Author: C. Spencer Yeh

MATCH CUTS PRESENTS: JACK WATERS’ THE MALE GAYZE

TUESDAY AUGUST 22ND

ONE NIGHT ONLY – 7:30 PM

Jack Waters in attendance

GET YOUR TICKETS

MATCH CUTS PRESENTS and Spectacle Theater present a trio of works by visual artist, filmmaker, writer, media artist, choreographer and performer Jack Waters.

THE MALE GAYZE
dir. Jack Waters, 1990.
USA, 11 min.

THE MALE GAYZE presents an individual’s observation of sexuality and power relations between men, a young African American dancer’s reminiscence of his encounter with a famous Dutch choreographer. Approached from a personal perspective, the story is told in a casually direct voice-over that is read by the author/director. Issues of authority clash in a pedagogical combat zone. The depiction of seemingly random home movie-esque visuals cause the structures of text (“masculine”) and image (“feminine”) to form a contrapunctual relationship of identities. Waters constructs a theater where Black/White, European/American, Younger/Older; Experience and Beauty interact. Platonic in the original sense, the movie invites the viewer to engage in the process of experience itself, where one must make one’s own reactive decisions.

Like gender role playing itself, some viewers determine the postulation of form and content in THE MALE GAYZE as competitive. Others sense the image/text relationship as complementary whereby the descriptive narrative can be absorbed unimpeded by undue intellectualization.

INTRODUCING MR. DIANA
dir. Jack Waters, Peter Cramer, 1996.
USA, 27 min.

A video short documenting the arrival of controversial comic book artist and illustrator Michael Diana – the hottest astral flame to scorch New York City’s creative underbelly – to New York City.

DIOTIMA
dir. Jack Waters, 1993.
USA, 30 min.

A cinematic essay on the great pornography debate. A classically stylized setting expounding the contrasting views of noted scholars, with the inclusion of text generated and delivered by the cast.

Thanks to Visual AIDS and the Film-makers’ Co-op

MATCH CUTS is a weekly podcast centered on video, film and the moving image. Match Cuts Presents is dedicated to presenting de-colonialized cinema, LGBTQI films, Marxist diatribes, video art, dance films, sex films, and activist documentaries with a rotating cast of presenters from all spectrums of the performing and plastic arts and surrounding humanities. Match Cuts is hosted by Nick Faust and Kachine Moore.

MATCH CUTS PRESENTS: LEE SANG-HO AND AHN HAE-RYONG’S THE TRUTH SHALL NOT SINK WITH SEWOL

ONE NIGHT ONLY – Tuesday July 25 – 7:30 PM

Introduced by Jules Suo

PURCHASE TICKETS HERE

MATCH CUTS PRESENTS and Spectacle Theater present THE TRUTH SHALL NOT SINK WITH SEWOL (AKA DIVING BELL), a Korean documentary on the 2014 Sewol Ferry Disaster and the aftermath which followed, framed, and extended the tragedy.

THE TRUTH SHALL NOT SINK WITH SEWOL (AKA DIVING BELL)

dir. Lee Sang-ho and Awn Hae-ryong, 2014.
South Korea, 77 min.
Korean with English subtitles.

MATCH CUTS is a weekly podcast centered on video, film and the moving image. Match Cuts Presents is dedicated to presenting de-colonialized cinema, LGBTQI films, Marxist diatribes, video art, dance films, sex films, and activist documentaries with a rotating cast of presenters from all spectrums of the performing and plastic arts and surrounding humanities. Match Cuts is hosted by Nick Faust and Kachine Moore.

Jules Suo is a writer/director based in New York City. She is a graduate of Fashion Institute of Technology, she attended New York University for film. Her short film 528NY is a short prequel to DOSI which has screened at film festivals around the globe. Currently in post on her feature film. She is the assistant programmer at Kaffny film festival.
http://www.uisigfilms.com

MUTE RECORDS PRESENTS: CAN – NIGHT

THURSDAY, JUNE 15
TWO SCREENINGS, ONE NIGHT ONLY – 7:30 PM and 10 PM

7:30 PM – CAN – THE DOCUMENTARY
10 PM – CAN – THE DOCUMENTARY *and* CAN – FREE CONCERT

GET YOUR TICKETS (PLEASE NOTE THE SCREENING TIME OPTIONS)

Spectacle Theater is pleased to collaborate with Mute Records in launching a new collection of all the single releases by the one and only CAN, titled CAN – THE SINGLES.

This unique document is the first time the singles have been presented together and shows the breadth of their influential career, from well loved tracks like “Halleluwah,” “Vitamin C,” and “I Want More,” to more obscure singles such as “Silent Night” and “Turtles Have Short Legs.”

We will celebrate the music and legacy of CAN with two screenings of the out-of-print CAN – THE DOCUMENTARY. The 10 PM screening of DOCUMENTARY will include a bonus screening of the legendary CAN – FREE CONCERT.

MUTE RECORDS will be hosting this special night, with copies of THE SINGLES available a day before official release. They’ll also have free CAN posters for giveaway.

From nearly the beginning of the theater, CAN has held a special place in our collective hearts and programming history – from an early series devoted to CAN’s soundtrack work, to the screening of Roland Klick’s DEADLOCK as part of our Museum of Art and Design takeover. You can read an interview with Irmin Schmidt by Spectacle programmer emeritus Jon Dieringer here.

CAN – THE DOCUMENTARY
dir. Rudi Dolezal & Hannes Rossacher, 1999.
UK/AT, 87 min.
In English and German with English subtitles.

CAN – FREE CONCERT

dir. Peter Przygodda, 1972.
DE, 52 min.

MATCH CUTS PRESENTS: CHARLES ATLAS & DOUGLAS DUNN

TUESDAY JUNE 6TH – 7:30 PM

ONE NIGHT ONLY

ATLAS AND DUNN IN PERSON

SOLD OUT

MATCH CUTS and Spectacle Theater present two works from the long-running collaboration between artist Charles Atlas and choreographer Douglas Dunn.

(photo of Douglas Dunn by Shelia O’Neal)

THE MYTH OF THE MODERN DANCE

dir. Charles Atlas, 1990.
USA, 26 min.

Collaborating with choreographer Douglas Dunn, Atlas uses anthropological text, satirical movement, and vividly colored chroma-keyed backgrounds in an episodic, often humorous look at the evolution of modern dance.

SECRET OF THE WATERFALL
dir. Charles Atlas, 1983.
USA, 29 min.

The confluence of words and movement propels this multi-layered collaboration by Atlas, choreographer Douglas Dunn, and poets Anne Waldman and Reed Bye. Dunn’s athletic choreography is performed to the rhythms, cadences, and associative meanings of the poets’ “cascade of words,” which function as music. Atlas introduces narrative references, ironically staging the dance in unexpected locations, including domestic interiors and vehicles. In a self-referential deconstruction that punctures the theatrical illusion, the poets are seen reading their texts and interacting as self-conscious performers within the dance. Atlas and his collaborators intersect the language of words with the language of the body.

Text courtesy of Electronic Arts Intermix.

MATCH CUTS is a weekly podcast centered on video, film and the moving image. Match Cuts Presents is dedicated to presenting de-colonialized cinema, LGBTQI films, Marxist diatribes, video art, dance films, sex films, and activist documentaries with a rotating cast of presenters from all spectrums of the performing and plastic arts and surrounding humanities. Match Cuts is hosted by Nick Faust and Kachine Moore.

CHARLES ATLAS is one of the premier interpreters of dance, theater and performance on video. Working in film, video, installation, theater and performance for four decades, he has created works for screen, stage, gallery, and television. A pioneer in the development of media-dance, he transforms this genre into a provocative and ironic collusion of narrative and fictional modes with performance documentary. He has collaborated with international performers and choreographers, including Merce Cunningham, Michael Clark, Leigh Bowery, John Kelly, Karole Armitage and Bill Irwin.

DOUGLAS DUNN is an American postmodernist dancer and choreographer. He is considered a highly eclectic and minimalist postmodern choreographer, who uses humor, props, and text in his dances. In New York, Dunn began working with Yvonne Rainer and was a dancer with her company from 1968-1970. After completion of his studies with the Merce Cunningham studio, he was accepted into their professional company as a dancer from 1969-1973. In 1970 he became a member of the avant-garde improvisational group the The Grand Union until 1976. Dunn premiered his professional company, Douglas Dunn and Dancers, in 1976, where he served as artistic director. He was commissioned by various companies to choreograph works including the Paris Opera Ballet, Groupe de Recherche Choréographique de l’Opéra de Paris, Grande Ballet de Bordeaux, New Dance Ensemble of Minneapolis, Walker Art Center (Minneapolis), Repertory Dance Theater (Salt Lake City), Ballet Théâtre Francais de Nancy, Institute for Contemporary Art (Boston), Perth Institute of Contemporary Art (Australia), and Portland State University (Oregon).