(doors at 7:00 PM, films at 8:30 PM)
black hole cinematheque
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On June 7th in 2011, black hole cinematheque held the first installment of free weekly film screenings at our warehouse in West Oakland, a tradition we have felt very lucky to maintain on a regular basis in this same location for the last five years and look forward to continuing for a long time to come. In that time we have been consistently humbled and inspired by the forces at work in both the overlapping communities that have come together around screenings here and the wealth of moving image work that have flooded our screens. We remain thankful and committed to you and wish to celebrate the turn of this cycle with a small sample of some of our favorite works and some surrounding revelry. The night includes works on 16mm and super 8mm from Valie Export, Anthony McCall, Zach Iannazzi, Jordan Belson/Stephen Beck, Steve Polta, Herman Berlandt, Gary Beydler and more!
Come early (or stay late) to grab a copy of our newly released zine detailing a short history of the ongoing project, along with reproductions of posters, program notes, and other ephemera. We will also be having a small yard/art sale and have a makeshift bar set up to satiate your various indulgences.
The event will be free to attend, as always, but this will be the first instance in our history to date in which donations will be accepted to benefit the space/project.
(Herman Berlandt/ date unknown/ 3 mins/ Super 8mm)
(VALIE EXPORT/ 1983/ 17 mins/ 16mm)
Hand Held Day
(Gary Beydler/ 1975/ 6 mins/ 16mm)
(Zach Iannazzi/ 2016/ 8 mins/ 16mm)
(Steve Polta/ 1997/ 10 mins/ 16mm)
(Jordan Belson & Stephen Beck/ 1974/ 10 mins/ 16mm)
(Anthony McCall/ 1974/ 10 mins/ 16mm)
All films presented on prints courtesy of Canyon Cinema Foundation, the artists themselves, or black hole cinematheque’s archives.
The gravel at the bottom of the ocean is beaten sore by your shadow.
The desire of my mouth shatters against the reefs of its opening.
“The ‘body’ and specifically the ‘woman’s body’ is often used as a focus for questions of origin, subject-object relations, political resistance and sexuality. It may appear that this is also the central issue of this film, yet Valie Export’s notion of ‘body language’ poses an ironic relation to these questions that actually acknowledges ‘the end of the body’ or at least the final break with the way in which we understand it to be a biological, existential, or metaphysical entity.
“Export has broken away from any notion of unity – either of body, space, or time – into a fragmented world of doubling and difference that is caught in representation. She depicts the non-coincidence of the present with itself – the schizophrenic breakdown of identity.
“Export seems critical of the opposition between a metaphysics of the body, nostalgically and ceremonially retained in our age, and the body of the 21st century which is functionally the equivalent of a machine that produces meaning.” – Valerie Manenti
Hand Held Day
(Gary Beydler/1975/6 mins/16mm)
“Beydler’s magical Hand Held Day is his most unabashedly beautiful film, but it’s no less complex than his other works. The filming approach is simple, yet incredibly rich with possibilities, as Beydler collapses the time and space of a full day in the Arizona desert via time-lapse photography and a carefully hand-held mirror reflecting the view behind his camera.
“Over the course of two Kodachrome camera rolls, we simultaneously witness eastward and westward views of the surrounding landscape as the skies, shadows, colors, and light change dramatically. Beydler’s hand, holding the mirror carefully in front of the camera, quivers and vibrates, suggesting the relatively miniscule scale of humanity in the face of a monumental landscape and its dramatic transformations. Yet the use of the mirror also projects an idealized human desire to frame and understand what we see around us, without destroying or changing any of its inherent fascination and beauty.” (Mark Toscano)
(Anthony McCall/1974/10 mins/16mm)
“…in the artist’s series of ‘solid-light’ films, in which a volumetric form composed of projected light slowly materializes in three-dimensional space.”
“Conical Solid sets up a flat blade of light rotating from a fixed central axis. McCall made the work using simple animation techniques, starting with a line drawing created with a ruling pen and white gouache on black paper. The artist then placed the line drawing under the camera, and filmed it one frame at a time, each time moving the line a fraction to the next position, creating the illusion of motion.”
“McCall deconstructs cinema by reducing the medium of film to its most basic elements of duration and light. At the same time, the idea of cinema is expanded to incorporate the idea of sculpture, in which three-dimensional space is shared by volumetric planes of light and a mobile and active observer.” (Sprüth Magers Berlin)
Categories: 7:00 PM/tuesday/June 7th/2016