Basilica Hudson: BASILICA SCREENINGS: JULY

Fourth of July: Raucous Caucus, USA | Zulawski’s Possession | Meringue Diplomacy | Marfa Voices + The Donald Judd Oral History Project | Streetwise | Reminiscencias

MAY THRU OCTOBER | $5-10 SLIDING SCALE

BASILICA SCREENINGS is a weekly film series which presents an array of works ranging from new and repertory narrative features, documentaries, experimental films, video and media art, as well as guest curated programs, often with filmmakers and special guests in attendance for a discussion following the screenings.

All films will begin at 8 pm and are $5-10 sliding scale, unless otherwise noted.

BASILICA SCREENINGS: JULY
Thursday, July 5
FOURTH OF JULY: RAUCOUS CAUCUS
MEDIA BURN, Ant Farm: Chip Lord, Doug Michels, Curtis Schrier, Uncle Buddie, 1975, 23 min.
CONVENTION CITY, Ant Farm, 1972, Revisited in 2011/2012 by Chip Lord and Curtis Schreier, 3:47 min.
Presidential Campaign Ads
Curated by Aily Nash and Benjamin Schultz-Figueroa
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CIVIC PRIDE, Brian Dewan, 10 min.
with special performance by Brian Dewan
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PARADES, Anna Casper, 2012, 20 min. loop

Thursday, July 12
POSSESSION, Andrzej Zulawski, with Isabelle Adjani, Sam Neill, 1981, 127 min.

Friday, July 13
MERINGUE DIPLOMACY, Terri Hanlon, 2010, 57 min.
Q&A w/ Terri Hanlon

Sunday, July 15
MARFA VOICES + The Donald Judd Oral History Project
Co-presented with the Judd Foundation and Oral History Summer School 2012
Q&A with Rainer Judd

Thursday, July 19 at 9 PM
STREETWISE, Martin Bell, Mary Ellen Mark, and Cheryl McCall, 1984, 91 min.
Co-presented with Oral History Summer School 2012

Tuesday, July 24
REMINISCENCIAS, Juan Daniel F. Molero, 2010, 85 min.
Q&A with Juan Daniel F. Molero

Thursday, July 5
FORTH OF JULY – RAUCOUS CAUCUS, USA

RAUCOUS CAUCUS, USA is a program of bombastic counter-cultural spectacle and political rhetoric stretched to the extreme. Focusing on the monsters and heroes lurking in the U.S. media landscape, this screening mixes artistic visions of political discourse, featuring Ant Farm, and actual campaign ads from historical presidential elections into a bender of civic excess. Expect a large enough dose of nationalism, jingoism, paranoia, and pyrotechnics to make any 4th of July celebration proud.

MEDIA BURN, Ant Farm: Chip Lord, Doug Michels, Curtis Schrier, Uncle Buddie, 1975, 23 min.
Counter-culture collective, Ant Farm’s legendary performance and video piece MEDIA BURN, literally collides two loaded American cultural icons, the television and the automobile. On July 4, 1975, Ant Farm staged an outlandish media spectacle, a stylized parody of elaborate political publicity stunts, at the Cow Palace Stadium in San Francisco. An artist suited up as an astronaut smashes through a pyramid of blazing television sets in a modified 1959 Cadillac El Dorado, rigged with a video camera.

CONVENTION CITY, Ant Farm, 1972, Revisited in 2011/2012 by Chip Lord and Curtis Schreier, 3:47 min.
It plays in an architectural model as a jumbotron screen, representing a sampling of potential 1976 Convention programming in the Convention City project by Ant Farm, 1972. Currently on display at SFMOMA in the exhibition “The Utopian Impulse: Buckminister Fuller and the Bay Area” until July 29, 2012.

Curated by Aily Nash and Benjamin Schultz-Figueroa

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CIVIC PRIDE, Brian Dewan, 10 min.
Brian Dewan presents “Civic Pride” from his impressive I-CAN-SEE filmstrip series. In conjunction with the screening, he will perform songs in the theme of American Presidents.

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PARADES, Anna Casper, 2012, 20 min. looped
A selection of parades from the archives of the Franklin Delano Roosevelt Library, known and unknown, dated between 1920 and 1940.

Special thanks to the FDR Presidential Library and Museum.

Thursday, July 12
POSSESSION
Andrzej Zulawski, with Isabelle Adjani, Sam Neill, 1981, 127 min.

“POSSESSION plunges into a vertiginous free fall of amour fou, lust, hysteria, and unnameable, uncontainable passion. A perfect match to the destabilizing urges under fresh study in David Cronenberg’s A Dangerous Method, this is mania without analysis: Consumed by someone somewhere else, young mother Anna (Isabelle Adjani) effectively abandons her husband Mark (Sam Neill) and their boy. Guilty of his own absences, Mark enters a frenzy of desperation and jealousy. He eventually tracks down Anna’s ludicrous lover Heinrich (the late Heinz Bennent), but the finding reveals little about the mutant extravagance behind Anna’s unexplained disappearances, outbursts, and distrait silences. Zulawski stages his expressionistic danse macabre in a bleak West Berlin, shooting the couple’s apartment complex and the underpopulated streets with the exhausted, bright lucidity of an insomniac’s gaze.” – Nicolas Rapold, Artforum

Friday, July 13
MERINGUE DIPLOMACY
Terri Hanlon, 2010, 57 min.

Terri Hanlon will be present for a Q&A after the screening.

MERINGUE DIPLOMACY is a fantasy based on fact inspired by the life of the great chef Antonin Carême. Carême, in addition to many other accomplishments, created an entertainment and culinary environment which helped the diplomat Talleyrand determine the course of post-Napoleonic France. This French culinary history is filtered through a conceptual, romantic, psychedelic ’70′s San Francisco Bay area filter. Without “how to” food shots, Meringue Diplomacy combines classic documentary style, gestural choreography and animation. With Eric Barsness as Carême; Jacques Bekaert as Talleyrand and Carol Clements as Lady Morgan.

MERINGUE DIPLOMACY has a music score directed by David Behrman. The score features the music of Jacques Bekaert, Jon Gibson, Barbara Held, John King, Laetitia Sonami and David Behrman. Choreography is by Carol Clements.

TERRI HANLON’s previous video work has been shown at the New York Film Festival at Lincoln Center, the American Film Institute in Los Angeles, and broadcast on PBS. The New York Times has called her work “accomplished satire.” She is also known for her work in early experimental music videos using computer graphics and for her Iris print portraits, which are in private collections in Thailand, Germany, Spain and the United States.

http://www.themetropolitanmuseumofterri.info/newmeringuepage.html

Sunday, July 15
MARFA VOICES + The Donald Judd Oral History Project
Rainer Judd, 2010, 25 min.
Doors at 7:30 | Film at 8:00 | Reception to follow event

Co-presented with the Judd Foundation and Oral History Summer School 2012

Q&A with filmmaker, and Judd Foundation’s Rainer Judd following the screening.

MARFA VOICES, a short documentary film by Donald Judd’s daughter Rainer, portrays an intimate and unique view of the artist. Since 2006, Rainer has overseen the Judd Foundation’s Oral History Project, comprised of interviews with individuals who each have unique and invaluable perspectives into Donald Judd’s artistic philosophy and working method. Eighty-five interviews have been conducted to date.

The Donald Judd Oral History Project
Rainer Judd will present a preview of interviews from the Judd Foundation’s Oral History Project focusing on the New York art world in the 1960s, 70s and 80s.

RAINER JUDD – A graduate of New York University in Film, she has worked with directors such as Francis Coppola and Gus Van Sant, both in front of and behind the camera. She became a co-executor of the Judd Estate in 1994. In 1996, she became a founding trustee of Judd Foundation and now serves as Co-President of the Board.

DONALD JUDD revolutionized practices and attitudes surrounding art making and the exhibition of art, primarily advocating for the permanent installation of works by artists in carefully selected environments. Judd achieved this goal for his own work and that of his colleagues at both his studio and residence at 101 Spring Street in New York and in various locations in and around Marfa, Texas.

Judd Foundation: http://www.juddfoundation.org/
Donald Judd Oral History Project: http://blog.frieze.com/the-donald-judd-oral-history-project/

Oral History Summer School was established in Hudson, NY in 2012 to train an international group of writers, social workers, radio producers, artists, teachers, human rights workers, and undecideds to make use of Oral History in their documentary and artistic practices.
Oral History Summer School 2012: http://oralhistorysummerschool.tumblr.com/#about

Thursday, July 19 at 9 PM
STREETWISE
Martin Bell, Mary Ellen Mark, and Cheryl McCall, 1984, 91 min.

Co-presented with Oral History Summer School 2012

This unflinching look at teens living on the streets of Seattle was one of the first documentaries to deal with the ever-growing plight of homelessness among young people. It began as a Life magazine article by photojournalist Mary Ellen Mark and writer Cheryl McCall; Mark and her husband, director Martin Bell, went back to Seattle to film the daily lives of the throwaways and runaways. The film is shot cinéma vérité style, with no narration to guide the viewer. Bell and Mark found a large group of subjects willing to talk about their lives of panhandling, prostitution, petty crime, and drugs. They’re proud of their abilities to survive, but there’s a strong undercurrent of wistfulness about their observations. -Tom Wiener, Rovi

Oral History Summer School was established in Hudson, NY in 2012, to train an international group of writers, social workers, radio producers, artists, teachers, human rights workers, and undecideds to make use of Oral History in their documentary and artistic practices. More information can be found, here: http://oralhistorysummerschool.tumblr.com/#about

Tuesday, July 24
REMINISCENCIAS
Juan Daniel F. Molero, 2010, 85 min.

Juan Daniel F. Molero will be present for a Q&A and discussion after the screening.

What began as a means of recovering his temporary amnesia by watching his family’s home movies, Molero explored the visual archive of his life, and it gradually evolved into an experimental found footage autobiography. He collages disparate footage from various formats–8mm, VHS, miniDV, HD, and a cell phone camera–ranging from his grandfather’s 8mm films of a family outing at the river, which predates Molero himself, to universal scenes of growing up–the kindergarten classroom, the persistence of a boy learning how to skateboard–and footage he himself shot after his accident, in which he seeks out relatives in remote regions of Peru in the indigenous Quechua community. The singular vision with which Molero weaves a lyrical and visual narrative of his own history is both affecting and radical. Employing both celluloid and video textures, Molero uses the errant visual elements as metaphors for malfunctioning and wandering memory. Reminiscencias is a self-reflexive exploration that both questions and relies on these fragments to remind us of our memories, and to salvage forgotten scraps of time. This unique document of life in Peru is also a testament to the mediated, image-saturated lives of those born after the advent of home movies, and the uncanny and fragmented depictions that these informal documents portray of our lives. -Aily Nash

“He is an original: So many avant-garde films feel derivative, but the combination of abstractions and concrete reality–achingly gorgeous and poignant–is unique.”-Howard Feinstein, Indiewire

Reminiscencias had its New York premiere at the Museum of Modern Art (MoMA) as part of its Modern Mondays series, and has screened internationally at International Film Festival Rotterdam, FIDMarseille, BAFICI, MassArt Film Society, and others.