Light Field

San Francisco / December 7 - 10, 2017

 

Program 5
curated by Zachary Epcar

Saturday, December 9th @ 9pm
The Lab (2948 16th Street, SF, CA)
Total running time: 72 minutes
$6 - 10 sliding scale (advance tickets here)

Blind Light Sarah Pucill 2007 | 22 minutes | UK | 16mm | color | sound Blind Light is filmed in the artist’s London loft. The presence of camera, studio and artist/performer are registered through image and sound, the loss of the former filling out the presence of the latter. In this way the physicality of object, space and subject as well as their inferiority is fleshed out, mapping out a space that is at once material and psychical. Between aperture, eyeball, sun and moon, source and projection swap place. Blind Light explores the fold between the materiality of film, the psyche and the body. -SP

Blind Light
Sarah Pucill
2007 | 22 minutes | UK | 16mm | color | sound

Blind Light is filmed in the artist’s London loft. The presence of camera, studio and artist/performer are registered through image and sound, the loss of the former filling out the presence of the latter. In this way the physicality of object, space and subject as well as their inferiority is fleshed out, mapping out a space that is at once material and psychical. Between aperture, eyeball, sun and moon, source and projection swap place. Blind Light explores the fold between the materiality of film, the psyche and the body.
-SP

 
Findings Kioto Aoki 2017 | 3 minutes | USA | 16mm | b&w | silent | world premiere A navigation of space via bodies of light. -KA

Findings
Kioto Aoki
2017 | 3 minutes | USA | 16mm | b&w | silent | world premiere

A navigation of space via bodies of light.
-KA

 
Domestic Trick #4 Brian Lye 2016 | 3 minutes | Cananda | 16mm | color | silent | international premiere This film was made for an exhibition with the theme of magic. At the time, my son was 4 months old and I was spending a significant amount of time at home. Working under this circumstance, which I viewed as a convenience and a constraint, I made work that utilized and reconsidered the manufactured purpose of objects that I found in or near our apartment. In this case: a light bulb, microwave, mason jar, and a bath towel. I brought these objects together in an attempt to create a sense of self-entertainment through the production of a homemade magic show or no-frills special effect. -BL

Domestic Trick #4
Brian Lye

2016 | 3 minutes | Cananda | 16mm | color | silent | international premiere

This film was made for an exhibition with the theme of magic. At the time, my son was 4 months old and I was spending a significant amount of time at home. Working under this circumstance, which I viewed as a convenience and a constraint, I made work that utilized and reconsidered the manufactured purpose of objects that I found in or near our apartment. In this case: a light bulb, microwave, mason jar, and a bath towel. I brought these objects together in an attempt to create a sense of self-entertainment through the production of a homemade magic show or no-frills special effect.
-BL

 
Water Sark Joyce Wieland 1965 | 14 minutes | USA | 16mm | color | sound I decided to make a film at my kitchen table, there is nothing like knowing my table. The high art of the housewife. You take prisms, glass, lights and myself to it. “The Housewife is High.” Water Sark is a film sculpture, being made while you wait. -JW

Water Sark
Joyce Wieland
1965 | 14 minutes | USA | 16mm | color | sound

I decided to make a film at my kitchen table, there is nothing like knowing my table. The high art of the housewife. You take prisms, glass, lights and myself to it. “The Housewife is High.” Water Sark is a film sculpture, being made while you wait.
-JW

 
New Sun Breathing In Chloe Reyes 2017 | 6 minutes | USA | 16mm | color  | silent An intimate portrait refracted though a web of proximate elements and living entities. -CR

New Sun Breathing In
Chloe Reyes
2017 | 6 minutes | USA | 16mm | color  | silent

An intimate portrait refracted though a web of proximate elements and living entities.
-CR

 
Ride Like Lightning, Crash Like Thunder Fern Silva 2016 | 9 minutes | USA | 16mm | color | sound Framed within the vision of the Hudson River School and the legend of Rip Van Winkle, Ride Like Lightning, Crash Like Thunder unfolds as a storm approaches on the horizon. An uncertain future is in store as the creeping hand of history disrupts nature and civility in the Hudson River regions of Upstate New York. -FS

Ride Like Lightning, Crash Like Thunder
Fern Silva
2016 | 9 minutes | USA | 16mm | color | sound

Framed within the vision of the Hudson River School and the legend of Rip Van Winkle, Ride Like Lightning, Crash Like Thunder unfolds as a storm approaches on the horizon. An uncertain future is in store as the creeping hand of history disrupts nature and civility in the Hudson River regions of Upstate New York.
-FS

 
Breakfast (Table Top Dolly) Michael Snow 1976 | 15 minutes | Canada | 16mm | color | sound "Wavelength before breakfast. A continuous zoom traverses the space of a breakfast table, serving as a grand metaphor for indigestion." -Deke Dusinberre

Breakfast (Table Top Dolly)
Michael Snow
1976 | 15 minutes | Canada | 16mm | color | sound

"Wavelength before breakfast. A continuous zoom traverses the space of a breakfast table, serving as a grand metaphor for indigestion."
-Deke Dusinberre


Sarah Pucill has been making 16mm films since completing her MA at the Slade in 1990. Since then her films, which have all received public funding, have been screened and won awards internationally at festivals, and have been staged in museums and galleries. Her retrospective screenings have included the Tate Britain, BFI Southbank, Anthology Film Archives (NY), Pleasure Dome (Toronto), Ecole des Beaux Arts, and LA FilmForum.  Kioto Aoki is a photographer and experimental filmmaker in Chicago. She is an analogue-image maker who explores different modes of perception via the nuances of time, space, form, light and movement. Recent work explores the dance film and the perception of motion between the still and the moving image. She received her MFA and BFA from The School of the Art Institute of Chicago. Brian Lye is a filmmaker and visual artist from Vancouver, Canada.  Lye’s lens-based works are preoccupied with magic, humor, and the everyday. His films and animations have won awards and screened at venues including Sundance Film Festival, Melbourne International Film Festival, the Contemporary Culture Centre of Barcelona and LIVE Vancouver’s Performance Art Biennale. Joyce Wieland (1931-1998) is largely regarded as one of Canada's most influential and important artists. A multi-disciplinary artist who produced work in a wide variety of media, Wieland's intelligent and irreverent explorations of female sexuality, domestic life, ecology and Canadian nationalism put her at the forefront of feminist practice. Chloe Reyes is a filmmaker from Los Angeles, California. She studied at the California Institute of the Arts and currently works at the Echo Park Film Center. Fern Silva (b. 1982, USA/Portugal) is an artist who primarily works in 16mm. His films consider methods of narrative, ethnographic, and documentary filmmaking as the starting point for structural experimentation. He has created a body of film, video, and projection work that has been screened and performed at various festivals, galleries, museums and cinematheques. He studied art and cinema at the Massachusetts College of Art and Bard College. He is Visiting Faculty at Bennington College and is based in New York. Michael Snow works in many mediums: film, photo-work, holographic work, music, bookworks, video and sound installation, sculpture, painting, drawing. His visual artworks are broadly collected and have been exhibited worldwide, including solo exhibitions at the National Gallery of Canada (Ottawa), The Hara Museum (Tokyo), The Museum of Modern Art (New York) and Centre Pompidou (Paris). His films have been shown extensively in festivals (London, New York, Rotterdam, Berlin) and are in such collections as the Oesterreichisches filmmuseum (Vienna) and Royal Belgian Film Archives (Brussels).

Sarah Pucill has been making 16mm films since completing her MA at the Slade in 1990. Since then her films, which have all received public funding, have been screened and won awards internationally at festivals, and have been staged in museums and galleries. Her retrospective screenings have included the Tate Britain, BFI Southbank, Anthology Film Archives (NY), Pleasure Dome (Toronto), Ecole des Beaux Arts, and LA FilmForum. 

Kioto Aoki is a photographer and experimental filmmaker in Chicago. She is an analogue-image maker who explores different modes of perception via the nuances of time, space, form, light and movement. Recent work explores the dance film and the perception of motion between the still and the moving image. She received her MFA and BFA from The School of the Art Institute of Chicago.

Brian Lye is a filmmaker and visual artist from Vancouver, Canada.  Lye’s lens-based works are preoccupied with magic, humor, and the everyday. His films and animations have won awards and screened at venues including Sundance Film Festival, Melbourne International Film Festival, the Contemporary Culture Centre of Barcelona and LIVE Vancouver’s Performance Art Biennale.

Joyce Wieland (1931-1998) is largely regarded as one of Canada's most influential and important artists. A multi-disciplinary artist who produced work in a wide variety of media, Wieland's intelligent and irreverent explorations of female sexuality, domestic life, ecology and Canadian nationalism put her at the forefront of feminist practice.

Chloe Reyes is a filmmaker from Los Angeles, California. She studied at the California Institute of the Arts and currently works at the Echo Park Film Center.

Fern Silva (b. 1982, USA/Portugal) is an artist who primarily works in 16mm. His films consider methods of narrative, ethnographic, and documentary filmmaking as the starting point for structural experimentation. He has created a body of film, video, and projection work that has been screened and performed at various festivals, galleries, museums and cinematheques. He studied art and cinema at the Massachusetts College of Art and Bard College. He is Visiting Faculty at Bennington College and is based in New York.

Michael Snow works in many mediums: film, photo-work, holographic work, music, bookworks, video and sound installation, sculpture, painting, drawing. His visual artworks are broadly collected and have been exhibited worldwide, including solo exhibitions at the National Gallery of Canada (Ottawa), The Hara Museum (Tokyo), The Museum of Modern Art (New York) and Centre Pompidou (Paris). His films have been shown extensively in festivals (London, New York, Rotterdam, Berlin) and are in such collections as the Oesterreichisches filmmuseum (Vienna) and Royal Belgian Film Archives (Brussels).