Ventana al Sur-- Fordham College Lincoln Center GALLERY

Ventana al Sur: Argentine Experimental Films

Curated by Mark Street and Lynne Sachs

Feb16-Mar 9 2010

Fordham College Lincoln Center Gallery

113 W 60th St. NY NY

Hours: M-F 8:30am-10 pm

Weekends 10am-8 pm

PARTY--- TUESDAY MARCH 2 6-8 pm

Millennium Show-- March 6th, 2010

2 films by Mark Street
Saturday March 6th at 8 pm

Millennium Film Workshop

66 E 4th St. NYC

www.millenniumfilm.org

Admission is $8

Trailer Trash and Hidden in Plain Sight by Mark Street

TRAILER TRASH

5 minutes 2009 video

from 35mm

A skewed take on film detritus: 35mm movie trailers rescued from the trash and affected by hand and digitally, holding up a funhouse mirror to the industry of expectations

Hidden in Plain Sight 60 minutes 2008 original music composed by Jane Scarpatoni and Guy Yarden

Hidden in Plain Sight is inspired by the tradition of cinematic city symphonies and is made up of footage shot in four cities: Santiago de Chile, Hanoi Vietnam, Dakar Senegal and Marseille France. Vignettes from each place are juxtaposed so that the viewer is pulled from place to place, picking up the pieces, making connections only to have them disappear just as quickly. Historical details (about Salvador Allende and Ho Chi Minh, among others), quotes from writing (by Miriama Ba and Charles Baudelaire and others), laconic captions, scored music, and expressionistic sound design offer contrasting contexts in which to view these images. Hidden in Plain Sight offers a dynamic way of viewing street life in these locales, encouraging us to think about how we apprehend a place visually and conceptually.

VENTANA al SUR-- otra vez NOV 14 2009

Back by popular demand! Three new films added!

Ventana al Sur: An Evening of Argentine Experimental Films

curated by Mark Street and Lynne Sachs

contact: Mstreet430@gmail.com or Lynnesachs@gmail.com

www.markstreetfilms.com

www.lynnesachs.com



Millennium Film Workshop Saturday November 14, 2009 8pm

http://www.millenniumfilm.org



66 E. 4th St. NYC



We will serve sweet dessert churros and other Argentine delicacies
in the lobby before the show.



This rollicking evening of challenging, expressive and oppositional
Argentine cinema offers a window onto makers shredding formal
niceties, relishing in risk and daring to access the sublime. From an
achingly beautiful evocation of an hourglass to a darkly humorous
evisceration of the tenets of the stock market, this program will take
us to the land where summer is winter and winter is summer and render
our souls topsy-turvy for a bit too. For the last two summers NYC
experimental filmmakers Mark Street and Lynne Sachs immersed
themselves in the Buenos Aires film community through a variety of
collaborative cinematic endeavors. In addition to shooting Super 8
movies with their artist peers in town, Street and Sachs spent time
meeting and watching the works of local moving image makers – some
young firebrands and some veterans who have been expanding the
parameters of the medium since the early 1960s. (88min TRT.)



"Los Angeles" (5 min., 16mm, 1976) by Leandro Katz

Portrait of a small community living by the railroad tracks in the
banana plantation region of Quiriguá, Guatemala. Originally a single
take, this film is composed of alternating equal number of moving
frames and frozen frames as the camera tracks alongside the train
station.

"Workshop" (10 min.,16mm 1977) by Narcisa Hirsch

A structuralist vision as conceived by one of South America's most
beloved experimentalists, Narcisa Hirsch. One wall of the filmmaker's
studio as seen through a fixed camera. We see photos she's stuck on
the wall, then there is a dialogue with a male friend to whom she is
describing the rest of the walls that you don't see. A "one upmanship"
of a similar film by Michael Snow where he describes a wall of his
studio- workshop, by describing what one CAN see.

"Aleph" (1 min., 16mm) by Narcisa Hirsh

In the blink of the eye – 1440 frames in one minute – the rituals of
childhood and adolescence give a magical and haunting rhythm to daily
life.

"El Eroticismo del Tiempo" ( 1 min., video, 2005) by Narcisa Hirsch

Like the curves of the body, an hour glass can both seduce and repel us.

"Bajo Tierra" (4 1/2 min., Super 8, sound on CD, 2007) by Pablo Marin

A film portrait of filmmaker Claudio Caldini: in the industrial town
of General Rodriguez, Buenos Aires, a man makes a new cinematic
offering in front of the no-longer-industrialized Kodachrome.

"Sin título(Focus)" (4 min., Super 8, b&w, silent, 2008,) by Pablo Marin

Shot on a rooftop in Buenos Aires, this film truncates space in ever
inviting ways using a dizzying array of formal tropes.

“Equivale a mentir” (3 min, Super 8 to video, sound, 2001) by
Macarena Gagliardi.

A meditation on the four elements, and various aspects of fusion—a
sensual evocation of the process of change.

“Espectro” (6 min, super 8 with separate sound on CD, 2008) by Sergio Subero.

Abstract images shimmer and shift on the screen. We are invited to
look within as we enter an unfamiliar and unpredictable realm.

"Montevideo" (4 minutes, DVD, 2008) by Leandro Listorti

The capital of Uruguay reveals, briefly, its characteristic of a
Doppelgänger City: a single place cut in two spaces where two pairs of
creatures explore the limits of the travelogue.

"Stock" (5 minutes, 2007, mini DV ) by Ruben Guzman

A boy from La Cruz walks to school to read aloud the stock market
report from the newspaper. We are witness to the last day of
capitalism.

"El Guardian" (5 min., video, 2008) by Ruben Guzman

A fantasmic guardian coddles and keeps the images of the world.

"Nunca Fuimos Allah Luna" (7 min., 35mm, 2008) by Ernesto Baca

Two characters on split screens collide, converse and argue as the
city unspools kinetically behind them.

“For You/Para Usted” (16 minutes, video, 1999) by Liliana Porter

A witty and wry comparison of linguistic and visual modes of
expression through a series of pithy and provocative animated
vignettes.

“Jardin” (2 minutes, video, 2004) by Enrique Bernacchini

A stop motion funhouse ride of dynamic images and shattering
sounds—all out in the garden. The ebb and flow of domestic life
yields its own particular texture.

“VHS” (10 min. excerpt) by Diego Trerotola

“ If gender is technology (as feminists teach us), then queer identity
is an infected machine. VHS (VideoHomoSexual) is a smash-up of
trailers and institutional clips where the trashy texture of
videotapes, corrupted by the queer-techno-eye, exhibits the camp
desire and its degradation.”

“Mirarte a lo lejos” 'From Afar, I See You' (10m, 16mm on video,,
2009) by Tomas Rautenstrauch

‘This movie is intended as a thank-you-note to Narcisa Hirsch. My
grandmother was the one who pushed me into the arts. She did it not
with words nor with an attitude. Silence was her tool, and I needed to
learn how to use it. “

Past Workshops

In November Lynne Sachs and I did an afternoon workshop at the Echo Park Film Center,one of the more spirited places in the country that foments debate about and practice of cinema.

www.echoparkfilmcenter.org/

THE DEVIL IS IN THE DETAIL: microcosmic street photography.
Visiting experimental documentary filmmakers Lynne Sachs and Mark Street (Brooklyn, NY) will discuss looking at urban locations IN CLOSE UP in this hands on workshop. How to represent a place IN DETAIL using film or video? With a glancing nod to the tradition of street photography (Dziga Vertov, Rudy Burkhardt etc etc) participants will prowl the streets around the EPFC looking to find beauty, truth and poetic resonance in taking the short view: a tree shadow on a bodega wall, a piece of trash floating across lanes of traffic, a wisp of an anecdote from a longtime resident. Eschewing the panoramic, we will attempt to uncover an exalted way of seeing through active and engaged observation of forgotten moments culled from the minutia of daily life. Participants are asked to bring a SMALL IMAGE (still or a few minutes of video tape) and/or a short (2-3 minute) snippet of audio that they feel represents some aspect of their urban surroundings. We will use this material as a jumping off spot to gather more images and sounds in the neighborhood.

Similar in theme was one I did at CUCALORUS in Wilmington, NC in November, 2008

www.cucalorus.org/

Ventana Al Sur

Very much looking forward to this show to be presented at Anthology Film Archives, and again in April at Pacific Film Archives in Berkeley, CA.

"Ventana al Sur: An evening of Argentine Experimental Films"
curated by Mark Street and Lynne Sachs
contact: Mark Street at Mstreet430@gmail.com or Lynne Sachs at Lynnesachs@gmail.com

ANTHOLOGY FILM ARCHIVES, NYC SATURDAY FEBRUARY 21 8PM

http://www.anthologyfilmarchives.org

We will serve Yerba Mate tea in a communal gourd and sweet dessert churros in the lobby before the show.

This rollicking evening of challenging, expressive and oppositional Argentine cinema offers a window onto makers shredding formal niceties, relishing in risk and daring to access the sublime. From an achingly beautiful evocation of an hourglass to a darkly humorous evisceration of the tenets of the stock market, this program will take us to the land where summer is winter and winter is summer and render our souls topsy-turvy for a bit too. Last summer NYC experimental filmmakers Mark Street and Lynne Sachs immersed themselves in the Buenos Aires film community through a variety of collaborative cinematic endeavors. In addition to shooting Super 8 movies with their artist peers in town, Street and Sachs spent time meeting and watching the works of local moving image makers – some young bucks and some veterans who have been expanding the parameters of the medium since the early 1960s. (72min TRT.)

"Los Angeles" (5 min., 16mm, 1976) by Leandro Katz
Portrait of a small community living by the railroad tracks in the banana plantation region of Quiriguá, Guatemala. Originally a single take, this film is composed of alternating equal number of moving frames and frozen frames as the camera tracks alongside the train station.

"Workshop" (10 min.,16mm 1977) by Narcisa Hirsch
A structuralist vision as conceived by one of South America's most beloved experimentalists, Narcisa Hirsch. One wall of the filmmaker's studio as seen through a fixed camera. We see photos she's stuck on the wall, then there is a dialogue with a male friend to whom she is describing the rest of the walls that you don't see. A "one upmanship" of a similar film by Michael Snow where he describes a wall of his studio- workshop, by describing what one CAN see.

"Aleph" (1 min., 16mm) by Narcisa Hirsh
In the blink of the eye – 1440 frames in one minute – the rituals of childhood and adolescence give a magical and haunting rhythm to daily life.

"El Eroticismo del Tiempo" ( 1 min., video, 2005) by Narcisa Hirsch
Like the curves of the body, an hour glass can both seduce and repel us.

"Bajo Tierra" (4 1/2 min., Super 8, sound on CD, 2007) by Pablo Marin
A film portrait of filmmaker Claudio Caldini: in the industrial town of General Rodriguez, Buenos Aires, a man makes a new cinematic offering in front of the no-longer-industrialized Kodachrome.


"Sin título(Focus)" (4 min., Super 8, b&w, silent, 2008,) by Pablo Marin
Shot on a rooftop in Buenos Aires, this film truncates space in ever inviting ways using a dizzying array of formal tropes.

“Equivale a mentir” (3 min, Super 8 to video, sound, 2001) by Macarena Gagliardi.
A meditation on the four elements, and various aspects of fusion—a sensual evocation of the process of change.

“Espectro” (6 min, super 8, 2008) by Sergio Subero.
Abstract images shimmer and shift on the screen. We are invited to look within as we enter an unfamiliar and unpredictable realm.


"Montevideo" (4 minutes, DVD, 2008) by Leandro Listorti
The capital of Uruguay reveals, briefly, its characteristic of a Doppelgänger City: a single place cut in two spaces where two pairs of creatures explore the limits of the travelogue.

"Stock" (5 minutes, 2007, mini DV ) by Ruben Guzman
A boy from La Cruz walks to school to read aloud the stock market report from the newspaper. We are witness to the last day of capitalism.

"El Guardian" (5 min., video, 2008) by Ruben Guzman
A fantasmic guardian coddles and keeps the images of the world.

"Nunca Fuimos Allah Luna" (7 min., video, 2008) by Ernesto Baca
Two characters on split screens collide, converse and argue as the city unspools kinetically behind them.

“For You/Para Usted” (16 minutes, video, 1999) by Liliana Porter
A witty and wry comparison of linguistic and visual modes of expression through a series of pithy and provocative animated vignettes.