E’aux d’Artifice (1953) by Kenneth Anger
burning from the inside
Saturday, September 9 | 8:30pm at Gray Area
Visceral, volatile, eruptive, explosive and seething, alternatingly confrontational and tender, this program presents slow dives and jagged drops into personal mythologies, erotic reveries, missed connections and unrequited obsessions. Ecstatic surface noises cover lush descents into oceanic personal interiors in the culmination of the CROSSROADS night. Program dedicated to the memory of Kenneth Anger, featuring his 1953 classic Eaux D’Artifice.
SCREENING: Prelude (2022) by Eginhartz Kanter (Austria/Germany); digital video, b&w, sound, 4 minutes, exhibition file from sixpackfilm. A Picture for Parco (2022) by Ayanna Dozier (US); 16mm, color, sound, 3 minutes. E’aux d’Artifice (1953) by Kenneth Anger (US); 16mm, color, sound, 13 minutes. encaustic/earth/prayer/poem (2023) by Nik Liguori (US); digital video, color, sound, 8 minutes. Ever Wanting (for Margaret Chung) (2021) by TT Takemoto (US); digital video, color, sound, 7 minutes. moonshine/St. Paul (2023) by Nik Liguori (US); digital video, color, sound, 8 minutes. untitled, skin film (2022) by Sailor DiNucci-Radley (US); digital video, color, sound, 7 minutes. Hevn (2022) by P. Staff (UK); digital video, color, sound, 5 minutes, exhibition file from LUX. Bigger on the Inside (2022) by Angelo Madsen Minax (US); digital video, color, sound, 12 minutes. TRT: 61 minutes
program community partner: SF Queer Film Festival
$12 General/$10 Cinematheque Members, Gray Area Members & students (with ID)
$110 General/$88 Cinematheque Members, Gray Area Members & students (with ID)
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Prelude (2022) by Eginhartz Kanter
Ode to Demolition. Resounding thunder accompanies the sparks of exploding fireworks. Faint points of light grow into glittering fountains and cascades and illuminate what initially resembles a completely foggy night sky. (Melanie Letschnig) bay area premiere
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. bay area premiere
E'aux d'Artifice (1953) by Kenneth Anger
Of all [Anger’s] works, this is perhaps the most abstract; the rushing, flowing, trickling waters become interesting as shapes and rhythms. (Marilyn Singer, The American Federation of Arts)
encaustic/earth/prayer/poem (2023) by Nik Liguori
Visionary impressions of a long overdue vernal equinox. A vertiginous and textural tone poem describing the semiotics of spring through lucent, hand-crafted frames. Out of winter’s harsh grasp, some kind of promise grows. (Nik Liguori) Still, the profound change / has come upon then: rooted they / grip down and begin to awaken… (William Carlos Williams, Spring and All) north american premiere
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)
moonshine/St. Paul (2023) by Nik Liguori
From a chance encounter with a video piece in a museum, an auto-fictional narrative is prompted about loss and missed connections, appropriating footage from works by Rineke Dijkstra and exploitation filmmaker turned Southern-evangelist propagandist, Ron Ormond, as well as recordings from the filmmaker’s personal archive. (Nik Liguori) world premiere
untitled, skin film (2022) by Sailor DiNucci-Radley
A transmeditation on the screen and tape as a splicer of bodies and limbs. Collected materials from personal archives, online forums & porn websites are obscured and abstracted through composition & re-imaging, imagining the gendered body as a collective and multiple dream; in some way flickering, like a lamp or light, whose bulb is dead or dying. (Sailor DiNucci-Radley) bay area premiere
Hevn (2022) by P. STAFF
Combining digital and analogue filmmaking techniques with poetry, hand painted animation and industrial sound, Hevn explores pleasure and pain in the sick or debilitated body with Staff’s ongoing interest in the volatility of queer and trans bodies. Glimpses of footage—a shower scene, traffic, friends gathering—are obscured and revealed by layers of hand painted film and lettering, eventually giving way to a titular poem that asks what happens to us in states of dreaming, volatility, inebriation and exhaustion. (LUX) bay area premiere
Bigger on the Inside (2022) by Angelo Madsen Minax
From an isolated wooded cabin a trans man stargazes, scruff chats with guys, watches youtube tutorials, takes drugs and lies about taking drugs, feeling his way through a cosmology of embodiment. Bigger on the Inside probes the boundaries between interior and exterior, the micro and macro, to consider bodily insides as passageway and portal, relative to the immensity of longing. Nudes and landscapes are equally erotic. Eros as an issue of boundaries: When I desire you, a part of me is gone. Land is surreal. Memory is porous. (Angelo Madsen Minax)
Eginhartz Kanter (Austria/Germany) studied Fine Arts, Cultural Studies and Photography at the University of Arts and Design Linz, the Academy of Fine Arts Vienna and the École Nationale Superieure des Beaux-Arts in Lyon. In his artistic approach he questions the boundaries and conventions of everyday life and living environments. His (sub)urban interventions negotiate aspects of the public and often have a direct relation to architecture.
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. Portrait credit: Jasmine Rose
Kenneth Anger (1927–2023) Offering a description of himself for the program of a 1966 screening, Kenneth Anger stated his “lifework” as being Magick and his “magical weapon” the cinematograph. A follower of Aleister Crowley’s teachings, Anger is a high level practitioner of occult magic who regards the projection of his films as ceremonies capable of invoking spiritual forces. Cinema, he claims, is an evil force. Its point is to exert control over people and events and his filmmaking is carried out with precisely that intention. (Maximilian Le Cain, January 2003)
Nik Liguori (US) is an interdisciplinary artist and writer, based in Detroit MI whose work has appeared in the Ann Arbor Film Festival, the Winnipeg Underground Film Festival, the West Virginia Mountaineer Short Film Festival and On Art–Poland. His work is concerned with themes of natural, spiritual and internal environments, using auto-fictional narratives, analog and digital video and handmade objects to imagine spaces for fantasy and personal mythology to converge.
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.
Sailor DiNucci-Radley (US) is an experimental filmmaker and multimedia artist exploring trans desire, intimacy and the body as it is produced, reproduced and mediated by the screen and the internet. She is currently based in Los Angeles and recently graduated from the CalArts film/video program.
P. Staff (UK) lives and works in Los Angeles and London. Their work combines video installation, performance and publishing to interrogate notions of discipline, dissent, labour and the queer body. They have exhibited extensively, gaining significant recognition and awards for their work which is held in private and public collections internationally. Staff received their BA in Fine Art and Contemporary Critical Studies from Goldsmiths University of London in 2009.
Angelo Madsen Minax (US) is a filmmaker, visual artist, performer and educator. His projects consider how human relationships are woven through personal and collective histories, cultures and kinships. Madsen’s works have shown at Berlinale, Toronto International Film Festival, Tribeca Film Festival, BAM CinemaFest, European Media Art Festival, Anthology Film Archives, BFI, REDCAT, Ann Arbor, Berwick, Alchemy and other venues. His film, North By Current has been called “A beautiful, complex wonder of a film,” by Rolling Stone and “A titanic work” by Criterion. Madsen is currently a Queer|Art Mentor, an Associate Professor of Time-Based Media at the University of Vermont and a Guggenheim Fellow.