7/20 – 22 / 2018 — Sojourn Cinema at the SF ART BOOK FAIR – FREE!!

Posted July 18th, 2018 in Events and Screenings, News / Events

e6177325-9da1-4b78-9f0f-5ee1a9ee9ed9

FREE — Join Canyon Cinema and the San Francisco Cinematheque at the the SF Art Book Fair July 20 – 22 for a weekend celebrating artists’ books, art catalogs, monographs, periodicals, zines, printed ephemera and artists’ multiples. We will have a table filled with an array of collectible publications (for perusal and purchase), including issues of Cinematograph, Cinematheque’s occasional journal; vintage and recent issues of the Canyon Cinemanews/cinemazine; rare artist publications; ‘zines; program note compendia; limited edition monographs and more.

WHERE — The 2018 SF Art Book Fair
1275 Minnesota Street
San Francisco, CA 94107

FREE AND OPEN TO THE PUBLIC
Friday, July 20th – 6pm – 10pm
Saturday, July 21st – 11am – 6pm
Sunday, July 22nd – 11am – 5pm


PLUS — MOVIES — LOTS OF THEM — ALL WEEKEND LONG!
Take quick (or long) breaks from pursuing the astonishing array of handmade books and artist made goodies, and step into the MEDIA ROOM (by the big staircase) for a rejuvenating respite of ocular and audible delights. Here is the full listing of what’s in store for you in the Sojourn Cinema:

 

Friday, July 20 –

6:30-7pm Ephraim Asili: Fluid Frontiers (2017)

Fluid Frontiers is the fifth and final film in Ephraim Asili’s Diaspora Suite, a series of films exploring the artist’s personal relationship to the African Diaspora. Shot along the Detroit River and featuring readings from Detroit’s renowned Broadside Press and artworks by Detroit Artists, Fluid Frontiers explores the relationship between resistance and liberation. All the film’s poems are read from original Broadside Press editions by natives of the Detroit, Michigan/Windsor, Ontario region. (Ephraim Asili)


7–8pm Out of Print (guest curated by Linda Scobie)
Associations (1975, John Smith)
Blood Story (1990, Greta Snider)
Friend Good (2003, Jay Rosenblatt)
No No Nooky TV (1987, Barbara Hammer) – Restoration Print
High Kukus (1973, James Broughton) – New Print
Pony Glass (1997, Lewis Klahr)
Verses (2012, James Sansing)


8–9pm I Am Not Here (CROSSROADS capsule 1)

One of several programs presented during SFABF as an echo of Cinematheque’s CROSSROADS festival 2018, the films in I Am Not Here include works of self- and other-portraiture, fragmented bodies, abstracted spaces, ritual exorcisms of trauma and enactment of feminist art actions.
I Am Not Here For You (2017, Nico LaShae)
me and my army (2017, sair goetz in person)
Model of a Hand (2018, Rosa John)
Water/Mist/Fire/Off (2017, Youngzoo Im)


9–10pm Visions of the Void (CROSSROADS capsule 2)

In this second SFABF CROSSROADS echo, the paranoid visions of Philip K. Dick (as voiced in Alexander Stewart’s Void Vision) blur with the dystopic oppressions of the contemporary techno-surveillance state. Technophobia meets technophilia as crowds gather, blood is spilled, flowers bloom and electrons flow
you can’t plan a perfect day sometimes it just happens (2017, Alison Nguyen)
Wasteland No.1 (Ardent/Verdant) (2017, Jodie Mack)
The Forcing No. 2 (2015, Lydia Moyer)
The Falling Sky (2017, Peggy Ahwesh)
Void Vision (2018, Alexander Stewart)
Season of Doubt (2015, Seth Pimlott)

 

Saturday, July 21 –

11am -12pm Michael Snow: So Is This (1982)

“With formalist belligerence, So Is This threatens to make its viewers ‘laugh, cry and change society,’ even promising to get ‘confessional.’” (Canyon Cinema)

12–12:30pm Ephraim Asili: Fluid Frontiers (2017)

Fluid Frontiers is the fifth and final film in Ephraim Asili’s Diaspora Suite, a series of films exploring the artist’s personal relationship to the African Diaspora. Shot along the Detroit River and featuring readings from Detroit’s renowned Broadside Press and artworks by Detroit Artists, Fluid Frontiers explores the relationship between resistance and liberation. All the film’s poems are read from original Broadside Press editions by natives of the Detroit, Michigan/Windsor, Ontario region. (Ephraim Asili)


12:30 – 1pm The Sun Quartet, part 4: November 2/Far from Ayotzinapa (2017, Colectivo Los ingrávidos)

The Sun Quartet is a solar composition in four movements, political composition in four natural elements, kinematic composition in four body mutations: a sun stone where youth blooms in protest, a river overflowing the streets, the burning plain rising in the city. And finally the clamor of the people who after the night of September 26, 2014 shook Mexico. The massive disappearance of 43 students of Ayotzinapa opened a breach in the Mexican political body. The Sun Quartet is a cinematographic composition of this event.
November 2/Far from Ayotzinapa: The clamor of the people after the disappearance of 43 students of Ayotzinapa. The Mexican poet David Huerta wrote a poem called Ayotzinapa on November 2, a date is a very important date of in Mexico, because is the celebration of “Day of the Dead.” The poem is about the experience of current Mexican war. (Colectivo Los ingrávidos)

1–2pm Canyon Cinema’s Drive-Thru Cinema, part 1: one of two mini-micro programs: 15 films on 16mm spanning 40 years in 40min (works by Chick Strand, Robert Breer, Nam June Paik and Jud Yalkut, and and many more…):
Explosion Motion
Blazes (1961, Robert Breer)
Tensile (1994, Mark Wilson)
Black Ice (1994, Stan Brakhage)
Decroux’s Garden (2012, Baba Hillman)
Anselmo (1967, Chick Strand)


Found footage flights and quick delights
Los Ojos (1975, Gary Beydler)
I Began to Wish (2003, Julie Murray)
Shot-countershot (1987, Peter Tscherkassky)
Excess, Black Noise, and Fast Moving Pictures (1981, Tyler Turkle)
Restricted (1999, Jay Rosenblatt)


The Succinct Sublime
Lonesome Cowboy (1979, Toney Merritt)
Runaway (1969, Stan Lawder)
Electronic Moon No. 2 (1969, Paik/Yalkut)
The Soccer Game (1960, Lawrence Jordan)
Dub Film (1980, Doug Wendt)

 

2–3pm the word, my dear: text moving in time

Echoing a similar program presented by Cinematheque in 2013, this program presents works in which written text is visualized and plasticized, explored and displayed, a thumbnail catalog of the diverse expressive potentialities of language’s graphic notation displayed as light moving in time. All works drawn from the collection of Canyon Cinema and projected in 16mm.
Word Movie (1966, Paul Sharits)
I, Dreaming (1988, Stan Brakhage)
Hardwood Process (1996, David Gatten)
Gently Down the Stream (1981, Su Friedrich)


3–4pm Jeffrey Skoller’s The Malady of Death (Jeffrey Skoller in person)

“[…] an adaptation of Marguerite Duras’ story of the same name […] which is a particular reading of the story in which word and image, in a complex interplay, explore male sexuality. […] The male ‘you’ is multiplied[…]. The ‘she’ the ‘difference,’ is literally absent from the image but present metaphorically, ‘possessed’ but not known. While societal connections between possessing sexuality, economically, and by force are explored in relation to male sexuality, the implication of the act of looking permeate all these discourses[…]” (Kathy Geritz, Pacific Film Archive)

 

4–5pm I Am Not Here (CROSSROADS capsule 1)

One of several programs presented during SFABF as an echo of Cinematheque’s CROSSROADS festival 2018, the films in I Am Not Here include works of self- and other-portraiture, fragmented bodies, abstracted spaces, ritual exorcisms of trauma and enactment of feminist art actions.
I Am Not Here For You (2017, Nico LaShae)
me and my army (2017, sair goetz in person)
Model of a Hand (2018, Rosa John)
Water/Mist/Fire/Off (2017, Youngzoo Im)

 

5–6 Canyon Cinema’s Drive-Thru Cinema, part 2: 11 films on 16mm spanning 40 years. Works by Kenneth Anger, Bruce Baillie, Robert Nelson, Alice Anne Parker and many more…:


Toe Tapping Treats
I Change I Am the Same (1969, Alice Anne Parker)
Day then Night (1977, Andy Moore)
Mr Sandman (1973, Victor Faccinto)
All My Life (1966, Bruce Baillie)


Rigid/Hysterical
Preview (1980, JJ Murphy)
Nightclub, Memories of Havana in Queens (1975, Silvianna Goldsmith)
Rumble (1977, Jules Engel)
Together (1976, Broughton/Singer)


Wash it, drive it, crash it
Wash it (1982, Elizabeth Sher)
Kustom Kar Kommandos (1965, Kenneth Anger)
Hot Leatherette (1967, Robert Nelson)

 

Sunday, July 22

11am -12pm Michael Snow: So Is This (1982)

“With formalist belligerence, So Is This threatens to make its viewers ‘laugh, cry and change society,’ even promising to get ‘confessional.’” (Canyon Cinema)

 

12–1pm Visions of the Void (CROSSROADS capsule 2)

In this second SFABF CROSSROADS echo, the paranoid visions of Philip K. Dick (as voiced in Alexander Stewart’s Void Vision) blur with the dystopic oppressions of the contemporary techno-surveillance state. Technophobia meets technophilia as crowds gather, blood is spilled, flowers bloom and electrons flow.
you can’t plan a perfect day sometimes it just happens (2017, Alison Nguyen)
Wasteland No.1 (Ardent/Verdant) (2017, Jodie Mack)
The Forcing No. 2 (2015, Lydia Moyer)
The Falling Sky (2017, Peggy Ahwesh)
Void Vision (2018, Alexander Stewart)
Season of Doubt (2015, Seth Pimlott)


1–2pm Anne McGuire’s Oh Hi Anne + Curt McDowell’s Weiners and Buns Musical (Anne McGuire in Person!)

SF’s own Anne McGuire appear in person to present Oh Hi Anne (2017), an animated audio portrait (derived from answering machine messages) of the Brothers Kuchar—George and Mike—in all their self-effacing, self-mocking, candid and obliquely confessional quirkiness. Oh Hi Anne is followed by Curt McDowell’s Wieners and Buns Musical (1972), a “domestic musical” featuring Ainslie Pryor as a  Dorothy Lamour-admiring housewife and George Kuchar himself as her hen-pecked husband.


Oh Hi Anne (2017, Anne McGuire)
Weiners and Buns Musical (1972, Curt McDowell)


2–3pm Cinemazine Digest – abstraction and animation edition (prismatic glasses will be provided)

A short selection of works featured in the revived and alive Canyon cinemazine (thanks to Courtney Fellion).
Let Your Light Shine (2013, Jodie Mack)
Ich Bin Ein Junger Hupfer (2008, Anna Geyer)
Five Improvisations (1979, Paul Glabicki)


3–4:30pm James Benning: Casting a Glance (2007)

In 1970 Robert Smithson built his iconic Spiral Jetty, a 1,500-foot long sculpture of mud, salt crystals and rocks jutting into Utah’s Great Salt Lake, embodying elemental and philosophical principles essential to the artist’s aesthetic. […] Simulating the Jetty’s thirty-seven year history, casting a glance records the shifting ecology of the Great Salt Lake’s north-eastern shore, finding the earthwork “a barometer for a variety of cycles.” Benning has created a work “that [Smithson’s film Spiral Jetty, 1970] begs for, which pays attention to the Jetty over time.” (Canyon Cinema)


4:30–5pm The Sun Quartet, part 4: November 2/Far from Ayotzinapa (2017, Colectivo Los ingrávidos)

 

The Sun Quartet is a solar composition in four movements, political composition in four natural elements, kinematic composition in four body mutations: a sun stone where youth blooms in protest, a river overflowing the streets, the burning plain rising in the city. And finally the clamor of the people who after the night of September 26, 2014 shook Mexico. The massive disappearance of 43 students of Ayotzinapa opened a breach in the Mexican political body. The Sun Quartet is a cinematographic composition of this event.

404