1971-2014, multiple directors, USA/Romania, ca 75 min
- Mon, Feb 15th 6:00pm
Through reenactment, appropriation, performance, and collage, the films and videos in this program explore the intersections of the personal and political, reflecting on legacies of past radicalism, contemporary moments of resistance, and new political models. (Amy Beste)
FEBRUARY 15: Tom Palazzolo, Latham Zearfoss, and Elisabeth Subrin (via Skype) will be present for audience discussion.
1997, Elisabeth Subrin, USA, 37 min, Digital File
"Daring and revelatory ... Subrin’s ideas are beautiful and the movie is a thing of wonder." – Richard Brody, The New Yorker
Elisabeth Subrin’s masterful film is a shot-by-shot reenactment of an unreleased 1967 documentary portrait of SAIC student Shulamith Firestone, who, a few years later, would become a central figure in the rise of radical feminism. Through its meticulous staging, the film expresses in Subrin’s words, “the residues of the past,” and the resonance of issues around gender and class today.
Love It / Leave It
1971, Tom Palazzolo, USA, 15 min, 16mm
Tom Palazzolo’s sardonic montage of the 1960s cuts between a nudist competition, football, neighborhood parties, and the political foment around Chicago’s 1968 Democratic Convention.
Now Let Us Praise American Leftists
2001, Paul Chan, USA, 4 min, Digital File
An early work by artist and activist Paul Chan uses wanted-poster computer technology to foreground the exclusionary nature of leftist politics.
The Meaning of Various Photographs to Tyrand Needham
2009, Steffani Jemison, USA, 12 min, Digital File
Steffani Jemison’s THE MEANING OF VARIOUS PHOTOGRAPHS TO TYRAND NEEDHAM restages a classic John Baldessari video with images of African American subjects to highlight strategies of misreading and resistance.
Something to Move In
2014, Latham Zearfoss and Joel Mideen, USA, 5 min, Digital File
Latham Zearfoss sets the words of the Black Panthers to a new beat.
Now It Is a Matter of Learning Hope
2014, Irina Botea, Romania, 10 min, Digital File
Artist Ileana Faur rehearses utopian manifestos among the abandoned remains of a park once planned to celebrate Nicolae Ceausescu’s Romanian dream.