Brendan Fowler

projections and performance.
part of L.A.N.D.
10 pm - 12 am









Los Angeles Nomadic Divison

10:30pm: Video selections by Brendan Fowler
11:30pm: Performance by Stephen/Steven (Brendan Fowler)

Address: M Bar
1263 W. Temple St., Los Angeles, CA 90026 Parking: Street
RSVP not required.



"A programming series with an eye toward film, video, and the moving image in general, Frame Rate is presented in conjunction with simultaneous LAND exhibitions, at other site, as a means to further explore the work of the exhibiting artists, the exhibition's thematic, and how the two relate."










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dream machine

this
weekend's
viewing..

Flicker, the documentary.

In 1960, poet, artist, and beatnik Brion Gysin invented the Dreammachine, a hypnotic light device with the power to induce hallucinations. The Dreammachine enthralled mystics and freethinkers everywhere, with William Burroughs claiming that it could, “storm the citadels of enlightenment.”

Nik Sheehan’s riveting documentary explores the life of Brion Gysin and his quest to transform human consciousness. With interviews from some of the counter-culture’s most eccentric icons- from Iggy Pop to singer Marianne Faithfull- FLicKeR is a fascinating exploration of the age-old search for the boundaries of reality.

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Brent Green : Re(building)

tonite:
Gravity Was
Everywhere
Back Then
at Andrew Edlin Gallery

April 17, 2010 - June 5, 2010

the house that continues to be built time and time again,
over and over, and over. a way to remember, a way to forget...



"Today I join Brent in New York to try and help rebuild Leonard Woods house and try to convince him to stop sleeping on the gallery floor. It is pretty funny to think that Leonard built his house by hand, then it was torn down, then we rebuilt a version, and now we will be rebuilding that version over and over again. It is a strange methodical memorial I guess, like the original house, but in our case we are building to save not a person but a story (but I guess they are the same thing nowadays really...). Now that I think of it, Brent even built a life size version of Leonard's house out of paper before the one in the yard in order to film a small short that was expanded into Gravity. So many times has this house been rebuilt! The paper house set still lives in the barn! Here is a picture of the very first paper version of Brent's version of Leonard's house! "





taken from the
"gravity was everywhere back then"
blog here..

Brent Green
at Andrew Edlin Gallery,
here..

"The exhibition and film both center around the true story of Leonard Wood, an unknown hardware-store clerk from Louisville, Kentucky, who worked tirelessly throughout the 1970s to create an original, bizarre (and since destroyed) residence.

Wood hoped that his unimaginably tiered floors, vaulted ceilings, and twisted, heaving walls might somehow save his wife, Mary, from her terminal cancer. Following her death, Wood tuned his healing machine for another twenty years, before toppling from its roof, leaving him broke and incapacitated.

For Gravity, Green rebuilt Wood's home—along with four other houses, a handmade piano, a sixteen-foot glowing moon, and a giant, wooden God—on his rural Pennsylvania farm, following the crudely rendered plans Wood had scrawled on a piece of cardboard. For the exhibition, Green will install the full-scale house and its contents in the main gallery space, alongside a series of video projections and sculptures. Green describes his own journey creating Gravity Was Everywhere Back Then as, "an effort to leave something wonderful behind, which is exactly what Leonard did."

taken from press release from Andrew Edlin Gallery.....

















thanks
jane!
(sorry i'll miss the opening!)





also for those in new york,
Friday, May 7, 7 pm: film premiere of
Gravity Was Everywhere Back Then,
IFC Center, 323 Sixth Avenue, New York.


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O F F T H E G R I D

American Dreaming

"Where I live
is the last remaining
land of America that is left"

Off The Grid, Life on the Mesa

a documentary by Jeremy Stulbery and Randy Stulberg,
(now streaming on roku)
stayed up late watching this mindblowing documentary!

"Jeremy and Randy Stulberg, a brother and sister team, originally set out to make a documentary about U.S. citizens living abroad. Then they discovered a tribe of expatriates here at home, fleeing the American mainstream in a way that only deepened their American identity. The Stulbergs filmed them instead, with riveting results.

In 15 square miles of abandoned land, about 400 misfits—aging hippies, disillusioned veterans, teenage runaways—have built a community where no one cares if you smoke pot, fire your rifle all day, let your kids drive your car, or walk around naked in the desert heat. It's a landscape of beat-up old trailers, shacks jerry-rigged from recycled materials, solar panels, little farms, greenhouses, and at least one tipi.

"Where I live is the last remaining land of America that is left," says Dreadie Jeff, another Mesa resident. "You can do what you fucking want there."

read the whole article here
via reason magazine.

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the
potential
to
see
things
differently.

"At its heart, Between the Folds is a film about potential. The potential of an uncut paper square. The potential of a wild scientific idea. The potential to see things differently."

GREEN FUSE FILMS' award–winning documentary Between the Folds chronicles the stories of ten fine artists and intrepid theoretical scientists who have abandoned careers and scoffed at hard–earned graduate degrees—all to forge unconventional lives as modern–day paperfolders. As they converge on the unlikely medium of origami, these artists and scientists reinterpret the world in paper, and bring forth a bold mix of sensibilities towards art, expressiveness, creativity and meaning. And, together these offbeat and provocative minds demonstrate the innumerable ways that art and science come to bear as we struggle to understand and honor the world around us—as artists, scientists, creators, collaborators, preservers, and simply curious beings.








go here for more info.
buy it here.


















Jean-Claude Correia

.


Dr Erik Demaine (US)

Giang Dinh (US, Vietnam)

Vincent Floderer & Le Crimp (France)

Miri Golan (Israel)

Dr Tom Hull (US)

Paul Jackson (Israel)

Eric Joisel (France)

Michael LaFosse & Richard Alexander (US)

Dr Robert J Lang (US)

Chris K Palmer (US)

Brian Chan (US)

Joel Cooper (US)

Eric Gjerde (US)

Satoshi Kamiya (Japan)

Dr Bernie Peyton (US)


OTHERS CREDITED IN THE FILM:
Jean-Claude Correia (France)
Tomoko Fuse (Japan)
Miyuki Kawamura (Japan)
Akira Yoshizawa (Japan)

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Agnes Varda.
rainy day viewing.

Cle0 5 to 7,
1962
Directed by Agnes Varda


"Cléo is a pop singer who wanders around Paris while she awaits her biopsy results in fear she may have cancer. As Cléo readies herself to meet with her doctor at 7 o'clock, she meets with several friends and strangers while trying to grapple with mortality. Sensing indifference from those nearest to her, she finds herself questioning the doll-like image people have of her and is overcome by a feeling of solitude and helplessness. She finally finds some comfort in the company of stranger she meets in a park (Parc Montsouris) and with whom she is able to have a sincere conversation. He accompanies her to the hospital (Pitié-Salpêtrière Hospital), where she meets the doctor who will give her the results of the exam."







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Art 21
lazy sunday in bed
with coffee and art....

(now streaming, here,
on netlifx and roku.)

Art 21 here...
go here for more info.

Art 21was founded in 1997 with the belief that contemporary visual art is of real interest and value to a broad audience. By making contemporary art more accessible through public television and the Internet, Art 21 affords an intimate encounter with contemporary art and the people who make it, encouraging creative thinking and self-expression.

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the day i didn't turn with the world...
GUIDO van der WERVE
2007

GUIDO van der WERVE, at Marc Foxx now.
(introduced to a new artist yesterday,
spent the afternoon watching some films.)
thanks r.....




Interesting interview at Metropolis here about his work, and the beginnings,
with Laurence Lowe.

How did you get involved with visual art?

Guido van der Werve:

‘When I was 5 and people asked me what I wanted to be, I always said an inventor. Later on, when I was 16, I got all these parts and I made my own moped. Just that boyish stuff. So I decided to study industrial design at the technical university in Utrecht. But the problem was it’s a university known for rocket science and physics. I mean, I was always pretty good at mathematics, but this was a little too much for my taste. So I quit after two months and decided to do the preparatory year of the conservatory in Rotterdam for jazz and blues. My playing skills were okay, but there was all sorts of other stuff you need to know, like how to sing scales. I really lost interest and most of the year I was just hanging out in pubs with my friends, and by the end I had no idea what I should do. I always had this obsession with Alexander the Great, so I decided to study classical archaeology in Amsterdam, and I immediately began to feel at home there. In fact, I kind of divide my life in two parts: when I was living in the shithole where I’m from, and when I moved to Amsterdam. Anyway, I did that for a year, but archaeology just wasn’t for me. Then I started to think about the industrial design again – I thought maybe I should do that in art school instead, because there’s less math and you don’t have to work in groups, which was something I really hated. If I want to make something work, I should be the dictator, you know what I mean? [we both laugh] I got all these assignments to build up some portfolio. I was always painting and drawing a little bit, but nothing really remarkable. I mean, I really stink as a drawer, I can’t draw anything.’

Laurence Lowe:

Is that the reason you decided to choose film as your medium?

Guido van der Werve:

‘When I was 15 or 16, I went to a theatre school on the weekends. I had a lot of fun doing that. And when I was playing in a band, even when I was playing piano, it was always nice to perform. I liked the action of me doing something, but I didn’t like to do it live in front of an audience. So I asked my friends to make a simple video registration of it. That’s where those works come from.’

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