Light Field

San Francisco / March 13 - 15, 2020

 

Program 5
curated by Emily Chao

Saturday, March 16, 2019 @ 9pm
The Lab (2948 16th Street, SF, CA)
Total running time: 56 minutes
$6 - 10 sliding scale - tickets available at the door
Festival passes available for purchase here

What Lit the Earth     Meganelizabeth Diamond   2017 | 3 minutes | Canada | super 8 | color | sound  a super 8 one take about the eclipse / once upon a time there was love in the light, now there's only love in the dark  -MD

What Lit the Earth
Meganelizabeth Diamond
2017 | 3 minutes | Canada | super 8 | color | sound

a super 8 one take about the eclipse / once upon a time there was love in the light, now there's only love in the dark
-MD

 
FUTURE LIGHT (2021)     Karissa Hahn   2018 | 7 minutes | USA | 16mm | color | sound  the year 2021 - experience the duration of 1 year in 24 frames for 24 hours of the day - 365 strips of film inkjet printed with the precise amount of light per day, including accurate twilight times.  feel the seasons change....inkjet printing process creating constellations....  darkness - dawn- day - dusk- darkness - dawn - day - dusk - darkness -KH

FUTURE LIGHT (2021)
Karissa Hahn
2018 | 7 minutes | USA | 16mm | color | sound

the year 2021 - experience the duration of 1 year in 24 frames for 24 hours of the day - 365 strips of film inkjet printed with the precise amount of light per day, including accurate twilight times.

feel the seasons change....inkjet printing process creating constellations....

darkness - dawn- day - dusk- darkness - dawn - day - dusk - darkness
-KH

 
Void Vision     Alexander Stewart   2018 | 8 minutes | USA | 16mm | color | sound   Void Vision  is an abstract science-fiction short in which the real and the simulated are equally constructions; a space where doubles, twins, duplicates, re-creations, and copies blend into one another. -AS

Void Vision
Alexander Stewart
2018 | 8 minutes | USA | 16mm | color | sound

Void Vision is an abstract science-fiction short in which the real and the simulated are equally constructions; a space where doubles, twins, duplicates, re-creations, and copies blend into one another.
-AS

 
Fallen Arches     Simon Liu     2018 | 10 minutes | UK/USA/Hong Kong | 35mm | color | silent  Glimpses through windows into family gatherings and views along British coastlines are consumed by temporary store-front displays and the allure of emblazoned skyscrapers. Imagery both diaristic and impersonal to the filmmaker overlap, contradict and trace movements between Stoke-On-Trent, Hong Kong and New York. In an act of dedication,  Fallen Arches  is at once a celebration and questioning of fleeting enchantments as borders between distant spaces dissipate into multi-chromatic rushes.

Fallen Arches
Simon Liu
2018 | 10 minutes | UK/USA/Hong Kong | 35mm | color | silent

Glimpses through windows into family gatherings and views along British coastlines are consumed by temporary store-front displays and the allure of emblazoned skyscrapers. Imagery both diaristic and impersonal to the filmmaker overlap, contradict and trace movements between Stoke-On-Trent, Hong Kong and New York. In an act of dedication, Fallen Arches is at once a celebration and questioning of fleeting enchantments as borders between distant spaces dissipate into multi-chromatic rushes.

 
The Air of the Earth in Your Lungs     Ross Meckfessel     2018 | 11 minutes | USA/Japan | 16mm | color | sound  Drones and GoPros survey the land while users roam digital forests, oceans, and lakes. Those clouds look compressed. That tree looks pixelated. A landscape film for the 21st century. -RM

The Air of the Earth in Your Lungs
Ross Meckfessel
2018 | 11 minutes | USA/Japan | 16mm | color | sound

Drones and GoPros survey the land while users roam digital forests, oceans, and lakes. Those clouds look compressed. That tree looks pixelated. A landscape film for the 21st century.
-RM

 
The Skin is Good     Anja Dornieden & Juan David González Monroy     2018 | 12 minutes | Germany | 16mm | color | silent  The skin fiend is a stranger. He sent us strange messages (and a package). In the last message the skin fiend said,   “Try to be skin fiends for a moment. How, you ask? Well, to be a skin fiend one has to summon the  skin  demon. To summon the skin demon, one has to say the skin prayer (see attached). Before one says the skin prayer, one has to take command of the skin receptacles (see package). But the skin receptacles must never be touched. They are objects of the mind. One may only interact with the skin receptacles through sense memory. How can one remember what has never been physically experienced?    The skin fiend remembers the future. In the future, he remembers that the skin fiend has already seen the  skin  demon. In the future, he remembers that the skinfiend has already touched the  skin  demon. In the future, he remembers that the skin fiend and the skin demon are the same because  in  the future, the skin fiend has no eyes and the skin demon has no hands and yet the skin demon can touch what the skin fiend sees, and the skin fiend can see what the skin demon touches. But what the skin demon touches and what the skin fiend sees evaporate from memory once seen and touched. In the future, he remembers that the skinfiend remembers the sense of having forgotten. This sense is marked by a trace. The trace is a scent. In the future you remember, perhaps you will remember this scent and with any  luck  you will also forget it.”   We made this film for you, skin fiend. What do you think? -AD & JDGM

The Skin is Good
Anja Dornieden & Juan David González Monroy
2018 | 12 minutes | Germany | 16mm | color | silent

The skin fiend is a stranger. He sent us strange messages (and a package). In the last message the skin fiend said,

“Try to be skin fiends for a moment. How, you ask? Well, to be a skin fiend one has to summon the skin demon. To summon the skin demon, one has to say the skin prayer (see attached). Before one says the skin prayer, one has to take command of the skin receptacles (see package). But the skin receptacles must never be touched. They are objects of the mind. One may only interact with the skin receptacles through sense memory. How can one remember what has never been physically experienced?

The skin fiend remembers the future. In the future, he remembers that the skin fiend has already seen the skin demon. In the future, he remembers that the skinfiend has already touched the skin demon. In the future, he remembers that the skin fiend and the skin demon are the same because in the future, the skin fiend has no eyes and the skin demon has no hands and yet the skin demon can touch what the skin fiend sees, and the skin fiend can see what the skin demon touches. But what the skin demon touches and what the skin fiend sees evaporate from memory once seen and touched. In the future, he remembers that the skinfiend remembers the sense of having forgotten. This sense is marked by a trace. The trace is a scent. In the future you remember, perhaps you will remember this scent and with any luck you will also forget it.”

We made this film for you, skin fiend. What do you think?
-AD & JDGM

 
Lydon     Lucy Kerr     2018 | 3 minutes | USA | 16mm | color | sound   Lydon  explores the potential of a minimal gesture in relationship with the space surrounding them. -LK

Lydon
Lucy Kerr
2018 | 3 minutes | USA | 16mm | color | sound

Lydon explores the potential of a minimal gesture in relationship with the space surrounding them.
-LK

 
BINARY STARS  Andrew Busti  2017 | 4 minutes | USA | 35mm Scope-Anamorphic | b&w | sound  A set of formal instructions detailing the proper operation of a light switch while a landscape shrinks at an alarming rate of 2:1 -AB

BINARY STARS
Andrew Busti
2017 | 4 minutes | USA | 35mm Scope-Anamorphic | b&w | sound

A set of formal instructions detailing the proper operation of a light switch while a landscape shrinks at an alarming rate of 2:1
-AB


Meganelizabeth Diamond  is an interdisciplinary artist from Hazelridge + Winnipeg, Manitoba currently based out of Camp Morton, Manitoba. Her practice utilizes both analog and digital forms of image capturing, collaging and film-making. She is a collective member of Open City Cinema and co-programs the Winnipeg Underground Film Festival. Her work has shown throughout artist run centres and festivals across Canada and the United States. Meganelizabeth sits on the board of directors of PLATFORM photographic centre + digital arts and she completed her BFA at the University of Manitoba.   Karissa Hahn  is a visual artist based in Los Angeles who works between film and video. Hahn has shown around the planet Earth in various cinemas, galleries, and institutions such as the New York Film Festival, MoMA, Rotterdam, Wavelengths, Crossroads, Ann Arbor Film Festival, and the Anthology Film Archives.   Alexander Stewart  (1981, Mobile, Alabama) received his MFA from the School of the Art Institute of Chicago. His short films have screened internationally, including at the International Film Festival Rotterdam, the Ottawa International Animation Festival, the Ann Arbor Film Festival, and Image Forum in Japan. He is co-founder of the Eyeworks Festival of Experimental Animation, and curated the film and video screening series at Roots & Culture Contemporary Art Center in Chicago from 2006 to 2013. He lives in Los Angeles and teaches in the Experimental Animation program at CalArts.   Simon Liu  was raised between Hong Kong and Stoke-On-Trent, UK and now lives in Brooklyn, USA. His films and 16mm multiple projection performances have been presented at film festivals and institutions internationally including the International Film Festival Rotterdam, Toronto International Film Festival, BFI London Film Festival, Edinburgh IFF, Hong Kong IFF, M+ Museum, Tai Kwun Contemporary, CROSSROADS @ SFMoMA, Festival du Nouvéau Cinéma, Maryland Film Festival, Hamburg Kurzfilmtage, Light Industry, EMAF, EXiS, IMAGE FORUM and Dreamlands: Expanded with the Whitney Museum of American Art & Microscope Gallery.  Liu is a member of Negativeland MPL - an artist-run film lab where he often prints, develops and completes his films on 16mm / 35mm. He is an Adjunct Faculty member at the Cooper Union School of Art and has given lectures and performed as a visiting artist at institutions such as the China Central Academy of Fine Arts, Yale University, Beijing Film Academy and the New School. In 2018 he was a recipient of the NYSCA and Wave Farm Media Arts Assistance Fund.    Ross Meckfessel  is an artist and filmmaker who works primarily in Super 8 and 16mm film. His films often emphasize materiality and poetic structures while depicting the condition of modern life through apocalyptic obsession, contemporary ennui, and the technological landscape. His work has screened internationally and throughout the United States including Projections at the New York Film Festival, Wavelengths at Toronto International Film Festival, San Francisco Cinematheque’s CROSSROADS Film Festival, Internationales Kurzfilm Festival Hamburg, Antimatter [Media Art], Iowa City International Documentary Film Festival, and The Artifact Small Format Film Festival where he was awarded best 16mm film.   Anja Dornieden  and  Juan David González Monroy  are filmmakers based in Berlin. Since 2010 they have been working together under the moniker OJOBOCA. Together they practice  Horrorism , a simulated method of inner and outer transformation. They are currently members of the artist-run film lab LaborBerlin.   Lucy Kerr  is a choreographer, filmmaker, artist, and curator based in Los Angeles and in Brooklyn, NY. She is a current MFA candidate in Film/Video and in Art at California Institute of the Arts. Her work has been presented by The Brooklyn Museum, Anthology Film Archives, Echo Park Film Center, The Chimney NYC, La Mama, Cucalorus, The Aurora Picture Show, Brooklyn Studios for Dance, Lubov Gallery NYC, The Match Houston, and The Center for Performance Research, among others. Kerr co-curated and co-organized the 7 week dance on film festival,  Dance Film; Deconstructed,  in Fall 2017 in partnership with Emily Smith at Brooklyn Studios for Dance and with collaborating organizations Mono No Aware and Dance Films Association.    Andrew Busti  has been making "handmade" films in various forms since 1999. His work revolves around the idea of the subjective and the languages that evolve through experience and perception. His current 16mm film series, titled: 26 Pulse Wrought- Film for Rewinds are films that approach cinema as projected data feeds, articulate signals, and loci of information to be seen, heard, intuited...and eventually interpreted.  He is the head of technical resources and an integral part of the new media preservation program for the Cinema Studies and Moving Image Arts Department at University of Colorado in Boulder where he teaches classes in Alternative Process and Alchemical Cinema.  He fervently works with artists, museums, and archives through the name Analogue Industries Ltd., facilitating new works, helping to preserve works regardless of classification, while always striving to support analog cinema in all its ongoing forms. He is a founding member of Process Reversal, a nonprofit artist-run analog film initiative that currently educates, informs, supports, and outfits artist-run film labs and communities around the globe. When not working long hours and helping others make films or actually making his own, he might be found singing to his 11 month old baby boy and obsessing about the reclamation and refining of silver from the photographic process for at least .999 percent of his time.

Meganelizabeth Diamond is an interdisciplinary artist from Hazelridge + Winnipeg, Manitoba currently based out of Camp Morton, Manitoba. Her practice utilizes both analog and digital forms of image capturing, collaging and film-making. She is a collective member of Open City Cinema and co-programs the Winnipeg Underground Film Festival. Her work has shown throughout artist run centres and festivals across Canada and the United States. Meganelizabeth sits on the board of directors of PLATFORM photographic centre + digital arts and she completed her BFA at the University of Manitoba.

Karissa Hahn is a visual artist based in Los Angeles who works between film and video. Hahn has shown around the planet Earth in various cinemas, galleries, and institutions such as the New York Film Festival, MoMA, Rotterdam, Wavelengths, Crossroads, Ann Arbor Film Festival, and the Anthology Film Archives.

Alexander Stewart (1981, Mobile, Alabama) received his MFA from the School of the Art Institute of Chicago. His short films have screened internationally, including at the International Film Festival Rotterdam, the Ottawa International Animation Festival, the Ann Arbor Film Festival, and Image Forum in Japan. He is co-founder of the Eyeworks Festival of Experimental Animation, and curated the film and video screening series at Roots & Culture Contemporary Art Center in Chicago from 2006 to 2013. He lives in Los Angeles and teaches in the Experimental Animation program at CalArts.

Simon Liu was raised between Hong Kong and Stoke-On-Trent, UK and now lives in Brooklyn, USA. His films and 16mm multiple projection performances have been presented at film festivals and institutions internationally including the International Film Festival Rotterdam, Toronto International Film Festival, BFI London Film Festival, Edinburgh IFF, Hong Kong IFF, M+ Museum, Tai Kwun Contemporary, CROSSROADS @ SFMoMA, Festival du Nouvéau Cinéma, Maryland Film Festival, Hamburg Kurzfilmtage, Light Industry, EMAF, EXiS, IMAGE FORUM and Dreamlands: Expanded with the Whitney Museum of American Art & Microscope Gallery.

Liu is a member of Negativeland MPL - an artist-run film lab where he often prints, develops and completes his films on 16mm / 35mm. He is an Adjunct Faculty member at the Cooper Union School of Art and has given lectures and performed as a visiting artist at institutions such as the China Central Academy of Fine Arts, Yale University, Beijing Film Academy and the New School. In 2018 he was a recipient of the NYSCA and Wave Farm Media Arts Assistance Fund.

Ross Meckfessel is an artist and filmmaker who works primarily in Super 8 and 16mm film. His films often emphasize materiality and poetic structures while depicting the condition of modern life through apocalyptic obsession, contemporary ennui, and the technological landscape. His work has screened internationally and throughout the United States including Projections at the New York Film Festival, Wavelengths at Toronto International Film Festival, San Francisco Cinematheque’s CROSSROADS Film Festival, Internationales Kurzfilm Festival Hamburg, Antimatter [Media Art], Iowa City International Documentary Film Festival, and The Artifact Small Format Film Festival where he was awarded best 16mm film.

Anja Dornieden and Juan David González Monroy are filmmakers based in Berlin. Since 2010 they have been working together under the moniker OJOBOCA. Together they practice Horrorism, a simulated method of inner and outer transformation. They are currently members of the artist-run film lab LaborBerlin.

Lucy Kerr is a choreographer, filmmaker, artist, and curator based in Los Angeles and in Brooklyn, NY. She is a current MFA candidate in Film/Video and in Art at California Institute of the Arts. Her work has been presented by The Brooklyn Museum, Anthology Film Archives, Echo Park Film Center, The Chimney NYC, La Mama, Cucalorus, The Aurora Picture Show, Brooklyn Studios for Dance, Lubov Gallery NYC, The Match Houston, and The Center for Performance Research, among others. Kerr co-curated and co-organized the 7 week dance on film festival, Dance Film; Deconstructed, in Fall 2017 in partnership with Emily Smith at Brooklyn Studios for Dance and with collaborating organizations Mono No Aware and Dance Films Association.

Andrew Busti has been making "handmade" films in various forms since 1999. His work revolves around the idea of the subjective and the languages that evolve through experience and perception. His current 16mm film series, titled: 26 Pulse Wrought- Film for Rewinds are films that approach cinema as projected data feeds, articulate signals, and loci of information to be seen, heard, intuited...and eventually interpreted.

He is the head of technical resources and an integral part of the new media preservation program for the Cinema Studies and Moving Image Arts Department at University of Colorado in Boulder where he teaches classes in Alternative Process and Alchemical Cinema.

He fervently works with artists, museums, and archives through the name Analogue Industries Ltd., facilitating new works, helping to preserve works regardless of classification, while always striving to support analog cinema in all its ongoing forms. He is a founding member of Process Reversal, a nonprofit artist-run analog film initiative that currently educates, informs, supports, and outfits artist-run film labs and communities around the globe. When not working long hours and helping others make films or actually making his own, he might be found singing to his 11 month old baby boy and obsessing about the reclamation and refining of silver from the photographic process for at least .999 percent of his time.