Satellite

EPFC Extravaganza / Acid-Free at Blum & Poe

EPFC | April 30th, 2018
Sunday, May 6 from 3-7 pm
Echo Park Film Center Extravaganza @ Acid-Free Los Angeles
Join us for a special screening looking at works from Echo Park Film Center’s LA AIR residency program, annual Super 8 commissioning program, and from members of the EPFC Co-op, including: Nesanet Abegaze, ACT-LA, Jonathan Almaraz, Basma Alsharif, Dicky Bahto, Leah Bordenga, Marco Kane Braunschweiler, Ursula Brookbank, Madison Brookshire, Kate Brown, Emett Casey, Brenda Contreras, Michael Cruickshank, Caitlin Díaz, Marcella Ernest, Calvin Frederick, The Here & Now (Paolo Davanzo & Lisa Marr), Lydia Hwang, Gelare Khoshgozaran, Andrew Kim, Eve LaFountain, Kate Lain, Alima Lee, Janis Crystal Lipzin, Alex MacKenzie, Maria Magnusson, Gregory Mahoney, Andrés Mansisdor, Daniel Marlos, Dolissa Medina, Alan Nakagawa, Tomonari Nishikawa, Will O’Loughlen, John Palmer, Alee Peoples & Mike Stoltz, Anna Luisa Petrisko (Jeepneys), Miko Revereza, Wyatt Sanders, Jennifer Saparzadeh, Margie Schnibbe, Cosmo Segurson, Rosario Sotelo, Travis Starks, Patrick Stephenson, Cindy Stillwell, Jessica Storm, Haruko Tanaka, Nancy Jean Tucker, Nicole Ucedo, Penelope Uribe-Abee, Pablo Valencia, and Max Winter.
Acid-Free Los Angeles

Art Book Market

at Blum & Poe
2727 La Cienaga Blvd.

http://acid-free.info/

BLOW UP!

EPFC | April 30th, 2018

EPFC is in Uruguay for Montevideo Cine Experimental! Besides the 17th edition of The Sound We See, we’ll be working on a very special project with FAC entitled BLOW UP… It’s gonna be a blast! Find out all about the festival and the projects here!

Projects made possible with the generous support of The Canada Council for the Arts and The Foundation for Contemporary Arts.

 

 

Marvelous Movie Mondays: Portrait of Turner

EPFC | April 30th, 2018

MARVELOUS MOVIE MONDAYS!!
guest curator: Kiki Loveday

April showers bring QUEER REPRODUCTION.

A significant body of contemporary feminist work explores questions of adaptation, reiteration, and change through formal, temporal, and aesthetic means. Queer and feminist makers are re-writing the historical narrative while pushing the boundaries of multiple mediums. From Laleen Jayamanne’s A Song of Ceylon, Cecelia Condit’s Oh, Rapunzel, and Midi Onodera’s Ten Cents a Dance, to Elisabeth Subrin’s Shulie, Jennifer Montgomery’s Deliver, Amy Ruhl’s How Mata Hari Lost Her Head and Found Her Body, and Pauline Boudry/Renate Lorenz’s Salomania, to Ja’tovia Gary’s An Ecstatic Experience, Christina Corfield’s Petticoat Nation, Kate Lain’s friskies paté (for joyce wieland) and Irene Lusztig’s Yours in Sisterhood— these makers masterfully reiterate, reinscribe, and reimagine the past in order to transform the present. Every Monday this month I will post a video exploring this growing body of work that queerly questions the possibilities of re-production in the digital age.

Irene Gustafson’s 2009 55 minute video Portrait of Turner re-stages Shirley Clark’s challenging 1967 classic Portrait of Jason. In Gustafson’s experiment, her camera is turned upon performance artist Scott Turner Schofield, raising a series of questions about the nature of performance, experiment, and repetition. This obscure gem formally connects contemporary queer video practice to feminist film histories, insisting on comparison and re-vision that demands continued debate.

Enjoy!

https://vimeo.com/102774623

 

The Sound We See: Buenos Aires Premieres Sunday, April 22!

EPFC | April 18th, 2018

Buenos Aires friends! Join us at Una.Casa on Sunday, April 22 for the premiere of The Sound We See: A Buenos Aires City Symphony, the 16th installment of our international analog community cinema project! A fine time will be had by all…

And take a peek at the blog to meet the filmmakers! https://sellyourtvandcometothecinema.org
flyer EPFC y CS8 2

 

 

Marvelous Movie Mondays: QUEER REPRODUCTION

EPFC | April 18th, 2018

MARVELOUS MOVIE MONDAYS!!
guest curator: Kiki Loveday

April showers bring QUEER REPRODUCTION.

A significant body of contemporary feminist work explores questions of adaptation, reiteration, and change through formal, temporal, and aesthetic means. Queer and feminist makers are re-writing the historical narrative while pushing the boundaries of multiple mediums. From Laleen Jayamanne’s A Song of Ceylon, Cecelia Condit’s Oh, Rapunzel, and Midi Onodera’s Ten Cents a Dance, to Elisabeth Subrin’s Shulie, Jennifer Montgomery’s Deliver, Amy Ruhl’s How Mata Hari Lost Her Head and Found Her Body, and Pauline Boudry/Renate Lorenz’s Salomania, to Ja’tovia Gary’s An Ecstatic Experience, Christina Corfield’s Petticoat Nation, Kate Lain’s friskies paté (for joyce wieland) and Irene Lusztig’s Yours in Sisterhood— these makers masterfully reiterate, reinscribe, and reimagine the past in order to transform the present. Every Monday this month I will post a video exploring this growing body of work that queerly questions the possibilities of re-production in the digital age.

Since her award-winning debut with How Mata Hari Lost Her Head and Found Her Body in 2011, Amy Ruhl has been developing an important body of work that returns persistently to feminist sites/cites in past popular cultures. Ruhl uses the phrase “radical reproduction” to describe this element of her oeuvre which includes a playful research-based practice and deep engagement with feminist film theory. Her ongoing multidisciplinary performance project, Between Tin Men, includes her trademark tropes of authorial self-inscription, mesmerizing visual effects, and feminist camp.
Enjoy!

https://vimeo.com/253139302