http://www.sfcinematheque.org/wordpress/wp-content/uploads/2013/05/Eric_Stewart_samhain-wpcf_320x179.jpg

Eric Stewart: SAMHAIN

1365120000

@ VICTORIA THEATRE

2961 16th Street

San Francisco, CA 94103 - MAP

(415) 863-7576


CROSSROADS 2013: Program 1

they invented machines...

Works by Paul Clipson, Jeanne C. Finley & John Muse, Chris Kennedy, Suzan Pitt, Luther Price, Kelly Sears, Eric Stewart and Makino Takashi

Admission: [$5 members / $10 non-members] Festival Pass: [$25 members / $50 non-members] available here
Order advance tickets for this program here

CROSSROADS 2013 is sponsored by Ninkasi Brewing and Cole Hardware
thanks to promotional partner Oddball Film+Video

SCREENING:
Nomadic Flesh (2007) by Luther Price; 16mm, color, sound, 8 minutes, from the maker. world premiere.
THIS FILM HAS NEVER BEEN SCREENED………..IN PUBLIC………… ‘NOMADIC FLESH’…2007…..16MM AFTER THE GARDEN SERIES……….( A ROTTED GARDEN FILM)……………… (Luther Price)

SAMHAIN (2012) by Eric Stewart; 16mm, color, sound, 3 minutes, print from the maker
“Halloween stamps and cross-processing. Unique artist-made print.” (Eric Stewart)

Absteigend (2012) by Paul Clipson; Super-8mm, color, sound, 6 minutes, from the maker. world premiere.
Music by Evan Caminiti (of Barn Owl).
“An impressionistic study in black and white of the industrial landscapes of Brooklyn NY and Oakland CA.” (Paul Clipson)

Tropical Depression (2012) by Kelly Sears; digital video, color, sound, 3 minutes, from the maker. bay area premiere.
Tropical Depression was made during a year spent on the island of Galveston. Images from recent hurricanes and the 1931 Miss Universe Contest are collaged into an animated séance that channels to the island’s haunted history.” (Kelly Sears)

Pinball (2013) by Suzan Pitt; digital video, color; sound, 7 minutes, from the maker. bay area premiere.
Pinball is an experimental animated film of moving abstract paintings which I painted and animated during the past year with a digital camera. The film visualizes my interpretation of George Antheil’s 1952 revision of Ballet Mécanique using trigger-fast cutting, painted imagery and sound effects. It might be described as visual music. My aim has been to make an artwork which is original, fast, intense and fresh! Let loose from narrative confines, I am exploring the nature of time, rhythm and the abstraction of image and sound.” (Suzan Pitt)

Fe (2010) by Eric Stewart; 16mm, b&w, silent, 3 minutes, print from the maker
“The ebb and flow of iron filings on a magnetic plane.” (Eric Stewart)

Manhole 452 (2011) by Jeanne C. Finley and John Muse; digital video, color, sound, 13 minutes, from the makers
“Despite assurances from local municipalities, a fact of life is that manholes blow sky high more frequently than most people realize. Manhole 452 directs the viewer’s attention to the shapes, sizes and patterns of manhole covers on Geary Street in San Francisco, and then plunges deep below into the manholes themselves to explore the hidden threat that lies below.
“The fictionalized film is a first person narrative, drawn from documentary interviews and research, that follows the reflections of a middle-aged man whose car was hit from below by an exploding manhole. He is now forced to ride the 38 Geary Limited bus for the entire length of the street (from the Pacific Ocean to the San Francisco Bay) to his job fitting prosthetic limbs. His narrative explores an obsession with calculating odds and the possibility of miracles amid the presence of random violent occurrences.” (Finley + Muse)

One Roll in the Blackness (2011) by Chris Kennedy (Canada); 16mm, b&w, sound, 3 minutes, print from the maker. bay area premiere.
“Keiji Haino, live in Toronto, June 22, 2011. A single roll of film, shot one frame at a time. Special thanks to Keiji Haino and Adam Rosen.” (Chris Kennedy)

[2012] (2012) by Makino Takashi (Japan); digital video, color, sound, 30 minutes, from the maker. bay area premiere.
“Everything of what I saw during 2012. I made this work in almost unconsciousness. This work will show you the dynamic moment of changing from Film image to Digital image.” (Makino Takashi)