whitney Biennial, the American Century, and Monter\/Sampler and festivals such as OVNI (Barcelona), The Rotterdam International Film Festival, Hong Kong Videotage, and Ostranenie (Dessau). His theoretical work has appeared in a range of publications from journals such as Artforum and books, such as Kunst nach Ground Zero to exhibition catalogues published by MOMA (New York), Exit Art, and the San Francisco Cinematheque. He has translated into English the work of Guy Debord, Ren\u00e9 Vi\u00e9net, Gil Wolman, Georges Bataille, Napoleon, Paolo Gioli, Berthold Brecht, Lev Kuleshov and Esther Shub among others. He has also acted as anindependent curator, working with such institutions as the Oberhausen Short Film Festival, Exit Art, Artists Space, the Pacific Film Archive, and CinemaTexas. He teaches at Princeton University and Bard College.<\/p>\n

Christopher Maclaine<\/strong> was born in 1923 in Oklahoma and graduated from the University of California at Berkeley. He was a Beat poet in the 40s and 50s and founder of Contour magazine. He also made four short avant garde films, all in the 50s. The End is his first and longest work. He died on April 6, 1975.<\/p>\n

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Below: Still from Christopher Maclaine’s\u00a0The End \u00a0\u00a9 1953 Christopher Maclaine<\/em><\/p>\n

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PILLARS OF FIRE<\/strong>
\nFilm and curation by Julien Langendorff<\/strong>
\nMONDAY APRIL 2, 7PM
\nAdmission $6<\/em><\/p>\n

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We have invited French artist\/musician Julien Langendorff to present a night of rare works including his \u201cPillars of Fire\u201d made in collaboration with US artist Jason Glasser. For the evening, Langendorff has also chosen a selection of short works by NY based artists Rose Kallal, Marie Losier, and Genesis Breyer P-Orridge (of Psychic TV). The night concludes with legendary actor\/filmmaker Pierre Cl\u00e9menti\u2019s most accomplished work Visa de censure n.<\/em> X from 1967. Langendorff is in New York for his current solo exhibition \u201cGoddess Fuzz Fantasy\u201d at agn\u00e8s b. Galerie Boutique in Soho which runs through April 1st.<\/p>\n

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PROGRAM INCLUDES:
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Pillars of Fire <\/strong>
\nOriginally 8mm, col, sound, 17min, 2009
\nby Julien Langendorff \/ Jason Glasser
\nmusic by Langendorff \/ Glasser w\/ Matteah<\/p>\n

An Introduction to Temple of Psychick Youth + Scared to Live<\/strong>
\ncourtesy of Genesis Breyer P-Orridge and Invisible Exports Gallery<\/p>\n

Dissollution<\/strong>
\nby Rose Kallal, 16mm film transfer, 2011<\/p>\n

Implicate Explicate <\/strong>
\nby Rose Kallal, 16mm film transfer, 2012
\nSound by Rose Kallal and Mark Pilkington<\/p>\n

Never before screened outtakes from The Ballad of Genesis and Lady Jaye <\/strong>
\nby Marie Losier, 16mm transfer, col, sound, 14min, 2011
\nwith improved violin rehearsal between Tony Conrad and Genesis P-Orridge at Issue Project Room<\/p>\n

Commission trailer for the 40th Anniversary of Montreal Festival du Nouveau Cinema<\/strong>
\n(and an homage to George Kuchar and the NY he loved so much)
\nby Marie Losier, 16mm film transfer, 20 frames, 20 pauses, 60 characters, 1:35min, 2011
\nWith Joel Schlemowitz, Tom Jarmusch, Jonathan Cahouette, Bradley Eros, April March and others<\/p>\n

Visa de C\u00e9nsure n. X<\/strong>
\nby Pierre Cl\u00e9menti
\n16mm transfer to digital, col, sound, 55min, 1967<\/p>\n

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ABOUT PILLARS OF FIRE<\/p>\n

Jason Glasser and Julien Langendorff met through a friend in common some time in Paris during the summer of 2007. Helping each other out on different personal art projects, they’ve been working together on a large hair sculpture project of Julien Langendorff for one of his personal art shows in Paris, “Rise Of The Golden Dawn”. The installation, a mysterious, ghostly ritual-like vision, featured a 7 feet tall hairy figure along paper and wool sculptures. They were working in the studio one day when the song “The Wizard” by Black Sabbath was playing loud on the stereo. They discussed the artwork of Black Sabbath’s first album, which features a woman dressed like a witch in some haunted psychedelic landscape. Both into its cool promise of evil rock and roll – and gnarly roots and blood red leaves, blackened windows, and horror movie thrills- they decided then that they needed to make Pillars of Fire, a movie which they shot and made the music for, focusing on the sculpture project they were then working on, and which owes much to Black Sabbath\u2019s inspiration. The film, shot in 8mm, follows then this hairy figure on its mysterious journey to its final death, along a score that gathers echo-tapes, indian instruments, electric cello, guitar and hair bows.<\/p>\n

Throughout all the screenings of the film, featuring Langendorff and Glasser performing the score live, Pillars Of Fire finally became also a music project of its own, with various members and collaborators, including Brooklyn-based Matteah Baim and Robert A. Lowe (aka Lichens) and multi-instrumentalist Lori Sean Berg. Pillars Of Fire<\/em> played on several occasions with Psychic TV and Jonas Mekas.
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ABOUT JULIEN LANGENDORFF<\/p>\n

Julien Langendorff is a visual artist and musician, working and living between Paris and New York. He recently had a new solo exhibition in NY, ‘Goddess Fuzz Fantasy’, at agn\u00e8s b. ‘s new gallery space in Soho. His work combines collages and paper cut-outs of 1970\u2032s erotic and occult imagery, drawings and films, and often conjures up dark, dream-like visions influenced by gothic and hippie cultures, rock music, spiritism and diary-art. Langendorff\u2019s work is both minimal and psychedelic with a free stream of conscious sensibility. His new book, ‘Black Mirrors’, published by Shelter Press, has just been released in New York City.<\/p>\n

More info at: julienlangendorff.com<\/a><\/p>\n

All images are courtesy of Julien Langendorff \u00a9 2009<\/em><\/p>\n

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Microscope presents<\/strong>
\nTHE SYNDICATE OF HUMAN IMAGE TRAFFICKERS<\/strong>
\nSATURDAY MARCH 24, 7PM
\nDirector Jeffrey Wengrofsky in person & other special guests
\nAdmission $6 – Please RSVP to rsvp@microscopegallery.com<\/a><\/p>\n

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Syndicate of Human Image Traffickers<\/em> joins us to present 3 recent short videos: \u201cGetting Out of Bed With Richard Foreman\u201d, \u201cJo Boobs Teaches the Va-VaVoom,\u201d and \u201cThe Party in Taylor Mead\u2019s Kitchen.\u201d The Syndicate makes documentary films that focus on “aporias of the creative life”. Syndicate soundtracks have been commissioned to members of: Nick Cave and the Bad Seeds, The Hold Steady, TheWorld\/Inferno Friendship Society, The Mars Volta, Thompson Automatic, Sonny Vincent, The Fungus Fire Tabernacle Choir, The Nixon-Mao Handshake, and J.G. Thirlwell aka Foetus.<\/p>\n

We met Syndicate Director Jeffrey Wengrofsky last October when he wandered into our gallery during Bushwick Beat Nite just before the latest video “The Party in Taylor Mead’s Kitchen” premiered. We have been looking forward to this night. Wengrofsky and other special guests will be in attendance.<\/p>\n

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PROGRAM<\/p>\n

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The Party in Taylor Mead\u2019s Kitchen<\/strong> (11 minutes, 2011)
\nOfficial Selection of DOC NYC 2011 and Stranger Than Fiction film series<\/p>\n

Biography of Film Subject:<\/em> After reading Jack Kerouac\u2019s On the Road<\/em>, Taylor Mead, the scion of Michigan\u2019s Democratic Party political boss Harry Mead, left his Grosse Point home and Merrill Lynch sinecure for a life hitchhiking around the U.S. Upon arriving in San Francisco, his ability to write and perform clever, bawdy, homoerotic poems made Taylor an instant hit with the Beatnik scene. He soon came to personify the \u201cBeatnik\u201d ethic in Ron Rice\u2019s classic film, The Flower Thief<\/em>, in 1960. After meeting Allen Ginsberg at a poetry function, Taylor moved to the Lower East Side of New York, then the Beatnik capital of the world. Taylor was soon a Warhol superstar and came to be featured, most famously, in Tarzan and Jane Revisited…Sort of<\/em>, and most notoriously, as the star of Taylor Mead\u2019s Ass <\/em>in 1964. He has since acted in scores of films, has acted for the stage, and has published books of poetry.<\/p>\n

Film Synopsis:<\/em> Fifty-one years after trading in upper-crust luxury for bohemian art stardom, The Party in Taylor Mead\u2019s Kitchen <\/em>finds Taylor still living a life of poetry, painting, partying, acting, homo-eroticism, gossip, modest living, and indifference to bourgeois notions of hygiene. We visit the octogenarian in his Lower East Side grotto to find him still brilliant, boyishly cute, and ready to party at noon. The film depicts the romantic beauty and squalid dereliction of the bohemian life while dishing the dirt on Andy Warhol, Jack Kerouac, Ron Rice, Woody Allen, and Tallulah Bankhead. At 86, Taylor Mead is an ambassador of bohemianism from a world without the internet, cable television, surveillance cameras, cell phones, global positioning systems, credit cards or roach spray.<\/p>\n

Crew: <\/em>Jeffrey Wengrofsky (direction), Brian Wengrofsky (cinematography and lighting), David Kavanaugh (camera and lighting), Daniel Schanler (editing), and Eric Hausmann (soundtrack).<\/p>\n

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Getting Out of Bed With Richard Foreman<\/strong> (12 minutes, 2010)
\nTheatrical Premiere<\/p>\n

Biography of Film Subject: <\/em>Richard Foreman’s Ontological-Hysteric Theater made its debut in 1968. Since then, he has written, directed, and designed more than fifty plays, received five “OBIE” (Off-Broadway) Awards for Best Play of the Year, the Literature Award from the American Academy and Institute of Arts and Letters, a Lifetime Achievement in the Theatre Award from the National Endowment for the Arts, the PEN Club Master American Dramatist Award, a MacArthur “Genius” Fellowship, was elected officer of the Order of Arts and Letters of France, and his direction of the 50th anniversary production of Brecht\u2019s \u201cThreepenny Opera\u201dat Lincoln Center was nominated for both T.O.N.Y. and Grammy Awards.<\/p>\n

Film Synopsis:<\/em> Storytelling is, among other things, the art of regulating the flow of information shared with an audience. Playwright Richard Foreman is a foremost master of this art, withholding much that makes our world familiar and meaningful. In his plays, characters inhabit situations and events transpire, but usually without the problem resolution endemic to most fiction. Ultimately, we never know whether what we have witnessed is satirical, psychological, resolutely absurdist, or somehow all three concurrently. Enduring such a bewildering circumstance, the audience is challenged to find or impose order and meaning. In this film, Foreman discusses why an existentialist-absurdist would bother making art, the exploration of romance in theater, and the meaning of the avant garde<\/em> in contemporary society.<\/p>\n

Crew: <\/em>Jeffrey Wengrofsky (direction), Brian Wengrofsky (cinematography and lighting), David Kavanaugh (editing), and Andrew K. Thomson (soundtrack).<\/p>\n

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Jo Boobs Teaches the Va-VaVoom<\/strong> (8 minutes, 2010)
\nTheatrical Premiere<\/p>\n

Biography of Film Subject:<\/em> Bio of film subject: “Jo Boobs” Weldon is Headmistress of The New York School of Burlesque. In June 2010, Jo published The Pocket Book of Burlesque (with a forward by Margaret Cho), a volume whose slender design can slip under the inspector’s prying gaze. The New York School of Burlesque is in sympathetic affiliation with Miss Indigo Blue’s Academy of Burlesque in Seattle and Michelle L’Amour’s Burlesque Finishing School in Chicago as well as programs in Washington, D.C and elsewhere.<\/p>\n

Film Synopsis: <\/em>Is burlesque – a word which refers to turning things upside down – still able to subvert morals and mores? In a popular culture where the use of sexuality to sell consumer goods is banal, pornography of nearly every stripe is freely and instantly available, and sympathetic gay and lesbian characters are commonplace, is the self-conscious performance of gender merely campy fun or does it still have a liberating capacity? Can sex work, titillation, gender play and masturbation undermine heterosexual monogamy? Whose moralities and identities might they challenge?<\/p>\n

Crew: <\/em>Jeffrey Wengrofsky (direction), Brian Wengrofsky (cinematography and lighting), David Kavanaugh (editing), and Franz Nicolay (soundtrack).<\/p>\n

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Syndicate of Human Image Traffickers Coming Contraptions Reel<\/strong> (2010, 1 minute)
\nCrew:<\/em> Jeffrey Wengrofsky (direction), Brian Wengrofsky (cinematography and lighting), David Kavanaugh (editing), and Jim Thirlwell (soundtrack).
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\n– – –
\nBiography of Director:<\/strong>
\nJeffrey Wengrofsky is the Director and Producer of the Syndicate. He presently teaches at New York University and writes for Coilhouse<\/em> magazine. Previously, Wengrofsky was the host of Profiles of the Downtown Music Scene at The New School, TerrorSex Cabaret, Voo Doo A Go-Go, and was on the editorial staff of Constellations: An International Journal of Critical and Democratic Theory<\/em> and Aperture<\/em> magazine. His words have appeared in the pages of the Berkeley Journal of Sociology, Maximumrocknroll, New Political Science, PS: Politics and Policy, Vehement Renaissance<\/em>, and elsewhere in the world of letters. As a DJ, he has purveyed bad taste at Club Luxx, Club New York, Webster Hall, The Limelight (N.Y.), C.B.G.B. Gallery, Elbow Room (Ypsilanti, MI), The Raven (N.Y.), The Knitting Factory, The Coral Room, Cake Shop, and, most recently, at the Red Lotus Room. His voice can be heard on a podcast by National Magazine Award-winning Tablet<\/em> magazine’s Long Story Short series regarding punk and Jewish history: http:\/\/www.tabletmag.com<\/a><\/p>\n

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In the pictures: Taylor Mead and Richard Foreman
\nAll images are courtesy of The Syndicate of Human Image Traffickers \u00a9 2011<\/em>
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Stephanie Wuertz<\/strong>
\nBodily Heavens I & II \/ Electric Salom\u00e9<\/strong>
\nMONDAY MARCH 19, 7PM
\nAdmission $6 <\/em>
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We have invited Stephanie Wuertz to present a program of new and recent works video and film works, including <\/em>her haunting Bodily Heavens I, Bodily Heavens II<\/em> made from microscopic slides, and Electric<\/em> Salom\u00e9,<\/em> a 16mm film <\/em>inspired by the American modern dancer, Loie Fuller.<\/em> We were first introduced to Wuerz\u2019s work through our open call for submissions to the BOS Film Festival last spring. We also included her work on installation at \u201cBushwick in the Box\u201d, a group show we presented at White Box last summer, and she participated in our anniversary screening \u201cMicroscopic\u201d curated by Bradley Eros in September.<\/p>\n

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Bodily Heavens I <\/strong>(digital, color, sound, 5 min, 2011)<\/p>\n

Bodily Heavens II<\/strong> (digital, color, sound, 18 min, 2012)<\/p>\n

In Bodily Heavens<\/em>, close proximity and deep space collide. Stop-motion techniques animate microscopic slides, transforming the inner functions of the body into a site where cells breathe, pulse, and disperse, evoking an underground abyss, a sublime spacescape, a deep-sea world. The shifting, crowding forms succumb to the sounds of Luigi Nono, which conjure a church choir lost in reverb.<\/p>\n

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Electric Salom\u00e9 <\/strong>(16mm film, BW, sound, 22 min, 2012)<\/p>\n

Electric Salom\u00e9 again takes the body in motion as subject, this time in a high-contrast whirl of electrified silk. Inspired by the American modern dancer, Loie Fuller, known for her unique multi-media performances at the turn of the century, the film captures a solitary dancer\u2019s movement from coherent practice to otherworldly disorientation.
\n*part of the film will be projected with a hand cranked 16mm projector<\/p>\n

(TRT: Approx. 45 minutes)<\/p>\n

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– – –
\nStephanie Wuertz is a moving-image artist based in New York. She has a BFA from Memphis College of Art and an MA in Media Studies from The New School. Drawing inspiration from early cinema, proto-cinema and medical photography, her work often incorporates stop-motion, superimposition and music to explore absence, transformation, and kinesthesia.<\/p>\n

She has exhibited, screened, and performed live projections of her work at such venues as White Box Gallery, Microscope, The New Museum, CoExist Gallery, Issue Project Room, Live with Animals, Millennium Film Workshop and Cherry Kino Lab. She works in Digital Media at The Metropolitan Museum of Art.<\/p>\n

\u00a9 All images are courtesy of Stephanie Wuertz
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Deep Leap Microcinema \u2013 Kill Your Idols<\/strong>
\nGroup film\/video program
\nfollowed by live performance by Jesse Malmed
\nWEDNESDAY MARCH 14, 7PM
\nAdmission $6<\/em><\/p>\n

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Jesse Malmed of Deep Leap Microcinema returns to New York and Microscope to present a group program of films and videos. KILLS YOUR IDOLS<\/em> takes its title Sonic Youth album and features works by: Rick Silva, Roger Beebe, Laurel Degutis, Eric Fleischauer, Theo Darst, Evan Meaney, Clint Enns, Benjamin Schultz-Figueroa, Michael Hubbard, Pete McPartlan, Jeff Guay and others. A live performance by Jesse Malmed will follow.<\/p>\n

\u201cBorrowing its title from a Sonic Youth record, this program investigates, substantiates and considers the use\u2014material or conceptual\u2014of canonical avant-garde film\/video works in contemporary moving image practitioners. More a series of questions, provocations and approaches than a clean dictum, Kill Your Idols<\/em> runs the risk of inside baseball while engaging the pedagogy of critical cinema. When we use words like avant-garde and experimental, we engage in art-making as something martial, progressive and, potentially, as a research-based field of knowledge. These works take literally the notion that a past is something that can be built upon, built again.<\/p>\n

How does the use of one’s favorite Brakhage film as \u2018found\u2019 footage change and charge the politics and poetics of appropriation? What are the limits of re-enaction? How does the acknowledgement of a canon within an avant-garde practice impact new makers? What can be gleaned from a practice that combs the canon? What can new technologies tell us about old ones? What is lost and what is gained? What of those artists appropriating and updating their own works?<\/p>\n

Through re-enaction, re-mixing and re-considering, the weight of influence is all over these works. There are great triumphs and minor failures, snark attacks and exegeses on the space between veneration and enervation.\u201d –Jesse Malmed<\/p>\n

A performance by Jesse Malmed follows the program.<\/p>\n

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– – –
\nDeep Leap Microcinema is a peripatetic screening and exhibition series living, for now, in Chicago, IL. Past programs have included Zaum\/Beyonsense, The Internet Is a Terrible Place to Live, Sacred Geometies, dis\/play and have screened\/been installed at Micrscope Gallery, Artists\u2019 Television Access, Grand Detour, Place Gallery, Echo Park Film Center, the Helsing Junction Sleepover and in universities. Future programs include: The Way People Talk, \u201cNew\u201d \u201cLandscapes\u201d and Repeat Our Names Until They Rhyme. www.deepleap.net<\/a><\/p>\n

Jesse Malmed is an artist and curator operating out of Chicago. He has performed and screened his dense, humorous and innovative works in museums, microcinemas, galleries, bars and barns. www.jessemalmed.net<\/a><\/p>\n

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\u00a9 All images are courtesy of the artists<\/em><\/p>\n<\/div>\n

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\n<\/strong><\/em>SAT March 10, 6-10PM<\/strong>
\nBrooklyn Armory Night\/Bushwick Beat Nite<\/strong>On view:<\/strong><\/p>\n

We Are Cinema: 50 Years of the Film-maker\u2019s Cooperative <\/strong><\/em>
\nExhibit featuring works by: Katherine Bauer, Bill Brand, Robert Breer, Rudy Burckhardt, Donna Cameron, Abigail Child, Martha Colburn, Peter Cramer, Bradley Eros, Su Friedrich, Ken Jacobs, Sabrina Gschwandtner, Anne Hanavan, Takahiko Iimura, Jeanne Liotta, Jonas Mekas, Julie Murray, Jennifer Reeves, Barbara Rubin, Lynne Sachs, Carolee Schneemann, Joel Schlemowitz, MM Serra, Jack Smith, Smith and Lowles, Mark Street, and Jack Waters. <\/em><\/p>\n

More info under Exhibitions<\/a><\/p>\n

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Special Performances 8-10PM<\/strong>
\nCassette release party for new Brooklyn Band LOUISE<\/strong>
\nAdditional performances by Victoria Keddie, Lea Bertucci and Bradley Eros
\nPerformances will start on time
\nAdmission is free<\/p>\n

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As part of Brooklyn Armory Night\/Bushwick Beat Nite we are pleased to present the first release of the new Brooklyn band Louise<\/strong>. The 35 minute 9 track debut will be released on cassette with packaging designed and assembled by Myranda Gillies.<\/p>\n

Louise (David Mason and Sarah Halpern) is collage music, drawing most heavily from American Folk by way of drums, electric guitar and voice.<\/p>\n

Listen to a song from the album: AIR<\/a> <\/strong>(5:00)<\/p>\n

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Additional performances:
\nVictoria Keddie<\/strong> believes she has found a way to communicate with aliens, with an electrified koto and a few handy ring modulators.
\nLea Bertucci<\/strong> will perform a new composition for tapes titled \u2018Rods and Cones\u2019.
\nBradley Eros <\/strong>m.o.t.o.r. = magnetic oscillation to optic rotation. cassettes, vinyl, film: all spin, all spirals.<\/p>\n

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– – – – – –
\nVictoria Keddie<\/strong> is an artist, curator, and archivist based in New York City. Her work explores space-sound relationships and visual rhetoric. She works in varying media involving sculpture, film, audio, and performance. She has programmed events throughout the city involving collaboration of film and video, performance and sound in dialogue. As an archivist, she focuses on preserving analog time-based media. Her work has been exhibited throughout the US in addition to public speaking. She holds a MA in Museum Studies from NYU, with a concentration on Ephemeral and Time -Based Media collections. She is a member of the film-based collective, Optipus. She is on the programming committee of The Archivist Roundtable of NYC, and a member of Association of Moving Image Archivists and the Association of Recorded Sound. She is co- founder of INDEX Festival -planned for August 2011 (www.indexfestival.com<\/a>)<\/p>\n

Lea Bertucci<\/strong> is an interdisciplinary artist who works with Photography, Sound, Video and Installation. She received her BA in Photography from Bard College in 2007, the same year she was awarded a fellowship from the Tierney Foundation. The emphasis of her work lies in exciting the liminal areas of perception. She uses tactics such as slide projection, stop motion video and lo-fi filtering of sound to engage with these ideas. In 2009 she was awarded a residency from Smack Mellon and a Young Composer\u2019s Commission from Roulette. She has performed solo and collaborative works at venues such as Roulette, Issue Project Room, The Kitchen, Anthology Film Archives, St. Marks Ontological-Hysteric Theater, free103point9, Galapagos Artspace, The Queens Museum of Art and the High Zero Festival.<\/p>\n

Bradley Eros<\/strong> is an artist working in myriad media: experimental film & video, collage, photography, performance, sound, text, contracted and expanded cinema & installation. Also a maverick curator, designer, researcher & investigator. Concepts include: ephemeral cinema, mediamystics, subterranean science, erotic psyche, cinema povera, poetic accidents and musique plastique. Exhibited at 2004 Whitney Biennial & The American Century, MoMA, PS1, The New York, London & Rotterdam Film Festivals, Performa09, Exit Art, The Kitchen, Millennium, Ocularis, Light Industry, Issue Project Room, Microscope Gallery, Participant Inc, Cabinet, ABC No Rio, White Box, The New York Underground Film Festival, Migrating Forms, Warhol Museum, Pacific Film Archives, SF Cinematheque, No.w.here in London, Lightcone in Paris, Arsenal in Berlin, Image Forum in Tokyo; Collaborated with the Alchemical Theater, the band Circle X, Voom HD Lab, expanded cinema groups kinoSonik & Arcane Project, and currently Optipus (film group); Worked for many years with the New York Filmmakers\u2019 Cooperative, Anthology Film Archives, & co-directed the Roberta Beck Mercurial Cinema.<\/p>\n

Louise <\/strong>was born in the early summer of 2011 to David Mason and Sarah Halpern. She weighs absolutely nothing so it was an easy, instantaneous birth. Her first word has just been recorded to tape as a full length album.<\/p>\n


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HERE & NOW<\/strong>
\n WE ARE CINEMA: SCREENING #4<\/strong>
\nSunday March 4, 7pm
\nAdmission $6 – Free to Coop Members with a NEW work to screen<\/em>
\nPlease RSVP to rsvp@microscopegallery.com<\/a><\/p>\n

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“Here and Now” is the final of the 4 part screening series in connection with the “We Are Cinema: 50 Years of the Film-makers’ Cooperative” exhibit. For the evening, we invite current members of the Film-Maker’s Cooperative to bring a NEW short film or video to screen. We will show all works whether or not they have already been entered into distribution at the Co-op.<\/p>\n

If you plan to bring a film or video, we prefer that you let us know in advance!<\/p>\n

We will screen the following formats:
\nVideo: DVD or a Quicktime file on a flash drive
\nFilm: 16 mm or Super 8.<\/p>\n


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\nNicole Brenez presents
\nFILMS & VIDEOS BY MARC HURTADO (Etant Donn\u00e9s)<\/strong>
\nFRIDAY MARCH 2, 7.30PM
\nAdmission $6 – Please RSVP to rsvp@microscopegallery.com<\/a>
\n We are honored to welcome Nicole Brenez from Cin\u00e9math\u00e8que Francaise (Paris) to introduce a screening night of selected works by French film-maker, poet, musician Marc Hurtado (from group Etant Donn\u00e9s)<\/em><\/p>\n

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SON (Sound)<\/strong><\/p>\n

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Son regard perdu dans le noir<\/p>\n

Son cou qui s’\u00e9tire dans l’espace<\/p>\n

Son ventre qui s’ouvre dans les t\u00e9n\u00e8bres<\/p>\n

Son sourire qui brille dans la danse<\/p>\n

Son ombre qui s’envole entre les doigts<\/p>\n

Son c\u0153ur qui r\u00e9sonne dans le chant<\/p>\n

Son corps qui flotte sur la terre<\/p>\n

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C\u2019est le son du souffle sur ta nuque<\/p>\n

C\u2019est le son d\u2019une porte qui s\u2019ouvre<\/p>\n

C\u2019est le son d\u2019une porte qui se ferme<\/p>\n

C\u2019est le son du sang dans tes yeux<\/p>\n

C\u2019est le son d\u2019un miroir qui se brise<\/p>\n

C\u2019est le son d\u2019un cri dans le feu<\/p>\n

C\u2019est le son du silence sur la Terre<\/p>\n

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***<\/p>\n

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His gaze lost in the black<\/p>\n

His neck stretching in the space<\/p>\n

His belly opening into the darkness<\/p>\n

His smile shining in the dance<\/p>\n

His shadow disappearing among the fingers<\/p>\n

His heart resounding in the singing<\/p>\n

His body floating on the ground<\/p>\n

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It is the sound of the breath on your nape<\/p>\n

It is the sound of an opening door<\/p>\n

It s the sound of a shutting door<\/p>\n

It is the sound of the blood in your eyes<\/p>\n

It is the sound of a crashing mirror<\/p>\n

It is the sound of a cry in the fire<\/p>\n

It is the sound of the silence on Earth<\/p>\n

(Marc Hurtado)<\/p>\n

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The group Etant Donn\u00e9s<\/em>, namely the poets, musicians, performers and film-makers Marc and Eric Hurtado, are characterized by their complete autonomy. No matter in which field, be it formal invention, cultural references, production or logistics, Etant Donn\u00e9s creates their own world, nourished with ancient and courtly poetry. In cinema, it physically translates into the choice of specific tools that Marc Hurtado uses to make his films, as for instance 8mm film and surveillance camera, as well as into researching ways to open corporal feelings to reality – where each grain of visual and sonic texture becomes a detector of overflowing fluxes.<\/p>\n

For Microscope Gallery, Marc Hurtado has made available 5 of his most historical works. The first three – originally from silver film and later digitized – are intense visual poems devoted to ecstasy. As Marc Hurtado states: “I am not interested in the idea of expression, but rather in the one of impression, through a disintegration of my self into light, nature, breath, wind\u2026” The fourth is an unexpected portrait of the great Alan Vega as a sculptor, where the visual dialogue between the artists reaches the top. “The fifth work is a clip for a song from the album “Sniper” that I made with Alan Vega, brought back from the vertigo of the whirl he dragged me into since our last taped meeting.” (Marc Hurtado)<\/p>\n

Nicole Brenez<\/p>\n

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PROGRAM:<\/strong><\/p>\n

Royaume (Kingdom)<\/strong>
\nBy Marc Hurtado for Etant Donn\u00e9s, 8mm film transfer to digital, France, 1991, 23:30 minutes<\/em>
\nLight is essential to my films. All you have to do is capture a certain light intensity, or accentuate it, and by extracting it from its container, the content is now free to evaporate in the film and lighten it from the inside. The image of the exterior reality must be elevated to be the archetype of the interior one. These films operate as icons: to find in the image the order of creation, and show that the being is the product of the World, and the World the projection of the being. — M H<\/p>\n

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Bleu<\/strong>
\nBy Marc Hurtado for Etant Donn\u00e9s, 8mm film transferred to digital, France, 1994, 36:45 minutes<\/em>
\nIntensify the perception of reality in order to elevate it to the density of magic. — Etant Donn\u00e9s<\/p>\n

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Ciel Terre Ciel (Sky Earth Sky)<\/strong>
\nBy Marc Hurtado, digital video, France, 2009, 4:44 minutes<\/em>
\nThrough light I developed a poetic axis of embodiment that gives density and splendor to the fusion, the dazzle, the dark path and then to the rebirth of hope. I made this film in three phases: Sky, Earth, Sky. It is the history of humanity. We fall from the sky, go through the Earth, and leave again to the sky. It could be symbolized by a big V, V for Vie (life) an for Victory, the victory over the darkness, over the self. — M H<\/p>\n

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The Infinite Mercy Film<\/strong>
\nBy Marc Hurtado, digital video, France, 2009, 16 minutes<\/em>
\nA flaming portrait of Alan Vega (of the New York band Suicide), painter and sculptor, by a film-maker who is also poet and musician.<\/p>\n

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Saturn Drive Duplex<\/strong>
\nBy Marc Hurtado, digital video, NYC, 2011, 6 minutes<\/em>
\nI am trying to establish a connection between the constant wavering of the song and the sunlight that pierces the city of New York. We are the point of convergence of the ray of light, and this reversed perspective turns into an escape and cast us into a blue, dissipated space. — M H<\/p>\n

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– – – –
\nMarc Hurtado founded with his brother Eric the group Etant Donn\u00e9s<\/em> in 1977. The group finds expression in a variety of mediums, in particular film, music, and performance, generally inspired to Artaud’s Theatre of Cruelty and researching a form of art that overtakes the dualism spirit-matter. Except for the films “Des autres Terres souples” and “Le paradis blanc” realized with his brother, Marc Hurtado is the one who has made all the moving-image works by Etant Donn\u00e9s. Along the years they have collaborated with such artists as Alan Vega (Suicide), Lydia Lunch, Genesis P. Orridge, Michael Gira (Swans), Mark Cunningham (Mars) among others. In 2009 Marc Hurtado makes the film “The Infinite Mercy Film” dedicated to his old-time collaborator Alan Vega, and one year later he releases with him the album “Sniper” (Marc Hurtado \/Alan Vega). He also composes scores for several films by French director Philippe Grandrieux, most notably for his 2002 “La Vie Nouvelle”. Hurtado’s paintings have been recently featured in the exhibition “Musique Plastique” at the Galerie du Jour (agnes b., Paris).<\/p>\n

Etant Donn\u00e9s’ and Marc Hurtado’s works have been exhibited among others at the Centre Pompidou (Paris), Fondation Cartier, Cinemath\u00e8que Fran\u00e7aise, Le “Cin\u00e9ma du R\u00e9el” festival, Biennale de Lyon (FR), Sonar Festival (Barcelona), Festival di Locarno (IT), Documenta (Kassel), Atonal Festival (Berlin), The Kitchen (NY), Mattress Factory (Pittsburgh).<\/p>\n

For more info, visit: www.etantdonnes.com<\/a><\/p>\n

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\u00a9 All images are courtesy of Marc Hurtado<\/em>
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WE ARE CINEMA: Birth of a Nation<\/strong>
\nA film by Jonas Mekas – Artist in Person
\nSATURDAY FEBRUARY 25, 7PM
\nAdmission $6 – Please RSVP to rsvp@microscopegallery.com<\/a><\/p>\n

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\nStill from Birth of a Nation, <\/em>by Jonas Mekas (1997) – \u00a9 Jonas Mekas<\/em><\/p>\n

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We are honored to welcome Jonas Mekas to present his rarely screened \u201cBirth of a Nation\u201d in connection with the \u201cWe Are Cinema: 50 Years of the Film-Makers\u2019 Cooperative\u201d exhibition. The 16mm film features over 160 independent filmmakers, recorded by the groundbreaking diarist filmmaker over a period of 40 years beginning in 1955. As a leading figure of the American avant-garde, film critic, founder of Film-Maker\u2019s Coop, Film-Makers\u2019 Cinematheque and Anthology Film Archives Mekas was able to capture these men and women of the international avant-garde film movement \u2013 those usually behind the camera – involved in everyday life. As the filmmakers parade across the screen, their energy and artistic passions are contagious. \u201cBirth of a Nation\u201d has screened only once previously in New York.<\/p>\n

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– – – – – – – – – –
\nJonas Mekas is a filmmaker and poet who has been working with film and more recently video for over 50 years. Mekas is a pioneer of the hand-held diarist film form and his approach has influenced not only countless avant-garde filmmakers, but Hollywood and the YouTube generation. His films and videos are screened at festivals, cinemas, and galleries worldwide including recent shows at Ludwig Museum, Cologne; La Biennale di Venezia; Bienal de S\u00e3o Paolo, the Mus\u00e9e d\u2019Art Moderne de la Ville de Paris, Tokyo Metropolitan Museum of Photography, Berlin Film Festival, London Film Festival, The New Musuem, MoMA and many others.<\/p>\n

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Birth of a Nation <\/strong>(1997), 16mm, color, sound, 85 min<\/p>\n

One hundred and sixty portraits or rather appearances, sketches and glimpses of avant-garde, independent filmmakers and film activists between 1955 and 1996.<\/p>\n

Why BIRTH OF A NATION? Because the film independents IS a nation in itself. We are surrounded by commercial cinema Nation same way as the indigenous people of the United States or of any other country are surrounded by Ruling Powers.<\/p>\n

We are the invisible, but essential nation of cinema. We are Cinema.<\/p>\n

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