Window on Rudnicki - May 12 2017 - 7.30pm
With roots in Sydney's experimental music scene, Antoni Rudnicki has been making experimental film work in Canberra since the 1980's. His work explores the possibilities of cameras, processing, optical printing and montage. Subjects range from studied contemplations of domesticity to free abstraction. His films encompass animation and found footage work as well as multiple projection performances. Of late he has become a practitioner of the black art of D.I.Y. film laboratory work, having set up a dark room for home processing and printing in his studio. It is a pleasure to welcome Antoni to AFW for his first solo film screening!
Entry $5. Time: 7.30 for 8, Friday the 12th of May at AFW, 2 Kerr St Fitzroy.
Ch'ien 6 min
Fuehrer flick 5 min 8 sec
Road n' roof 4 min
Luce! 5 min 21 sec
Drop 2 min 15 sec
TV series 19 min 44 sec
Moths from space 3 min 49 sec
Pipe stream 5 min 21 sec
Foliage 2 min 42 sec
Pandora's cat Bandit 2 min 39 sec
Window to Wattle 17 min 11 sec
Our Power - Advanced Screening and Fundraiser
6pm April 29th, 2 Kerr St, Fitzroy
Please join Artist Film Workshop and Arena Journal at the advanced screening of the documentary OUR POWER.
Doors at 6pm, screening at 7pm, followed by a discussion with the community members and Our Power filmmakers with special guest John Hughes (filmmaker).
OUR POWER is a Melbourne-made documentary about the Latrobe Valley community as they bear the brunt of the privatisation of Victoria's electricity in the 1990s and deal with the devastating Hazelwood mine fire of 2014.
The film exposes the tragic impacts of the 45-day fire, the fundamental issues facing the community today, and their transition to a post-coal world.
Entry: $10 donation to the filmmakers.
LaTrobe Community Members
BIO: LUKE VAN DER MEULEN
At a young age, Luke van der Meulen migrated with his family to the Latrobe Valley from the mining town of Valkenburg (Netherlands) with his father working in the gas and fuel industry.
Luke is a living product of the SEC system. At the young of 16, after finishing school, Luke secured an apprenticeship at the SEC as a boilermaker and through many years worked his way up into being a unit controller at Loy Yang power station - this time armed with an Associate Engineering Supervision Qualification.
In 2001, Luke took on the role of CFMEU Victorian District Mining and Energy Division President. Having been in the role for 15 years, Luke retired from the position in mid-2016 to focus on his fishing and golf handicap!
BIO: TRACIE LUND
Born and raised in the Hunter Valley (NSW), Tracie Lund is no stranger to the coal industry. In 2011 she moved down to the Latrobe Valley with her family where she took up the position of Coordinator at Morwell Neighbourhood House.
Mother of three, Tracie also ran as an independent candidate for the state seat of Morwell in 2014 to fight for the community’s rights in reaction to the Hazelwood Mine Fire.
Working at Morwell Neighbourhood House, Tracie is on the ‘front lines’ of the socio-economic issues in the Valley. Together with her staff, Tracie always organises community focused days at Morwell Neighbourhood House in an effort to strengthen and unite the community.
BIO: RON IPSEN
Ron Ipsen is a third generation power station worker and worked across Operations at Yallourn W power station before being compulsory retired in 1991 after a motorcycle accident. With a mixed background in medicine, arts and engineering, Ron built the first regional ISP in Gippsland and pioneered the Internet industry.
‘Sparked’ into action since the Hazelwood Mine Fire, Ron was heavily involved in helping the community re-open the Mine Fire Inquiry – leading to the full implementation of inquiry recommendations.
In the last three years, Ron continues to work on health in the Valley and has looked extensively into viable ways forward for the community - including ideas such as co-operatively owned industries and community owned battery banks (virtual power stations).
Today Ron continues to be a passionate motorcycle enthusiast, despite losing a leg in a road accident.
Joined by John Hughes (filmmaker - The Archive Project, Indonesia Calling)
OUR POWER is an 100% crowd-funded, independent film. To date, we have raised $20,000 over the last two years which has enabled the crew to get the film up to this point today. We will need to raise an additional $20,000 to master the film and pay for licencing. This means all funds raised will directly towards, broadcast footage licencing (from news outlets like the ABC, Channel 7, Channel 9, Channel 10 and WIN TV) and post production costs which include colouring the film, sound mixing, sound mastering and music composition.
These are just the production costs. The film is a labour of love and no funds have been used to reimburse the director or producer. Other professionals in the industry have graciously donated their time (and lots of it!) to the film as they too see the importance of this story being told across the country.
Donate directly @ www.ourpowerdoco.com/donate
Timothy Hillier Guest Screening 8pm Thursday, February 9 2017
Layhapuy Homelands Tour Doco - 2014 10.39 minutes
Blek Bala MJ (Still in Production) 2017 6 minutes approx.
Collection of IHHP Video clips (Gunbalanya - Wet Season 2016 5.46 minutes, Dhalinbuy - This is our Country 2015 4.27 minutes, Danzel Baker - Cloud 9 2017, Milingimbi and Elcho Island Dance 2017, Logan - Logan City 2016 4.43 minutes)
A short selection of out takes.
These films where made over the last 4 years with the Indigenous Hip Hop Projects (IHHP) organisation. They were made in collaboration with community members around the idea of youth strength and eliminating shame. Young people from the communities are engaged with every element of the program, from song writing, recording, filming and dancing in all of the projects. The films are most often shared over Youtube and remote communities from all over the country watch and rewatch theirs and others video clips. This is a selection of some of my favourite works, and previews of future works.
Friday 23rd September:
Michael Lee Screening @ AFW
Friday 23rd September, 8pm
2 Kerr St, Fitzroy
AFW is very pleased to present a long awaited screening of films by Melbourne experimental film icon Michael Lee. Lee came to Melbourne in 1968 to attend the only film school in Australia at the time – Swinburne. He was a founding board member of the Melbourne Film-makers Co-op.
His films consist frequently of animations and flickerings made from simple and direct materials, often with a motif of the cross and other religious iconography (Lee is a re-lapsed Catholic). There is a directness in his work which can be both kitsch and transcendent. A rare opportunity not to be missed!
All works screening on 16mm with the filmmaker present.
Black Fungus 15mins, 1971
Extract from "Mystical Rose" 5 mins, 1976
Rock Heart Fire 21mins, 1985
A Contemplation of the Cross 27mins, 1989
Razzle Dazzle Rhapsody 15 mins, 1992
Screen 5 mins, 1994
Friday 19th August:
LUFF - Lausanne Underground Film Festival @ AFW
8pm, Friday 19th of August. $6
AFW has great pleasure in presenting an impressive selection of analogue film based works from LUFF – The Lausanne Underground Film Festival.
LUFF has been going to great pains to rub its audiences the wrong way and to offer some original and off-the-wall programming. One of the festival objective is to fuse music and cinema together into a chemistry of weirdness, drawing from a wide range of avant-garde artists and innovative creations which in most cases have never been seen nor heard before in Switzerland. The selection of short movies presented tonight at AFW lab cover an international mix of analog works that were screened over the past editions.
To (re)present the festival, Nikola Mounoud sound artist on tour, LUFF's former music co-curator and current coördinator of international exchange (LUFF did Tokyo in 2012 and LUFF does Hong Kong in 2016) will introduce the festival and his sound work through a small improvised performance in collaboration with independent photographer Charlotte Aebischer. (Nikola is also performing at Liquid Architecture the following night at The Tote)
LUFF - Lausanne Underground Film & Music Festival will hold it's 15th edition this October (19 to 23) in Lausanne, Switzerland. The festival is made possible by its hearty volunteers, since it's very beginning!
· Au nord d’Eden – Jean-Marcel Busson, 2012, France, 12’
· Blue_1 – Alba Curós, 2013, Spain, 2’
· Clap Your Hands – Rita Figueireido, 2013, Portugal, 6’
· Human Body Battleground Organ Organism – Metrah Pashaee, 2013, UK, 9’
· Kudryavka – Little Ball of Fur – Risto-Pekka Blom, 2013, Finland, 5’
· Mynarski chute mortelle – Matthew Rankin, 2014, Canada, 8’
· Places with Meanings – Scott Fitzpatrick, 2012, Canada, 3’
· Quiet Zone – Karl Lemieux & David Bryant, 2014, Canada, 14’
· Spectography of a Battle – Fabio Scacchioli & Vincenzo Core, 2012, Italy, 4’
· The Rapture – Michael Fleming, 2015, UK, 5’
· Les Châssis de Lourdes – Rhayne Vermette, 2016, Canada, 18’
Luff Links -
16mm Program (played twice over the night):
Hanna Chetwin – Intimacy is hair in the drain (2015), 8 mins, sound
Carl Looper – Split (2015), 8 mins, sync sound
Giles Fielke – Apartment (2015), 8 mins, silent
Sabina Maselli – Equations for a falling body (2016), 5 minutes, sound
Hollis Frampton – Critical Mass (1971), 27 minutes, sound
16mm Films by Richard Tuohy & Dianna Barrie
Ironwood (2009), 7 mins, sound
Tree lines (2009), 9 mins, sound
Ginza Strip (2014), 9 mins, sound
Seoul Electric (2012), 7 mins, silent
Etienne's Hand, (2011), 13 mins, silent
Blue line Chicago (2014), 10 mins, silent
Shireen Seno and Artist Film Workshop present:
The Kalampag Tracking Agency
Neon Parlour, Thornbury
Thursday 17th March, 7pm
Shireen Seno & Merv Espina
Overcoming institutional and personal lapses to give attention to little-seen works—some quite recent, some surviving loss and decomposition—this programme collects loose parts in motion, a series of bangs, or kalampag in Tagalog, assembled by individual strengths and how they might resonate off each other and a contemporary audience. Featuring some of the most striking films and videos from the Philippines and its diaspora, this is an initiative that continues to navigate the uncharted topographies of Filipino alternative and experimental moving image practice.
In our notes for the program regarding how the name came about, we likened the Tagalog word “kalampag" to a rattling sound or a bang, usually used in reference to machines and other mechanical devices such as a car or other moving vehicle. A kalampag implies that the machinery is somehow damaged. Or perhaps it never really ran smoothly. But what is this machinery we speak of?
In 1975, only three years after the declaration of Martial Law in the Philippines, the Marcos regime orchestrated Thrilla in Manila, the legendary boxing match between Muhammad Ali and Joe Frazier. Ferdinand Marcos wanted the glory that would come from presiding over the bout and saw to it that the necessary funds were made available. Not everything went smoothly. Security was tight because of insurgent political activity and early-morning roadwork conflicted with an overnight military curfew.
But Marcos’s move was brilliant. People all over the world were glued to their seats watching live televised coverage of the fight, made possible by satellite broadcasting.
Ali won, and in his honor, the Philippines built the first multi-level commercial shopping mall, Ali Mall, as a tribute to his victory.
Soon after, another grand illusion in the country was under way: Francis Ford Coppola’s Sisyphian film project, Apocalypse Now. From 1975 to 1977, the film was shot entirely in the Philippines, with its cheap labor and ready access to American military equipment, as an easy stand-in for Vietnam. There were times when shoots would be delayed or cancelled because crew, helicopters, and equipment were sent off to shoot and quell actual rebel insurgents in the south. A war was still being waged in our archipelago after all. The film premiered two years later in Cannes as a “work in progress” and won the Palme D’Or.
Arguably the greatest illusion of the time came in the form of the Manila Film Center, which opened, to much controversy, to serve as main venue of the inaugural Manila International Film Festival on January 18–29, 1982. It was originally designed to be a one-stop shop for anything film-related, including a film archiving facility, with UNESCO as consultant in its design. But because of the controversies surrounding it, the Manila Film Center was never fully utilized. The Philippines only had a National Film Archive, effectively, by October 2011.
To certain generations of Filipinos, the Manila Film Center, widely claimed to be haunted, is the stuff of legend. And as legend has it, construction of the building started in early 1981 and had just a year to be finished to meet the deadline: the January 1982 opening of the Manila International Film Festival. This required around 4000 laborers to work three shifts across 24 hours. In November 1981, heavy rains caused the scaffolding to collapse, killing 169 workers, who, in Imelda Marcos’ hurried attempt to finish the construction of the building, were instantly buried under quick-drying wet cement.
These grand gestures were sleight of hand tactics, an attempt to show the world that the banana republic of the Philippines was a cultural mecca. As all this was happening, atrocities were happening left and right: an all-out war on Muslim and communist insurgencies, and some of the brightest and most critical artists, students and activists disappeared without a trace.
For this program, we wanted a body of works that rattled the system at least for a brief moment in time. Many screening programs and curatorial projects are based on themes. The Kalampag Tracking Agency aims to be functional as well; it treats the screening program as a method, an ongoing process of investigation and a means to not just promote these works, but more importantly, to preserve them as well.
We use the opportunities provided by festivals, archives, museums, art spaces and other platforms that have invited the screening program to access equipment that we don’t have in the Philippines. In this way, we have been able to make newer and better transfers of several works. Each screening is slightly different, as there are always slight improvements here and there.
The first times we screened the program, at the University of the Philippines Film Institute and Green Papaya Art Projects, were important discursive platforms. Several generations of artists and filmmakers attended and exchanged ideas, talking history, aesthetics and process. For the older works especially, these were rare opportunities to illuminate actual histories. Simple things people take for granted, such as date or medium and other such clerical errors, were pointed out. These details are important and would have otherwise gone unnoticed for such errors have been published and republished in what little actual documentation they were mentioned in.
The founding of Mowelfund (short for Movie Workers Welfare Foundation) in 1974 and the University of the Philippines Film Center in 1976 did help sustain and distance independent cinema from the mainstream film industry, but there has been a continued lack of a decent archive. The National Film Archive was only established in 2011, several decades too late. Groundbreaking works have literally turned into vinegar and dust. Only a small fraction remains and is barely accessible.
Mowelfund, Philippine Information Agency, and Goethe Institut Manila’s highly influential jointly-organized film workshops in the 1980s helped incubate the likes of Lav Diaz, Raymond Red, Roxlee, and many others. We have several works from this period, particularly from German filmmaker Christoph Janetzko’s optical printing workshops conducted between 1989 and 1990: Kalawang (Rust), Bugtong: Ang Sigaw Ng Lalake (Riddle: The Shout of Man), and Minsan Isang Panahon (Once Upon a Time). Some of the material used for these works were reportedly sourced from a trash dump half submerged in a creek outside one of the major film studios.
Using the debris of the commercial industry and turning it into art is a recurring process in the program. Tito & Tita’s Class Picture was shot on expired rolls and short ends that would have been otherwise been destined for the trash bin. In Chop-chopped First Lady + Chop-Chopped First Daughter, Yason Banal melds Youtube and crass cinema through split screen, combining newsreel film footage of the failed assassination attempt on the life of then First Lady Imelda Marcos as captured and broadcast live on television in 1972 and juxtaposing it with footage from a gory 1974 popular film top-billed by Kris Aquino, the First Daughter to Marcos’ successor, Cory Aquino.
Roxlee’s crude yet compelling techniques—hand-drawn animation, painting on film, found footage, and collage, make for a witty, powerful new take on the alphabet in ABCD. Raya Martin’s minute-long Ars Colonia, shot on Hi8, blown up to 35mm and hand-colored, then with screening copies in both 35mm and HD video, utilizes generation loss and data migration, adding new layers of texture and meaning from each conversion, a subtle parody on the unrelenting beauty of the colonial master and his image.
The program also showcases documentary as essay, parody, diary, experiment and critique. A ghostly absurd white figure crawls across the city/screen in Roxlee’s Juan Gapang, a performative document of Manila, culminating at the Manila Film Center itself and the famed Manila Bay sunset. Martha Atienza’s Anito is a highly stylized document of the already quite exotic folk festival in the artists hometown in Bantayan Island, Cebu, indulging yet at the same time questioning viewer’s expectations. Miko Revereza’s DROGA! takes the other end of the exotic, documenting the Los Angeles cityscape and the lives of the artists’ family and other Filipino immigrants, and creating new intersections of American pop culture and Filipino traditions. Tad Ermitaño’s The Retrochronological Transfer of Information was simultaneously a conceptual experiment and an elaborate joke whose process and output questioned causality, fact, and objectivity in the traditional notions of science and history. Then there’s the crude and yet deceptively simple documentation in John Torres’ Very Specific Things at Night and Jon Lazam’s hindi sa atin nag buwan (the moon is not ours), where humor, emotion and a sense of wonder is exercised in form and editing, yet also strongly suggesting the power of the title as essential text and map to chart the cartographies of these abstract and poetic works.
It’s important to note that the works of Tito & Tita, Yason Banal, and Martha Atienza have also appeared as installations in commercial art galleries and related spaces, perhaps indicating a fluidity of form and exhibition in current practice, as opposed to the older works in the program that were intentionally designed solely for the cinema.
Unfortunately, there is still a preferred bias for length, for bigger bangs and grander statements, and more attention for the film as akin to the novel or epic over the film as short story or poem. This is why no one knows where films showcased in Manila’s first National Festival of Short Films in 1964 can be found, yet we still have feature films from this period. But before asking how these small, eccentric bangs of moving image practice can challenge the dominance of popular cinema and the national narrative, we have to investigate, preserve and circulate them first. Only then can we re-draw the map and see how these works contribute to a larger critical discourse.
The Kalampag Tracking Agency is an ongoing initiative and screening program exploring alternative notions/visions in moving image practice from the Philippines. Many of the works only exist as memories, rumors, and text on forgotten catalogs and manuscripts, even those as recent as five years ago. Perhaps the moving image can in fact bear witness to the instability/precarity of our times, challenging the very structures and dynamics that constitute these works with its audience, whose various acts of witnessing, participation and remembrance is key—and for some works, could now only be its only form of existence.
Published in Arkipel: Grand Illusion festival catalog, 2015
Programme notes: Precarious Landscapes by Sami van Ingen
Works depicting terrains where battles of thought, memories and actions take place.
THE BLOW (20 mins)
The near un-focused camera makes the viewer to find focus in the space. One´s gaze can only wander along the patina of the wood and the rusty metal, and give one´s self to the inhale or rhythm of the Blow. The film was conceived after the grandfather died, when the house reviled itself as just a building, still full of memories.
STAGE COACH (7 min)
Wheels where paramount in the conquering of the west, they made possible the transporting of building materials to build towns and cities. Wheels – now in the form of the private automobile – have become a symbol of freedom and the last way to conquer “the big outdoors”. However getting out of ones the car has got more difficult and much scarier.
PERAMBULATIONS (10 min, silent)
In 1995 I made a trip with my grandmother to of her childhood island of Inis Mor in Ireland. To her it becomes a nostalgic pilgrimage to memories and to me a challenge of understanding and of documentation.
DEEP SIX (6 min)
Deep Six has three starting points: a little narrative re-edited from a Hollywood B-film (The Rage, 1998), an attempt to use the color photocopy as a cinematic aesthetic and to explore the frame line as a dynamic visual element.
HATE (12 min, silent)
In 1959, Soviet film director Aleksandr Ptushko (1900 – 1973) directed a feature film titled Sampo, which was loosely based on the Finnish national epic Kalevala and which was partly filmed with two cameras simultaneously. The implications of portraying the repressed “Other” in Ptushko´s depiction of Kalevala are exposed. The stroboscopic effect of the film contrasts with the pictorial content that follows traditional narrative lines: the abduction of the fair maiden, the events lead to a disgraced and defensive suitor, who, once defeated, exits the set sulking.
NAVIGATOR03 (3 min)
Navigator03 is the third version of this work which combines Petri Kuljuntausta´s sound collage based on beluga whale sounds and some sequences of weightless figures I found from an old VHS-cassette.
Programme notes: Super 8 Dreams by Bill Mousoulis
Super 8 films from Australia in the 1980s
Acclaimed Greek-Australian filmmaker Bill Mousoulis (9 features to his name) started making films in 1982, by utilising the Super 8 medium. By the end of the '80s, he had made over 40 short Super 8 films, and we present 8 of the best ones in this special programme.
From narrative works showing Mousoulis' development from Spielbergian sentimentalism to Bressonian formalism, to non-narrative works showing Mousoulis' growing interest in the auto-portrait and essay modes, this is a rare glimpse into a particular time and artistic space.
The original Super 8 films themselves will be projected, on loan from the National Film and Sound Archive.
Dreams Never End (1983, 9 mins)
Delirious narrative film, a look at the life of a 16-year-old girl, played by Mousoulis’ sister Mary.
"The Bresson of Super-8, Bill Mousoulis, makes films which are a sublime and quizzical mix of down-home observational physicality and transcendental spirituality, luminous with both the sadness and potentiality of individual dreaming. You won't believe it until you see it. Dreams Never End is a classic." - Adrian Martin, film critic, 1986.
No.16 in "28 All-Time Greats of Super-8" by Mark Titmarsh, Limit of Maps, Spring 1985.
In a Lonely Place (1982, 4 mins)
The first of Mousoulis' films to consciously attempt an impressionistic, experimental style.
It is also the first time Mousoulis started playing with the idea of the "subversive music clip", taking a known song and putting his own images to it.
J.C.: The Jewellery-Case (1984, 10 mins)
Another delirious “home movie” type narrative film, again featuring family and friends of Mousoulis. A tribute/parody of Spielberg and E.T.: The Extra-Terrestrial.
"Dreams Never End and J.C.: The Jewellery-Case are both extremely personal, and, to borrow a term from Paul Schrader, exhibit what might be called a "transcendental film style". These films' undeniable honesty renders all cynicism impotent." - Andrew Preston, Filmnews, 1985.
The Green Door (1986, 5 mins)
Mousoulis films moments in his home in an eclectic, strange way, creating both an ordinary and extraordinary representation of reality.
"A quite personal film, which bears some resemblance to Gillian Leahy's My Life Without Steve. The Green Door, however, has a simple eloquence and an authenticity the bigger film lacks." - Anne-Marie Crawford, Super Eight magazine, Dec 1986.
Physical World (1986, 10 mins)
A man and a woman prepare to go to work in the morning. A rigorous, formal narrative work, Mousoulis at his most “Bressonian”. "Physical World is dry, austere, methodical. However, it is a film which draws the viewer's attention away from the surface towards a deeper meaning. We cannot accept that Life, as represented in the first three quarters of the film, is solely composed of the dull, everyday physical activities that we are watching - there must be something more. Through implication the answer is conveyed - yes there is more. There is love. Love alone is the fuel that drives our tired bodies on." - Mark La Rosa, Super-8 Yearbook, Feb 1987.
Knowing Me, Knowing You (1988, 6 mins)
An essay film about the failure of post-modernism. Mousoulis’ first attempt at an “essay” film, in the mode of Marker and Godard.
"I admire Mousoulis' narrative fiction but it is his essay films which are the most interesting for me. Knowing Me, Knowing You is so contained within its rhetoric, those of us in the audience can only wonder what he's getting at ... I hope Mousoulis continues with this series of films, possibly the most philosophically contained and interesting of its kind in Super-8." - Andrew Frost, Filmnews, Feb 1989.
Melbourne '89 (1989, 13 mins)
Various tableaux of Melbourne in 1989, as experienced by the filmmaker. An eclectic film, impossible to predict as you are watching it.
"It is a film of shots/views. Views of Melbourne and portraits of friends. There is also a section of Bill and his band. The ten second portraits of Mark Freeman, Sarah Johnson, Chris Windmill, Heinz Boeck and others looked good. The last shot of George (Renaissance Man) Random in drizzly Punt Road was SENSATIONAL!!!" - Nick Ostrovskis, Super Eight magazine, Oct 1989.
Faith (1987, 27 mins)
A period in the life of a young Australian couple. Mousoulis’ most ambitious narrative short film on Super 8, close to half an hour long.
"With gentle direction, Bill does not impose a story upon the viewer. Faith lets its story grow from its spaces, revealing how the cinema and its meanings can be very hard to pinpoint. Bill lets meaning grow out of silence; significance grow out of the fact that he has faith, as much as the viewer slowly begins to realise, that the characters do not have to be spoken for. Their richness slowly rises to the surface." - Darron Davies, Filmviews, Sep 1987.
- Voted Best Super 8 Film of 1987 in Super-8 Yearbook 1988 (making 12 Top Ten lists)
7 August 2015 - Paul Clipson
6.30pm @ Goodtime Studios, followed by Q & A with Paul Clipson – Cost is $7
Artist Film Workshop has great pleasure in presenting San Francisco based experimental film legend Paul Clipson in town for one night only! Paul is
an undisputed master of in-camera constructed mind scapes. A program not
to be missed!
SPHINX ON THE SEINE (2008) Super 8mm/16mm, 9 mins, color/B&W Music by Jefre Cantu-Ledesma;
A program of 8 hand made machine infused 16mm film works by AFW's Richard Tuohy
Visiting Artist – Roger Beebe
Friday 6 March 2015 from 8–10pm, $8
Artist Film Workshop in association with Otherfilm is pleased to present American artist Roger Beebe. Beebe will give a show with 10 single projector and expanded cine masterpieces.
These films attempt to marry experimental forms with a documentary interest in a cinema as a means of engaging with the world around us. The works are diverse in subject matter—covering such disparate topics as women in the air force in World War II, companies that changed their names for positioning in the phone book, and the horrors (and beauties) of suburban sprawl—and are equally diverse in the strategies and formats–with work in 16mm and super 8mm; works of found footage along side photographic images; single-channel films alongside multi-projector performances–they are united by their use of an ironizing poetics to cast a sidelong glance on some often overlooked realities of 20th and 21st Century Americana.
TB TX DANCE (2006, 2:30, 2 x 16mm)
The Strip Mall Trilogy (2001, 9:00, 2x super 8mm on video)
A Woman, A Mirror (2001, 15:00, 16mm)
(rock/hard place) (2005, 5:15, 16mm and unslit regular 8mm)
Composition in Red & Yellow (2002, 2:30, super 8mm)
Money Changes Everything (2009/rev. 2011, 5:00, 3 x 16mm)
Beginnings (2010, 5:00, digital audio)
[sic] series (2014, 5:00, 16mm)
S A V E (2006, 5:15, 16mm)
AAAAA Motion Picture (2010, 11:00, 2 x 16mm)
Who is Beebe?
Roger Beebe is an Associate Professor in the Department of Art at the Ohio State University. He has screened his films around the globe at such unlikely venues as the CBS Jumbotron in Times Square and McMurdo Station in Antarctica as well as more likely ones including Sundance and the Museum of Modern Art. Recent solo shows of his work include the Laboratorio Arte Alameda (Mexico City), the Wexner Center for the Arts, and Anthology Film Archives. He has won numerous honors and awards including a 2013 MacDowell Colony residency, a 2009 Visiting Foreign Artists Grant from the Canada Council for the Arts, and a 2006 Individual Artist Grant from the State of Florida. Beebe is also a film programmer: he ran Flicker, a festival of small-gauge film in Chapel Hill, NC, from 1997-2000 and was the founder and Artistic Director of FLEX, Florida Experimental Film Festival from 2004-2014.
[Beebe’s films] implicitly & explicitly evoke the work of Robert Frank, Garry Winogrand & Lee Friedlander, all photographers of the atomic age whose Western photographs captured the banalities, cruelties and beauties of imperial America –David Fellerath
Beebe’s films are both erudite and punk, lo-fi yet high-brow shorts that wrestle with a disfigured, contemporary American landscape –Wyatt Williams, Creative Loafing (Atlanta)
SCTL presents 'Heru Ini Lafu'
5th November 2014
Join us between 6.00 & 9.00pm, with film screenings at 7.00 & 8.00pmFree entry & Timorese nibbles provided
Student Conservators for Timor-Leste invite you to join us on November 5th for a film screening and exhibition celebrating the Tais. SCTL will present a screening of ‘Heru Ini Lafu: Weaving Life’, with accompanying photos by Sally Gray and traditional Tais from Iliomar.
Produced by the East Timor Women’s Association (ETWA), the film documents the history of Timor-Leste and the beauty of its culture. It explores how women are reclaiming their culture and reducing poverty through the manufacture of Tais. Sally Gray’s photographs capture the many stages of Tais production, from spinning of the cotton, to manufacture of natural dyes and weaving of the textile on the back-strap loom. We hope to see you there!
Let Your Light Shine – Jodie Mack
Thursday 22 May, 6pm at Gertrude Contemporary - 200 Gertrude St. Fitzroy
Under Mack’s direction stoner shop tie-dyes and dollar-store trinkets collude
to create pulsing, ebullient spectacles. Colour-in-motion is the Trojan horse by
which Mack smuggles in a series of questions about regimes of looking and the
stability of human perception in a post-psychedelic world.
Mack animates single-frame photography of domestic and recycled materials into complex patterns of movement she calls ‘anti-sequences’. Her works illuminate the shared territory between abstraction and the domesticity of mass-produced goods.
This program features a selection of Mack’s recent work, which unleashes the kinetic energy residing in wasted and overlooked consumer objects, including her song-and-dance documentary tribute to her mother’s screenprinting business, Dusty Stacks of Mom. The program concludes with the experimental 3D performance extravaganza, Let Your Light Shine. described by Fandor Film Blog as ‘a wholly immersive and near-weightless experience, the piece exists outside most conventions of even non-narrative visual art, simultaneously collapsing and expanding perception to encompass the full spectrum of sensory existence’.
In conjunction with:
Friday May 23rd 5.30 pm @ Melbourne University, John Medly Building G23.
Lecture: Visiting artist Jodie Mack will give an artist talk placing her work as an artist/performer within the vibrant world of abstract animation.
Saturday May 24th 11 am until 5pm @ Goodtime Studios, basement 746 Swanston St.
Workshop with Jodie Mack. Please see upcoming workshops
This is event is curated by OtherFilm, Institute of Modern Art, Gertrude Contemporary and co-presented by Artist Film Workshop. Jodie Mack’s visit to Australia is supported by Screen Queensland.
Fear of the Future
7 – 9pm Sunday 4th May @ Shebeen – 36 Manchester Lane, Melbourne
Fear of the Future trespasses forgotten lands where celluloid spills into dark spaces, dark spaces become spoken words, and the chatter of ghosts waltzes with amplified machines. Join Sabina Maselli, the Artist Film Workshop (AFW) and a surprise guest for a night of expanded cinema and performance for all of us suffering from futurephobia. AFW will be presenting a live painting performance with loops of 16mm film. Including films by Richard Tuohy, Nina Gilbert, Sabina Maselli and more.
Lanscape Dances – Richard Tuohy
Friday 25 April 2014 – 7.30pm $5
Between 2004 and 2008, Richard Tuohy made around 30 short films on Super 8. This was a prolific (and unexpected) return to the small gauge after a protracted hiatus from film-making. ‘Landscape Dances’ (a term coined by friend, painter and Melbourne Super 8 Group figure Maeve Woods to describe some of Tuohy’s films from this period) is a representative selection of 9 short and rarely seen ‘camera original’ Super 8 works on Kodachrome, Ektachrome and Tri-X. These films portray a deep, if somewhat troubled, appreciation of the Australian nature-scape and a abiding fascination with the possibilities of the super 8 camera.
Slopes, 9 Smith St, Fitzroy
Saturday 29 March 2014
A day long survey of current underground arts practices in Melbourne, featuring an artist market, experimental cinema, and performance evening
Alberts Basement, Crazy in Love, Smalltime Books, Sunshine & Grease, Artist Film Workshop, Danni Zuvela (OtherFilm), Abstract Mutation, Fingers Pty Ltd, Bearded Iris, Christopher LG Hill and more.
Minor Developments is a three-part survey of current underground arts practices across Melbourne that is both celebratory as well as a slight lamentation on the changing landscape of affordable art spaces in the inner city. The title is a play on the site of Slopes being currently designated for major development.
The project will take place over one day and night on Saturday 29 March 2014 and will be divided into the following three events:
Artist market (12pm – 2pm) In the morning to mid-afternoon Slopes will be occupied by market stalls presented by a cross- section of Melbourne artists and collectives. Stalls will be held by Alberts Basement, Crazy in Love, Smalltime Books, Sunshine & Grease and more.
Experimental cinema (3pm – 5pm) Entry by donation Following the artist market an experimental cinema event will host a presentation by Artist Film Workshop, as well as a screening of a selection of 16mm films made by members of the Ubu Films collective in Sydney between 1966 and 1971, the heyday of ‘underground’ film, presented by Danni Zuvela, for OtherFilm.
Variety Night (6pm – 9pm) Entry by donation Minor Developments will continue into the evening with a variety night in which the gallery space will host performance and bands. Including sets from Abstract Mutation, Fingers Pty Ltd and Bearded Iris, as well as a poetry reading by Christopher LG Hill.
For more information please contact: Brooke Babington – firstname.lastname@example.org, or Jared Davis – email@example.com
AFW is pleased to present a program of works by master Australian flmmaker Paul Winkler. Perhaps one of Australia’s most prolific film artists (Winkler has been regularly producing new work every year since the early 1960′s), Winkler’s film illustrate a visual intensity and technical sophistication that is virtually unique in world cinema. Paul will be present at the screening. “Filmmaking has always been a journey into the unknown for me. Each new film demands its own trajectory. I might start with a particuliar idea and than after the first 100 feet of exposed film comes back, the imagines tell me which way to go or not to go. There is always a kind of pull between me and the material photographed, something opens up. If everything works out fine and the imagines connect to me and i can almost hear the sound they want, it is one hell of elation running through your body and mind, unbelievable. To sum up, my approach to filmmaking is primarily an organic one. The films are a synthesis of the intellect and emotion all filtered through the plastic material of film. I try to let imagines flow freely to the surface.” – Paul Winkler (taken from the DVD box set ‘Paul Winkler Experimental Film Collection 1964-2011′ from artfilms.com.au) THURSDAY 13th March, 7.30. AFW (Good Time Studios, Basement 746 Swanston St Melbourne) Neourosis 9 min Capilliary Action 16 min Time Out For Sport 19 min Long Shadows 17 min Cars 15 min Bondi 15 min
As a part of the NGV’s Melbourne Now exhibition, Artist Film Workshop will be hosting a Community Hall event in conjunction with the gallery’s DIY Series.
Drop into the NGV International this Friday the 10th January—between 11am-4pm—to participate in the free workshop and experiment directly with film stock.
Visitors will get the chance to manipulate the surface of film by hand, and play with the possibilities of positive and negative images in a black & white reversal taping workshop.
AFW’s Loop Library will also be on display in space.