Light Field

San Francisco / Fall 2017

 

Program 3 - Saturday, November 12th @ 5pm
The Lab (2948 16th Street, SF, CA)
Total running time: 68 minutes
$6 - 10 sliding scale (advance tickets here)

AS WITHOUT SO WITHIN Manuela De Laborde 2016 / 25 minutes / Mexico/USA/UK / 16mm / sound / US premiere Conceptually informed by the artist’s active filmgoing, AS WITHOUT SO WITHIN takes as its point of departure prop sculptures which are transformed both through hybrid techniques of framing, lighting, and superimposition. AS WITHOUT explores the possibility that the surface of things is an entity worthy of its own depth for itself and in itself, demanding to be seen and confronted as such. -MDL 

AS WITHOUT SO WITHIN
Manuela De Laborde
2016 / 25 minutes / Mexico/USA/UK / 16mm / sound / US premiere

Conceptually informed by the artist’s active filmgoing, AS WITHOUT SO WITHIN takes as its point of departure prop sculptures which are transformed both through hybrid techniques of framing, lighting, and superimposition. AS WITHOUT explores the possibility that the surface of things is an entity worthy of its own depth for itself and in itself, demanding to be seen and confronted as such.
-MDL 

 
Potemkin Village Eva la Cour 2015 / 3 minutes / Belgium/Denmark / 16mm / silent Potemkin Village is a 16mm film and installation loop. Its title derives from a notion in politics and economics covering any construction (literal or figurative) built solely to deceive others into thinking that a situation is better than it really is. -ELC

Potemkin Village
Eva la Cour
2015 / 3 minutes / Belgium/Denmark / 16mm / silent

Potemkin Village is a 16mm film and installation loop. Its title derives from a notion in politics and economics covering any construction (literal or figurative) built solely to deceive others into thinking that a situation is better than it really is.
-ELC

 
Rock Roll Josh Guilford 2015 / 3 minutes / USA / 16mm / silent A camera roll film shot on a small island in Lake Superior. Mapping the surface of a sandstone formation that dates back over 900 million years. Thinking about the slow, relentless action of sedimentation and compaction. Shooting in short bursts so that images might accumulate like falling waves. -JG

Rock Roll
Josh Guilford

2015 / 3 minutes / USA / 16mm / silent

A camera roll film shot on a small island in Lake Superior. Mapping the surface of a sandstone formation that dates back over 900 million years. Thinking about the slow, relentless action of sedimentation and compaction. Shooting in short bursts so that images might accumulate like falling waves.
-JG

 
Traces Erin Weisgerber 2014 / 5 minutes / Canada / 16mm / sound Trace n. 1. a. A visible mark, such as a footprint, made or left by the passage of a person, animal, or thing. b. Evidence or an indication of the former presence or existence of something; a vestige. 2. A barely perceivable indication -EW

Traces
Erin Weisgerber

2014 / 5 minutes / Canada / 16mm / sound

Trace
n.
1.
a. A visible mark, such as a footprint, made or left by the passage of a person, animal, or thing.
b. Evidence or an indication of the former presence or existence of something; a vestige.
2. A barely perceivable indication
-EW

 
Vaseline Malic Amalya & Nathan Hill 2016 / 7 minutes / USA / 16mm / live score "Lying on the table, it was a banner telling the invisible legions of my triumph over the police. I was in a cell. I knew that all night long my tube of vaseline would be exposed to the scorn-- the contrary of a Perpetual Adoration-- of a group of strong, handsome, husky police men. So strong that if the weakest of them barely squeezed his fingers together, there would shoot forth, first with a slight fart, brief and dirty, a ribbon of gum which would continue to emerge in a ridiculous silence. Nevertheless, I was sure that this puny and most humble object would hold its own against them; by its mere presence it would be able to exasperate all the police in the world; it would draw down upon itself contempt, hatred, white and dumb rages." -Jean Genet, The Thief's Journal (1949) Caught in a system of confinement, surveillance, and restriction, a leather fag eludes the state by recalling his lover bathed in vaseline. -MA & NH

Vaseline
Malic Amalya & Nathan Hill
2016 / 7 minutes / USA / 16mm / live score

"Lying on the table, it was a banner telling the invisible legions of my triumph over the police. I was in a cell. I knew that all night long my tube of vaseline would be exposed to the scorn-- the contrary of a Perpetual Adoration-- of a group of strong, handsome, husky police men. So strong that if the weakest of them barely squeezed his fingers together, there would shoot forth, first with a slight fart, brief and dirty, a ribbon of gum which would continue to emerge in a ridiculous silence. Nevertheless, I was sure that this puny and most humble object would hold its own against them; by its mere presence it would be able to exasperate all the police in the world; it would draw down upon itself contempt, hatred, white and dumb rages."
-Jean Genet, The Thief's Journal (1949)

Caught in a system of confinement, surveillance, and restriction, a leather fag eludes the state by recalling his lover bathed in vaseline.
-MA & NH

 
Iron Condor Meredith Lackey 2015 / 10 minutes / USA / 16mm / sound Iron Condor presents the sensible evidence of the Chicago Futures and Options Exchange from grain to data. The film takes its name from an option trading strategy whose profit/loss graph resembles a large bird. Static objects contend with a virtual atmosphere that renders the physical obsolescent. -ML

Iron Condor
Meredith Lackey
2015 / 10 minutes / USA / 16mm / sound

Iron Condor presents the sensible evidence of the Chicago Futures and Options Exchange from grain to data. The film takes its name from an option trading strategy whose profit/loss graph resembles a large bird. Static objects contend with a virtual atmosphere that renders the physical obsolescent.
-ML

 
New York Portrait, Chapter I Peter Hutton 1979 / 16 minutes / USA / 16mm / silent Hutton’s sketchbook of mid-1970s New York, edited in three parts over twelve years, is a chronicle of indelible impressions and an act of urban archeology. The artist evokes the city’s delicate rhythms, tonal contrasts, and shifts of scale — scrims of white mist and black smoke, of gauze, cloud, and fluttering pennant; the shadowy geometries of tenements and water towers; palimpsests of graffiti, skywriting, and painted signs; ecstatic sunlight glinting off the wings of homing pigeons as they traverse a pillowy sky; the slight rustle of a homeless man’s shirt; the flowery patterns of rainwater draining from a flooded street; a blimp’s lazy progress between two buildings whose balconies resemble film sprockets; and a winter fog rolling over the sandy rivulets of Coney Island, making of it a lunar park, removed from time.  -Josh Siegel

New York Portrait, Chapter I
Peter Hutton

1979 / 16 minutes / USA / 16mm / silent

Hutton’s sketchbook of mid-1970s New York, edited in three parts over twelve years, is a chronicle of indelible impressions and an act of urban archeology. The artist evokes the city’s delicate rhythms, tonal contrasts, and shifts of scale — scrims of white mist and black smoke, of gauze, cloud, and fluttering pennant; the shadowy geometries of tenements and water towers; palimpsests of graffiti, skywriting, and painted signs; ecstatic sunlight glinting off the wings of homing pigeons as they traverse a pillowy sky; the slight rustle of a homeless man’s shirt; the flowery patterns of rainwater draining from a flooded street; a blimp’s lazy progress between two buildings whose balconies resemble film sprockets; and a winter fog rolling over the sandy rivulets of Coney Island, making of it a lunar park, removed from time. 
-Josh Siegel