B-52
Hartmut Bitomsky
Hartmut is going to talk a little about his work at large and the politics of how his films are constructed. And we’ll screen one of his best films: B-52.
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Hartmut is going to talk a little about his work at large and the politics of how his films are constructed. And we’ll screen one of his best films: B-52.
Avant-wrongdoers Blood Stereo performing in Garthamlock the town spawned them.
Arrive, get settled, be hosted and meet-up in IRL and URL.
Brother and sister stumble over the early morning horizon in a spectral haze of emotionally devastating lunar vocals and oblique, lithium-soaked folk.
What is happening when systems of repression try to grasp communities’ ways of being, living or surviving, applying laws of sexuality, gender or race to cast them as criminal?
Everyday objects and materials (rubber bands, paper, a sink, microphones) disabused of their inertia and made to speak for themselves in a kind of focusing in on the tiny, repetitive, almost unobserved (sonic/ visual) potential of everyday things put into motion.
Usurper jamming live in a skip at the site of Bud’s Neill’s Lobey Dosser statue on Woodlands Road.
Profound mathematical ideas for romantics, to help us linger in the difference we share.
What would have happened in 1963 if someone from the voguing ball scene going on in Harlem had travelled downtown to perform alongside the early postmoderns at Judson Church?
A somehow hyper-modern, ancient and folkloric lip-synced, made-up, fashioned performance.
Smith/Stewart set up allegorical situations over which they often have little to no control, but which instigate explorations of dependence and trust, the body, sex and death.
A guitar solo of frugal wringing, of notes in the dark, an attitude of making everything count.