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4rd Annual Migrating Forms FestivalMay 11–20, 2012 Anthology Film Archives, New York
Full Program Announced!
NEW YORK, April 25, 2012 – Migrating Forms announces its fourth annual festival, running Friday,May 11th through Sunday, May 20th at Anthology Film Archives in New York. The 2012 programincludes new works by more than 50 artists representing a broad spectrum of contemporary film andvideo practices, retrospective screenings, and special guest curated programs. Migrating Forms isprogrammed by Nellie Killian and Kevin McGarry.
2012 Full Program
Migrating Forms will showcase films and videos by 54 artists living and working in 25 countriesincluding Algeria, Argentina, Austria, Bangladesh, Canada, Chile, China, France, Germany, Haiti, India,Israel, Japan, Lebanon, Lithuania, Mexico, The Netherlands, Norway, Palestine, Philippines, Poland,Portugal, the United Kingdom, Ukraine, and the United States, including:Gabriel Abrantes • Masao Adachi • Cory Archangel • Trisha Baga • Yael Bartana • Eric Baudelaire •Neïl Beloufa • Wang Bing • Madison Brookshire • Jacob Ciocci • Phil Collins • Benjamin Crotty •Ximena Cuevas • Josef Dabernig • Khavn de la Cruz • Lav Diaz • Redmond Entwistle • NicolasGeyrhalter • Sylvain George • Beatrice Gibson • Jean-Luc Godard • Jean-Paul Gorin • Benjamin A.Huseby • Chuck Jones • William E. Jones • Fritz Lang • Lars Laumann • Laida Lertxundi • DaniLeventhal • Mark Lewis • Sebastian Lingiardi • Guthrie Lonergan • Jesse McLean • Natasha Mendonca• Anne-Marie Miéville
•
Naeem Mohaiemen • Shana Moulton • Deimantas Narkevicius • RaymondPettibon • Ben Rivers • Raul Ruiz • Daniel Schmidt • Amie Siegel • Fern Silva • Chick Strand • GinaTelaroli • Leslie Thornton • Gonçalo Tocha • Naomi Uman • Erika Vogt • Tashi Wada • Koji Wakamatsu• Emily Wardill • Akram Zaatari
2012 Opening Night
The Anabasis of May and Fusako Shigenobu, Masao Adachi and 27 Years without Images
(66min, France/Japan, 2011) dir. Eric BaudelaireThe political and personal epic of the Japanese Red Army is recounted as an
Anabasis
, a journey thatis both a wandering towards the unknown and a return towards home. From Tokyo to Beirut amid thepost-1968 ideological fever, and from Beirut to Tokyo at the end of the Red Years, the thirty-year trajectory of a radical fringe of the revolutionary left is recounted by two of its protagonists. MayShigenobu, daughter of the founder of the small group, witnessed it closely. Born in secrecy inLebanon, a clandestine life was all she knew until age 27. But a second life began with her mother’s
arrest and her adaptation to a suddenly very public existence. Masao Adachi, the legendary Japaneseexperimental director, gave up cinema to take up arms with the Japanese Red Army and thePalestinian cause In 1974. For this theorist of the fûkeiron (a movement of filmmakers who filmed thelandscape to reveal the ubiquitous structures of power) his 27 years of voluntary exile were withoutimages, since those he filmed in Lebanon were destroyed on three separate occasions during the war.It is therefore words, testimony, memory (and false memory) that structure
The Anabasis of May and Fusako Shigenobu, Masao Adachi and 27 Years without Images
. Two intersecting accounts, mixingpersonal stories, political history, revolutionary propaganda and film theory. Thirty years of self-invention in which the recurring theme is the question of images: public images produced by the mediain response to terrorist operations planned for the television era, and personal images that are lost or destroyed amid the chaos of the struggles. Adopting an experimental documentary format, theaccounts of May Shigenobu and Masao Adachi overlay new fûkeiron images, filmed in Super 8 in thecontemporary landscapes of Tokyo and Beirut. (Baudelaire)
2012 Special Events
Retrospective: Ne ï
l Beloufa
The French-Algerian artist will present a selection of his films and installations. The Ann Arbor FilmFestival writes, “
In his practice Neïl Beloufa demonstrates a persistent interest in dichotomies; realityand fiction, cause and effect, presence and absence, all of which he communicates through mediumsranging from sculpture, video, installation and conceptual photography. Through his construction of dichotomies Neïl Beloufa is able to deconstruct our perceived ideas of truth and fantasy, thus posingfantasy as truth.”
Fritz Lang's Indian Epic
Migrating Forms is proud to present a rare 35mm revival of Fritz Lang’s penultimate films,
The Tiger of Eschnapur
and
The Indian Tomb.
Patrick Friel writes, “The Indian Epic is spectacle, adventure, andromance and nearly borders on camp...Throughout his career, Lang took populist forms, genericconventions, and pulp sensibilities and consistently found ways through his style to arrive at larger universal truths and ways of looking at the world than are found in his films’ narratives alone. While for some
The Tiger of Eschnapur
and
The Indian Tomb
play only as Saturday-matinee escapism, for others they are rather remarkable films about the clash of cultures, modern Western civilization vs.“outmoded” Eastern tradition/superstition/ religion. They raise implicit questions about the very idea of cultural identity and defining an individual identity within a culture.” (Cineaste)
n+1 presents Prison Images
As a point of departure for his ongoing research and writing on the subject of prison abolition, n+1associate editor Christopher Glazek will present a screening of Harun Farocki’s 2001 film
PrisonImages
(aka
I Thought I was Seeing Convicts)
and speak about anti-prison propaganda, the role thatimages play in this, and the difference between art images and political images
.
Farocki’s film exploresthe similarities between the surveillance states of prison, the factory and the supermarket, focusing onsurveillance footage of the murders of unarmed inmates at California’s Corcoran prison.
Remembering Raul Ruiz
Described by J. Hoberman as “the Godard of the '80s, Mister nearly-Borges-plus-middle- periodWelles, a Barthesian Bunuel, the Edgar G. Ulmer of the European art film, a Third World H. Rider Haggard, the Garcia Marquez of French TV,”Migrating Forms will host an evening dedicated to the life
and legacy of Raul Ruiz (1941-2011), one of the most innovative and inspirational filmmakers and filmthinkers of the last 40 years.
A screening of Ruiz’ 1982 feature
On Top of the Whale
will be f ollowed by a program of rare Ruizshorts and readings from
Poetics of Cinema
presented by artists and curators including Jeanne Liotta,Mark McElhattan, Keith Sanborn, Elisabeth Subrin, and more.
Jonathan Rosenbaum writes of
On Topof the Whale
,"One of Raul Ruiz’s best features, this is also one of his looniest...The putative SF plotconcerns a French anthropologist and his Dutch wife who are hired to study the indecipherablelanguage spoken by two members of an Indian tribe; in fact, this is a dazzling intellectual goof, with anaverage of one striking visual idea per shot, a lot of gags involving the pretensions of anthropologistsand psychoanalytical theorists, and other forms of nonstop invention.” (Jonathan Rosenbaum)
Ed Halter presents Un filme de Diane Chambers
Critic and curator Ed Halter presents an illustrated lecture on fake experimental films as seen inmainstream movies and television, where they have often been used to ridicule the very notion of artistic practice or counterculture. Taken together as their own motley tradition, these parodies canprovide a shadow history of the avant-garde, showing how popular narrative has policed itself againstany other possible forms that cinema might take.
Electronic Arts Intermix presents Raymond Pettibon's
Sir Drone
EAI is pleased to present Raymond Pettibon’s
Sir Drone
(1989), featuring Mike Kelley. Pettibon'shighly idiosyncratic pen and ink drawings have taken him from L.A. cult status to the internationalartworld. With Kelley, Pettibon was close to the West Coast punk bands of the late 1970s and early1980s. His deliberately crude, low-tech video narratives are irreverent tales of 1960s and '70s WestCoast radical subcultures. These wildly ironic, deadpan dramas feature an ensemble of luminariesfrom L.A.'s post-punk underground. In
Sir Drone,
Kelley and Mike Watt play two teens struggling tocreate the right image for themselves, debating aesthetic and ethical issue of starting a punk band,and strategies to avoid being “rinky dink.”Screening with Cory Arcangel’s
Insectiside
(1992-03) and
Message my Brother Justin Left Me on my Cell from the Slayer Concert Last Week
(2004).Electronic Arts Intermix (EAI) is a leading international resource for video and media art whose coreprogram is the distribution and preservation of a major collection of over 3,500 new and historicalvideo works by artists.
Chuck Jones Centennial
Creator of dozens of seven minute Merrie Melodies masterpieces, Chuck Jones influenced everyonefrom Matt Groening to Jean-Pierre Gorin. The epitome of termite art, Manny Farber writes, “Jones isout to make you laugh, bluntly, and as it turns out, cold-bloodedly...the whole sphere of man’s emotionand behavior simply as a butt for humor, no matter what it leads to.” Featuring
Duck Amuck, OneFroggy Evening, Ali Baba Bunny, For Scent-i-mental Reasons, Rabbit Fire, Rabbit of Seville, NoBarking, Rabbit Seasoning, There They Go-Go-Go, Rabbit of Seville, Le Beau Pepe,
and
What'sOpera, Doc?
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