Turtle Dreams

EPFC | October 15th, 2019

guest curator: Zachary Epcar

This week, continuing the theme of EXTRAVAGANT ACTS, we have 1983’s ‘Turtle Dreams’ by Meredith Monk & Ping Chong.

“‘Turtle Dreams’ was created in the period when I was thinking about the artist as an antenna of society. The pieces were more about stating the ‘problem’ as I saw it, even if it was presented in a very oblique manner – seeing the occurrence and reflecting those energies in the piece. In a sense, more an apocalyptic vision.” – Meredith Monk.

See the film here!


Marvelous Movie Mondays: Extravagant Acts

EPFC | October 10th, 2019

guest curator: Zachary Epcar

The theme of this month is EXTRAVAGANT ACTS: four moving image works full of excesses of all kinds; vivid visuals; heightened gestures; performances outrageous and unwieldy; the delirious, the deviant, the utterly irrepressible.

To begin, Valie Export’s 1986 piece ‘Ein perfektes Paar oder die Unzucht wechselt ihre Haut (The Perfect Pair, or Indecency Sheds Its Skin)’

“Your eyes are the most beautiful blue ad space. Your cheek could promote Mercedes. Your neck could be a logo for styled technology. Your lips could be dollar bridges to dream islands.”


Marvelous Movie Mondays October Curator: Zachary Epcar

EPFC | October 1st, 2019

It’s a new month and we’re excited to announce the artist who will be taking the curatorial helm of MARVELOUS MOVIE MONDAYS for October. Please join us in welcoming…


Zachary Epcar (b. San Francisco) is a filmmaker whose work has screened at NYFF Projections, TIFF Wavelengths, the International Film Festival Rotterdam, Museum of Contemporary Art Chicago, Pacific Film Archive, Ann Arbor Film Festival, Crossroads, Onion City, Images Festival, and elsewhere. He is currently in an MFA program at the University of Wisconsin Milwaukee and is co-programmer of Light Field, an annual exhibition of experimental cinema in San Francisco.

Here’s a work by Zachary that you can check out: Under the Heat Lamp an Opening
An expanded view of the lunch crowd at an open-air restaurant, from a bird’s-eye of the exterior to the depths of the interior.
“The truncation of the narratives we might imagine follow on from these beginnings—they would, like every other object here, assuredly be banal — tears openings in the surface of the film which resonate out in weird, rippling vibrations…” – Phil Coldiron, Cinema Scope

Marvelous Movie Mondays: Escenario

EPFC | September 23rd, 2019


guest curator: Florrie James

This week for Marvelous Movie Mondays, I will show Escenario by José María Avilés. In line with the theme for the month Day Job, Night Shift, Soul Work, Escenario documents a group of workers rapidly deconstruct a stage in a public square after demonstrations for Labour Day in Buenos Aires.

José María Avilés was born in Ecuador. He is currently studding a Masters in Film-making at Elías Querejeta Zine Eskola, San Sebastian, Spain. He obtained a Bachelor’s Degree in Film Directing from Universidad del Cine, Buenos Aires, in 2012. In 2015 he obtained the CIA scholarship from the Centro de Experimentaciones Artísticas, Buenos Aires.

Recent films from José María Avilés include La muerte del maestro (Rotterdam, 2018); La enorme presencia de los muertos (San Sebastián Film Festival, 2019),Speed Paradise (BAFICI, 2015), Conversaciones en el jardín (BAFICI, 2014. Grand Jury Prize, Cippolleti) and Ricchieri, (Ciudades reveladas, 2013). José María is currently developing El tesoro de Atahualpa, a screenplay that was selected by the TYPA Foundation and 3Puertos Cine, as well as received the Development Fund from Ecuador’s Film Institute, ICCA. He is also developing the feature film La vida es nuestra.

Marvelous Movie Mondays: Dear Barb

EPFC | September 17th, 2019

guest curator: Florrie James
Dear Barb – Georgia Horgan

For the theme Day Job, Night Shift, Soul Work, we look this week at the politics of sex work in London in 1668. Georgia Horgan, another representative of Lies and Lairs artist run Production Company. Dear Barb was a single-channel video made for an exhibition at Jerwood Space. The work focuses on The Poor Whore’s Petition, a satirical open letter or ‘political pornography’, which began to circulate following the Bawdy House Riots of 1668. The letter was allegedly written by Elizabeth Creswell, one of the most successful brothel keepers of the English seventeenth century, and was addressed to Lady Castlemaine, the lover of King Charles II of England. The text demands that Castlemaine assist her ‘sisters’ in re-building London’s brothels after the damage done during the riots. Navigating the path of the riots through contemporary London, Dear Barb references linguistic conventions around gossip, smear and obscenity that particularly linked feminine sexuality with fishing and The Thames. These themes, and the historical context of the letter, are explored through two parallel voice-overs: an ‘objective’ documentary narrative detailing the historical context and a ‘confessional’ first-person account.

Georgia is an artist based in Mexico City that makes videos, performances, textiles and texts. She studied at the Glasgow School of Art and California Institute of the Arts, and has shown work at the ICA, Jerwood Space, Glasgow Women’s Library, Alyssa Davis Gallery, Evelyn Yard, Collective and Glasgow International. Her writing has been published by Flash Art, Panel, MAP Magazine and Orlando journal. Current and upcoming exhibitions include group shows at Sidney Cooper Gallery, Canterbury; Bonington Gallery, Nottingham; and OnCurating, Zurich.