@ SAN FRANCISCO MUSEUM OF MODERN ART
151 Third Street (between Mission & Howard Streets)
San Francisco, CA 94103 – MAP
CROSSROADS program 8
a friend becomes like a ghost
presented by San Francisco Cinematheque and San Francisco Museum of Modern Art
anticipated artists in person: Anna Kipervasser, Cherlyn Hsing-Hsin Liu and Rajee Samarasinghe
pictured above: Transcript (2018) by Erica Sheu
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Single Screening Admission: $12 general/$10 Cinematheque and SFMOMA members with member code. Single Screening advance tickets available here.
CROSSROADS festival day pass (Saturday & Sunday only): $25
CROSSROADS festival day pass provides admission to all daily CROSSROADS screenings and general admission access to SFMOMA galleries (including Pat O’Neill: Three Answers).
Sunday, June 9 CROSSROADS festival day pass available here.
NOTE: Admission to the special exhibition Andy Warhol: From A to B and Back Again is not included with the festival day pass but can be purchased here.
Reflective films on origins and endings, on lifespan, on intergenerational dialog and communication with past and future selves. Patient enactments of transmutation. Tender animations of the inanimate. A blurred face, a distant memory, a circling back to a beginning. Inner states superimposed on the world and a universe filled with every day with stars. How long has it been since we have not seen each other?
Song X (2017) by Pathompon Mont Tesperateep (Thailand); digital video, b&w, sound, 20 minutes, exhibition file from the maker U.S. premiere
A deserter awakes to discover that his body is lying lifelessly on the ground. He embarks on this new journey where he encounters a group of teenagers who intend to give him a cremation ceremony while, at the same time, his dead body is being searched by a military patrol.
Since a young age, my life has been surrounded by music with my childhood friends whom we shared intimate friendship, which resulted in us forming a band together. Sadly, one of them passed away a few years ago, and I’ve missed his cremation ceremony. “The Last Village” is one of the unreleased songs, which depicts a group of hidden villagers delightfully conducting a funeral. Song X is an attempt to compose an extended version of this posthumous song, as a form of a visual poem, shooting with deteriorated 16mm and super 8 film stock, portraying life after death. It is a means to deliver out a message to my deceased band member and friend, and a memorial ritual for the dead. (Pathompon Mont Tesperateep)
When It Is Still (2018) by Anna Kipervaser (Ukraine/US); 16mm, color, silent, 10 minutes, print from the maker world premiere
An enactment of transmutation, of the animation of the previously inanimate, the dead, the unborn. A rebirth of the self. (Anna Kipervaser)
everyday star (2018) by Rajee Samarasinghe (Sri Lanka/US); digital video, color, silent, 9 minutes, exhibition file from the maker bay area premiere
Everyday states of being and decay are observed through the infinite scope of the cosmos and the restorative light which emanates from it, driving cinematic and photographic impulses. (Rajee Samarasinghe)
Transcript (2018) by Erica Sheu (Taiwan/US); 35mm screened as digital video, color, silent, 3 minutes, exhibition file from the maker bay area premiere
I transcribe a relationship on film with what I found at home: the flower baby’s breath, love letters my father wrote and sun print papers my lover gave me. This film is a dedication to Shadow Film: A Woman with Two Heads (Nito-onna: Kage No Eiga) (1977) by Shuji Terayama. (Erica Sheu)
After DeCarava (2018) by Paige Taul (US); digital video, b&w, silent, 2 minutes, exhibition file from the maker world premiere
A tender approach to filmic abstraction mirroring the care evidenced in Roy DeCarava’s photograph Face out of focus (c. 1960). (Paige Taul)
How Old Are You? How Old Were You? (2017) by Cherlyn Hsing-Hsin Liu (Taiwan/US); 16mm, color, sound, 16 minutes, print from the maker bay area premiere
Shot on 16mm film using camera obscura techniques, How Old Are You? How Old Were You? fractures the logic of time to contemplate bringing oneself back to the origin, the womb. A dialogue between two selves—infant and adult—the film traverses through a series of psychological events, transforming memories, emotions, thoughts and imagination. (Cherlyn Hsing-Hsin Liu)
CROSSROADS 10 is generously supported by the George Lucas Family Foundation, the National Endowment for the Arts, the Fleishhacker Foundation, San Francisco Hotel Tax Fund/Grants for the Arts, the Willow Foundation, the Andy Warhol Foundation for the Visual Arts and Cinematheque’s Members and Donors.