FRIDAY SEPTEMBER 15th, 2023
CHICAGO UNDERGROUND FILM FESTIVAL 2023
at 5pm
Harper Theatre in Hyde Park (5238 South Harper Ave., Chicago, IL 60615).
Tickets are available here.
Part of an expanded cinema program, [six years] will be preceded by a magic lantern performance piece by Melissa Ferrari. Program TRT: 80 mins
SUNDAY OCTOBER 8th, 2023
BUFFALO INTERNATIONAL FILM FESTIVAL
at 4pm
at NORTH PARK THEATRE, 1428 Hertel Avenue, Buffalo, NY 14216
Tickets are available here
SATURDAY APRIL 8, 7:30 PM
ANTHOLOGY FILM ARCHIVES, 32 Second Avenue, New York, NY
A meditation on the transformations of perception produced by loss, Paige Sarlin’s [six years] marks an anniversary of the filmmaker and musician Tony Conrad’s death on April 6th, 2016, with an assemblage of documentary images and sounds created in the apartment in Buffalo, NY where Sarlin and Conrad lived together.
On the night Tony died, Paige played cello to him for hours as his breathing slowed and changed. [six years] contains excerpts from that audio recorded at Hospice Buffalo and explores the capacity of video to function as a holding space for grief. Balloons will be provided.
To commemorate the premiere (and another anniversary of Tony’s death), Sarlin’s 30-minute video will be preceded by two videos Conrad made with other collaborators.
TRT: ca. 55 mins
Tony Conrad
ACCORDION
1981, video, 12 min
Though the accordion can be complex, many people find it relatively easy to learn a simple tune. The first step is to find a good teacher. Once you’ve found a teacher, you must practice regularly to play well – Tameda Jones “How To Play The Accordion” 2022
Tony Conrad with Keith Sanborn and Barbara Broughel
PALACE OF ERROR
1982/2011, 16mm transfer to video, 9 min
A theory discourse among three participants, enacted in silhouette. – Tony Conrad
Paige Sarlin
[six years]
2022, digital, 30 min
Like Conrad’s classic THE FLICKER, this experimental video begins with a warning and an instruction for the audience. [six years] contains excerpts of audio recorded at Hospice Buffalo on the day that Conrad died and a balloon will be provided as a prosthetic for every viewer. To feel… hold balloon.
TRT: ca. 55 min
Still from Accordion (1981)
Still from Palace of Error (1982/2011)
Please join me alongside Caspar Stracke and Cathy Lee Crane on April 1st at the annual conference of the Society for Cinema and Media Studies in Atlanta.
Friday, April 1, 2016 02:15PM-04:00PM (Session M)
M18: Working With Farocki
Chair: Paige Sarlin (University at Buffalo, SUNY)
Respondent: Abina Manning (Video Data Bank)
Cathy Lee Crane (Ithaca College), “Farocki’s Hands: On the Problem of Performance in Non-Fiction film”
Caspar Stracke (University of the Arts Helsinki), “Build your own Farocki. Curating the 60th Flaherty Seminar.”
Paige Sarlin (University at Buffalo, SUNY), “Interview/Work: Farocki’s Die Bewerbung (1997) ”
Harun Farocki’s critical practice has served as a model for generations of documentary filmmakers; most prominently—Jill Godmilow, whose film What Farocki Taught (1998) is a perfect replica of Farocki’s Inextinguishable Fire. In the wake of his untimely death in 2014, Thomas Elsaesser spoke at a symposium honoring Farocki at Artist’s Space in New York City and he proclaimed Farocki to be the most important filmmaker of the contemporary age. This panel will explore the ways in which Harun Farocki’s as a writer, theorist, gallery artist, as well as a filmmaker and television producer, has provided rich material for contemporary documentary filmmakers, curators, artists, and scholars. Farocki’s films, videos, installations, and writing have responded to shifts in the general mode of production, changing contexts for the exhibition and circulation of documentary media, the transformation of funding structures, and the implication of media technology and image production in the control of political, economic, and cultural life. Approaching the topic of “working with” Farocki as something other than a matter of influence or legacy, this panel highlights the productive aspects of Farocki’s example and considers the notion of working from a variety of perspectives – literal, curatorial, theoretical, and aesthetic. The panel will feature a presentation by an artist-curator duo who set out to program the Flaherty Film Seminar with the intention that the entire programme would represent something of Farocki’s dynamic range and who will discuss the relation of curation to filmmaking and Farocki’s significance in the development of soft-montage within the gallery context. It will also include the reflections of a filmmaker who worked as a cinematographer on Farocki’s film I Thought I was Seeing Convicts and her discussion of how that experience has informed her understanding of the body and gesture in documentary. Lastly, there will be a paper by a scholar-practitioner who considers the significance of the question of work to Farocki’s interdisciplinary practice and to a range of other artists and filmmakers who are navigating the expansion of documentary practices into the gallery and museum.
SCAPEGOAT: Architecture | Landscape | Political Economy
Issue 04—Currency is Now Available!
SCAPEGOAT issue editors Chris Lee and Adrian Blackwell are proud to announce the release of Issue 04—Currency, now available for purchase, in our new format, here.
Contributors include:
Brett NEILSON & Sandro MESSADRA, Fabrica Mundi: Producing the World by Drawing Borders
Emily GILBERT, Currency in Crisis
Keith HART, Why the Euro Crisis Matters to Us All
Emilio MORENO, Other Issues: Currency Delimiting Sovereignty
Peter NORTH, Money as Anticapitalist Praxis
Georgios PAPADOPOULOS & Jack Henrie FISHER, Grexit: Notes towards a Speculative Archaeology of the European Crisis
Rob KOVITZ, Capital of the World
Robert FISHMAN, Foreclosure and the American City
Abbas AKHAVAN, Islands
Srdjan LONCAR, The Fine Art of Repair in New Orleans
Marcelo VIETA, Recuperating a Workplace, Creating a Community Space: The Story of Cooperativa Chilavert Artes Gráficas
Emanuele BRAGA, Messages of Rupture: On the MACAO Occupation in Milan, translated by Roberta BUIANI
ExRotaprint, There is No Profit to be Made Here!
Peter MÖRTENBÖCK & Helge MOOSHAMMER, Informal Market Worlds: Instruments of Change
Steven CHODORIWSKY, From the needle and thread, all the way up to the hat
Matthieu BAIN & Andrew PERKINS, Rust Belt Vernacular: Harvesting Unnatural Resources
AbdouMaliq SIMONE, Water, Politics and Design in Jakarta
Claire PENTECOST, Notes from Underground
Rosten WOO, Big Pictures
Jordan GEIGER, Maximal Surface Tension: Very Large Organizations and Their Apotheosis in Songdo
Ricardo DOMINGUEZ interviewed by Alessandra RENZI, On the Currency of Somatic Architectures of Exchange
Paige SARLIN, Vulnerable Accumulation: A Practical Guide
Suriya UMPANSIRIRATANA interviewed by Adam SMITH, Bangkok to Chonburi, translated by Ajahn KENG
Robert ADAMS, Making a Scene: A Vivid Genealogy of the Asclepius Machine
Brendan BAYLOR & Heath SCHULTZ review The Art of Not Being Governed
FAKE INDUSTRIES review the 2012 Venice Biennale of Architecture
Alan ANTLIFF reviews Commerce by Artists
From the editorial note:
Currency is structured by a fundamental contradiction between its necessary circulation and its stubborn foundation in sovereign territories. On the one hand, it is designed to represent value and facilitate its exchange in standardized, fungible units; on the other, its relative scarcity generates a strong incentive to hoard it, withdrawing and storing its value, converting it into fixed assets such as property whose existence relies on the same institutions of coercion that maintain national borders. Fiat currencies, the current hegemonic form of money, while not backed by material commodities, derive their legitimacy primarily from the power of states over and within national territories. Société Réaliste remind us that the word mark, in the Deutschemark, has roots in the Gothic word marka, for “sign of a frontier.” This suggests that the national currencies that we are familiar with are at once completely abstract—special commodities containing only exchange value providing a perfect break between spheres of production and consumption—and coextensive with the very material space that the state’s military force secures. Today’s globalized capitalism only exacerbates this paradox. The ascendency of finance capital in North America and Europe has created a condition where the accumulation of capital is based almost purely on speculation, and money is multiplied through its circulation. At the same time, the struggle to secure the territories and bodies that guarantee it has become ever more desperate as civilian spaces have been more and more militarized. The result has been an increasingly complex space of value, where the borders that produce its distinctions are no longer located at a nation’s edges, but rather lie both within and beyond it. The diverse contributions to Scapegoat’s fifth issue, Currency, investigate these contradictory tendencies within the spatiality of currency and present ways that they can be resisted. We follow a line that runs from the material to the immaterial, exploring divergent scales and topologies in the process.
Editorial Board:
Adrian Blackwell, Adam Bobbette, Nasrin Himada, Jane Hutton, Marcin Kedzior, Chris Lee, Christie Pearson, and Etienne Turpin.
You can purchase a copy of SCAPEGOAT Issue 04—Currency here or visit our website online.
March 2013
53rd Annual Conference of the Society for Cinema and Media Studies
Chicago, IL
I will be a respondent for the panel “The Commons, Cosmopolitanism and Contemporary Visual Cultures,” featuring papers by Ani Maitra, Michelle Cho, and Avery Slater.
Paige Sarlin 