Category: Special Event

CRYPTIC CAROUSEL: SEMIOTIC RECIPES

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CRYPTIC CAROUSEL: SEMIOTIC RECIPES
Dir. Various, 2014-2015

THURSDAY, OCTOBER 8 – 8:00 PM 
** ONE NIGHT ONLY! **

Hey look it’s a Facebook event

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A night of experimental sound and video featuring the premiere screening of ‘Semiotic Recipes’—the first in a series of limited edition VHS releases from tape label Cryptic Carousel.

Live A/V Performances from:
Long Distance Poison
Sara Goodman + Beatrice Schleyer
Muscular (Ginny Benson and Ryan Soper)

Screenings:
Victoria Keddie
The Nudist – Film by Kevin J. Shipp, Music by Auntie Depressant
Photosyntheglitch by Jon Timm
City Lights [Pixelated Passion Phase One Remix] – Music and Video by Dakota Reed
Heavy Afternoon Buzz – Video by Luke Jumes, Audio by Eric Copeland
Under the Bad Light – Music by Isa X, Video by Ginny Benson
It Sounds Like Time Inside by Long Distance Poison
Voids by Jonas Bers
Landegger by Special Interest 
Untitled by Matt Kimmel
MONDAY by nıhıl mınus
Mourning Tide – Music and Video by The Soft Spots
Pedro Magina by Logan Owlbeemoth
Penetrable Walls by Ian Grant
German Army & Major Outlet by Rob Feulner
Glip Trich by Ryan Legge / Corey Bauer
Waiting by Sara Goodman
The Call of Duty EP (side B) – Video by Toby Kaufmann-Buhler, Music by Daryl Waller
2 Much Cocaine – Film by Ruby Nekk, Music by The Doll
Cash For God by Hardbody
June 4th by Don Haugen

MIL KDU DES // M A P

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MIL KDU DES // M A P A.K.A. NATURE TRAIL TO HELL (IN SD)
Original Dir. Eduardo Sánchez & Daniel Myrick
Re-edit Rarer Borealis, 1999/2015
U.S., 30 min.

TUESDAY, OCTOBER 27 – 7:30 PM
TUESDAY, OCTOBER 27 – 10:00 PM

This Spectober, MIL KDU DES return after what seems like a (blissful) eternity to what one local medium referred to as “the most haunted three feet between seats and screen in all of Brooklyn” to pitch a tent in the camping grounds of Hell itself. The bands line-up may have changed (now Mark Freado Jr. & Steve Pellegrino – ex-Don Succulent / The California Racists), with no original members in sight but that signature MIL KDU DES sound remains and will shake you out of your sleeping bag.

In 1999 Eduardo Sánchez & Daniel Myrick changed the face of horror with their loving homage to the 1998 film THE LAST BROADCAST when they unleashed THE BLAIR WITCH PROJECT onto an overly trusting, unsuspecting, and largely internet-less public. Fueled by a meticulously planned advertising campaign and a genuinely terrifying finale (no one cares if you don’t like it) the film would go on to garner laurels at everything from Cannes to the MTV Movie Awards.

Shot on 16mm and video the film concerns a team of grating but believable filmmakers as they attempt to film a documentary on the legend of The Blair Witch. The filmmakers even went as far as creating an entirely different fake documentary to air on the History Channel delving into the mythology they had created.

Featured here in a pulsating, throbbing, rhythmic re-edit by none other than Rarer Borealis, this is a rare chance to see this film as you never have before.

GHOSTS OF SHRIEK SHOWS PAST

FRIDAY, OCTOBER 2 – MIDNIGHT: 555
FRIDAY, OCTOBER 9 – MIDNIGHT: THE UNDERTAKER AND HIS PALS
FRIDAY, OCTOBER 16 – MIDNIGHT: HEADLESS EYES
FRIDAY, OCTOBER 23 – MIDNIGHT: MARLEY’S REVENGE: THE MONSTER MOVIE

Since the dawn of time, Spectacle has long been carried on the backs of many a supporter. It’s kind of like that poem Footprints that hung in your grandma’s dorm room. Or better yet, it’s like an ant farm. A cool ass ant farm that shows the best movies you’ve ever seen. To be blunt–Spectacle wouldn’t and couldn’t exist without the often jaw-dropping amount of love we receive from filmmakers, distributors, cinephiles, and (of course) our audience.

In 2011, we held our first ever horror marathon (and last ever sci-fi marathon). Over the course of the next 4 years the marathon would play host to some incredible titles both old and new while laying waste to brains both old and new. Whether you stopped by for the full 12 (sometimes 14) hours or just came for one movie (or maybe you’re the those two dudes who showed up at 2am after the first one who thought it started at midnight instead of noon)–we say thank you.

To celebrate half a decade of marathons we present GHOSTS OF SHRIEK SHOWS PAST. The following titles are hand picked one from each past year to lead into The Fifth Annual Spectacle Shriek Show this year on October 24th. Without the generosity, kindness, and confidence of the following presenters (and others too numerous to cover in this brief post) we wouldn’t be where we are today.

South Third Street Forever.


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Massacre Video presents: 555
Dir. Wally Koz, 1988.
90 min, USA.

FRIDAY, OCTOBER 2 – MIDNIGHT

From The First Annual Spectacle Shriek Show. (2011)

A hippie killer with a sex-fueled, murderous bloodlust is on a rampage and he’s brutally murdering innocent young couples! A nationwide trend of killings with the same m.o. happens to catch the eyes of Detective Haller and Sergeant Connor. Every five years, within five days of each other, the killer strikes! Now it’s up to Haller and Connor to find out who is behind these grisly murders. Who is this crazed, blood thirsty hippie? And more importantly, what is the significance of the third ‘five’?

Written by Roy Koz and directed by Wally Koz, this rare SOV splatter-classic has recently been given the royal treatment by Massacre Video with a DVD, special edition DVD, and an already eBay fodder clamshell.


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Lunchmeat VHS Fanzine presents: THE UNDERTAKER AND HIS PALS
Dir. T.L.P. Swicegood, 1966.
63 min, USA.

FRIDAY, OCTOBER 9 – MIDNIGHT

From The Spectacle Shriek Show II. (2012)

Two degenerate café owners cook up a depraved alliance with a demented Undertaker and run amok through town on their motorcycles, hacking up hot dames and cleaving craniums. Select portions of the corpses are served up as daily specials at the café and The Undertaker gets to bury the leftovers. But when a pair of local detectives smell something fishy afoot, the trio’s reign of terror runs into some trouble.

One of Lunchmeat Publisher and Editor-in-Chief Josh Schafer’s all-time favorite flicks, this pioneering pitch black comedy is a kitschy slice of pure drive-in delirium that plants its tongue firmly in cheek, then bites it off and spits it out onto a sizzling hot plate ready for you to enjoy. Once you’ve ingested the wacky slab o’ cinema cheeze that is THE UNDERTAKER AND HIS PALS, you’ll never get the taste out of your mouth!

Dig it!


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Spectacle Midnights presents: HEADLESS EYES
Dir. Kent Bateman, 1971.
78 min, USA.

FRIDAY, OCTOBER 16 – MIDNIGHT

From The Third Annual Spectacle Shriek Show. (2013)

You know how it is for starving artists, right? I mean, look at your clothes. Anyway, it used to be even harder! So hard that some of them turned to a life of crime. This is especially true in the case of Arthur Malcolm. Down on his luck, Arthur is caught robbing an apartment and loses his eye in the process. Once he’s healed he’s out on the streets and, brother, he is HEATED. Arthur sets about on a mad killing spree, gouging out the eyes of his victims with a spoon. He collects the eyes for his artwork, you see. This continues for some time with mixed results.

This film was directed by Kent Bateman, father of Jason and Justine, in the streets of a now long gone version of NYC. According to this film, it was a time when a hooker would approach a man covered in blood in the middle of the day in order to turn a trick. The good old days. In addition to this movie being totally batshit insane with a FIERCE mutant soundtrack, it’s a veritable snapshot of a city as nasty as they come. The performances are hammy and intense, like Easter dinner in a mental institution.

Not to be missed!


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Horror Boobs presents: MARLEY’S REVENGE: THE MONSTER MOVIE
Dir. Jet Eller, 1989.
83 min, USA.

FRIDAY, OCTOBER 23 – MIDNIGHT

From The Fourth Annual Spectacle Shriek Show. (2014)

“I don’t know about you, man, but I’m still huuuuungry.”

Two bozos get picked up by a gang of vigilantes out to scrub the streets of scum after mistaking the men for drug smugglers. The problem is they’re actually smuggling in their aunt and uncle. The four are whisked away to the local island where they murder all the other drug smugglers. You know what though? None of this even matters because once they get to the island things get really out of hand. Zombies rise from the grave, a giant hell monster shows up, and the vigilantes aren’t too pleased either. How will anyone escape this island alive?

Another marathon mainstay and VHS monolith, Horror Boobs has been providing not only marathon fare but midnight fodder at Spectacle for over a decade![citation needed] This years entry is…well, something special indeed.

Featuring a completely new transfer and other goodies. If you saw this at the marathon last year, you still haven’t truly seen it. A house favorite and rare treat!

THE KALAMPAG TRACKING AGENCY: AN EVENING OF FILM FROM THE PHILIPPINES SPANNING THE PAST 30 YEARS

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THE KALAMPAG TRACKING AGENCY:
AN EVENING OF FILM FROM THE PHILIPPINES
SPANNING THE PAST 30 YEARS

Dir. Various, 1985–2015
Various, 67 min.

FRIDAY, SEPTEMBER 4 – 8:00 PM ** ONE NIGHT ONLY! **

Spectacle is pleased to host The Kalampag Tracking Agency for an evening of film from the Philippines spanning the past 30 years. Filmmaker Gym Lumbera, artist Miko Revereza, and guest curator Lian Ladia will join us for a Q&A after the program.

The Kalampag Tracking Agency is a curatorial and organizational collaboration between Shireen Seno and Merv Espina. Overcoming institutional and personal lapses to give attention to little-seen works—some quite recent, some surviving loss and decomposition—this program collects loose parts in motion, a series of bangs, or kalampag in Tagalog, assembled by their individual strengths and how they might resonate off each other and a contemporary audience. Featuring some of the most striking films and videos from the Philippines and its diaspora, this initiative continues to navigate the uncharted topographies of Filipino alternative and experimental moving image practice from the past 30 years.

All works in this program are screened with the kind permission of the individual artists, the Mowelfund Film Institute and the Ateneo Art Gallery.


DROGA!
Dir. Miko Revereza, 2014
Philippines/USA, 7 min. 21 sec.

A Super 8 tourist film about the Los Angeles landscape through the lens of Filipino immigrants, examining cultural identity bydocumenting the intersections of American pop culture and Filipino traditions.

Miko Revereza was born in Manila and grew up in the San Francisco bay area. Since relocating to Los Angeles in 2010, he’s worked primarily on music videos and live video art installations for L.A.’s experimental music scene. His personal films explore identity and the Americanization of the Filipino immigrant.

MINSAN ISANG PANAHON
Aka ONCE UPON A TIME
Dir. Melchor Bacani III, 1989
Philippines, 4 min.

An experiment in optical printing using Super 8 home movies and hand-colored found film material. The film was created during the influential Christoph Janetzko workshops, conducted in 1989 and 1990, in collaboration with Mowelfund Film Institute, Goethe Institut and the Philippine Information Agency.

Melchor Bacani III was an active staple of the Mowelfund Film Institute (MFI) film workshops in the late 80s and early 90s, creating several films in the process.

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Dir. Roxlee, 1985
Philippines, 5 min. 22 sec.

An experimental animation, decidedly crude in approach, part sociopolitical commentary and surrealist whimsy, advocating for a new and personal take on the alphabet.

Roxlee is an icon of underground Philippine cinema. Apart from making animated and collage films, he is also a comic-strip artist known for ‘Cesar Asar’ and ‘Santingwar’. In the late 80s, he was featured in retrospectives in Hamburg and Berlin. In 2010, he received the Lifetime Achievement Award from the Animation Council of the Philippines.

BUGTONG: ANG SIGAW NI LALAKE
Aka RIDDLE: THE SHOUT OF MAN
Dir. RJ Leyran, 1990
Philippines, 3 min. 20 sec.

Rumoured to have used footage salvaged from a commercial studio dumpster, the film is a commentary on Filipino on-screen macho culture and one of the rare surviving works in the brief filmmaking career of Ramon ‘RJ’ Leyran. It was a product of the last Christoph Janetzko film workshop, with a focus on experiments with optical printers, held in 1990.

RJ Leyran was active on and off screen in the late 80s and early 90s independent film communities. He was also an actor in several television soap operas, commercials, and movies, including Radio (2001), Ikaw Lamang Hanggang Ngayon (2002) and The Great Raid (2005).

VERY SPECIFIC THINGS AT NIGHT
Dir. John Torres, 2011
Philippines, 4 min. 29 sec

A mobile phone film that captures the peculiar tension between the beauty, violence, and raw exuberance of New Year’s Eve in Manila. Shot on Mahiyain Street (Shy Street), Sikatuna, a stone’s throw away from the house of Chavit Singson, who also led the masses to bring then President Estrada out of the presidential palace.

A poet among Filipino filmmakers who work outside the commercial film industry, John Torres has developed an idiosyncratic cinematic syntax, often using on or off-screen spoken texts, including the poetry of local authors. The imagery and structure of his films are not prosaic, but associative and fragmented.

JUAN GAPANG
Aka JOHNNY CRAWL
Dir. Roxlee, 1986
Philippines, 7 min. 18 sec.

A man searches for his destiny while crawling the streets of the metropolis at the height of the Marcos dictatorship, traversing the main EDSA thoroughfare, and tracing the shadows of the pillars of the Manila Film Center, all just before the People Power Revolution and the storming of EDSA that toppled the Marcos regime.

Roxlee is an animator, visual artist, musician, and filmmaker, working with the barest of materials to conjure powerful images with biting humor. His book ‘Cesar Asar in the Planet of the Noses,’ a collection of his cartoons and short stories, was published in 2008.

CHOP-CHOPPED FIRST LADY + CHOP-CHOPPED FIRST DAUGHTER
Dir. Yason Banal, 2005
Philippines, 1 min. 54 sec.

A tongue-in-cheek poke at our own culture and recent history. The First Lady is none other than Imelda Marcos, the First Daughter none other than Kris Aquino. Both women’s lives and antics juxtaposed with gory evocations of the highly-publicized chop-chop lady murders that were exploited by those 90s slasher films Aquino herself starred in.

*This was piece was last shown as a 2channel video installation at the Ateneo Art Gallery (AAG), and is reformatted as split screen for the purposes of this screening program, with kind permission from the artist and AAG.

Yason Banal studied Film at the University of the Philippines and Fine Art at Goldsmiths College-University of London. He has exhibited widely in Manila and abroad at the Tate, Frieze Art Fair, Guangzhou Triennale, Yerba Buena Center for the Arts, AIT Tokyo, Singapore Biennale, Oslo Kunsthall, Christie’s, IFA Berlin, Shanghai Biennale and Queens Museum of Art.

THE RETROCHRONOLOGICAL TRANSFER OF INFORMATION
Dir. Tad Ermitaño, 1994
Philippines, 9 min. 33 sec.

Less a documentary than a marvelous if irreverent parody of science fiction films. A humorous meditation on time, politics, and point of view in cinema. Hoping to send a message back in time by equipping the camera to shoot through Rizal’s portrait on Philippine money, Ermitano plays with the boundaries of different points of view: Rizal’s, that of Philippine politics, the camera’s, the filmmaker’s, and ours—as well as with the temporal relations between them.

Tad Ermitano studied biology at the University of Hiroshima, philosophy at the University of the Philippines, trained in film and video at MFI, and was co-founder of pioneering multimedia collective Children of Cathode Ray.

ARS COLONIA
Dir. Raya Martin, 2011
Philippines, 1 min. 13 sec.

A conquistador counts his blessings in this hand-colored effigy evoking old, silent war iconography. Commissioned by the International Film Festival Rotterdam in 2011, it screened before all films supported by IFFR’s Hubert Bals Fund.

Raya Martin has more than a dozen films to his credit: an ambitious, constantly evolving body of work consisting of fiction features, documentaries, shorts, and installations. Martin draws on a wide array of sources—combining pop culture references, archival material, and avant-garde structuralism—in his radically lyrical works. This daring, restless filmmaker with a sensibility all his own suggests entirely new ways of approaching film, personal, and national history.

CLASS PICTURE
Dir. Tito & Tita, 2012
Philippines, 4 min. 41 sec.

Shot on a single roll of expired 16mm film, this ‘photography film’ injects evokes faded memories and injects lyricism and humor into the archetypal class picture, alongside the fleeting sound of waves crashing on a beach.

Tito & Tita (Manila, Philippines) is a collective of young artists working mainly with film and photography via a variation of experimental techniques. As individual filmmakers, their works have been featured in various film festivals and art fairs. As a collective, they have exhibited in Manila, Singapore, and Tokyo.

ANITO
Dir. Martha Atienza, 2012
Philippines/Netherlands, 8 min. 8 sec.

An animistic festival Christianized and incorporated into Folk Catholicism slowly turns into modern day madness. A tragicomic portrait of a small island town whose livelihood is deeply rooted in and bound to the sea.

Martha Atienza lives and works in the Netherlands and the Philippines. Her works are sociological in nature, reflecting a keen observation of her direct environment. Atienza understands her surroundings as a landscape of people first and foremost.

HINDI SA ATIN ANG BUWAN
Aka THE MOON IS NOT OURS
Dir. Jon Lazam, 2011
Philippines, 3 min. 31 sec.

Travel footage from a family holiday on the island of Bohol, Philippines, is captured in black and white, without sound, on a basic video camera, in this contemplative piece on lost love, distance, resignation and sadness.

Jon Lazam is an experimental filmmaker based in Manila. His works have screened abroad in Chicago, Rio de Janeiro, Montreal, Paris and San Francisco. His most recent work, Pantomime For Figures Shrouded By Waves, premiered at the Sharjah Biennial, and won Best Short Film at the Cinemanila International Film Festival.

KALAWANG
Aka RUST
Dir. Cesar Hernando, Eli Guieb III & Jimbo Albano, 1989
Philippines, 6 min. 33 sec.

One of the most prominent and well-crafted films that emerged from the Christoph Janetzko experimental film workshops, Kalawang is a satirical piece that uses found footage of war, sex, and pop culture to unpick the cultural and libidinal complex of colonization.

Cesar Hernando is a filmmaker and one of Philippine cinema’s best production designers, having contributed to films of Mike De Leon, Ishmael Bernal, and Lav Diaz. Eli Guieb III is a filmmaker and award-winning fiction writer. Jimbo Albano is an artist and editorial illustrator for BusinessMirror and Philippines Graphic Magazine.


This program would be impossible to put together without the kind support of the individual artists, the Mowelfund Film Institute, UP College of Mass Communications, UP Film Institute, Ateneo Art Gallery, Green Papaya Art Projects, Terminal Garden, and the National Film Archive of the Philippines.

The screening prints of the 8mm and 16mm films created in the 80s and 90s that are featured in the Kalampag Tracking Agency are mostly unavailable, missing or completely decomposed. Some of the lucky ones have negatives and/or preservation copies left. The screening versions of the older works in this screening program come from crude U-Matic, VHS and Betamax transfers. The curatorial team is still in the process of tracking down the surviving prints.

An expanded version of this program was previously shown at the University of the Philippines Film Institute, Green Papaya Art Projects, and EXiS Experimental Film and Video Festival in Seoul, August–September 2014.

CON-MYTHOLOGY: The Moving Images of Conrad Schnitzler

Spectacle is pleased to present a series of screenings celebrating the life and work of electronic music and avant-garde legend Conrad Schnitzler. Schnitzler (1937-2011) came to popularity as a founding member of Tangerine Dream and Kluster, and went on to an influential and prolific career of unmistakably personal intermedia artistry. The programs are organized in collaboration with artist “Gen Ken” Ken Montgomery, friend and collaborator of Schnitzler, and founder of Generator, NYC’s “first sound art gallery.”

These screenings are part of a larger CON-MYTHOLOGY 2015 series of CONcerts and events throughout August, taking place at Academy Records, ALLGOLD at the MoMA PS1 Print Shop, and Control. Please check the website www.con-mythology.com for more information.


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CON-MYTHOLOGY
Dir. Various, 1937-2011
Various, 90 min.

FRIDAY, AUGUST 21 – 8 PM w/ intermission

ONE NIGHT ONLY!

HOSTED BY GEN KEN MONTGOMERY!

A special one-night-only screening event CON-MYTHOLOGY, hosted by Gen Ken Montgomery, featuring a survey of numerous shorts and works in and around Conrad Schnitzler and his fascinating life and work.

Premier CON/TACT by Julien Perrin (2009) 12:00 min.
TAKE OFF 4:18 min.
Die Spur Karawane 7:01 min.
Ballet 4:20 min.
Electric Garden 8:36 min.
Zug 5:35 min.
Wer im Laden die Schulschachteln Zaehlt 3:39 min.
Schöne Aussicht 1 4:27 min.
Hexer 2:51 min.
WTC 6:26 min.
Videoconcert 1 (1973) 29:53 min.
Winterscene 1:33 min.


CON-MEDITATIONS

There will be three programs of CON-MEDITATIONS, what we’re calling the series of long-form video works by Schnitzler himself from the 60s through the 80s, many of which have not been screened publicly. Often shot at home on film and video utilizing multiple experimental techniques, these works offer abstract visual accompaniment for Schnitzler’s epic electronic soundtracks. The screening programs are handpicked by Gen Ken from Schnitzler’s vast video archives for maximum CON-immersion. Perfect for zoning out on a hot summer evening. (Titles for each program TBD).


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CON-MEDITATIONS 1
Dir. Conrad Schnitzler, 197?-198?
Germany, 85 min.

TUESDAY, AUGUST 4 – 7:30 PM
MONDAY, AUGUST 17 – 7:30 PM
SUNDAY, AUGUST 30 – 5:00 PM

Program includes:
UPTOPIA MESSE 30 min.
SCHMINK I 30 min.
CON FILM #2 4 min.
KRATZ RHYTHMIC 16 min.
TAKE OFF (1980) 4 min.


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CON-MEDITATIONS 2
Dir. Conrad Schnitzler, 197?-198?
Germany, 86 min.

TUESDAY, AUGUST 4 – 10:00 PM
MONDAY, AUGUST 17 – 10:00 PM
SUNDAY, AUGUST 30 – 7:30 PM

Program includes:
DISCO DANCE 1 29 min.
CON FILM #1 4 min.
ABSTRAKTION 30 min.
RAINER ZUFALL 19 min.
TAKE OFF (1980) 4 min.


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CON-MEDITATIONS 3
Dir. Conrad Schnitzler, 197?-198?
Germany, 88 min.

WEDNESDAY, AUGUST 5 – 7:30 PM
TUESDAY, AUGUST 18 – 7:30 PM
TUESDAY, AUGUST 25 – 10:00 PM

Program includes:
ON THEIR WAY 60 min.
CON FILM #2 4 min.
ZUG BERLN-KÖLN (1978) 19 min.
TAKE OFF (1980) 4 min.

Conrad Schnitzler (1937-2011) is legendary in the German electronic and avant-garde music scene as a founding member of Tangerine Dream and of Kluster. His work as an intermedia artist is less-known yet equally legendary. Schnitzler studied sculpture with Joseph Beuys at the Düsseldorf Academy of Art, exhibited his black and white metal sculptures in Berlin, and participated in performances and “happenings” in the same circles as many well-known Fluxus artists, although never identified himself as part of any group or movement. He preferred to create his own individual mythology.

In the early 70s Schnitzler became a composer when he abandoned all of his sculptures in an open field in decision to devote himself to sculpting with sound. His self produced stark electronic music, often presented as multi-channel concerts using as many as 12 cassette players and self published his music on vinyl and cassettes. Schnitzler gradually found an international cult following from his prolific output of musical ideas, However Schnitzler’s immense creative energy could not be limited to one medium. He continuously experimented with moving images to accompany his music and even painted, collaged or scratched patterns directly on 8mm film. He experimented with stop-motion animations and designed and costumes for his films. By the 80s Schnitzler had become increasingly reclusive, shooting long meditative videos accompanied by his distinctive electronic musical scores. Preferring to stay at home and work in his studio he created multi-channel Cassette Concerts that could be sent through the post for others to perform and “CONduct” concerts of his music. Schnitzler conceived of sonic programs he called Musik in the Dark intended to be heard in darken movie theaters, churches, stadiums and other venues without him having to travel. Although he rarely left his Berlin home after 1980, Schnitzler came to New York City in 1989 and 1990 to visit the Generator Sound Art Gallery in the East Village.

“Electronic music appears to be a field developed by few who did not deplete it of originality within a few years. While many are consumed by their own technology or starved for fame, only a small number have approached it as a personal communicative craft rather than as an intentional development of traditional Western classical or commercialized music. Conrad Schnitzler remains at the forefront of a handful of artists willing to take chances with possible yet underdeveloped forms.” – David Prescott 1989

Gen Ken Montgomery (1957) is a New York-based artist whose involvement in the cassette-culture and mail-art movements of the late seventies led to the creation of Generator, New York’s first sound art gallery (1989). At Generator Montgomery amassed what is now a time capsule of internationally produced art in the form of cassettes, records, zines and ephemera from the days before the internet when artists collaborated and corresponded internationally by post. In 2013 at Audio Visual Arts in New York City, Montgomery exhibited his collection from that era and re-created Generator by curating events with artists whose work was shown at the Generator in the late 80s and early 90s (see www.audiovisualarts.org/5973/generator). In 2014 Montgomery re-launched the Generations Unlimited label that he co-founded with Conrad Schnitzler and David Prescott in 1987. (http://www.generationsunlimited.net)

www.genkenmontgomery.com

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AN EVENING WITH “THE NATIVE AND THE REFUGEE”

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AN EVENING WITH “THE NATIVE AND THE REFUGEE”

THURSDAY, AUGUST 13th – IN TWO PARTS AT 7:30PM and 10:00PM

ONE NIGHT ONLY!

On Thursday August 13th, Matt Peterson and Malek Rasamny will be returning to NYC from their North American tour to present an evening of short films and videos related to the themes from their documentary project THE NATIVE AND THE REFUGEE. The program will be presented in two parts at 7:30 and 10 PM, followed by a Q&A with the directors themselves.

Their multi-media documentary connects the struggles and lived experiences of Indian reservations in the United States with Palestinian refugee camps in the Middle East. Since December, they have traveled to the Pine Ridge Indian Reservation in South Dakota; the Akwesasne Mohawk territory along the border of upstate New York, Ontario, and Quebec; the Navajo Nation in New Mexico and Arizona; the Lummi Reservation in Washington; as well as Palestinian refugee camps in Lebanon, Jordan, and the West Bank. They have presented the project in many of these places, as well as Harlem, Brooklyn, Montreal, and Vancouver. For this double feature, they will present archival and contemporary videos from these places, and discuss some of their research, as well as the broader conceptual themes of the project. There will be two separate programs of screening and discussion, relating both reservations and camps.

JUDEX WITH LIVE SCORE BY MIRA COOK

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JUDEX WITH LIVE SCORE BY MIRA COOK
Dir. Louis Feuillade, 1916
France, 74 min.

TUESDAY, AUGUST 11 – 8:00 PM ** One night only! **

Surrounded by the latest high-tech gadgetry, a caped crusader stalks the night, plotting vengeance towards evildoers from a lair beneath his sumptuous estate…

Predating Batman (it’s not Batman, by the way) by 23 years, JUDEX’s dark detective was created in response to criticism that Feuillade’s previous serials FÂNTOMAS and LES VAMPIRES glorified the criminal element. Keeping the spectacular wardrobe and ditching the amorality, JUDEX plays it straight and narrow, showing the futility of vengeance, the importance of family (born to or chosen), and love triumphant. Spectacle has distilled this 12-part serial into one compact nugget of sweet revenge (and redemption), with the talented MIRA COOK live-scoring the film’s dramatic tableaus with her hypnotic, synth-layered sounds.

Corrupt banker Favreaux receives warning notes to hand over his dirty millions, signed only JUDEX (Latin for ‘judge’). Shrugging them off, Favreaux dies suddenly at his daughter’s engagement party…OR DOES HE? Being a moral man, Judex commuted Favreaux’s death sentence to life imprisonment/slow descent into madness in Judex’s subterranean lair. This situation becomes increasingly awkward as Judex falls for Favreaux’s sweet daughter Jacqueline, who forsook her father’s fortune to make an honest living and by doing so, became target of a spurned governess’ wrath (Musidora in a role that inspired a thousand Edward Gorey villainesses). Featuring precocious orphans, kidnappings, abandoned mills, and fabulous technology (Dual-line telephones! A MOTORIZED BOAT! It was very impressive in 1916, trust me), this underseen silent-era gem is finally getting its day in court.

DIRTY LOOKS: THE GRASSHOPPER

THE GRASSHOPPER
Dir. Jerry Paris, 1970
US, 98 min.

WEDNESDAY, JULY 29 – 9 PM
ONE NIGHT ONLY!

Criminally neglected trashy classic follows naive Canadian hitchhiker Jacqueline Bisset to Los Angeles and Las Vegas as she makes it as a showgirl and VIP “party girl.” Along the way, she becomes the mistress to a wealthy, aging Joseph Cotten and finds true (doomed) romance in an interracial marriage with Jim Brown. Her gay best friend and his boyfriend represent remarkably decent portrayals of gay characters for the time.

This event is part of Dirty Looks: On Location, a series of queer interventions in New York City spaces.

DON’T BE AFRAID TO POGO

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DON’T BE AFRAID TO POGO
Dir. Chris Ashford, 2015
USA, 94 min.

WEDNESDAY, JULY 15 – 10:00 PM
ONE NIGHT ONLY! NEW YORK PREMIERE!

Spectacle is proud to present the New York premiere of DON’T BE AFRAID TO POGO, the story of 1970s punk band The Gears. Beginning as boyhood friends from North East Los Angeles, these musicians self-styled an infectious brand of surf/rockabilly/punk which they continue to play today. Despite local popularity and critical acclaim, the Gears rarely performed outside of Los Angeles, denying them the wider success that their contemporaries X, The Blasters, Los Lobos and The Germs would go on to achieve. DON’T BE AFRAID TO POGO chronicles singer Axxel G. Reese and The Gears’ history in rich detail, featuring rare archival footage and interviews with band members as well as Mike Watt (Minutemen), Johnny Stingray (The Controllers/Kaos), Billy Bones (The Skulls), Steve Metz (Mad Society) Miss Mercy (GTO’s), artist Richard Duardo and other punk luminaries. Featuring a soundtrack by X drummer DJ Bonebrake, DON’T BE AFRAID TO POGO is a heartfelt and overdue tribute to one of LA’s most underrated punk bands.

PERSISTENCE OF VISION

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PERSISTENCE OF VISION
Dir. Kevin Schreck, 2012
US, 83 min.

THURSDAY, JULY 30, 8 PM – DIRECTOR KEVIN SCHRECK IN ATTENDANCE
ONE NIGHT ONLY!

Advance tickets available here.

Striving to make the greatest animated film of all time, visionary animator Richard Williams (Academy Award-winning animation director of WHO FRAMED ROGER RABBIT) toiled for nearly three decades on his masterpiece, THE THIEF AND THE COBBLER — only to have it torn from his hands. Filmmaker Kevin Schreck has woven together mind-blowing animation, rare archival footage, and exclusive interviews with key animators and artists who worked with Williams on his ill-fated magnum opus to bring this legendary, forgotten chapter of cinema history to the screen for the very first time.

A tale of creative genius gone horribly awry, PERSISTENCE OF VISION is the untold story of the greatest animated film never made.

“An amazing film about an amazing artist. Rush out and see Persistence of Vision.” – Bill Plympton, acclaimed animator

“A fascinating slice of film history.” – Variety

“A Herculean accomplishment.” – indieWire