anticipated artists in person: Dianna Barrie, Lydia Moyer, Jodie Mack, Alison Nguyen, Brian Pedersen, Richard Tuohy, Kit Young
pictured above: you can’t plan a perfect day sometimes it just happens (2017) by Alison Nguyen
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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 CROSSROADS screenings in SFMOMA’s Gina and Stuart Peterson White Box Gallery). Sunday, June 10 CROSSROADS festival day pass available here.
NOTE: Admission to the special exhibition René Magritte: The Fifth Season is not included with the festival day pass but can be purchased here.
CROSSROADS concludes with a program of clashing visions of techno-determinate hubris, mediated oppression and the possibilities of rapturous escape into noise, light and the ecstasies of the analog. Technophobia meets technophilia in the dystopian present. Crowds gather, flowers bloom and electrons flow as tides of resistance rise.
you can’t plan a perfect day sometimes it just happens (2017) by Alison Nguyen (USA); digital video, color, sound, 9 minutes, exhibition file from maker bay area premiere
A collage of blown-out, re-appropriated footage of lens flare from contemporary American advertisements. The piece is a critique of and meditation on visual codes for authenticity and spirituality used in white-dominated mass media. (Alison Nguyen)
China Not China (2018) by Dianna Barrie & Richard Tuohy (Australia); 16mm, color, sound, 14 minutes, print from maker U.S. premiere
Hong Kong marked twenty years since its hand over; half way through the planned forty year “one country, two systems” transition. Taiwan, once imperial China, once Formosa, now ROC on the edge of the PRC. Multiple exposures of street scenes distort space and place creating a fluid sense of impermanence and transition, of two states somewhere between China and not China. (Dianna Barrie & Richard Tuohy)
Solo Trumpet (2017) by Kit Young and Brian Pederson (USA); projection performance, color, sound, 14 minutes world premiere
To quote Brian Pedersen: “So, an old friend gave me a trumpet some years back, I tried but couldn’t get any satisfying sounds out of it. So… I plunked an alto sax mouthpiece on it, ran it through eight guitar pedals and into a little SUNN O)) practice amp turned way up. Doesn’t really sound like a trumpet at all anymore. One take, no dubs, my neighbors love me. Peace.” Brian’s radical approach to his instrument mirrors my approach to video art. (Kit Young)
The Falling Sky (2017) by Peggy Ahwesh (USA); digital video, color, sound, 10 minutes, exhibition file from the maker bay area premiere
Refashioning the original intention of footage lifted from an online animated news outlet, The Falling Sky is a cautionary tale about the inexplicable sea and the tumultuous sky—a poetic tour through the dense landscape of recent news in a recap of human foibles, follies and crises that are increasingly out of alignment with the forces of nature. (Peggy Ahwesh)
The Forcing (No. 2) (2015) by Lydia Moyer (USA); digital video, color, sound, 7 minutes, exhibition file from the maker bay area premiere
A meditation on power and the longing for deliverance in contemporary America. (Lydia Moyer)
3 Peonies (2017) by Stephanie Barber (USA); 16mm screened as digital video, color, sound, 3 minutes, exhibition file from maker bay area premiere
A brief, poetic film on a simple sculptural action. (Stephanie Barber)
Wasteland No. 1: Ardent, Verdant (2017) by Jodie Mack (USA); 16mm, color, silent, 4 minutes print from the maker bay area premiere
A eulogy for wasted potential sends the out of date to the out of body: trash to treasure. An appetite for destruction charts the product life cycle, interrupting the horizon through an intersection of perspectives. (Jodie Mack)
Another Void (2012) by Paul Clipson (USA); 16mm, color, sound, 11 minutes, print from Canyon Cinema
Orpheus meets the bird with the crystal plumage. Filmed in the Tenderloin night of San Francisco, this study of the eye in vertiginous color and darkness, part drip painting, part contour drawing, part cubist collage, broadens and intensifies an ongoing exploration into the various in-camera processes of handheld, small gauge filmmaking in the optic field, and the rhythmic and graphic relationships of multilayered imagery to music-making and dreams. (Paul Clipson)
CROSSROADS 2018 is generously supported by: 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.