INTERNATIONAL PROGRAM FOUR
Thursday, November 9 at 9:30pm Films by: Paul Sharits / Kevin Jerome Everson / Ayanna Dozier / Colectivo Los Ingrávidos / Amy Halpern / Mary Helena Clark / Madeleine Hunt-Ehrlich
The Capitol Theatre, 121 University Ave. W, Windsor
Pay What You Like
Piece Mandala / End War (1966)
Paul Sharits
Piece Mandala / End War, Paul Sharits, USA, 16mm, 4 min, 1966
Blank colour frequencies space out and optically feed-fuse into black and white images of one love-making gesture which is seen simultaneously from both sides of its space and both ends of its time. Dedicated to Frances Sharits.
Restored by Anthology Film Archives.
Image credits: unless otherwise noted all artworks, portraits and stills courtesy of Anthology Film Archives © the estate of Paul Sharits.
About Paul Sharits
Paul Sharits (1943–1993). 35+ films and media artworks from 1962–1987; pioneering figure of the American avant-garde film movement and the emergent disciplines of flicker film and multi-projection installation. Work in the permanent collections of institutions including Carnegie Museum of Art, Art Institute of Chicago, Centre Pompidou, The Metropolitan Museum of Art, The Museum of Modern Art, and Whitney Museum of American Art.
Richland Descending (2023)
Kevin Jerome Everson
Richland Descending, Kevin Jerome Everson, USA, 16mm > digital, 3 min, 2023
Richland Descending is based on a Gerhard Richter painting and the stag films produced in Mansfield, Ohio in the late 1960s.
Image credits: unless otherwise noted all artworks, portraits and stills courtesy of trilobite-arts DAC and Picture Palace Pictures © Kevin Jerome Everson.
About Kevin Jerome Everson
Kevin Jerome Everson portrait by Tom Daly
Kevin Jerome Everson (1965). 200+ films since 1997; extensive screenings at major festivals worldwide; retrospectives at Centre Pompidou (2019), Harvard Film Archive (2018), Tate Modern (2017), Media City Film Festival, and Whitney Museum of American Art (2011). Herb Alpert Award (2012), Heinz Award in the Arts and Humanities (2019), Berlin Prize (2020). MCFF has screened more than 50 films by Everson since 2009. MCFF Mobile Frames Filmmaker-in-Residence (2014). Lives in Charlottesville, Virginia.
an exercise in parting (2022)
Ayanna Dozier
an exercise in parting, Ayanna Dozier, USA, 16mm, 3 min, 2022
A go-go dancer walking home from work late at night. She attempts to resurrect her lost childhood on kiddie rides in front of a small store. Close-up images of the artist’s face collapse into abstraction as the pony ride breaks down.
an exercise in parting is the concluding film in “Close, But No Cigar,” a trilogy of short 16mm films that take inspiration from adverts and soft porn aesthetics of the 1970s. Renegotiating desire, heartbreak, grief, and its mutations and appearances in the body, the images of the series are intentionally seductive, but they ultimately fail to deliver upon the aesthetic promise of selling the audience something, or giving them an image of sex.
Image credits: unless otherwise noted all artworks, portraits and stills courtesy of the artist © Ayanna Dozier.
About Ayanna Dozier
Ayanna Dozier portrait by Jasmine Rose
Ayanna Dozier (1990). Works in film, photography, printmaking, performance, and installation; exhibitions and screenings at galleries and festivals including Hauser & Wirth, Microscope Gallery, CROSSROADS, BlackStar Film Festival, Open City Documentary Festival, Prismatic Ground, and The Block Museum; films in permanent collection of Whitney Museum of American Art. Author of Janet Jackson’s The Velvet Rope (2020) for Bloomsbury’s 33⅓ series. Lives in New York, New York.
The Winged Stone (2023)
Colectivo Los Ingrávidos
The Winged Stone, Colectivo Los Ingrávidos, Mexico, S8mm > digital, 9.5 min, 2023
Through the floating garden, into the mountain of signs and chants, arises the path of the winged stone. A stone that used to be a fossil.
Image credits: unless otherwise noted all artworks, portraits and stills courtesy of the artist © Colectivo Los Ingrávidos.
About Colectivo Los Ingrávidos
Colectivo Los Ingrávidos. Founded in 2012 to “dismantle the commercial and corporate audiovisual grammar and its embedded ideology.” 300+ films since 2013; screenings at venues including Bienal de la Imagen Movimiento, Whitney Biennial (2019), FICUNAM, Media City Film Festival, Los Angeles Filmforum, The Museum of Modern Art, and International Kurzfilmtage Oberhausen. Poetry collection Solares published by Evidence Press (2018). Live in Tehuacán, Mexico.
By Halves (2012)
Amy Halpern
By Halves, Amy Halpern, USA, 16mm, 8 min, 2012
By Halves uses appropriated footage from rejected 35mm prints that were cut in half and readjusted to be used as spacers for 16mm-to-sync-sound tracks on film, and not meant to be projected.
An appropriate appropriation, a gift, a magic act. The movement of the performer is slowed because one sees first the top and then the bottom of each frame in quick succession. Surprises result.
Image credits: unless otherwise noted all artworks, portraits and stills courtesy of David Lebrun © the estate of Amy Halpern.
About Amy Halpern
Amy Halpern (1953–2022). 40+ films from 1972–2022; major retrospectives at venues including Los Angeles Film Forum, Academy Museum of Motion Pictures, and (S8) Mostra de Cinema Periférico. Co-founder of New York Collective for Living Cinema (1972–82) and Los Angeles Independent Film Oasis (1975–80). Frequent collaborator on projects with filmmakers such as Pat O’Neill, Charles Burnett, Ken Jacobs, David Lebrun, and others.
Exhibition (2022)
Mary Helena Clark
Exhibition, Mary Helena Clark, USA, digital, 19 min, 2022
Pivoting between two stories of women and their relationships with objects—a Swedish woman’s marriage to the Berlin Wall, and a suffragist’s hatcheting of Velásquez’s The Toilet of Venus—Mary Helena Clark’s Exhibition is a maze-like tour through images and artifacts, a dense cryptography of the forms and objects that hold us in.—Leo Goldsmith
I’m not a woman. I’m a doorknob.—Agnes Martin
Image credits: unless otherwise noted all artworks, portraits and stills courtesy of the artist © Mary Helena Clark.
About Mary Helena Clark
Mary Helena Clark (1983). Works in film, video, and installation; 10+ films since 2008; screenings at venues including Open City Documentary Film Festival, New York FiIm Festival, Sundance Film Festival, Berlinale, Toronto International Film Festival, Media City Film Festival, and 25 FPS. Curator of film programs for Nightingale Cinema and Flaherty NYC at Anthology Film Archives. Lives in New York, New York.
Too Bright to See (2023)
Madeleine Hunt-Ehrlich
Too Bright to See, Madeleine Hunt-Ehrlich, USA, 16mm > digital, 27.5 min, 2023
Too Bright to See draws on Hunt-Ehrlich’s extensive research into the legacy of Suzanne Roussi-Césaire, a writer and anticolonial and feminist activist from Martinique who, along with her husband, Aimé Césaire, was at the forefront of the Négritude movement during the first half of the 20th century. Roussi-Césaire would also become an important Surrealist thinker, influencing the likes of painter Wifredo Lam and writer André Breton. However, despite her critical contributions to Caribbean thought and Surrealist discourse, until recently much of her work was overlooked.—Pérez Art Museum Miami
Image credits: unless otherwise noted all artworks, portraits and stills courtesy of the artist © Madeleine Hunt-Ehrlich.
About Madeleine Hunt-Ehrlich
Madeleine Hunt-Ehrlich portrait by Michaela Blanc
Madeleine Hunt-Ehrlich (1987). 10+ films since 2013; screenings at venues including Tate Modern, Berlinale, Solomon R. Guggenheim Museum, Whitney Museum of American Art, Venice Biennale (2022), Bienal de São Paulo, and BlackStar Film Festival. Filmmaker Magazine’s “25 New Faces of Independent Film” (2020), Princess Grace Award (2014), Creative Capital Award (2022), Herb Alpert Award (2023). Lives in New York, New York.
Program Partners
This program is co-presented with University of Windsor Department of Communications, College for Creative Studies, and Anthology Film Archives.
