Henry Hills

Experimental Filmmaker

Henry Hills


Find course syllabi here.

Prague Visiting Filmmakers Series

Visiting American Experimental Filmmaker Program
funded by the Trust For Mutual Understanding
curated by HENRY HILLS

“In the past several years this program has become one of the most important occasions for American independent filmmakers visiting Europe and an enormous asset for the Czech and international students at FAMU.

“Hills’s selection of filmmakers has been splendid. Every year he brings a number of older masters and rising stars to Prague.”

-P.Adams Sitney


Jim Jennings (arrived Feb 18 from New York, departed Feb 25)

Feb. 22 Ponrepo Auditorium, 20:00
Feb 23 FAMU Auditorium, 19:00

Jim Jennings is a perfectionist of silent cinema. His work is quiet and powerful, as is his person. He helped establish the Film Department at Bard College and has lived in New York City for over 30 years where he works as a plumber. His stellar camera-based work, primarily studies of street life and architecture, has emerged as a recent festival favorite.

Leslie Thornton (arrived March 26 from New York, departed April 4)

March 30 FAMU Auditorium, 19:00
March 31 Skolska 28 Gallery, 20:00

Leslie Thornton, a pioneer of Postmodern film working at the borders and limits of cinema, video & digital media, is Professor of Film at Brown University. Her constantly revised works are literally different every viewing.

Ernie Gehr (arrived April 2 from San Francisco, departed April 7)

April 5 Ponrepo Auditorium, 20:00
April 6 FAMU Auditorium, 19:00

Ernie Gehr achieved instant fame, with the release of Serene Velocity in 1968, as the leader of the Minimalist tendency in film. He remains a major figure.

Vincent Grenier (arrive April 11 from New York, departed April 17)

Vincent Grenier

April 12 Ponrepo Auditorium, 20:00
April 13 FAMU Auditorium, 19:00

Vincent Grenier, after decades of producing exquisitely photographed 16mm films, has in recent years become a pioneer in experimental digital filmmaking. He is Chair of the film department at SUNY Binghamton.

Jennifer Reeves (arrived April 25 from New York, departed April 30)

Jennifer Reeves

April 26 Ponrepo Auditorium, 20:00
April 27 FAMU Auditorium, 19:00

Jennifer Reeves' films incorporate optical-printing and direct-on-film techniques and explore a range of topics including: music, mental health and recovery, women's sexuality, poetry, free-association, dogs and the infamous Bush crime family. One of the youngest acclaimed experimental filmmakers, she is on the faculties of Bard College and Cooper Union.

Abigail Child (arrived May 2 from New York, departed May 8)

May 3 Ponrepo Auditorium, 20:00
May 4 FAMU Auditorium, 19:00

Abigail Child began making political documentaries in the ‘70s, explored female sexual identity in all its complexities in her wild collage films of the 80s, and her current work has been developing “strategies for rewriting narrative”. Her writings are collected in This is Called Moving: A Critical Poetics of Film (Univ. of Alabama, 2005) and she is chair of the School of the Museum of Fine Arts in Boston.


Scott Stark (arrived Feb 21 from Austin, TX & departed Feb 26)

Feb 22 FAMU auditorium, 19:00
Feb 23 Skolska 28 Gallery, 19:00

Scott Stark appeared (from Austin, Texas) the last week of February, presenting two separate programs, videos at FAMU and 16mm films at Skolska 28 Gallery. His neo-structuralist work challenges the audience to question its relationship to the cinematic process but with an engagingly eccentric sense of humor and a droll midwestern style. He is employed in the computer industry and created & maintains the Flicker site (http://www.hi-beam.net/cgi-bin/flicker.pl) for the benefit of the film community.

Su Friedrich (arrived Oct 15 from New York, departed to Vienna Feb 19)

Oct 16 FAMU auditorium, 15:40
Oct 17 Non-fiction seminar, FAMU conference room, 10:00
Oct 17 Ponrepo 20:00

Su Friedrich, because of demands of her job teaching at Princeton, was forced to postpone her visit until the Fall. She will be appearing with a program of videos in Hills’ History of American Avant-Garde class on October 16, meeting students in Hills’ Non-Fiction Filmmaking workshop the following morning, and screening some of her 16mm works to the public at Ponrepo on the evening of October 17, including a pre-screening of her new film about coffee which premieres the following weekend at the Viennale film festival in Vienna. Friedrich, perhaps the most highly lauded & her work the most widely distributed of any experimental filmmaker in the past two decades and a feminist heroine, makes handmade autobiographical films which question illusion, belief, cultural and sexual identity and the conventions of documentary and narrative films.

Ben Russell (arrived Nov 2 from Chicago, departed Nov 10)

Nov 6 FAMU auditorium, 15:40 Nov 7 Non-fiction seminar, FAMU conference room, 10:00 Nov 7 Skolska 28 Gallery, 19:00

In the first week of November, 2007, Ben Russell will screen and discuss his multi-faceted work in Hills’ classes and at Skolska 28 Gallery. Russell, a younger filmmaker, founded (in 2004) and still curates Magic Lantern, an influential showcase in Providence, R.I. and currently teaches at University of Illinois in Chicago. He toured Eastern Europe last summer presenting 28 programs in 5 weeks, though fortunately for us was not able to get a screening in Prague at that time. His work has shown widely the past several years at major festivals including New York, Rotterdam, London, and Images Tokyo and was recently featured in a “MediaScope” at Museum of Modern Art.

Robert Beavers (arrived via Berlin Dec 3, departed Dec 7)

Dec 4 Ponrepo, 20:00
Dec 5 Non-fiction seminar, FAMU conference room, 10:00
Dec 5 Skolska 28 Gallery19:00

The legendary Robert Beavers premiered his latest film at Documenta 12 in Kassel (work by Friedrich was also presented there). His lyrical yet rigorous work, spanning from the mid-60’s yet rarely screened until recent years, was subject of major retrospectives at the Whitney Museum in 2005 and the Tate Modern in February, 2007. He is the director of Temenos (http://www.the-temenos.org/), a non-profit incorporated in New York, maintaining an archive in Zurich, and presenting an bi-annual outdoor screening event in the Peloponnese, devoted to preserving the work of the late avant-garde icon Gregory Markopoulos. Beavers will present two programs, December 4 at Ponrepo and December 5 at Skolska 28 Gallery, as well as making classroom appearances.


Bradley Eros (arrived March 9 from New York & departed March 16)

March 11 FAMU auditorium (American Avant-Garde) 15:40
March 12 Non-Fiction Filmmaking Seminar 10:00
March 12 Skolska 28 Gallery 19:30

Bradley Eros, the bulk of whose work over the last 3 decades has been involved with film performance, both manipulating multiple projections in real time and physically interacting with the projected image, is Theater Manager and co-curator of the Joseph Cornell collection at Anthology Film Archives in New York, co-founder of the Robert Beck Memorial Cinema, and a special advisor to the senior curator at the Whitney Museum. He presented a class March 11, 2008 on the films of Joseph Cornell in “History of American Avant-Garde”, discussed his own films and performance work the next day in the “Non-Fiction Workshop” and had a standing-room-only performance March 12 at Skolska 28 Gallery, which included selected 16mm films, video documentation of performances, and an original collaborative work with Prague film artist Martin Blazicek.

Janie Geiser (arrived March 29 from Los Angeles, departed April 4)

April 1 FAMU classroom 3 (Alternative Perspectives) 9:00
April 2 Non-Fiction Filmmaking Seminar 10:00
April 3 Skolska 28 Gallery 19:30

Janie Geiser is Professor of Puppetry at California Institute of the Arts and has been making experimental animated films since 1990. Her film work, which has frequently screened at the Rotterdam, San Francisco, and New York film festivals, has received support from the Rockefeller Foundation and Creative Capital (& she was a Guggenheim fellow and an Obie award winner for her puppetry). She delivered a class April 1, 2008 on the relationship between her work in theater and her work in film for the “Alternative Perspectives” class, and the next day, with Lewis Klahr, discussed her work in the “Non-Fiction Workshop” and co-presented a standing-room-only 16mm screening April 3 at Skolska 28.

Lewis Klahr (arrived March 29 from Los Angeles, departed April 4)

April 1 FAMU auditorium (American Avant-Garde) 15:40
April 2 Non-Fiction Filmmaking Seminar 10:00
April 3 Skolska 28 Gallery 19:30

Lewis Klahr is the living master of cut-out animation and his work has been duly acknowledged with screenings and purchases by the Museum of Modern Art and at several Whitney Biennials, funding from the National Endowment for the Arts, the NY State Council of the Arts, The Jerome Foundation, the NY Foundation of the Arts, and Creative Capital, and frequent festival showings around the world. A voluble and eccentrically original thinker about film, he presented his recent video work in “American Avant-Garde” and spoke on film history in “Non-Fiction Workshop” & co-presented a standing-room-only 16mm screening with Janie Geiser on April 3, 2008 at Skolska 28.

The Tape-beatles

October 21 FAMU Gallery (classroom 1) 19:30

The Tape-beatles, currently Lloyd Dunn & John Heck, are underground legends in expanded cinema and experimental sound-art. Already visiting Prague in the Fall of 2008, they gave a rare performance in the “History of American Avant-Garde” class at FAMU of G.N.P., a dazzling summary of three decades of work in the Anti-Copyright movement, for three 16mm projectors (one continuous and the other two an amazing acrobatic performance of loop changing), a video projector, and digital sound, to a full house on October 21 at the FAMU gallery space (classroom 1).

Keith Sanborn (arrived November 28 from St.Petersburg, departed Dec 3)

December 1 C.A.S. Masters workshop (FAMU classroom 423)
December 1 Skolska 28 Gallery 19:30
December 2 FAMU classroom 3 (Alternative Perspectives) 9:00

Keith Sanborn, currently on the Visual Arts faculty at Princeton and the Milton Avery Graduate School in the Arts of Bard College (but teaching for the Fall in St. Petersburg, Russia on a Fulbright Fellowship), translated and produced the first American video release of films by the father of Situationist International, Guy Debord. He and Peggy Ahwesh recently published a book of essays on a single frame from Dziga Vertov’s “Man with a Movie Camera”. His films and videos have been featured at the Whitney Biennial, the Museum of Modern Art and the Rotterdam Film Festival. He appeared in the masters seminar of the Center for Audio-Visual Studies, presented and discussed his collaboration with Peggy Ahwesh, “The Dead Man” (based on his translation of the George Bataille novella) at Skolska 28 Gallery, and presented several of his videos, along with an introductory lecture on Situationist film (with selections from works for which he had translated the English subtitles) in the Alternative Perspectives class at FAMU.

Peggy Ahwesh (arrived November 28 from St.Petersburg, departed Dec 3)

December 1 C.A.S. Masters workshop (FAMU classroom 423)
December 1 Skolska 28 Gallery 19:30
December 2 FAMU auditorium (American Avant-Garde) 15:40

Peggy Ahwesh, one of the superstars of her generation, had a mid-career retrospective in 1997 at the Whitney Museum of American Art called “Girls Beware!”. A faculty member at Bard College, her numerous awards include the Alpert Award in the Arts, a Guggenheim Fellowship, and grants from the Jerome Foundation, Creative Capital, and the New York State Council on the Arts. She came to Prague from St Petersburg (where she did a show the night of her return), made an appearance in the CAS masters seminar, screened and discussed her film “The Dead Man” (made in collaboration wit Keith Sanborn) at Skolka 28 Gallery on December 1, and presented a selection of her super-8 & 16mm films at FAMU in the American Avant-Garde class.


Robert Nelson (arrived March 1 from San Francisco & departed March 9)

March 3 FAMU auditorium (American Avant-Garde) 15:30
March 4 Skolska 28 Gallery 19:30

Robert Nelson (1930-2012) was the dean of Northern California filmmakers. He began making experimental films in 1962, producing a body of conceptual works that contributed to the larger structural film movement of the American avant-garde by questioning such fundamental properties of filmmaking as duration and perception, but with an offbeat humor which resembles the early European avant-garde shorts of the 1920s in their enjoyment of visual and verbal puns and outright silliness. Over the last several years, he resumed occasional touring with his recently-restored films and it was a rare honor that he agreed to come down from his mountaintop retreat in Humboldt County and visit Prague. An unusually large contingent of FAMU faculty attended his classroom appearance, and his March 4 screening at Skolska 28 Gallery was packed. The audiences were totally delighted. He was as bright and wry ever and apparently remained so until the end.

Jeanne Liotta (arrived March 22 from Denver & departed March 28)

March 24 FAMU auditorium (American Avant-Garde) 15:30
March 25 Skolska 28 Gallery 19:30

Jeanne Liotta, a native New Yorker, recently joined the film faculty at University of Colorado. She has lately been producing a masterful series of 16mm miniatures after years of primarily being involved in performance with film. Her latest piece ‘Observando El Cielo’ has been screened in festivals around the world to significant critical notice. Her work was featured in the 2006 Whitney Biennial. She is founder and curator of the magical Firefly Cinema on summer evenings at the 6th and B Community garden in the East Village. She is also on the faculty of the Milton Avery Graduate School of the Arts at Bard College. She lectured on the work of Joseph Cornell and Hollis Frampton at FAMU and had a full house at her wonderful Skolska 28 screening on March 25.

Abraham Ravett (arrived October 5 from Hartford, CT & departed October 13 for additional shows in Poland)

October 8 Ponrepo 20:00
October 9 FAMU auditorium (American Avant-Garde) 15:30

Abraham Ravett is the child of Auschwitz survivors and much of his poignant work is concerned with remembering and trying to comprehend the atrocity of the holocaust. Born in Poland in 1947, he was raised in Israel and emigrated to the U.S.A. in 1955. A prolific, widely screened, and much honored filmmaker, Ravett teaches filmmaking and photography at Hampshire College, Amherst, MA. He screened and discussed work in 16mm October 8 at Ponrepo and presented work in video and spoke the next afternoon at FAMU.

Peter Hutton (arrived November 10 from New York & departed Nov 15)

November 11 Ponrepo 20:00
November 12 Skolska 28 Gallery 19:30

Peter Hutton is known primarily for his silent cinematic portraits of cities and landscapes. A former merchant seaman, he has spent nearly forty years voyaging around the world to create sublimely meditative, luminously photographed, and intimately diaristic studies of place, from the Yangtze River to the Polish industrial city of Lodz, and from northern Iceland to a ship graveyard on the Bangladeshi shore. He has also worked as a professional cinematographer, most notably for his former student Ken Burns. Since 1989 he has served as the director of the Film and Electronic Arts Program at Bard College. In May 2008 the Museum of Modern Art in New York held a full retrospective of Hutton's films.

He screened and discussed his work in 16mm, showing his most recent piece, AT SEA, Nov 11 at Ponrepo and early works Nov 12 at Skolska 28 Gallery, and had mentoring sessions with the students in the Non-Fiction Workshop.

Stephanie Barber (arrived December 7 from Baltimore & departed Dec 14 for additional screening in London)

December 10 Ponrepo 20:00
December 11 FAMU auditorium (American Avant-Garde) 14:30

Stephanie Barber, a younger filmmaker and poet currently living in Baltimore, who has been extremely active over the decade producing works which are ‘by turns homespun and high-philosophic, lo-fi and literary, delicate and punk-rock,’ and has had recent screenings at the Whitney Museum, the Museum of Modern Art, and the New York & Rotterdam Film Festivals. In addition to an intense and eccentric classroom appearance at FAMU with her videos, on Dec 10 she screened 16mm films at Ponrepo.


Eve Heller (already in Europe, arrived September 28 from Vienna & departed October 2 to screen work at the Viennale)

Eve Heller

September 29 Ponrepo 20:00
September 30 “Non-Fiction Workshop” 10:00 (MFA Seminar room)

Eve was already in Europe to screen her films at the Viennale. Although she has been making films for almost 30 years, she only recently began screening them in solo programs. “Eve Heller uses the intricate and particular beauty of black and white 16mm film to carve a space for the viewer away from the frantic pace of the traditional moving image. Sensitive, ruminative, and often disarmingly simple in appearance, these films develop an otherworldly atmosphere where the viewer is invited to grasp the profound in the everyday.”

Nathaniel Dorsky (arrived October 10 from San Francisco & departed Oct. 17 to Vienna to teach a workshop at the Kubelka School, returning to S.F on the 26th)

Nick Dorsky

October 11 Ponrepo 20:00
October 15 Ponrepo 20:00

NATHANIEL DORSKY made films in Kodachrome from the time he was 10 years old (in the mid-50s) until the stock was discontinued 2 years ago. He dropped out of college and moved to New York in the early 60’s where he was part of a circle of filmmakers revolving around Gregory Markopoulos and received early fame for such films as INGREEN (as well as winning an Emmy for work as a cinematographer). A crisis of identity caused him to move to California and stop releasing films for almost 20 years. The first films he began to release when he emerged from isolation were exhaustive studies of imageless film emulsion from long discontinued stocks (PNEUMA) and sand (ALAYA), followed by a number of films edited from the accumulated glorious footage he had continued to shoot over the years. By 1998’s VARIATIONS, in many ways the prototype of his current work, he had caught up and now shoots specifically for each new project. He is the author of a book, DEVOTIONAL CINEMA, in which he outlines his Buddhist aesthetics. An exquisite cinematographer, he has supported himself over the years as an editor, particularly as a “film doctor” for the long running POV series. His entire body of work, which has received support form the Guggenheim and the Rockefeller Foundations, is in the collection of the Museum of Modern Art. He has screened widely in festivals and had a recent retrospective at the Pompidou Center, and was recently acclaimed by FILM COMMENT magazine as the most important experimental filmmaker of the 21st Century.

His reputation preceded him to Prague and his two full-house screenings drew the largest audiences Ponrepo had ever seen for experimental film. Screening to his absolute and very particular specifications (16mm at 18 fps, “sacred speed”, from the booth) created multiple difficulties and increasing anxiety up to the very last moment, but the shows finally proceeded brilliantly, the lengthy public discussions afterwards were dazzlingly original, and private discussions with students continued throughout the week late into the night. During the days, whcich were blessed with unseasonably beautiful weather, Dorsky roamed around Prague with his Bolex and shot 17 rolls of film towards his next composition.

Naomi Uman (arrived October 28 from the Ukraine & departed November 2)

October 29 FAMU auditorium (American Avant-Garde) 15:00
November 1 Ponrepo 20:00

A native New Yorker, Uman, upon graduating from the Culinary Institute of America, became private chef to Malcolm Forbes, Calvin Klein and Gloria Vanderbilt. After being exposed to experimental film at Columbia University, which she attended upon selling her catering business, she traded in her eggbeater and oven mitts for a 16mm Bolex. Uman’s early work was marked by a signature DIY aesthetic, often shooting, hand-processing and editing her films with the most rudimentary of practices, producing films of almost palpable tactility, including the feminist classic REMOVED. She moved to Los Angeles, where she studied and then taught at CalArts, and then to Mexico City where she still maintains a residence. Upon being criticized for making a realistic portrait seemingly critical of an immigrant family living in Los Angeles (relatives of her Mexican husband), she decided to become an immigrant herself and return to the land of her grandparents. She has been living in the Ukraine the past four years, initially on a Fulbright Fellowship but remaining to complete a cycle of films, the UKRAINIAN TIME MACHINE (which she periodically returns to L.A. to edit and print). In the class at FAMU she gave the first screening for eyes other than her own of a disarmingly frank autobiographical video she has also made during her isolation in a small Ukrainian village (from which she is on the eve of returning to warmer climes). Her work, which is widely screened at festivals and museums, has also received support from the Guggenheim Foundation and Creative Capital. She flew to Prague from Kiev.

Ken Kobland (arrived November 11 from New York & departed Nov 14)

November 12 FAMU auditorium (Alternative Perspectives) 15:00
November 12 Ponrepo 20:00

KEN KOBLAND has been actively producing films and videos since the early 1970s. Through metaphor, provocation and association, Kobland often explores the historical meaning, critical context, and received notions of a particular site or place. He has also collaborated on a number of films with the legendary NYC experimental theater company The Wooster Group. He worked for many years as a cinematographer, shooting films on Louise Bourgeois, Chuck Close, and Joan Mitchell. He has received support from the Rockefeller and Guggenheim Foundations, the American Film Institute, the NEA, DAAD, etc. He lives in a loft on the Bowery in New York, which he wrenched himself away from for a brief but intense visit.

Saul Levine (arrived November 22 from Boston & departed November 28))

November 26 Skolska 28 Gallery 19:00
November 27 classroom 3 (Alternative Perspectives) 15:00

A legend of small gauge filmmaking, Levine has taught at the Massachusetts College of Art in Boston for over 30 years, influencing several generations of filmmakers, and programs the longstanding Mass Art Film Society, with 24 visiting filmmakers per year. In the late 60’s he was editor of NEW LEFT NOTES, the newspaper of the Students for a Democratic Society and was arrested numerous times for protesting the war in Vietnam. Since 1964, he has made over 80 films and videos.

Levine’s work is noted for its incorporation of splice marks, percussive editing, unconstrained camera movements and spontaneous formal accidents. This distinctive style, informed by a background in the blues, poetry, and radical politics, produces “exquisitely kinetic,” and often very beautiful cinematic experiences. His work is included in the recently released amazing box set, Treasures from the Archives IV: American Avant-Garde Film, 1947-1986. This trip is the first time he has left the North American continent.

"Saul Levine is the foremost dissenting filmmaker in America.” -P. Adams Sitney

Andrew Lampert has been pursuing a successful & visible career as a film performer alongside his distinguished tenure as the Archivist at Anthology Film Archives in New York. On Ponrepo Mar 9 & 10, he introduced two programs of recent restoration/preservations of classic avant-garde films (HEAVEN AND EARTH MAGIC by Harry Smith, FUSES by Carolee Schneeman, FIST FIGHT by Robert Breer, and a 35mm blow-up of Henry Hills' 1984 film MONEY alongside a 60's film by Rudy Burckhardt also called MONEY), he introduced the films of composer Mauricio Kagel to my "Alternative Perspectives" class, and on Friday Mar 11 gave a hilariously narrated performance of Brooklyn autobiographical footage employing various alternative screening modes at Skolska 28 Gallery.

Martha Colburn, one of the most energized and innovative young animators currently working in the U.S., opened the newly renovated Museum of the Moving Image last year in Queens where she lives with a major installation, a complete retrospective, and sold-out performances with live musical performances; just before she came to Prague she performed live video projections at The Stone as a member of Sean Lennon's new band. She had a lively (as always) screening at Ponrepo Mar 14 and then in my "American Avant-Garde" class Mar 15 she demonstrated many of her innovative techniques with cut out puppets as well as videos she had taken of herself in her studio composing her last movie.

Julie Murray, born in Ireland but living in America for the past 25 years, currently in Ann Arbor, Michigan, screened the 16mm stock footage films for which she is best known at Ponrepo May 4 and showed her recent landscape videos in my class May 6 with a lively discussion.

Bruce McClure, formerly an architect but now pursuing a successful world-wide career as a performer of live abstract compositions for multiple 16mm film projectors, staged one of his ear-shattering events Oct 14 at Skolska 28 Gallery. Prior to the performance he gave a lecture/demonstration to my "American Avant-Garde" class and on the 15th & 16th gave a two day workshop at FAMU on performing with projectors.

Betzy Bromberg, the current Chair of the Film & Video Department at California Institute of the Arts (having prior to that worked for 20 years in the film industry doing optical effects), screened her amazing micro-photographed abstract feature, A DARKNESS SWALLOWED Nov 19 at Ponrepo. In my Friday "Alternative Perspectives" class she screened on video part 2 of her latest abstract feature, VOLUPTUOUS SLEEP, as well as her early punk trilogy, CIAO BELLO.


Dani Leventhal

Feb 16 Skolska 28 Gallery
Feb 17 FAMU Auditorium

At once tender and savage, Dani Leventhal’s astonishing video diaries capture the banal and the horrific to reveal the transcendent beauty and pain of daily life. Most of her images are shot wide angle from very close up giving a startling sense of immediacy. She has translated her training as a sculptor into a remarkably original style of editing. Her video DRAFT 9 received the Directors Choice Award at the International Festival of Documentary Films in Jihlava, Czech Republic in 2005.

Pat O’Neill

November 21, 20:00 Ponrepo WATER AND POWER (35mm) & RUNS GOOD (16)
November 23, 13:00 FAMU speail CAS seminar on recent video work

Although his work embraces an extremely wide technical and aesthetic scope, he is perhaps best known for his startling, surrealistic, and humorous film compositions achieved through a mastery of the optical printer. His films and other artworks often reveal a complex and mysterious interest in the connections and clashes between the natural world and human civilization. O’Neill has combined found footage with experimental montage and compositing techniques to create a graphic language that deals with how different, often disparate elements assembled together in the frame relate to one another. His innovative optical techniques anticipated our digital landscape well before its time. When he taught at Cal Arts as one of the original faculty members in the 1970’s, his students went on to form the special effects unit which created the original STAR WARS films. He is now making dazzlingly original work in digital video.


Deborah Stratman

February 20, 20:00 Ponrepo, 16mm films
Feb 21, 15:00 FAMU American Avant-Garde Intensive

Probing the elusive terrain where technology, disruptive phenomena, and the contradictory human impulses for order and chaos meet (and often collide), the films of audiovisual poet/essayist Deborah Stratman set off alarms both literal and figurative. -Village Voice

Fern Silva

March 6, 20:00 Ponrepo, works in 16mm
March 7, 15:00 FAMU American Avant-Garde Intensive

Fern Silva’s work emerges out of travel, presenting temporal and spatial transitions as conduits into the realms of the personal and ephemeral. Rather than focusing on one single perspective, his work moves through disparate moments to show commonality between beings and structures while exploring the effects of geography, climate and environment on social relations, communication and the metaphysical.

David Gatten

April 27, 20:00 Ponrepo "Secret Histories"
April 28 19:30 Skolska 28 Gallery "The Sea Seeks It's Own Level" with Erin Espelie
April 20 FAMU module on Hollis Frampton with Henry Hills

"Gatten’s work, taken as a whole, can be broadly characterized thusly: the presence or introduction of systems of knowledge simultaneously undermined and made uniquely expressive by their non-comprehensive state. Each film, and the films taken together, forms a library 'misfiled' by desire." – Michael Sicinski

Other Guest Filmmakers (funded by other programs):

Guy Sherwin

Friday, Nov 3, 2006 at Skolska 28 live multi-projector performance with Lynn Loo

Andres Szirtes

Friday April 20, 2007 in person at Skolska 28 with DIARIES No 1-8

Martina Kudláček

In the Mirror of Maya Deren (35mm print courtesy of sixpackfilms)

Thursday, April 12, 2006 20:00 Ponrepo

Notes on Marie Menken (35mm print courtesy of sixpackfilms)

Saturday, April 14 Ponrepo

Fragments of Kubelka

Nov 12, 2014, Ponrepo

Peter Kubelka

Wednesday, Feb 10, 2016 Metaphoric Films, Ponrepo

Friday Feb 12, 2015 Metric Films, FAMU