Light Field

November 11 - 13, 2016 / San Francisco, CA

 

Program 7 - Sunday, November 13th @ 4:30pm
Roxie Theater (3125 16th Street, SF, CA)
Total running time: 81 minutes
$10 (advance tickets here)

Swamp Donkey, Sweet Sight Colin Brant 2016 / 4 minutes / USA / 16mm / sound An entry from the second day of calling in Kapuskasing, Ontario. Sep 21, 2013.  -CB

Swamp Donkey, Sweet Sight
Colin Brant
2016 / 4 minutes / USA / 16mm / sound

An entry from the second day of calling in Kapuskasing, Ontario. Sep 21, 2013. 
-CB

 
(I)FRAME Karissa Hahn & Andrew Kim 2016 / 11 minutes / USA / 35mm / sound **FLICKER WARNING** A video is a stream of information, and this moving image relies upon the relationship of static frames which are algorithmically determined.... In the language of video compression, the (I) frames are the reference points between which movement is interpolated. Manual deletion or misplacement of (I) frames results in a video glitch known as a datamosh … the stream of nformation d srupted, d sorgan zed … nterupeted … lost … the ( ) frame removed, rejected … BUT, reclaimed, the (I) frame, the burning bolts of the machine, are at once reasserted in this dance macabre.... (I) FRAME is a mechanical ballet set to the original tempo that characterizes motion on screen at 24 (I) frames a second…. shot at the 2015 DARPA Robotics Challenge in Pomona, CA -KH & AK

(I)FRAME
Karissa Hahn & Andrew Kim
2016 / 11 minutes / USA / 35mm / sound

**FLICKER WARNING**
A video is a stream of information, and this moving image relies upon the relationship of static frames which are algorithmically determined.... In the language of video compression, the (I) frames are the reference points between which movement is interpolated. Manual deletion or misplacement of (I) frames results in a video glitch known as a datamosh … the stream of nformation d srupted, d sorgan zed … nterupeted … lost … the ( ) frame removed, rejected … BUT, reclaimed, the (I) frame, the burning bolts of the machine, are at once reasserted in this dance macabre....
(I) FRAME is a mechanical ballet set to the original tempo that characterizes motion on screen at 24 (I) frames a second…. shot at the 2015 DARPA Robotics Challenge in Pomona, CA
-KH & AK

 
Solitary Acts (4,5,6) Nazlı Dinçel 2015 / 25 minutes / USA / 16mm / sound These three films are part of series that follow a female child through her teenage years while she explores her sexuality, and discovers her perversions. Hand-processed and altered images follow a labor-intensive, formal questioning of the medium. Female and male masturbation, flowers being taken apart and being put back together, extreme close-up shots of fabric and practice-kissing the mirror create a visceral, humorous and tumultuous experience of these personal memories. -ND

Solitary Acts (4,5,6)
Nazlı Dinçel
2015 / 25 minutes / USA / 16mm / sound

These three films are part of series that follow a female child through her teenage years while she explores her sexuality, and discovers her perversions. Hand-processed and altered images follow a labor-intensive, formal questioning of the medium. Female and male masturbation, flowers being taken apart and being put back together, extreme close-up shots of fabric and practice-kissing the mirror create a visceral, humorous and tumultuous experience of these personal memories.
-ND

 
Luna e Santur Joshua Gen Solondz 2016 / 11 minutes / USA / 35mm / sound Originally commissioned as a Michael Smith/Peggy Ahwesh inspired short for Ben Coonley's My First 3D Part 2 at Microscope Gallery, I expanded this project into what it currently is: hooded figures, violent passion, and stroboscopic tenderness brought on by a paranormal encounter I had in the summer of 2015. -JGS

Luna e Santur
Joshua Gen Solondz
2016 / 11 minutes / USA / 35mm / sound

Originally commissioned as a Michael Smith/Peggy Ahwesh inspired short for Ben Coonley's My First 3D Part 2 at Microscope Gallery, I expanded this project into what it currently is: hooded figures, violent passion, and stroboscopic tenderness brought on by a paranormal encounter I had in the summer of 2015.
-JGS

 
Events in a Cloud Chamber Ashim Ahluwalia 2016 / 21 minutes / India / 35mm / sound In 1969, Akbar Padamsee, one of the pioneers of Modern Indian painting, made a film called Events In A Cloud Chamber. Shot on a 16mm Bolex, the film ran for six minutes and featured a single image of a dreamlike terrain. Inspired by one of Padamsee's own oil paintings, he experimented with a new technique of superimposing shapes formed with stencils and a carousel projector. After just a handful of screenings, the film was shipped to an art expo in New Delhi where it was misplaced. The film existed only as a single positive print and there were no copies. This was possibly the birth of experimental film in India, but it ended before it began. What was this mysterious film? A rare, spectral trace of India's forgotten avant-garde cinema, Events In A Cloud Chamber now exists only in memory. But can one rebuild a film from memory? More than 40 years later, filmmaker Ashim Ahluwalia worked with Padamsee, currently 88 years old, to remake the film. Events In A Cloud Chamber (2016) is a result of their collaboration. Like a maze that leads into endless other mazes, Events In A Cloud Chamber’s vanishing reads like a fable. More than just the disappearance of an artwork or an aborted attempt at an experimental film movement, it suggests ideas about mortality. As Padamsee, now in his twilight years, looks back, what does he see? Does art stop aging and preclude death? Like extinct languages and deathbed confessions, Events is ultimately a ghost story, meditating on vanished art, mortality and the phantoms that we leave behind.

Events in a Cloud Chamber
Ashim Ahluwalia
2016 / 21 minutes / India / 35mm / sound

In 1969, Akbar Padamsee, one of the pioneers of Modern Indian painting, made a film called Events In A Cloud Chamber. Shot on a 16mm Bolex, the film ran for six minutes and featured a single image of a dreamlike terrain. Inspired by one of Padamsee's own oil paintings, he experimented with a new technique of superimposing shapes formed with stencils and a carousel projector.

After just a handful of screenings, the film was shipped to an art expo in New Delhi where it was misplaced. The film existed only as a single positive print and there were no copies. This was possibly the birth of experimental film in India, but it ended before it began.

What was this mysterious film? A rare, spectral trace of India's forgotten avant-garde cinema, Events In A Cloud Chamber now exists only in memory. But can one rebuild a film from memory? More than 40 years later, filmmaker Ashim Ahluwalia worked with Padamsee, currently 88 years old, to remake the film. Events In A Cloud Chamber (2016) is a result of their collaboration.

Like a maze that leads into endless other mazes, Events In A Cloud Chamber’s vanishing reads like a fable. More than just the disappearance of an artwork or an aborted attempt at an experimental film movement, it suggests ideas about mortality. As Padamsee, now in his twilight years, looks back, what does he see? Does art stop aging and preclude death? Like extinct languages and deathbed confessions, Events is ultimately a ghost story, meditating on vanished art, mortality and the phantoms that we leave behind.

 
The Kiss Luis Macías 2014 / 9 minutes / Spain / 35mm / sound Based on the film The Kiss (T. Edison 1896) in its original 35mm format, this video-film project is based on a structural re-shooting and re-recording of the original film in all the existing formats: analog, electronic and digital, in an evolutive form. The film is a reiteration of the act of kissing. The emphasis on the kiss, repeated and multiplied, while deteriorated in it’s own progress. The history of the evolution of formats through a kiss. An intimate and aesthetic relationship between media and audiovisual formats. -LM

The Kiss
Luis Macías
2014 / 9 minutes / Spain / 35mm / sound

Based on the film The Kiss (T. Edison 1896) in its original 35mm format, this video-film project is based on a structural re-shooting and re-recording of the original film in all the existing formats: analog, electronic and digital, in an evolutive form. The film is a reiteration of the act of kissing. The emphasis on the kiss, repeated and multiplied, while deteriorated in it’s own progress. The history of the evolution of formats through a kiss. An intimate and aesthetic relationship between media and audiovisual formats.
-LM