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Format: 07/23/2014

Tuesday, May 7 2013

Experimentum Linguae

April 30, 2013 - May 7, 2013
Tuesday, April 30, 2013 - 8:00am - Tuesday, May 7, 2013 - 11:45am

CalArts, Staircase by McBean Parkway off ramp

CRITICAL STUDIES: A participatory installation wherein objects will be placed and/or substituted with other objects. We will place a few small objects and invite participants to exchange these objects with other objects.

Last edited by dstears on May 02, 2013

F430 Video Installation Exhibition

May 2, 2013 - May 9, 2013
Thursday, May 2, 2013 - 8:00pm - 10:00pm
Thursday, May 9, 2013 - 8:00pm - 10:00pm

CalArts, A404, Black and White Studio

FILM/VIDEO: Two hour receptions for the video installation class final exhibitions.

Last edited by rsdavid on Apr 26, 2013

REDCAT International Children's Film Festival

May 4, 2013 - May 19, 2013
Saturday, May 4, 2013 (All day) - Sunday, May 5, 2013 (All day)
Saturday, May 11, 2013 (All day) - Sunday, May 12, 2013 (All day)
Saturday, May 18, 2013 (All day) - Sunday, May 19, 2013 (All day)

REDCAT: With three weekends of acclaimed, international short-film programs, the REDCAT International Children’s Film Festival returns to delight movie-goers big and small. This global tour of charming, funny and poignant films—hailing from Argentina, Australia, Brazil, Colombia, Denmark, Estonia, Iceland, Japan, Puerto Rico, Russia, Singapore, Spain and Taiwan, among others—is an awe inspiring journey for the whole family. Festival highlights include the latest in both live action and animated shorts. Read more

Last edited by dstears on Feb 01, 2013

New Works Festival 2013: 'Femme 6 and the Deer Woman'

May 5, 2013 - May 13, 2013
Sunday, May 5, 2013 - 3:00pm
Sunday, May 5, 2013 - 9:00pm
Monday, May 13, 2013 - 3:00pm
Monday, May 13, 2013 - 8:30pm

CalArts, Coffeehouse Theater

THEATER: A solo theater performance with multimedia elements, dancing and storytelling. It's the story of a burlesque dancer transformed into a deer.

The School of Theater's New Works Festival (NWF) fosters opportunities for collaboration among all schools of the Institute and to celebrate the talent of CalArts students. This is a festival of the students, by the students and for the students, cultivating the growth of a collaborative, fun and creative atmosphere within the CalArts community, and allowing students the freedom to play and experiment with new work where the process is valued above the end result.

The Festival encourages interdisciplinary collaboration, explorative processes, and immersive risk-taking.

Last edited by rsdavid on May 01, 2013

Art School Gallery Exhibitions

May 6, 2013 - May 10, 2013
Monday, May 6, 2013 - 8:00am - Friday, May 10, 2013 - 5:00pm

D300 Gallery: Graphic Design Program Exhibtion

D301 Gallery: Graphic Design Program Exhibtion

L-SHAPE Gallery: Art Pilot's Exhibition

MAIN Gallery Perimeter: Theater Portfolio Review

A402 Gallery: Art & Technology MFA 1 Exhibition

LIME Gallery: Art & Technology MFA 1 Exhibition

MINT Gallery: Art & Technology MFA 1 Exhibition

Last edited by Belmer on Feb 15, 2013

'Will'--A short film screening

May 6, 2013 - May 7, 2013
Monday, May 6, 2013 - 12:00pm - 1:00pm
Tuesday, May 7, 2013 - 12:00pm - 1:00pm

CalArts, Bijou Theater

THEATER: Screening of short film.

Last edited by rsdavid on Apr 18, 2013

New Works Festival 2013: 'Things From Before 3'

May 6, 2013 - May 12, 2013
Monday, May 6, 2013 - 10:00pm
Tuesday, May 7, 2013 - 10:00pm
Wednesday, May 8, 2013 - 11:00pm
Saturday, May 11, 2013 - 10:00pm
Sunday, May 12, 2013 - 10:00pm

CalArts, Clarks Field

THEATER: The School of Theater's New Works Festival (NWF) fosters opportunities for collaboration among all schools of the Institute and to celebrate the talent of CalArts students. This is a festival of the students, by the students and for the students, cultivating the growth of a collaborative, fun and creative atmosphere within the CalArts community, and allowing students the freedom to play and experiment with new work where the process is valued above the end result.

The Festival encourages interdisciplinary collaboration, explorative processes, and immersive risk-taking.

Last edited by rsdavid on May 07, 2013

New Works Festival

May 7, 2013 - May 12, 2013
Tuesday, May 7, 2013 - 9:00am - Sunday, May 12, 2013 - 11:00pm

CalArts, Main Gallery

THEATER: The School of Theater's New Works Festival (NWF) is a festival for the students, of the students and by the students. It encourages interdisciplinary collaboration, explorative processes and immersive risk-taking.

Official Festival Schedule Coming Soon! Stay tuned. 

Last edited by rsdavid on Mar 08, 2013

New Works Festival 2013: 'Because You Wouldn't Stay The Night'

May 7, 2013
Tuesday, May 7, 2013 - 3:00pm
Tuesday, May 7, 2013 - 8:30pm

CalArts, F100

THEATER: The School of Theater's New Works Festival (NWF) fosters opportunities for collaboration among all schools of the Institute and to celebrate the talent of CalArts students. This is a festival of the students, by the students and for the students, cultivating the growth of a collaborative, fun and creative atmosphere within the CalArts community, and allowing students the freedom to play and experiment with new work where the process is valued above the end result.

The Festival encourages interdisciplinary collaboration, explorative processes, and immersive risk-taking.

Last edited by rsdavid on May 07, 2013

New Works Festival 2013: 'ACatz'

May 7, 2013
Tuesday, May 7, 2013 - 3:00pm - 4:30pm
Tuesday, May 7, 2013 - 8:00pm - 9:30pm

CalArts, Coffeehouse Theater

THEATER: Stage adaptation of the animated musical, The Artistocats.

The School of Theater's New Works Festival (NWF) fosters opportunities for collaboration among all schools of the Institute and to celebrate the talent of CalArts students. This is a festival of the students, by the students and for the students, cultivating the growth of a collaborative, fun and creative atmosphere within the CalArts community, and allowing students the freedom to play and experiment with new work where the process is valued above the end result.

The Festival encourages interdisciplinary collaboration, explorative processes, and immersive risk-taking.

Last edited by rsdavid on May 07, 2013

Paul Brach Visiting Artist Lecture Series Presents John Divola

May 7, 2013
Tuesday, May 7, 2013 - 7:00pm

"My acts, my painting, my photographing, my considering, are part of, not separate from, this process of evolution and change. These photographs are not so much about this process as they are remnants from it. My participation was not so much one of intellectual consideration as one of visceral involvement." John Divola, 1980.

Divola received a B.A. from California State University in 1971 and later received an M.F.A. from University of California, Los Angeles in 1974. He has held residencies at many institutions including California Institute of the Arts. He has held the position of Professor in the art department at U.C. Riverside since 1988. His work has been featured in many solo exhibitions across United States, Europe, Japan and Australia. He participated in 1978, 1989, 2000 the Museum of Modern Art group exhibitions and in 1981 Whitney Biennial. Divola received many awards as Individual Artist Fellowship from the National Endowment for the Arts in 1973, 1976, 1979, 1990 and a Guggenheim Memorial Fellowship in 1986. He published four books: Continuity, Isolated Houses, Dogs Chasing My Car In The Desert, and Three Acts. Divola works in photography, describing himself as exploring the landscape by looking for the edge between the abstract and the specific. He currently lives and works in Los Angeles.

http://www.divola.com/

Interview with John Divola on American Suburb: http://www.americansuburbx.com/2010/06/interview-interview-with-john-div...

Last edited by jchiang on Apr 25, 2013

Structuring Strategies Presents James Benning

May 7, 2013
Tuesday, May 7, 2013 - 7:00pm

CalArts, Bijou Theater

FILM/VIDEO:

James Benning will present El Valley Centro.

El Valley Centro (1999, 90 min., 16mm) is the first film of the California Trilogy, including Los (2000) and Sogobi (2001).

El Valley Centro - James Benning
Released 2000
by Caroline Koebel

Comprised of 35 two and a half minute shots, James Benning’s 16mm experimental documentary El Valley Centro (2000) presents a curious taxonomy of California’s Great Central Valley. In the process it frames a tug-of-war between the land and the uses humans find for it: natural wonders—and their demise into wasteland, agribusiness and corporate cattle ranching, tract housing and anti-drug billboards (“where meth goes violence follows”), water, nuke and wind energy. This is a place where some people are and others are not, but the geography imaged here is the singular vision of one visitor to the region.

“Benning takes from his travels what nobody has to give...only what he in turn can share as his reflection on the land. In his quest—equipped with Bolex camera and Nagra recorder—to order the world he comes upon (such as “an oil well fire with flames high into the sky”), Benning argues that sheer contemplation of place (or more specifically, understanding of self in relation to non-self, in terms of how we perceive ourselves within and apart from our surroundings) is a spiritual, political and also ethical act. The knowledge gained from such observation must either be willfully denied or acted upon.” The film, in its 35 scenes, conveys not so much how a given geographic (and sociopolitical) zone can be dissected for evaluative purposes but rather how the land buckles against imposed standards and rebukes monotony with a wilderness of difference. Benning’s remark about El Valley Centro, “landscape is a function of time,”2 underscores that place is relative and that meaning is not static.

Patience (and/or incredible good fortune) is key to the filmmaker’s presence in the environs. A landscape of wetlands, featuring competing asymmetry and balance as curves contrast with the horizon line, is an alluring composition—the sense of being able to step into the frame and keep moving into the distance dramatic. The scene appears to be the way it is and seems like it will remain the same—the viewer sensing nothing lacking—when waterfowl rise from the water’s surface en masse. The snow geese fly toward the camera, leave the frame and eventually re-enter and return to the same spot on screen they were before.

The camera’s perfect stillness here and everywhere allows for the deliverance of such magic. The proximity of Benning’s oeuvre to still photography and early cinema and the wonders of an inventor such as Méliès is manifest here in his radical departure from such convention. Likewise, he is worlds apart (and millions of dollars away) from entertainment cinema: no explosives, i.e., ignite the flight of the snow geese nor are they the effect of CGI.

The rare shot is more theatrical, introducing the possibility of being staged for the camera. The film’s 14th scene features cowgirls practicing for a rodeo: one pins, and on cue releases a goat so that the other approaching on horseback can rope and subdue it. The action repeats, and an intricate rhythm is established. It is here that I’m cognizant of the mutual admiration between Benning and Sharon Lockhart, i.e., in Goshogaoka (1998) her stationery camera on the mesmerizing movement of the girls basketball team choreographed based on their training drills.

In a few scenes Spanish figures prominently on the soundtrack, and there is no mistaking that the field workers and grape pickers of American agribusiness are migrant laborers from Mexico. Perhaps if more followed Benning’s lead and observed where food comes from in the first place, then a decade after El Valley Centro the scapegoating of “illegals”—in the face of the “Great Recession”—for the country’s economic woes would be seen more widely for the ruse it is.

If what defines being human is the struggle to make sense of the world, then the possibility of calm reflection and firsthand experience proffered by El Valley Centro is all the more beckoning in our post pre-social media consciousness. If in the connected universe we’re all everywhere together all the time at once, what’s the point of solitude—a state that arguably can subsequently but not simultaneously be shared with others?

Caroline Koebel is a filmmaker and writer in Austin.
(From program notes 10/2013 Jack H. Skirball screening series at REDCAT)

About James Benning

Benning has been dubbed a structuralist and a minimalist, but these stylistic taxonomies do not adequately describe the filmmaker’s oeuvre over 30-plus years. His early collaborations with filmmaker Bette Gordon gave way in the 1980s and ’90s to portrait films that often embraced explicitly autobiographical elements, for example, Used Innocence (1988); and to experimentations with image and text, such as Landscape Suicide (1986) and Deseret (1995). Since the late ’90s, he has embarked on a majestic series of “portraits of place,” including his hallmark “California Trilogy” (El Valley Centro, 1999; Los, 2000; and Sogobi, 2001), 13 Lakes (2004) and Ten Skies (2004). Throughout, Benning has matched a passionate wanderlust to an exacting formal rigor, mapping a multivalent American landscape that is as awe-inspiring as it is desecrated, wild as it is laden with political and historical memory. His is a cinema of attentiveness, of long takes that invite the viewer to look and listen and consider the consonances of space and time, onscreen and off.

“After completing North on Evers, I decided I would need only two criteria to keep making work. One, make films that would take me to places where I wanted to be. And two, make work that would put my life in a larger context. Both somewhat selfish reasons, but very workable,” says the filmmaker.

Born in 1942 in Milwaukee, Wisconsin, Benning began making films in 1970, after first studying mathematics at the University of Wisconsin, Madison. This “master framer of landscapes,” in the words of film critic Jonathan Rosenbaum, has worked in small-gauge film – producing, shooting and editing the films himself. With Ruhr (2009), he switched from 16mm to digital filmmaking.

His work has shown at many international venues, from festivals like Cannes, Hong Kong, Rotterdam and Sundance to museums and cinematheques including Centre Georges Pompidou, Harvard Film Archive, the Pacific Film Archive, Tate Modern and the Walker Art Center. Among his many awards are two National Endowment for the Arts awards, two Rockefeller Foundation fellowships and a Guggenheim Foundation fellowship. In 2007, he was the subject of a career retrospective at the Austrian Film Museum in Vienna. In addition, the Museum has been endeavoring to digitally restore and preserve his work, and published James Benning, a collection of essays about his work, in 2008. He is the subject of a documentary by Reinhard Wulf called James Benning: Circling the Image (2003). Benning lives in Val Verde, outside of Los Angeles, and has taught film and mathematics at CalArts since 1987.

“[E]arlier... I was doing political work at a grassroots level. It became very apparent to me that this was something I could exhaust my life with, and I hadn’t even begun to define who I was. So I stopped doing that kind of work, and I started making films to look at my own life. At first I thought I had to make really apolitical films... but I quickly realized that my aesthetics developed forms that were somewhat radical, and that’s political in itself. To make people look at a screen different[ly] I think is a really radical position to take.... And as l made more and more films, I became much more interested in looking at different histories, and putting my life in a larger context and then politics came back into the films in a more direct way.... I still try not to be completely dogmatic with my politics, even though I think it’s quite evident that they’re fairly leftwing.” – James Benning, interviewed by Neil Young at the 2002 Berlin Film Festival

Last edited by dstears on May 06, 2013
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