A Picture for Parco (2022) by Ayanna Dozier

October 26 – November 12, 2023

CROSSROADS 2023 Online Echo – program 1

you had me at hello

Cinematheque’s CROSSROADS 2023 online echo is a cross-sectional distillation of this year’s festival, refracting its themes and presenting select works in two reconfigured programs. Opening with a searing transglobal portrait of western culture in the contemporary moment, you had me at hello presents films which reach across distances and in which embodiments of philosophical inquiry and meditations on social ritual buffet against expressions of visceral yearning and confrontational expressions of self. Attempts at translocation and transgenerational communication weave through the program as horizons spin and fall away.

Let the blind lead those who can’t see (2023) by Sebastian Vaccaris (Australia); 16mm presented as digital video, color, sound, 6 minutes
presentes impuros (la luz espesada) (2023) by Bruno Varela (Mestizo); digital video, color, sound, 6 minutes
The Enlightenment (2023) by Stephanie Barber (US); digital video, color, sound, 12 minutes
Test Objects (2023) by Sam Drake (US); digital video, color, sound, 10 minutes
Ever Wanting (for Margaret Chung) (2021) by TT Takemoto (US); digital video, color, sound, 7 minutes
A Picture for Parco (2022) by Ayanna Dozier (US); 16mm presented as digital video, color, sound, 3 minutes
giroscopio (2021) by John Muse (US) & Brendamaris Rodriguez (Puerto Rico); digital video, color, sound, 8 minutes
Bye Bye Now (2022) by Louise Bourque (Canadian/Acadian); digital video, color, sound, 9 minutes
TRT: 61 minutes

Echo 1   Echo 2

Let the blind lead those who can't see (2023) by Sebastian Vaccaris

A blind man in a dark room melts into celluloid, feeling with his hands the messy layers of processed reality. Consisting of four different processing methods, a triple pack of film types and post massaged via hands passed through algorithms. (Sebastian Vaccaris)

presentes impuros (la luz espesada) (2023) by Bruno Varela

impure present / (thickened light) / dense times / badly curdled // Clotted within other clots / Sedimented emulsions, layers of the dissected world. // interface shapes / Exchange zones. spells, sigils / forms of subtle existence / light and time traps / /The program against the program / investigation from the smoking ruins of the capital cinema. (Bruno Varela)

The Enlightenment (2023) by Stephanie Barber

Listing dangerously into poetry, philosophy and sound art, Barber’s The Enlightenment finds Yon and Payola in a Victorian conservatory. They are companionable, disoriented and petulant—they whip wildly through these disembodied states. Payola reads an excerpt of their considerable tome on the Age of Enlightenment to Yon. Payola’s research, and presentation of this research, is a purposeful affront to empirical data, the scientific method and other enlightenment ideals, while reveling in the desire for the revolution and intellectual expansion those thinkers championed. The concepts are undermined by the form and register of their delivery OR the concepts are strengthened by the poetry through which they are presented. (Stephanie Barber)

Test Objects (2023) by Sam Drake

Fragmented attempts to describe a sensation. Acts of hypnosis disturbing familiar spaces. …It’s like you’re underwater and alone and everybody else is on land and together, only we’re inhabiting the same space having to witness each other like idiots. (Sam Drake)

Ever Wanting (for Margaret Chung) (2021) by TT Takemoto

Soaring through the complicated life of San Francisco’s first Chinese American female physician, this film envisions the euphoria and despair of Margaret Chung (1889-1959) and her insatiable desire for women and belonging within a sea of white military heroes, nurses and celebrities as it delves into drugs, sapphic surgeries and queer flights of fancy. (TT Takemoto)

A Picture for Parco (2022) by Ayanna Dozier

Dozier recreates a 1980s commercial made for the Japanese department store chain Parco by Kazumi Kurigami taking on the role previously played by an elegantly dressed Faye Dunaway sitting at a table, set against a black background, slowly and seductively eating a hardboiled egg. Filmed on the one-year anniversary of Dozier’s last colposcopy, the piece evokes a range of intense feelings not present in the original.

giroscopio (2021) by John Muse & Brendamaris Rodriguez

giroscopio is by two artists—one in Pennsylvania; one in Puerto Rico—each in pandemic lockdown, each disoriented. Objects seem to control them; their bodies are unbalanced, unwieldy, comical. The horizon spins; the ground falls away; and yet a strange wonder reigns. giroscopio es un cortometraje experimental de dos artistas, uno en Pensilvania y otro en Puerto Rico, cada uno en confinamiento por la pandemia, cada uno desorientado. Los objetos parecen controlarlos; sus cuerpos son desequilibrados, difíciles de manejar, cómicos. El horizonte gira; el suelo se cae; y, sin embargo, reina una extraña maravilla. (John Muse & Brendamaris Rodriguez)

Bye Bye Now (2022) by Louise Bourque

The very gesture of waving HELLO to the movie camera in itself (re)presents a recurring GOODBYE to a fleeting moment. Made in homage to my father, this film traces past lives lived in these personal 8mm family archives he left me. (Louise Bourque)

Sebastian Vaccaris (Australia) is originally from Chile and is currently based in Melbourne, Australia. He works with his hands and experiments with celluloid and poetry.

Bruno Varela (Mestizo/Mexico DF 1971). Audiovisual artist graduated from the Universidad Autónoma Metropolitana UAM X in Social Communication but self-taught in the mysteries of the audiovisual. Since 1992 he has been working full time in research/production with film and video. His process has developed essentially in the geographical and conceptual south of the continent, Oaxaca, Chiapas, Yucatan and Bolivia.

Stephanie Barber (US) is a multidisciplinary artist whose work has been focused on an expanded poetics resulting in the creation of films, books, installations and songs. This work sits between cinema and literature, science and spirituality, philosophy and comedy and manifests as a corpus that moves beyond allegiance to media and works hard at defying classification. Her work is shared consistently around the world.

Sam Drake (b. Dayton, OH) is a filmmaker based in Milwaukee, WI. Her work has been exhibited at film festivals and venues including CROSSROADS, Alternative Film/Video, Collectif Jeune Cinéma, Non-Syntax Experimental Image, Winnipeg Underground Film Festival, Transient Visions Festival of the Moving Image, and Antimatter. She has programmed for the UWM Union Cinema and Mini Microcinema and is currently an MFA candidate at the University of Wisconsin-Milwaukee.

TT Takemoto (US) explores hidden dimensions of same sex intimacy and trauma in Asian and Asian American history. Takemoto conjures up immersive queer historical fantasies by manipulating found footage and engaging with tactile dimensions of the archive.

Ayanna Dozier (US) is a Brooklyn-based filmmaker/artist and writer working with performance, experimental film, installation and analog photography. Select exhibitions include; BRIC (Brooklyn), Microscope Gallery (New York), Block Museum (Chicago), MoCA and The Shed (New York). She was a 2022 Wave Hill WinterWorkspace Resident (The Bronx), a 2018–2019 Helena Rubinstein Fellow in Critical Studies at the Whitney Independent Studies Program and a Joan Tisch Teaching Fellow from 2017-2022 at Whitney Museum of American Art. She received her PhD in Department of Art History and Communication Studies at McGill University (Montréal, QC) and is an assistant professor in film at University of Massachusetts, Amherst.

John Muse (US) writes criticism, makes experimental films, paintings and installation works and teaches visual studies at Haverford College.
Brendamaris Rodriguez (Puerto Rico) is a visual artist and performance artist living and working in Puerto Rico.

Louise Bourque is an Acadian French Canadian filmmaker living in Montréal. Over the years, her films have been screened in museums and galleries worldwide, including at the Museum of Civilization and the National Museum of Fine Arts of Quebec in Quebec; the National Gallery of Art in Washington, DC’ the Museum of Modern Art and the Whitney Museum of American Art. Bourque has received numerous honors for her work and has had several retrospective screenings, including one at La Cinémathèque québécoise in 2021, with the book Imprints: The Films of Louise Bourque, edited by Stephen Broomer and Clint Enns, was officially launched on the occasion.