AdHoc Collective is proud to host a touring programme of experimental film from the Scottish Borders-based Moving Image Makers Collective.
As the first self-curated programme of films by MIMC, On the Move speaks to the notions of intervening – with assistance from the moving image – upon one’s immediate environment.
By turns tentative and assertive, these works find rhythm, music and movement in acquired objects, found phenomena and even silence; each, in its own way, argues the case for environment as a conditioning device: a way by which one begins to think about negotiating the world, and the basis for any aesthetic response to it.
On the Move saw its world premiere in May 2019 at the ninth edition of Alchemy Film and Moving Image Festival. The Moving Image Makers Collective emerged from the Scottish Borders Community Filmmaking Initiative, a series of workshops run by Alchemy Film & Arts in 2014.
MIMC members come from a diverse range of backgrounds and include authors, poets, photographers, filmmakers, playwrights, painters and mixed media artists. They meet monthly to present new work for peer feedback, an ongoing and collective process of exploration of the moving image which has led to this new programme.
Films included: Weeping Jews Dogs Negroes, Narda Azaria Dalgleish (2’52, 2019); Beneath, Jane Houston Green (3’28, 2019); We sewed them into the hems of our skirts and walked
through the town to the sea where we threw them into the oncoming tide, Dorothy Alexander (6’33, 2018); Codename India-1967, Jason Moyes (2’57, 2018); 18 – 91, Rachael
Disbury (2’24, 2019); Lines in the Sand, Jessie Growden (5’07, 2019); Substitute, Richard Ashrowan (6’50, 2018); Turn it Off, Kerry Jones (1’26, 2018); Kedem, Narda Azaria Dalgleish
(8’12, 2015); Index, Richard Ashrowan (2’46, 2018); Dwam, Frank Brown (4’43, 2018); Glenlochy Ice, Douglas McBride (1’27, 2014); Perilous, Dorothy Alexander (1’47, 2018); Frames, Shapes and Symbols, Jason Moyes (4’53, 2018); Granny Duncan’s Tape Collection, Jessie Growden (1’58, 2018); Blue Book, Kerry Jones (9’, 2018), Autumn 17, Patrick Rafferty (1’40, 2017).
All work screening digitally.
AdHoc is a screening collective with no fixed address. This is a mobile screening series, which aims to rethink what an experience of cinema can be, including the spaces in which it can be exhibited. We seek to reposition historical landmarks and buried treasures within the on-going tradition of experimental and other non-commercial modes of filmmaking, drawing on work from Toronto, throughout Canada, and internationally. Within these parameters, we aspire to diversity in programming, as well as to multimedia and interdisciplinary screening events that bring together varied communities.
AdHoc = Stephen Broomer, Daniel McIntyre, Cameron Moneo, Madi Piller, Jim Shedden, Tess Takahashi, Bart Testa.
DEVON NARINE-SINGH: THE RECOVERY CYCLE
AD HOC #22
Co-presented with PIX FILM
Saturday, October 26 - 7:00pm
PIX FILM Gallery
1411 Duffern Street Unit C
Join us for a presentation by Devon Narine-Singh of his recent video work.
Devon Narine-Singh (b. 1997) is a filmmaker, curator, and scholar based in New York. Recently a graduate from the SUNY Purchase Film Conservatory.
As curator he has presented several screenings at The Film-Makers Coop, bringing in a diverse programs that mix newer emerging artists with established members of the New York experimental community. As a scholar he has presented a talk at NYU Graduate Student Cinema Studies conference. His work has been exhibited at
Microscope Gallery, The Trinidad and Tobago Film Festival, and will be in the Wrong Biennale this year.
(All works presented digitally)
There are No Trains in Trinidad (10 min)
A political history of a personal landscape. Weaving interviews with my parents, my hometowns’ bizarre 1980s cult murder and a sense of displacement, I explore what it means to a biracial
American in Long Island, NY.
I woke up in the mud and picked up a camera because of jonas (14 min)
Jonas dies and a ghostly memorial occurs at Anthology Film Archives. I try to get sober and relapsed for 2 years while getting more involved in the experimental film world of New York. The 12 steps are remingage and Jack Smith returns from the dead in a navigation of addiction, recovery, and community.
Who Shall Save Me? (2 min)
An experiment in the possibilities of found footage to make a prayer.
Leave Me Alone and Let me Die (11 min)
Found footage remix of 1980s horror films that examines the feelings of guilt in sobriety and the idea of inner monster but in the end also self forgiveness.
I’ll See You On Dance Floor (Working Title, Estimated Time: 5-10m)
A work in progress meditating on the idea of dance as a form of recovery and political action.
Ad Hoc is a screening collective with no fixed address. This is a mobile screening series, which aims to rethink what an experience of cinema can be, including the spaces in which it can be exhibited. We seek to reposition historical landmarks and buried treasures within the on-going tradition of experimental and other non-commercial modes of filmmaking, drawing on work from Toronto, throughout Canada, and internationally. Within these parameters, we aspire to diversity in programming, as well as to multimedia and interdisciplinary screening events that bring together varied communities.
Ad Hoc = Stephen Broomer, Daniel McIntyre, Cameron Moneo, Madi Piller, Jim Shedden, Tess Takahashi, Bart Testa.
19th annual edition of aluCine Latin Film+Media Arts Festival.
PIX FILM Co-presenter of the program Finding the Path.
Date: Saturday October 5th, 2019
Time: 7:00pm - 9:00pm
Venue: Jackman Hall (AGO)
PAY WHAT YOU CAN
(SUGGESTED DONATION $ 5 CAD)
*ALL FILMS WITH ENGLISH SUBTITLES*
LOS AUSENTES | THE ABSENTS JOSÉ LOMAS HERVERT
2017 - MEXICO - 17’ 09 - DRAMA.
GUAXUMA NARA NORMANDE
2018 - BRAZIL & FRANCE - 14’ - ANIMATION.
LA HERENCIA DEL VIENTO | WIND’S HERITAGE
BY ALEJANDRA RETANA, CÉSAR CAMACHO, CÉSAR HERNÁNDEZ
2019 - MEXICO - 16’ - DOCUMENTARY.
FREE FALL | CAÍDA LIBRE SANTIAGO HENAO VÉLEZ
2018 - COLOMBIA - 14’ - FICTION.
ARCANGEL ANGELES CRUZ
2018 - MEXICO - 18’ 28” DRAMA.
LA MODISTA JESI JORDAN
2019- CUBA- 05´ - DOCUMENTARY/NARRATIVE.
LA NIÑA Y EL ARPA | THE GIRL AND THE HARP
2017 - GUATEMALA - 6’ -DRAMA.
Tables d’hiver (1978-1979) Super 8mm / color / sound / 39'
An intimate chronicle of a winter.The days follow one another, the daily gestures, the meals. A reality that passes before our eyes and suddenly turns into an imaginary one. Tables that become carpets or mirrors, where the desired image is placed or reflected.
Space and time constantly transformed by vision. In turn reality or dream.
Nuestra señora de Paris (1981-1982) Super 8mm / color / sound / 22'
A queer portrait of Notre Dame Cathedral in Paris. This film is part of the Paris Saga series, it is a viewpoint of lights and shadows that articulates a vision that resists the patrimonial gaze of the city's tourism. According to French film critic Dominique Noguez, it’s visual whirlwinds could link Stan Brakhage and the paintings of lyrical abstraction.
Pas de Ciel (1987) Super 8mm / color / silent / 29’
This film is the result of the meeting, the confrontation, and the miraculous agreement between the weightless, vicious camera of Teo Hernandez and the improvisation of dancer-choreographer Bernardo Montet. A body between sea and sky, the silent presence of the wind, a few birds: elements of a fundamental mythology transformed into lyrical abstraction. “Dialectics of rhythm and movement without limits; feedback and coupling are carried out to such a degree that from that moment on all of Hernández's reflections, the whole theoretical body developed around the cinema, takes shape under the subtlety of the dancing image, and thus, a new cinematographic language is born.” Mauricio Hernández
Teodoro Hernández was an artist, filmmaker and writer, born in Ciudad Hidalgo, Mexico in 1939. He is an outstanding figure in Mexican and French cinema who focused on experimental film practice within the gay community and the Parisian counterculture in the late 1960s and 70s. During his architecture studies at the Universidad Nacional Autónoma de México, he founded, in 1958, the Centro Experimental de Cinematográfica (Experimental Cinematography with Antonio Campomanes. In 1960, the French Institute of Latin America (I.F.A.L.) funded the first project of the group: a documentary on the institute’s cultural activities. The film remained unfinished and the group split up. In 1966, he settled in Paris after a stay in California. From 1968 to 1970, he directed Super 8 films in London, Paris, several Morocan cities (Tangier, Essaouira and Zagora) and in Copenhagen. Then, together with Michel Nedjar, he filmed Michel là-bas in Morocco (March-April 1970), they then traveled during six years through North Africa, Europe, Turkey the Middle-East, India, Nepal and Central America. In 1976, back in Paris he directed Salomé and the next year took part in the Jeune Cinéma collective in Paris. In 1977, he filmed Cristo, which is part of a serie about the Passion with: Cristaux (1978), Lacrima Cristi (1979-1980) and Graal (1980). With his fellows cine- artists friends Michel Nedjar, Jacques Hautbois aka Jakobois and Gaël Badaud, he created in 1980 the experimental film collective MétroBarbèsRochechou Art. His work was shown at Cinémathèque française in 1979, and in 1984, Centre Pompidou dedicated to him a retrospective exhibition.In the 80’s, interested by the links between image, movement and bodies, he collaborated with Catherine Diverès and Bernardo Montet’s dance company, Studio DM. Together with them, he developed a cinematographic practice mixing cinema, literature and dance. In France, his work has been linked to the École du corps (The School of the Body), an artistic research movement that addresses issues of body representation, identity and gender. Teo Hernández was also a photograph and a writer (he writes poems, notes and reflections on cinema, and contributes to several magazines). Living with AIDS, he passed away on the August 22, 1992, he is buried at Père Lachaise (Paris). From the end of the 1960s until his death, he produced more that 100 films, most of them in Super 8. Shortly before this death, Teo Hernández bequeathed his film work and personal archives to Michel Nedjar, who donated it to Centre Pompidou for its conservation and dissemination. Since then, the Centre Pompidou preserves the Fonds Teo Hernández that includes documents, films, notebooks, photographs and texts by the artist.
This program will be presented with the book Anatomía de la Imagen. Notas de Teo Hernández (Anatomy of the Image: Notes of Teo Hernández) in Pix Film (Toronto) October 16, 2019 and London Ontario (Ontario) October 19, 2019
Andrea Ancira García
Writer, editor and researcher. She has conducted seminars on Critical Theory and Marxism, Politics of the Archive, Sound Ethnographies and Sound Art in academic programs of museums and universities in Mexico. She has worked as a researcher in the Ministry of Culture in Mexico, as curatorial assistant at the University Museum of Contemporary Art (MUAC) in Mexico City, and as associate curator at Centro de la Imagen. In 2016, she received a curatorial research grant from Jumex Foundation and was the first resident of the Pernod Ricard Fellowship at Villa Vassilieff in Paris. In 2017, with the support of the Board of Contemporary Art (PAC), she participated in the Independent Curators International’s (ICI) Intensive Study Program in New Orleans. In 2018, she was invited to assist the coordination of the Curatorial Program of ICI in Mexico City and participated in the School of Art Criticism of La Tallera / Siqueiros Project. She was Editorial Coordinator of Buró-Buró (2016-18) and she co-founded the feminist editorial platform tumbalacasa. Her line of research focuses on the role of experimental artistic practices in the configuration of identities, sensibilities and social discourses. By examining these practices, whether in the field of sound or image, she has approached them from their possible implications in shaping the commons. The perspective from which she explores these phenomena is based on multiple theoretical frameworks such as Marxism, the history of contemporary culture and politics, feminism, decolonial studies, among others. She has published in academic and nonacademic platforms.