Tinting and Toning, Cyanotypes, Hallowe’en In April with Guest Star Paul Gailiunas, A Day In The Sun, Sketching The Garden with Art Club Frome… it’s all FREE and it’s all coming up in April at EPFC North!
Check out info on all our fabulous workshops, screenings and visiting artists on the EPFC Website, Facebook, Tumblr or Instagram!
MARVELOUS MOVIE MONDAYS!!
guest curator: Ariel Kavoussi
The theme for this month: “WHAT’S THE BODY GOT TO DO WITH IT?” This March, I will be selecting short film & video work that explore questions of the body.
For my third film in this series, I’ve chosen Forough’s Farrokhzad acclaimed poetic docu-masterpiece – “The House is Black.” (Persian: خانه سیاه است). This short (1962) takes a look at the life and suffering in an Iranian leper colony. While originally ignored during its original release, the film is now considered a landmark in Iranian cinema and most film critics agree – the film was vital in paving the way for Iranian New Wave.
”The House is Black” is Forough Farrokhzad, one of the 20th century’s leading poets, first and only film. It is filled with powerful, stirring, lyrical images, all masterfully paired with Farrokhzad’s own poetic narration.
Farrokhzad’s aim is not to shock. It is rather to provide (as the film declares) “a vision of pain no caring human being should ignore.”
Please enjoy the cinematic revelation that is “The House is Black.”
https://www.youtube.com/watch?v=aZAELs8NgjI
Show your support for Optical Track–EPFC’s weekly cinematic radio show–and all the great programming on dublab at the 2019 Creative Cultivation Fundraiser Salon, taking place on March 23 from 6 – 10 pm. More info at www.dublab.com/salon.
This intimate event at the offices of Cargo Collective in Frogtown is an opportunity to support dublab’s mission and radio programming in an evening filled with live music, DJ sets, special guests, food, drinks. The fundraiser will feature live performances by Money Mark (Beastie Boys), Molly Lewis & John Carroll Kirby, Euphoria and DJ set by Maral. The MC for the night will be Mamabear.
Food and Drinks by: Señoreata, Joy, Cafecito Organico, gget, Lagunitas Beer, Boxed Water, Frogtown Brewery, Health-Ade Kombucha, Zebulon
EPFC North is delighted to host visiting artists Ursula Brookbank and Diane Ward for a magical evening of projections and spoken word on Saturday, March 16.
Past and recent work related to the notion of leaving or a presentation of various projections and recitations followed by cake. Program will include Home-Life, 16mm to digital, (still), 09:32 min, 2018-19, accompanied by an in person poetic reading by Ursula Brookbank and Diane Ward.
Free event! Everyone welcome!
Ursula Brookbank is a multi-media artist currently based in Seattle, WA, she received a BFA in Painting from the University of Florida in 1975. With simple analog methods and materials; super 8 film, overhead projection, objects, video and performance she generates experiences. Brookbank’s work engages the feminine odds and ends of her “She World Archive” in an ongoing participatory and collaborative dialogue. Collected and cataloged over many years the archive is a mystery of feminine objects that can suggest a whole life (almost bodily) of a woman. Objects worn from daily use; eye glasses, sewing notions, recipes, kitchen gadgets, letters, newspaper clippings, etcetera are very vital things. She World’s multiple and diverse manifestations have invited audiences to engage with the archive as readers, observers, and investigators incorporating their own knowledge, experience, and content. Brookbank has shown in Los Angeles at Automata, the Echo Park Film Center, The Museum of Jurassic Technology, REDCAT, and at the Westbeth Gallery, New York, NY. Her presentations using overhead projectors titled “Dear Object” have been presented in a public encounter with the Dorothy Chandler Pavilion, Los Angeles; as projections from the street onto the outside of David Ireland’s 500 Capp Street House in San Francisco and in the entirety of the theater space of the Veleslavasay Panorama, Los Angeles. (IS) IN STEREO, an empathic, synchronistic collaboration with multi-media artist Christine Alicino continues to unfold in numerous occurrences on the east and west coasts.
Diane Ward was born in Washington, DC where she attended the Corcoran College of Art and Design. She received a doctorate degree in Geography from UCLA. Her poetry publications include a collaboration with Tina Darragh and Jane Sprague in the Belladonna Elders series, No List (no list) from Seeing Eye Books in Los Angeles, Flim-Yoked Scrim from Factory School, and When You Awake from Portable Press at Yo-Yo Labs. Her poem, “Fade on Family” was set to music by the Los Angeles composer Michael Webster and performed as part of The Society for the Activation of Social Space through Art and Sound series at the Schindler House in West Hollywood. “InHouse,” a constructed poem, appeared in Kindergarde, the First Avant Garde Anthology for Children, edited by Lee Ann Brown. She curated an edition of the Poetic Research Bureau’s “live magazine,” @SEA, around the theme “Flows.” She has been a member of “The Reader’s Chorus,” performing in Los Angeles at MOCA, the Museum of Jurassic Technology, and the Velaslavasay Panorama. Her collaboration with the artist Ursula Brookbank is documented in the chapter, “Borne-away: Tracing a gendered dispossession by accumulation” in the edited book, Geopoetics in Practice, forthcoming from Routledge.
The theme for this month: “WHAT’S THE BODY GOT TO DO WITH IT?” This March, I will be selecting short film & video work that explore questions of the body.
For my second film in this series, I’ve chosen a very early short film by Jane Campion called “After Hours” (not to be confused with Martin Scorsese’s film “After Hours” which came out a year later).
Developed in partnership by Women’s Film Unit of Film Australia in 1984, “After Hours” tracks the investigation of a young woman’s sexual harassment charges against her manager.
Because it was a work-for-hire, Campion had felt she had less creative control than she would like to have had on this short and subsequently, she has come to have been highly dismissive of the project. She once told an interviewer: “I don’t like ‘After Hours’ a lot because I feel like the reasons for making it were impure. I felt a conflict between the project and my artistic conscience. [Because of funding] The film … had to be openly feminist since it spoke about the sexual abuse of women at work. I wasn’t comfortable because I don’t like films that say how one should or shouldn’t behave. I think that the world is more complicated than that. I prefer watching people, studying their behaviour without blaming them. I would have preferred to have put this film in a closet.”
While not as on-point or nearly as compelling as Campion’s later work, I think the film embodies more nuance and beauty than Campion gives it credit for. As film critic Ben Kooyman wrote concerning the film in “Senses Of Cinema” : “ After Hours conveys Campion’s patented sense of tactility – of fabrics, of objects, of the surface of water, and so on..” Laurie McInnes’s camera work is graceful and distinct (with additional cinematography by Campion herself).
And it’s much less didactic than I think Campion believes. Why exactly does Campion show another couple (a boss in a consensual relationship with his secretary) if not to introduce subtleties into this story? Why does the boss have such a sympathetic character qualification (he is a dog trainer and finds solace in animals) if he is to only play villain?
There are Easter Eggs of nuance, beauty and observation all over this incredibly human film.
Please enjoy Jane Campion’s most overlooked work – “After Hours”!
https://www.youtube.com/watch?v=8q9AynalytA