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[ February 2, 2012; 10:00 am; ] In Your Day is My Night, my collective of Chinese and Puerto Rican performers living in New York City explores the history and meaning of “shiftbeds” through verité conversations, character-driven fictions and integrated movement pieces.
[ December 16, 2011; 12:00 pm; ] When Lynne Sachs presents a 30-minute excerpt from her new film, “Your Day Is My Night,” at the National Gallery of Art on Sunday, she intends to pay close attention to how the audience responds. “I’m going to listen and I’m going to take notes on what they say,” Sachs said in a telephone conversation from her home in Brooklyn.
[ December 3, 2011; 5:00 pm; ] “The wonderful thing about NYC is that you can experience so many different kinds of environments. This uncharacteristically sunny November afternoon I catch up with Lynne Sachs, who has had work screened at the last two VideoFest. I compliment her on her beautiful website and we talk about the use of text and media and history in her work.” Raquel Chapa, Ass. Dir. Dallas Video Festival
[ November 28, 2011; 4:00 pm; ] We are here to discuss the various ways digital technologies have, and have not, impacted experimental filmmaking. There was a time, in the mid-1990s, if not before, when some people argued that digital technologies were revolutionary and that they would fundamentally change filmmaking. Now that the dust has settled, or at least started to settle, and we can look back over the last fifteen or twenty years, the “digital revolution” might not seem like a revolution at all. We want to talk about both what has stayed the same and what has changed in experimental filmmaking thanks to the advent of digital technologies.
[ November 7, 2011; 12:00 pm; ] The first time I saw Gunvor’s brash, feminist 1966 moving image carnival “Schmeerguntz”, I was about 25 years old, still too young (I thought) to identify with her funky discourse on motherhood and domesticity. In a sense, I watched Gunvor’s cinematic collaboration with her friend Dorothy Wiley as a child might furtively read her mother’s journals.
[ October 21, 2011 11:00 am to November 23, 2011 11:00 am. ] In an interview with Otherzine experimental fil maker, Lynne Sachs talks about realizing “that there was a pattern emerging in my work, a rhythm between films that were open to changes brought by the times and films that followed a very clearly defined vision or concept. ” Later in the interview she relates what she is trying to do in her films to the avant garde poet, Gertrude Stein’s desire to “create provocative ruptures between the sign and the signifier, between the way we are taught to speak (to communicate) and the way we ultimately choose to express ourselves (art).”
[ October 17, 2011; 6:00 pm; ] In a career that includes nearly 30 works, Lynne Sachs is best known for her experimental documentary and essay films. In this special screening, Sachs introduces two recent films that explore memory within a larger historical context.
[ September 26, 2011; 1:00 pm; ] The ongoing film series American Originals Now offers an opportunity for discussion with internationally recognized American filmmakers and a chance to share in their artistic practice through special screenings and conversations about their works in progress. Since the mid-1980s, Lynne Sachs has developed an impressive catalogue of essay films that draw on her interests in sound design, collage, and personal recollection. She investigates war-torn regions such as Israel, Bosnia, and Vietnam, always striving to work in the space between a community’s collective memory and her own subjective perceptions.
[ August 31, 2011; 6:00 am; ] A program of films by women who look at the world through the lens of motherhood
[ July 15, 2011; 7:00 am; ] Street and Sachs, a Brooklyn filmmaking couple, negotiate the thin line between representation and abstraction in each second of this moving image extravaganza. Created in the grand tradition of the Cartesian and chromosomal construct, what looks like a tree can quickly turn into a train, a telephone pole or an angry bowl of soup, as our audience hangs on for dear life. Sachs makes theatrical gestures and tableaux using hands, toys, a plate of cherry pie, and a miniature of the Empire State Building. Street produces photochemically conjured flowers, fishing tackle, and shards of found film – – all flying by at a variety of speeds in the spirit of a Man Ray print.
