LMAKseries: Screening event
Monday, June 20th - 7:30 pm
Location: 139 Eldridge Street at Delancey, NYC
Suggested donation: $7
LMAKprojects is pleased to announce the last LMAKseries of the season. The series furthers LMAKproject’s aim to integrate experimental media and methods of time based art practice into the gallery’s mission and its vision of the contemporary landscape. For this one, LMAKseries will present 8mm / 16mm film, sometimes transferred to DVD, which focuses on different approaches to media and narrative.
Featuring: Ephraim Asili, David Baker, Bradley Eros, Lorenzo Gattorna, Marie Losier, F.P. Boué, Jenny Perlin, and Fern Silva.
Jenny Perlin: Inaudible, 2min / Notes, 3.20min / Storage, 5min
F.P. Boué: U.N.Y, 4:50min
Bradly Eros: Crystal Apparition, 9:00min
David Baker: Blacks on Blondes, 8:02min
Marie Losier: Cet Air La, 3:00min
Lorenzo Gattorna: Land of Lost Content, 8:00min
Ephraim Asili: Forged Ways, 15:00min
Fern Silva: In the Absence of Light, Darkness Prevails, 13:00min
Doors will open at 7:30pm and visitors will be welcomed with some refreshments. The show will start at 8PM sharp and the program will consist of two parts with a 15’ intermission. Q&A with the filmmakers will follow immediately after the screening is over and it will be moderated by Louky Keijsers Koning and Richard Garet.
NOTE: seating is limited and it will be available on a first come first served basis.
LMAKseries is curated by Louky Keijsers Koning, Richard Garet and in consultation with Berlin based artist Andy Graydon.
Jenny Perlin is an artist who lives in Brooklyn, NY. Her practice in 16mm film, video and drawing incorporates innovative stylistic techniques in an effort to work with and against documentary traditions.
Inaudible, Notes, and Storage are part of the Perlin Papers series, a cycle of eight short films (2011):
The Perlin Papers is a series of eight films that treat issues of domestic espionage during the Cold War period in 1950s U.S. The Perlin Papers itself is a real archive of 250,000 pages located at Columbia University Law School. The archive contains many of the FBI documents related to the case of Julius and Ethel Rosenberg, U.S. citizens who were tried and executed in 1953 for allegedly spying for the Soviet Union. For two decades after the execution, the FBI tracked hundreds of people tangentially connected to the case. The Perlin Papers films focus on overlooked and seemingly unimportant documents as a way of unpacking history and connecting it to the present.
Inaudible is a text-based animated film that makes visible all the words that the FBI could not hear or imagined were being spoken in another film from the series entitled Transcript. Most of the discussion, which is inaudible, is dutifully transcribed, as the word comes up again and again on screen.
Harry Gold, codename “GOOSE,” was convicted in 1951 for passing secrets of the atom bomb from physicist and spy Klaus Fuchs to Soviet agents. The animations in this film are copies of Gold’s absentminded drawings, scribbled over drafts of his resume and cover letter to the Atlantic Refining Company, Personnel Department, Philadelphia, Pennsylvania, in 1948.
A large bright yellow building announcing itself as STORAGE: PRIVATE ROOMS: BROTHERS STORAGE dominates the frame and inspires speculation.
Music: Piano Sonata by Aaron Copland (Movement II, Vivace), performed by Raymond Clarke.
Special thanks to Adam Marks.
All films courtesy the artist, Annet Gelink Gallery Amsterdam and Galerie M+R Fricke Berlin.
F.P. Boué was born in Marburg, Germany and studied linguistics, the history of art, architecture and film in London and Paris. He lives and works in New York and has been showing three-dimensional works involving architecture, landscape and urban situations since 1981. His work has been exhibited at Galleria Luigi Deambrogi, Milan; Galerie Chantal Crousel, Paris, Galerie Corinne Hummel, Basel; Centro Galileo, Madrid; Markus Winter, Berlin; and Participant, Inc. New York. He began showing films in 1999. His films have been exhibited at the Museum of Modern Art, New York; Kunstmuseum, Bern; Shedhalle Zürich; Künstlerhaus, Stuttgart; Anthology Film Archives, New York; Museum für Moderne Kunst, Frankfurt; New Museum, New York; and Tate Modern, London.
8 mm film
Bradley Eros is an artist working in myriad media: experimental film & video, collage, photography, performance, sound, text, expanded cinema & installation. Also a maverick curator, designer, researcher & investigator. Concepts include: ephemeral cinema, mediamystics, subterranean science, erotic psyche, cinema povera, poetic accidents and musique plastique. Exhibited at 2004 Whitney Biennial & The American Century, MoMA, PS1,The New York, London & Rotterdam Film Festivals, Performa09, Exit Art, The Kitchen, Millennium, Ocularis, Light Industry, Issue Project Room, Microscope Gallery, Participant Inc, Cabinet, ABC No Rio, White Box, The New York Underground Film Festival, Migrating Forms, Warhol Museum, Pacific Film Archives, SF Cinematheque, No.w.here in London, Lightcone in Paris, Arsenal in Berlin, Image Forum in Tokyo; Collaborated with the Alchemical Theater, the band Circle X, kinoSonik expanded cinema group, Voom HD Lab, and currently Optipus (film group); Worked for many years with the New York Filmmakers’ Cooperative, Anthology Film Archives, & co-directed the Roberta Beck Mercurial Cinema.
Hybrid 16mm film & video / dual projection
Description: This specific version, ABCD (Apparition Becoming Crystallized Decay) for LMAK, is an experiment exploring two types of accidental film decay, multiplied by two methods of transfer or reproduction. The first is caused by heat, that is, celluloid melting in the projector gate while continuing to advance, transferred from 35mm film to VHS then to DVD. The second is caused by moisture, that is, water-soaked color emulsion, optically step-printed from super-8 to 16mm film. These analog-to-analog & analog-to-digital translations are made from appropriated materials that magnify & transform chance operations. They will be projected (on video & film) separately and in layered combination, in a process both revealing & obscuring their unique textures & properties. The sound is a self-made digital recording of various analog/mechanical film projectors that are damaged or failing, somehow mirroring aspects of the visual decay or destruction captured & revitalized.
David Baker is a painter, writer and filmmaker. He has exhibited his paintings at the Tony Shafrazi, Annina Nosei, Tibor de Nagy, John Good and Postmasters galleries in NYC as well as in Tampa, FL and at the S.L. Simpson Gallery in Toronto. A catalog of a show entitled “Avatars of the Tortoise” was published by the University of South Florida with an essay by Jerry Saltz. Baker’s paintings have been written about in Artforum, Arts Magazine and the New York Times. Baker has written articles for Detour Magazine on Jack Smith and Willem De Kooning’s late paintings. Baker’s films and videos have been shown in two “Personal Cinema” programs at the Millennium Film Workshop in New York City (2008, 2010). He has also shown his work in Lorenzo Gattorna and Peter Buntaine’s curatorial project “The Experiment” at Maysles Cinema in Harlem . Baker showed “Ten Tha” in the 2009 Migrating Forms Film Festival as part of “Void For Film”, a seven hour screening of imageless cinema. On Jan. 3, 2010, Baker’s film “A Secret Location On Seventh Avenue” was part of Brian McCarthy’s program “The Lure Of Space,Part 1″. at Union Docs. Baker participated in Bradley Eros’s E.P.I.C. (Extreme Private Intimate Cinema) program during the 2010 Migrating Forms Festival. Three of his digital films were shown at the 2010 Milwaukee Underground Film Festival: “The Subterraneans”, “Ab Ovo”, and “Sotto Voce”. In November of 2010 he was part of a program called “New Forms In Moving Picture Art” at Microscope Gallery in Bushwick, Brooklyn NY along with Ken Jacobs, Richard Garet, Nisi Jacobs and Michael Schumacher. From Feb.13-27, 2011 Baker was included in a group exhibition entitled “What Tornado” also at Microscope Gallery. In April of 2011 Baker’s digital film “What Was Was”,a collaboration with composer Florian Wittenburg was shown at Theater Kikker in Utrecht,Netherlands and as part of the Clang Collective’s presentation at the Arnhems Muziek Platform also in the Netherlands.”What Was Was”was included in “Near and Dear:An Album Of Experimental Film and Video” at Union Docs on May 7. Also in May Baker participated in the 2011 Milwaukee Underground Film Festival with “The Optic Melon” and “What Was Was”.
Blacks on Blondes
8mm rephotographed on MiniDV
Far gone tomatoes in a fantastical calligraphic gravy. Outrageous rude arias inhabiting some distant poetic plane in a semi-whisper of stolen asynchronous sound. Smoke and mirrors giving substance to the ethereal.”Time perceived in the length of a song, the persistence of a scent, the flash of a lightbulb.”
Marie Losier was born in France in 1972, and now lives in New York City where she is a filmmaker and curator. She has made a number of film portraits on avant-garde directors, musicians and composers such as Mike and George Kuchar, Guy Maddin, Richard Foreman, Tony Conrad and Genesis P-Orridge. Whimsical, poetic, dreamlike and unconventional, her films explore the life and work of these artists. Her films and videos have screened at museums, galleries, biennials and festivals around the world. Her newest project and first feature film is a portrait of pioneering musician-artist Genesis Breyer P-Orridge of Throbbing Gristle and Psychic TV and his partner Lady Jaye, which had selections featured at an event at The Centre George Pompidou. She has also been exhibited at New York’s Museum of Modern Art-MOMA, The Whitney Biennial, PS1, La Cinematheque Francaise, La Fondation Cartier, The Bozar Museum, The Tate Modern. She has also screened at many festivals and venues including the Berlinale, Rotterdam, Tribeca Film Festival, Lincoln Center, The Basel art Fair, The Copenhagen Film Festival, and the Harvard Film Archive. She has served on the jury at the Era New Horizons International Film Festival in Poland and the Buenos Aires Festival of International Cinema- BAFICI- where she was the subject of a full retrospective. She had her first Solo Show- OUTTAKES at Luxe Gallery NYC) in 2008, on outtakes from the feature film on Genesis P-Orridge. Recently she has been showing her video work, Papal Brokendance in a group show in France at Le Lieu Unique in Nantes-Popism V- an installation on musicals in contemporary video work, curated by Frank Lamy, head of the Mac Val Museum in Paris (November 2009 to January 2010). Since 2000 she has served as the film curator at FIAF/The French Institute Alliance Francaise in New York City, where she presents a weekly film series. She has hosted many notable directors and artists, including Raoul Coutard, William Klein, Claire Denis, Chantal Akerman, Jane Birkin, Jeanne Moreau, Jackie Raynal and Anouk Aimée. She has also programmed experimental films at the Robert Beck Memorial Cinema and Ocularis for many years and continues to program at venues across the United States and Internationally. She has also performed in films by George Kuchar, Mike Kuchar, and Jackie Raynal, and in plays by Juliana Francis and Tony Torn. She currently serves on the board of directors at the Film-makers’ Coop and The Flux Factory.
Cet Air La
16mm transferred to DVD
Cet Air la is a famous french song from 1963, sung live by NY singer April March in acapela with Julien Gasc. The couple is singing while flying over a superimposed 16mm projection of a stop motion animation of a series of clouds, birds, bubbles, smoke machines and glitters…the song has the texture of a dream. Part of Residency Unlimited Project
Lorenzo Gattorna is an experimental documentary filmmaker and curator residing in New York City. He received a BFA from Tisch School of the Arts at NYU in 2006. For the past three years, he has programmed screenings for Maysles Cinema of Harlem and UnionDocs of Brooklyn. Past program credits include Missing Allen/The Grandfather Trilogy, New York(er) Shorts and The Playing Field. Since 2009 he has co-curated a quarterly series, The Experiment, at Maysles Cinema that screens films and videos exploring the borderland between the ‘experimental’ and ‘documentary’ genres of cinema. Recently he participated in the Migrating Forms’ E.P.I.C. artist dialogue series and presented his work at NYU’s Experimental Film Workshop as a visiting artist. He has received grants from Warner Brothers and The Malcolm Ross Memorial Foundation. His 16mm films have screened in exhibitions associated with CCNY, Maysles Cinema, UnionDocs and Millennium Film Workshop. These films, produced within the last five years, have realized personal sentiments through rhythmic interpretations of natural landscape and body language. Lorenzo Gattorna continues the promotion of alternative approaches to cinema through personal productions and public exhibitions.
Land of Lost Content…Scenes of Second Chances
16mm to digital video
Captured during a short stay in San Francisco. Sways in settling down inspired the fluctuations in exposure. High grounds and coastal shores were confronted and met with fight or flight responses. I visited these locales several times hoping to resolve my own problems with permanence and pressure. I could only record further misunderstanding and bewilderment with my original intent. The film is broken down into episodes influenced by the incessant viewing of serial television programs during the time of production. The musical interludes are performed by The Microphones and served well as a crutch to many ailments during this process.
Ephraim Asili Born in 1979, and raised in Roslyn, Pennsylvania, Ephraim Asili is a Philadelphia based filmmaker and multimedia artist. Inspired by his day-to-day wandering around places that he works or lives, Asili creates films, collage, and assemblages, which situate themselves as a series of meditations on everyday experience and media culture. Deeply driven to create the extraordinary out of the ordinary, Asili uses a wide variety of materials and approaches to achieve his desired objectives. Some works consist of little more than a combination of wood and shoe polish, others require the use of 16 mm film, actors, and trips halfway around the world. Regardless of the medium, Asili appropriates prevailing societal iconography in order to present his personal vision, a vision mediated through careful examinations of identity, geography, and architecture. The resulting works are perhaps best described as an amalgam of Pop, African American, and “moving image” culture combined with a strong sense of rhythmic improvisation and compositional awareness.
16 mm film transfered to video
Forged Ways combines elements of documentary, narrative, and experimental form to create an experience that brings the viewer in as an active participant as opposed to a passive witness. Photographed on location in Harlem, New York, and various locations throughout Ethiopia the film oscillates between the first person account of a film maker, the third person experience of a man navigating the streets of Harlem, and day to day life in the cities and villages of Ethiopia. By subduing any definitive story-line or “message” the film functions as an audio visual meditation on the constructs surrounding African American cultural identity while simultaneously examining some of the more subtle implications involved in maintaining an identity that spans hundreds of years, and thousands of miles.
Since 2005, Fern Silva has been an active filmmaker whose personal journeys and impulsery disposition give rise to his visionary process. He has created a body of film, video, and projection work that conveys a congruent existence through the aesthetics of reflections and detriments within controlled microcosms. His work has been screened and performed at various festivals, galleries, museums and cinematheques including International Film Festival Rotterdam, New York Film Festival, Ann Arbor Film Festival Anthology Film Archive, San Francisco Cinematheque, European Media Art Festival, World Film Festival of Bangkok, Biennale Bandits-Mages, Roulette Gallery, White Box Gallery, and MOMA P.S.1. Although Brooklyn based, Fern Silva is from central Connecticut, he received a BFA from Massachusetts College of Art and an MFA from Bard College.
In the Absence of Light, Darkness Prevails
16mm 1:33, optical mono sound, color/b&w transfer to DVD
“O mother of waters! Great is your power, your strength, and your light…Let your greatness be the greatest wealth you dispense to me… surrounded by sweet melodies springing from your own self…” –prayer to Iemanjá
Subtle, spectacular cinema in which cosmopolitan filmmaker Fern Silva creates a convincing, eclectic hotpot from various images. The fruits of life desiccate in front of our very eyes in a civilization out of step with the rhythm of the cosmos. –International Film Festival Rotterdam
Fern Silva’s In the Absence of Light, Darkness Prevails (2010) suggests a future already arrived, merging the destruction with the creation of life as seen in the tiny turtles crawling their way to the sea, or heard in the crackling of a Geiger counter as a masked man sprays plants with pesticides. Though only 13 minutes, the film’s span is enormous. As revelers in Salvador, Bahia, parade through the streets, a gnat-sized Mercury passes across the surface of the sun, and men slowly make their way up the giant steps of an ancient temple; the film resides in a well of deep time, civilizational history swallowed by the life of the planet. –Genevieve Yue
Standing wave in stellar structure. Agitations ring the singing sun. Life bearing goddess of moonlight and sea. Iemanjá. Low frequency, deep voice, slow rhythm. Storm hatches down horizon. The pulsing crowd occurs. –Corrine Fitzpatrick