Film-Makers’ Cooperative, NYC New Year New Work 2019 4 programs of experimental and avant-garde films Friday Jan 25 – Sunday Jan 27, 2019
This is the 6th year that the Coop is holding a weekend of screenings to showcase work that’s come in over the previous year. My video portrait of Joe Westmoreland, called Joe, was screened on Friday, Jan 25 as part of the new works event.
Many friends were there. Joe Westmoreland, of course, and Charlie Atlas, with Lori E. Seid. And Elise Gardella, Phyllis Baldino, Amanda Trager, and Jim Hubbard all arrived. Sheila McLaughlin was there as well and introduced herself to me at the end. These people are all amazing!
The other work showcased: KG by Cynthia Madansky; Valeria Street by Janie Geiser, Carmel/Washington Heights/Home by Maia Liebeskind; Yem’s Place by Aaron Kelly-Penso; The Way Home by Erica Sheu; Soul Train by Carolina Mandia; Kendo Monogatari by Fabian Suarez; An Empty Threat by Josh Lewis.
What a fantastic screening! Makes remember why experimental filmvideo work is so important. It’s radical, it shows things in a new light, it asks lots of questions and many of those are visually-oriented.
Altogether, the events featured works by Ken Jacobs, Diana Barrie, Janie Geiser, Jack Waters, Josh Lewis, Cecilia Dougherty, Cynthia Madansky, Marie Losier, and more!!!
Curated by: Emily Apter, Ladya Cheryl, and Devon Narine-Singh.
Community in den Filmen von Peggy Ahwesh, Cecilia Dougherty und Hannah Quinlan & Rosie Hastings DONNERSTAG, 23. AUGUST 2018, 19 Uhr
Here’s the description of the complete show, if you’re in Bern mañana:
In the late seventies, the filmmakers Lis Rhodes, Jo Davis, Felicity
Sparrow and Annabel Nicolson founded the feminist film and video
distribution network Circles in London. Circles was
created in response to the need to have a platform for films by women.
Previously, its founders had all been members of the London-based
Film-Maker’s Co-op, and Circles was also a response to the lack of representation of women filmmakers in that co-op. The
screening at the Kunsthalle is part of a series of events and
screenings focusing on filmmakers since the 1970s. The films screened
are by Peggy Ahwesh, Cecilia Dougherty as well as by Hannah Quinlan and
Rosie Hastings. They look in different ways at queer communities,
playing with stereotypes, exploring the autonomy of community spaces and
looking for individual forms of expressions within the communities.
With an introduction by the organizers Ann-Kathrin Eickhoff (Author
& Art Historian, Zurich) & Geraldine Tedder (Assistant Curator
Image: Hannah Quinlan & Rosie Hastings, UK Gay Bar Directory, 2016, Still from Film
Mit einer Einleitung von den Organisatorinnen Ann-Kathrin Eickhoff
(Autorin & Kunstwissenschaftlerin, Zürich) & Geraldine Tedder
(Kuratorische Assistenz Kunsthalle Bern)
I’m showing two videos, Eileen, from 2000, and Joe, from 2018 in Circles.
Gay Tape: Butch and Femme (1985) screened recently at the Valade Family Gallery in Detroit. Many thanks to curators Scott Northrup and Jonathan Rajewsky!
Sadie Benning Cecilia Dougherty
Benny Nemerofsky Ramsay
Desire as Politics presents a selection of LGBTQ perspectives in contemporary film and video from 1985 to 2017. The exhibition is not meant to summarize this arbitrary span of time, but rather to look at works exploring a range of identities, social constraints and prejudices unique to LGBTQ positions, including representation, fantasy, fear, love and the blurring of binaries, positions that we feel are vital in our current climate.
Scott Northrup & Jonathan Rajewski
From the exhibition catalogue:
Dougherty’s first video, made while she was studying at Berkely:
“I made it just around the time when the term ‘gay’ was for everyone and then ‘lesbian and gay’ become the new term, until we progressed to ‘LGBTQ’.
“Gay Tape is a documentary about some of the regulars at Ollie’s Bar, a lesbian dive on Telegraph Avenue in Oakland. The 1970s sartorial statement of flannel shirts, 501s, and Frye boots was passé and at odds with the new eighties aesthetic—tons of makeup, big hair, and complicated lingerie. Along with the new aesthetic came the reemergence of good old fashioned butch-femme role-playing. While the femmes pranced around like Stevie Nicks, their butch girlfriends reverted to an earlier role model, acting out fifties and sixties-style tough girl with brilliant aplomb. I asked some of the women from Ollie’s to talk on camera about role-playing.
“The camera instantly gave me too much control over content, so I tried to balance it by providing a platform for the women to speak on the butch-femme issue without overtly directing them. I relinquished authorship in favor of revelation and avoided coming to conclusions; the speakers were experts as well as subjects and could say whatever occurred to them. They spoke extemporaneously about their lovers, the details of their sexual identities, and their fantasies. My girlfriend at the time was one of the subjects. As her story unfolded I realized from my privileged position behind the lens that the lover she was describing in detail was not me. So much for the power of the gaze!
At a recent screening, the audience was interested in the difference between butch and transgendered, maybe not understanding that there were trans people in the community in 1985. I think there’s a distinction and as always, the people making the distinction are self-identified.”
Join the Wexner to celebrate the accomplished work of female filmmakers supported by the studio throughout its 27-year history. Exploring both traditional and experimental approaches to narrative, this program includes Hiatus, Ericka Beckman’s phantasmagoric, analogue exploration of virtual reality (1999, 30 mins., 16mm transferred to video); Gone, Cecilia Dougherty’s split-screen recreation of the PBS docudrama An American Family, here starring artists Laurie Weeks and Amy Sillman and featuring music by Le Tigre and Mike Iveson (2001, 36 mins., video); and the Ohio premiere of Artist Residency Award recipient Jennifer Reeder’s 2016 film Crystal Lake (19 mins., HD video). (program approx. 85 mins.)
Upcoming video screening by Cecilia Dougherty and others.
Fishing for Some Friends is a moving image exhibition in response to the misplacement of images both historic and contemporary. Contained within are images which due to aesthetic and political subversiveness have no collective home within Melbourne’s current cinematic landscape. These homeless images skirt the peripheries on the internet; skimming intermittently into conversations before being lost in the feed of information.
Fishing for Some Friends has caught some people and works that are excited about exploring new modes of representation, reimagining aesthetic expectations and citing alternative perspectives and conversations.
Fishing for Some Friends creates temporary space for moving image works from Cecilia Dougherty (New York), Charlie Freedman (Melbourne), Larisa Kosloff (Melbourne), Lucie McMahan (Melbourne), Meg & Jackson (Melbourne), Phoebe Mackenzie (Sydney), Siegfried A. Fruhauf (Vienna) and Steven Rhall (Melbourne)
6:00 – 11:00pm
115 Little Smith St. Fitzroy
Artist and co-curator extraordinaire David Kalal and I have been working on a screening program and panel, called In-Between Theories, for the 29th MIX Queer Experimental Film Festival based on ideas we’ve been tossing around for at least a year. Or possibly longer!
The program is an exploration of queer ideas and expressions that are not quite the media for academic or even queer-political categorization, and which fall into – or more precisely, create – their own time/spaces.
When: Sunday, Feb 5, 6PM
Where: MIX29, The Dreamhouse, 1022 Wyckoff Ave., Bklyn/Flushing
(L train to Halsey)
What: Film, video and interactive work with a discussion with the artists to follow — things are going to get real — or maybe unreal — promises to be a great evening either way.