Visiting Artists & Speakers Series

Visiting Film & Video Artists & Speakers Series

  • Location: Lecture Hall 6 (unless otherwise noted)
  • Time: 7 pm (unless otherwise noted)

All events are free and open to the public. Sponsored by Cinema Department & Harpur College Dean's Speakers Series.

Spring 2024

Tuesday March 12: Rajee Samarasinghe
Thursday March 14: Christopher Harris
Tuesday March 26: Sheri Wills
Thursday April 4: Luther Price 35mm Slides, presented by Tara Nelson

Tuesday March 12: Rajee Samarasinghe

visiting artist march 12 2024
Rajee Samarasinghe was born and raised amidst the decades-long civil war in Sri Lanka. He later left for the United States where he is now based. He received his BFA from the University of California San Diego and his MFA from the California Institute of the Arts. Much of his work examines sociopolitical conditions in Sri Lanka through the scope of deconstructing ethnographic practices and the colonial gaze in contemporary media. His practice was born out of a desire to understand the circumstances around his childhood and often navigates the terrain of memory, migration, and impermanence.

Samarasinghe is currently working on his debut feature film, Your Touch Makes Others Invisible, which explores post-civil war Sri Lanka—the project has received support from the Sundance Institute's Documentary Film Program, Berlinale Talents' Doc Station, Field of Vision, and True/False Film Festival’s PRISM program. He was also named one of Filmmaker Magazine’s 25 New Faces of Independent Film in 2020 and was awarded a MacDowell Fellowship in 2023. He's had solo shows at the Museum of Modern Art (MoMA - Modern Mondays), the Berwick Film & Media Arts Festival, and the Los Angeles Filmforum (2220 Arts) among others.

Samarasinghe’s films have been exhibited at venues internationally including the Tiger Short Competition at the International Film Festival Rotterdam, New Directors/New Films by MoMA and Film at Lincoln Center, MoMA’s Doc Fortnight, BFI London Film Festival, FIDMarseille, Festival du nouveau cinéma, Internationale Kurzfilmtage Oberhausen, Slamdance, SFFILM Festival, Melbourne International Film Festival, Vancouver International Film Festival, Guanajuato International Film Festival, BlackStar, CROSSROADS at SFMOMA, Media City, Prismatic Ground etc. He’s received the Tíos Award for Best International Film at the Ann Arbor Film Festival, the Film House Award for Visionary Filmmaking at the Athens International Film + Video Festival, and an Honorable Mention Award at the Thomas Edison Film Festival among others.
Lotus-Eyed Girl (2023, 6:00)
Loosely based on the erotic poem Caurapañcāśikā by Bilhana, which was written in prison upon discovery of the poet’s clandestine affair with Princess Yaminipurnatilaka. The verses were written while awaiting judgment, not knowing if he was to be executed or exiled—his fate is unknown. Lotus-Eyed Girl ruminates on the curious and fractured intersections of death, desire, and class. Fading family photographs (from an uncle’s funeral to my mother on her wedding day), pomegranate arils, pulsating floral mandalas, and horror atmospherics culminate into an ecstatic collision of death and longing, echoing devastations of the past. Through principles of psychogeography, the systems of power that shape identity and desire, in the way that colonialism has altered human perception, are examined in an undulating and capricious form.
The Eyes of Summer (2020, 15:00)
In a small and remote hamlet in Southern Sri Lanka, a little girl develops a curious friendship with a spirit who lives in an abandoned house. This film was shot in my mother's village in Southern Sri Lanka—shortly after the civil war in 2010. Collaboratively developed with members of my family there, a narrative was improvised around an investigation into my mother's interactions with spirits in the community during her childhood. Landing somewhere between horror fiction and “spectral” ethnography, the film describes a population reeling from devastations of the past, where distinctions between the living and the dead are thinning.

Show Me Other Places (2021, 11:00)
At the center of this film is a Sri Lankan woman accessing other places in digital form, while situated in her own physical reality. Navigating through a multitude of spaces from the natural world to man-made environments as well as virtual planes, traditional relationships between the creator, the tool, and the subject are questioned, shattered and reconstructed. Reflecting on my own practice as a filmmaker working in non-fiction, the film takes a collage-like approach to examining issues around representation, verisimilitude, the ethnographic image, and the limitations of the form itself. Shot on seven different cameras (and a video synthesizer) on both film and video over the course of a decade in Sri Lanka, China, and the United States, I delve into some of my fundamental curiosities as a filmmaker.
everyday star (2018, 9:00)
Everyday states of being and decay are observed through the infinite scope of the cosmos and the restorative light which emanates from it, driving cinematic and photographic impulses. Inspired by the act of watching light shine through a window onto my father’s infirmed body every day during a vicious and prolonged illness which ultimately led to his death in 2008.
 
Your Touch Makes Others Invisible (2024, 15:00 Excerpt)
Sri Lanka ranks among the highest in the number of enforced disappearances in the world and most of the disappeared are Tamils. Fusing allegorical magic realism and investigative documentary and made collaboratively with impacted locals, this film is a lyrical examination of these missing persons through 26 years of civil war in Sri Lanka. The nonfiction elements in this film are structured by a fictional narrative thread which tells the surreal tale of a mother who loses her son to a supernatural entity plaguing her community—a nod to the actual disappearances in the region.

Thursday March 14: Christopher Harris

visiting artist march 14 2023

Christopher Harris makes films and video installations that read African American
historiography through the poetics and aesthetics of experimental cinema.  His work
employs manually and photo-chemically altered appropriated moving images, staged
re-enactments of archival artifacts and interrogations of documentary conventions. His current project is a series of optically printed 16mm experimental films in conversation with canonical works of African American literature.
The screening program includes:

still/here (60 min, 2000)
Dreams Under Confinement (2.5 min, 2020)
Harris has shown his work at prestigious film festivals and art venues, including his soloscreenings/exhibitions at the Belo Horizonte International Short Film Festival in Brazil,the Images Festival in Toronto, Encontro de Cinema Negro in Rio de Janeiro, Arsenal-Institute in Berlin, the Essay Film Festival in London, the True/False Film Fest in MO,the Brakhage Center Symposium in CO, and the Gene Siskel Film Center in IL, and theWexner Center for the Arts in OH. He is the 2023 Herb Alpert Award in the Arts
recipient, the 2020-2021 Radcliffe-Film Study Center Fellow, and the featured artist at
the 2018 Flaherty Seminar. He is one of the seventy-one visionary artists and
collectives who participates in Whitney Biennial 2024.

Thursday March 26: Sheri Wills

visiting artist march 26 2024

Sheri Wills an artist who works with film, video, and sound to make single-channel videos, installations, sound works, and live video performances. She explores the material, psychological, and philosophical potentials of cinema to reveal small moments that often go unseen and pull forward the emotional content of abstract imagery.

She has had one-person shows at venues including the Director’s Lounge in Berlin, the Robert Beck Memorial Cinema in NYC, and the Ann Arbor Film Festival. Her films have been screened internationally, such as at the Museum of Modern Art in NY, the Edinburgh International Film Festival, Cinémas Différents in Paris, the International Film Festival in Rotterdam, the London Film Festival, San Francisco Cinematheque, Fisura in Mexico City, the Abattoirs Museum in Toulouse, France, and Microscope Gallery in NYC. Her films are distributed by Light Cone in Paris.

Her collaborations include live video projects with music composed by Jan Jirásek, Charles Norman Mason, Bright Sheng, and Ofer Ben-Amots and video performances with music ensembles, including the NYC choral group, Khorikos, the Providence String Quartet, Luna Nova New Music Ensemble, and Ensemble QAT in Montreal, at venues including Roulette in Brooklyn, the Firehouse Space in Brooklyn, and the Czech Center in NYC.

She has participated recently at residencies including the Narva Art Residency in Estonia, At Home Gallery in Slovakia, and the Studios at MASS MoCA.

Sheri Wills is an American Council on Education Fellow and a Professor at the Rhode Island School of Design, where in 2019 she was honored with the Frazier Award for Teaching Excellence.

Sheri Wills is a 2023 Guggenheim Fellow.

Work to be screened will include:

Acetylene (16mm, 3min)
Anodyne (16mm, 3min)
What does light remember? (Installation documentation, 3min)
Assembly I & II (installation documentation, 3min)
SEAM (digital file, 4min)
Camera Obscura (digital file, 5min)

Thrusday April 4: Luther Price Slides, presented by Tara Nelson

visiting artist april 4

Luther Price’s stunning work with slides is documented in New Utopia and Light Fracture by Luther Price, a 2023 VSW Press publication featuring copious images derived from the depths of Price’s 35mm collages as well as intimate email correspondence from Price to VSW editor Tate Shaw 2017–18 and an essay by Ed Halter of Light Industry, Brooklyn. In celebration of this publication, Tara Nelson, VSW Curator and Managing Editor for the VSW Press, is presenting two sets of Price’s double-projected slides—New Utopia and Light Fracture (both 2017), which Luther Price donated to the VSW archives in 2017. Tara will speak on the publication, the slides, and on Price.
Tara Nelson is a filmmaker, curator, programmer and lecturer working with film and digital media. At Visual Studies Workshop, Tara oversees the cataloging, preservation and interpretation of the VSW collections. She is the lead programmer for the VSW Salon, and the Managing Editor of VSW Press. Recent publications from VSW Press's Film Art Book (FAB) imprint include: Bouquets 11-20: Notebooks by Rose Lowder (2018); Measuring Time by Ephraim Asili (2020); Feral Domestic by Dani and Sheilah ReStack (2022).
Luther Price (January 26, 1962 – June 13, 2020) was a prolific artist whose work explored the deepest, darkest corners of the human experience. Working in film, performance, sculpture, photography and mixed media, his haunting images were often composed from found elements, thickly layered with ink, paint, glue, tape and bodily fluids. Price's films are sculptural compositions in which images of eviscerated bodies, raw meat, hardcore gay porn, and laughing clowns occupy the same psychic space as quiet scenes of street corners, blue skies and empty clotheslines. Born in Marlborough, Massachusetts, Price attended the Massachusetts College of Art in the early 1980's, where he studied sculpture and performance before turning to Super 8 film after being shot in Nicaragua in 1985. With the support of Super 8 filmmaker Saul Levine, his teacher at MassArt, Price pushed the boundaries of the "home movie" medium, stepping into each role of the fractured family to conjure complicated apparitions on the scratched surface of the film. His practice evolved to include found footage and "handmade film" techniques, incorporating ink, dirt, spit, splices and the process of decay into the production. Price's work with 16mm found footage is some of the most sophisticated in the tradition, with more than 80 original titles created in the course of his career. In the last decade of his life, Price created breathtaking collages on 35mm slides, combining the techniques he had mastered in his film works to culminate in single frame compositions. 
Luther Price came to Visual Studies Workshop as a visiting artist in 2017 to give a week-long workshop on handmade film. Though the workshop ended tumultuously, Price maintained a sporadic and sometimes fraught correspondence with VSW Press Editor Tate Shaw. Though a book project was begun, it was temporarily tabled, and Price died in 2020 at the age of 58. The project was continued posthumously as intended by the artist and VSW Press. New Utopia and Light Fracture by Luther Price includes images derived from the depths of Price's 35mm collages, representing some of the most accomplished work of the artist's career. The sparse text in the book comes solely from Price's messages to Shaw over a two year period. VSW Press offers an enhanced eBook companion to this publication, which provides access to view both series of 35mm slides digitally.

Fall 2023

NOVEMBER 9 (THU.)

Joshua Gen Solondz

In-theater presentation at Lecture Hall 6

PROGRAM includes: AGAINST LANDSCAPE (2013, 4 min), it's not a prison if you never try the door (2013, 7 min), LUNA E SANTUR (2016, 10 min), (tourism studies) (2019, 7 min), NE CORRIDOR (2022, 6.5 min), WE DON'T TALK LIKE WE USED TO (2023, 36 min)

Joshua Gen Solondz is an artist working in moving image, sound, and performance. He’s screened in a variety of festivals including Images, Toronto International Film Festival, International Film Festival Rotterdam, Onion City, Black Maria, Portland International, Milwaukee Underground, CAAMFest, San Diego Asian Film Festival, Chicago Underground, Locarno, Mar del Plata, FIC Valdivia, Viennale, and New York Film Festival. He's also shown at venues such as REDCAT, Light Industry, UnionDocs, Harvard Film Archive, MoMA, DINCA, NYU, Red Room, ATA, AGX, and Black Hole Cinematheque. Solondz has received awards from Athens International Film+Video Festival, Spectral Film Festival, Black Maria, New Orleans Film Festival, Chicago Underground Film Festival, and Ann Arbor Film Festival as well as commissions for shows at Heliopolis, ACRE TV, WNDX, and microscope gallery. They have an ongoing collaboration with Jim Supanick as the electronic slime duo known as SynthHumpers. Solondz had a 2019 MacDowell Colony Fellowship and was a 2023 UCROSS Fellow. Josh studied at Bard College and received their MFA from the California Institute of the Arts. They live in Brooklyn, NY with his partner and occasional collaborator Emma Brenner-Malin.

https://www.joshuagensolondz.com/

Co-sponsored by the Cinema Department and Harpur College Dean’s Speakers Series

INFO: 607 777 4998

www.binghamton.edu/cinema/events/visiting-artists.html

www.facebook.com/CinemaBinghamtonU/

SPRING 2023

FEBRUARY 23 (THU.) 28 (TUE.)
Ralph Hocking: Selected Works (2/23)
Online presentation
Zoom link: https://binghamton.zoom.us/j/96599262587

RALPH HOCKING has been a leader in the field of electronic media art since the 1960s, founding one of the first campus-based media access programs in the country at Binghamton University, where he served as Professor of Video and Computer Art and Chair of the Cinema Department until his retirement in 1998. In 1972, Hocking established the independent nonprofit Experimental Television Center, with a residency and research program for artists, equipment access and training programs for the community, and regional and national exhibition programs. He has served as consultant, advisor and panelist with such organizations as the New York State Council on the Arts, the University Wide Arts Committee, the Society for Photographic Education, the Massachusetts Arts Foundation, the New York Foundation for the Arts, and many museums and galleries. His personal creative work has been exhibited widely worldwide. He has received support for his work from the NEA’s Visual Arts Fellowship Program and the New York State Council on the Arts.

PROGRAM: The Experiment (8:30 min., 1970) / Fishing (10 min., 1971) / Sitting by the Window (4:30 min., 1977) / Scrambled Legs (4 min., 1977) / Walk/Run (6:30 min., 1981) / Mixtape Series (14 min., 1985) TRT 47:30 min.

We would like to thank the Experimental Television Center for helping us organize the event.

Ralph Hocking: In Conversation with Peer Bode and Kathy High (2/28)
Online presentation
Zoom link: https://binghamton.zoom.us/j/95503619764

Following the online screening on Thursday, February 23, Peer Bode and Kathy High will discuss Hocking’s work.

Video Artist, PEER BODE, in a career spanning over four decades, has created an extensive body of work that investigates electronic media events, active perception systems and culture. A graduate of Binghamton University’s Cinema Department, Bode studied with  Larry Gottheim, Nicholas Ray, Ken Jacobs and Peter Kubelka, and later with Woody and Steina Vasulka, Paul Sharits, Tony Conrad and Hollis Frampton at SUNY Buffalo’s Media Study Program. Bode worked at the Experimental TelevisionCenter (ETC), which his lifelong mentor and friend Ralph Hocking established in Binghamton in 1969. At the ETC, Bode made his seminal early works while assisting and collaborating with the video artist and engineer David Jones, whose “Jones Frame Buffer” became a signature processor within Bode’s oeuvre. His work has been widely exhibited nationally and internationally at venues including MoMA, Anthology Film Archives, the Whitney Biennial, the European Media Art Festival (Germany), Impakt Film and Video Art Festival (the Netherlands), Viper Festival (Switzerland), among many others. A key figure of the Owego and Alfred schools of video arts, Bode headed the Video Arts Program at the School of Art and Design, NYSCC at Alfred University, where he co-founded the Institute for Electronic Arts (IEA). Bode is Professor of Art, Emeritus at Alfred University, Alfred, NY.

KATHY HIGH is a graduate of the master’s program at SUNY Buffalo’s Center for Media Studies, where her mentors were the pioneering film/video artists Steina Vasulka and Tony Conrad. Her co-edited book The Emergence of Video Processing Tools: Television Becoming Unglued, with Sherry Miller Hocking of the Experimental Television Center, and Mona Jimenez of the Moving Image Preservation Program at New York University, was published 2014 by Intellect Books (UK), a subsidiary of Chicago University Press. The book presents stories of the development of early video tools and systems designed and built by artists and technologists during the late 1960s and 70s, and how that history of collaborations among inventors, designers and artists has affected contemporary tool-makers. Today, High is an interdisciplinary artist who collaborates with scientists, technologists and activists. She is Professor of Arts at Rensselaer Polytechnic Institute (RPI), Troy, NY, and is director of the BioArt and Technology Laboratory in RPI’s Center for Biotechnology and Interdisciplinary Studies where she is also an affiliate faculty member. She is committed to queer / feminist approaches to reshaping media technologies, learning-by-doing and collaborative action. Among many honors, she is the recipient of fellowships and awards from the National Endowment for the Arts, and the Guggenheim Foundation.

MARCH 16 (THU.)
Cecelia Condit: Selected Works
In-person presentation

PROGRAM: I’ve Been Afraid (video, color, 6:30 min., 2020) / Possibly in Michigan (video, color, 11:45 min., 1983) / Suburbs of Eden (video, color, 15:41 min., 1996) / All About a Girl (video, color, 5:27 min., 2004) / Beneath the Skin (video, color, 11:31 min., 1981) / We Were Hardly More Than Children (video, color, 9:05 min., 2019) / AI and I (video, color, 7 min., 2021) / PLUS: a new project in progress (excerpt, 3 min.)
TRT 70 min.

Since 1981, CECELIA CONDIT’s videos have created heroines whose lives swing between beauty and the grotesque, innocence and cruelty, youth and fragility. Her work puts a subversive spin on the traditional mythology of women in film and the psychology of sexuality and violence. Exploring the dark side of female subjectivity, her “feminist fairy tales” focus on friendships, age, and the natural world. She has shown internationally in festivals, museums and alternative spaces, and is   represented incollections including the Museum of Modern Art in NYC, the Walker Art Center in Minneapolis, Minnesota and Centre Georges Pompidou Musee National d'Art Moderne, Paris, France. She has received numerous film festival awards, and grants from the Guggenheim Foundation, American Film Institute, National Endowment for the Arts, and the Mary L. Nohl Foundation. She’s a professor emerita in the Department of Film, Video, Animation & New Genres at the University of Wisconsin-Milwaukee, where she was the director of the graduate program in film for 30 years. 

MARCH 28 (TUESDAY)

Please Note: the show will start at 6:30
Larry Gottheim: Selected Works

“Gottheim's cinema is a quest of origins. The films elaborate a response to the fiction of our world, the construction of images and sounds, the repeating cycles of life and nature. The profoundness of Gottheim's act is to elaborate a body of work outside of fashion and within a search for an authentic language of cinematic discourse." – John Hanhardt, Whitney Museum of American Art  

In-person presentation (3/28)
PROGRAM: Natural Selection (16mm, color, sound, 35 min., 1983) / Knot/not (video, color, sound, 22 min., 2019) / Entanglement (video, color, sound, 27 min., 2022). TRT 84 min.

Here is a recording of Larry Gottheim's introduction and a Q&A after the screening at the event.
https://youtu.be/4t4yBcutydw

Online presentation (3/30) 7:30 pm
Zoom link: https://binghamton.zoom.us/j/91462774627

PROGRAM: Harmonica (16mm, color, sound, 10 min., 1971) / Four Shadows (16mm, color, sound, 64 min., 1978) / The Red Thread (16mm, color, sound, 17 min., 1987)
TRT 91 min.

https://youtu.be/S2FUPzNDbIU
(This program will be available until Thursday, 4/06)

LARRY GOTTHEIM is a key figure in the history and development of American avant-garde cinema through the 1970s and 1980s. From his late-1960s series of sublime films to the dense sound/image constructs of the mid-1970s and after, his cinema is the cinema of presence, of observation, and of deep conscious engagement. While addressing genres of landscape, diary and assemblage filmmaking, Gottheim's work properly stands alone in its intensive investigations of the paradoxes between direct, sensual experience in collision with complex structures of repetition, anticipation and memory. Gottheim founded the Department of Cinema at Binghamton University and taught there until 1998.  In the 1990's Gottheim has also served for a brief time as director of the Filmmaker's Co-op in New York. Gottheim's films are in the collections of museums and archives throughout the world, and a program of his restored early films premiered at the 2005 New York Film Festival.

Co-sponsored by the Cinema Department and Harpur College Dean’s Speakers Series
INFO: 607 777 4998

www.binghamton.edu/cinema/events/visiting-artists.html
www.facebook.com/CinemaBinghamtonU/

                                    Fall 2022

SEPTEMBER 20 (TUE.)

Ken Jacobs: From Here to Eternalism
Online presentation

In the first part of this two-day program, we are thrilled to present recent digital “3-D Eternalism” works by the legendary avant-garde artist Ken Jacobs, cofounder of Binghamton University’s Cinema Department. The program also includes some older works Jacobs has selected for the occasion. He will join us on Zoom on Thursday, September 22, for a talk moderated by Vincent Grenier, to reflect on his uncompromising exploration of cinematic art. 

PROGRAM: From Introduction to Orson Welles’s Falstaff: Chimes at Midnight (digital video, 4:30 min. 2022) / Things to Come (digital video, 35 min., 2019) / Capitalism: Child Labor (digital video, 14 min., 2006) / Perfect Film (16mm, 22 min., 1985)  TRT 76 min.  

Distinguished Professor Emeritus, KEN JACOBS, was born in Brooklyn, NY, in 1933. He studied painting with one of the prime creators of Abstract Expressionism, Hans Hofmann, in the mid-fifties. It was then that he also began filmmaking (Star Spangled to Death). His personal star rose, to just about knee high, with the sixties’ advent of Underground Film. In 1967, with the involvement of his wife Florence and many others aspiring to a democratic – rather than demagogic – cinema, he created The Millennium Film Workshop in New York City. A non-profit filmmaker’s co-operative open to all, it made available film equipment, workspace, screenings and classes at little or no cost. Later he found himself teaching large classes of painfully docile students at St. John’s University in Jamaica, Queens.  

In 1969, after a week’s guest seminar at Harpur College (now, Binghamton University), students petitioned the Administration to hire Ken Jacobs. Despite his lack of a high school diploma, the Administration – during that special period of anguish and possibility – decided that, as a teacher, he was “a natural.” Together with Larry Gottheim he organized the SUNY system’s first Department of Cinema, teaching thoughtful consideration of every kind of film but specializing in avant-garde cinema appreciation and production. (Department graduates are world-recognized as having an exceptional presence in this field.) His own early studies under Hofmann would increasingly figure in his film work, making for an Abstract Expressionist cinema, clearly evident in his avant-garde classic Tom, Tom, the Piper’s Son (1969) and increasingly so in his subsequent devising of the unique Nervous System series of live film-projection performances.

The Museum of The Moving Image in Astoria, Queens, hosted a full retrospective of his work in 1989, and the Museum of Modern Art (MoMA) held a partial retrospective in 1996, as did the American House in Paris in 1994 and the Arsenal Theater in Berlin in 1986 (during his 6-month stay as guest-recipient of Berlin’s DAAD award). He has also performed in Japan, at the Louvre in Paris, the Getty Center in Los Angeles, etc. Honors include the Maya Deren Award of the American Film Institute, the Guggenheim Award and a special Rockefeller Foundation grant. A 1999 interview with Ken Jacobs can be seen online as part of UC Berkeley’s series Conversations with History.

SEPTEMBER 22 (THU.)

Ken Jacobs: In Conversation with Vincent Grenier
Online presentation

Following the online screening on Tuesday, September 20, Ken Jacobs discusses his work with Vincent Grenier, artist and Professor Emeritus of Cinema, Binghamton University. Several excerpts of Jacobs’s work will also be shown, such as Flo Rounds a Corner (1999), Little Stabs at Happiness (1958-60), video documentation of Nervous Magic Lantern performances, and more.

KEN JACOBS (See biography above)

VINCENT GRENIER is a native of Quebec City, Canada. He has lived lrgely in the US, mostly New York City and upstate New York. In spite of this, he was a frequent contributor to the Montreal art scene of the ’70s and ’80s and the San Francisco bay areas where he received an MFA at the San Francisco Art Institute in the early ’70s. Grenier's experimental films have been shown in the United States, Canada, Europe, Japan and China at showcases such as the Cineprobe at MoMA, Anthology Film Archives, Pacific Film Archive, the Collective for Living Cinema, Cinéma Parallèle in Montréal, Centre George Pompidou in Paris and MoCA Shanghai, among many others. His films and videos have earned him nine production grants from the Canada Council for the Arts between 1974 and 1992, and in New York State, from CAPS (1979), NYFA (1995), ETC (1992 & 1994) and NYSCA (2007). He is a recipient of a Guggenheim Fellowship (2010) and the Stan Brakhage Vision Award (2019).

He has made over two dozen films and, since the mid 90's, nearly as many videos. Many of his videos have been shown regularly at key experimental film festivals such as Views from the Avant-Garde of the New York Film Festival, the International Film Festival Rotterdam, Onion City Film Festival in Chicago and Media City Film Festival in Windsor, Ontario. Grenier's films and videos have been the subjects of retrospectives, more recently at the Denver Film Festival, the Cinémathèque québécoise, REDCAT, LA Film Forum, CalArts, Media City Film Festival and Images Festival's Canadian Images Spotlight. Seven of his films & videos were included in the Whitney Museum’s American Century 1970-2000 film programs. 

His video Watercolor (2013) received first prizes in the experimental category at Black Maria Film Festival and Athens Film Festival. Les Chaises (2008) won a Jury’s Choice Award at Black Maria Film Festival and an Honorable Mention at Media City Film Festival. Tabula Rasa (2004) was screened in the program “Best Avant Garde Films & Videos of the Decade” at Lincoln Center’s Walter Reade Theater and won a second prize at Media City Film Festival. Here (2002) was awarded Gold for Best Experimental Film at the New York Expo of Short Film and Video. Color Study (2000) earned a second prize at the Black Maria Film Festival. Feet (1994) won a second prize at the Black Maria Festival and was shown in the WNET series Reel NY. His film Out in the Garden (1991) received the Best Documentary Award at Ann Arbor Film Festival and the Best Experimental Documentary Award at the Atlanta Film/Video Festival. It was also shown on WNET and at London Film Festival. Interieur Interiors (1978) was a second prize winner at the San Francisco Art Institute Film Festival, and World in Focus (1976) was a second prize winner at Ann Arbor Film Festival. Grenier’s films are included in the collections of the National Gallery of Canada in Ottawa, the Art Gallery of Ontario (AGO) in Toronto and many other institutions in Canada and the US.

OCTOBER 6 (THU.)

Lori Felker: Recent Shorts 2016 – 2021
In-person presentation 

PROGRAM: Look Down & Find It (made with Julian Day, 13 min., 2021) / Memoria Data (12 min., 2018) / I Can’t (5 min., 2020) / Not You (10:41 min., 2020) / Discontinuity (15:33 min., 2016) / Spontaneous (13:53 min., 2020)  TRT 70 min. 

LORI FELKER is a filmmaker, teacher, programmer, and performer. Her films celebrate the ineloquent, oppositional, frustrating, chaotic qualities of human interaction. She has made work in a variety of forms including, experimental film, video installation, music video, documentary, and fiction. Her short films and one feature documentary have screened internationally at festivals including Rotterdam, Slamdance, Ann Arbor Film Festival, BAMcinemaFest, EXiS in Korea, Festival du nouveau cinéma in Montreal and Kinodot in Russia. She loves every facet of filmmaking and has worked as a cinematographer, editor, and/or actor for various artists and directors and has programmed for the likes of the Chicago Underground Film Festival, Slamdance, and Roots & Culture Gallery in Chicago. She is a recipient of an Illinois Arts Council Grant, a Wexner Center Residency, a Brico Forward Fund and a Fulbright (Berlin, 2000). As of 2022, she is an Assistant Professor at DePaul University in Chicago.

OCTOBER 25 (TUE.) 

Emmanuel Lefrant: Films 2001 – 2022 
In-person presentation 

PROGRAM: All Over (16mm, color, sound, 7 min., 2001) / Underground (16mm, color, sound, 8 min., 2001) / Saraban (16mm, color, sound, 6 min., 2002) / Still Frames (16mm, color, silent, 3 min., 2002) / Overall (16mm, color, sound, 5 min., 2006) / Blitz (16mm, color, sound, 6 min., 2006) / Parties visible et invisible d'un ensemble sous tension (16mm, color, sound, 7 min., 2009) / Le pays dévasté (35mm on digital file, color, sound, 11:30 min., 2015) / I Don't Think I Can See an Island (35mm on digital file, color, sound, 4:10 min., 2016) / Per una selva oscura (35mm on digital file, color, sound, 8:25 min., 2022)  TRT 66 min.

EMMANUEL LEFRANT lives and works in Paris, where he makes films, all self-produced and exclusively on celluloid. His films deal with the idea of representing and revealing an invisible world (the secret forms of emulsion), a nature one does not see. With Nicolas Berthelot, Alexis Constantin and Stéphane Courcy, he cofounded the collective Nominoë in 2000. Nominoë’s live projection performances have been presented in venues worldwide including the Pompidou Centre, the Serralvès Foundation in Porto, the International Film Festival Rotterdam, among others.

NOVEMBER 22 (TUE.) 

In Memoriam Jim Jennings

Jim Jennings passed away in May this year after a prolonged illness. Often considered the filmmakers’ filmmaker, Jennings made exquisite, often silent and black-and-white, 16mm films admired by many avant-garde masters and discerning critics. His spontaneous and intuitive camera sculpted urban spaces with light and shadow, revealing striking formal beauty and poetry in the familiar and the mundane. For this occasion, we present a selection of 7 films to honor Jennings’s remarkable filmmaking career spanning over 4 decades. 

PROGRAM: Bye Bye Bob (16mm, b&w, sound, 11 min., 1990) / Made in Chinatown (16mm, color, silent, 6 min., 2006) / Wall Street (16mm, b&w, silent, 6 min., 1980) / Elements (16mm, b&w, silent, 7 min., 2002) / Silvercup (16mm, b&w, silent, 12 min., 1998) / Fashion Avenue (16mm, b&w, silent, 7 min., 2007) / Refraction (16mm, color, silent, 3 min., 1972)  TRT 52 min.

JIM JENNINGS (1951-2022) was an American experimental filmmaker and photographer. His films have been screened at some dozen solo shows in the United States and Europe, from the Museum of Modern Art in New York City and the San Francisco Cinematheque to the Oberhausen Film Festival in Germany, International Film Festival Rotterdam in the Netherlands and the Viennale in Austria. His work has also been included in group shows at the Whitney Museum, the Toronto International Film Festival and the New York Film Festival’s “Views from the Avant-Garde.” Jennings’s work has been shown at major venues since 1973, beginning at the Collective for Living Cinema. His black-and-white, silver gelatin photographic prints have been exhibited in gallery shows in New York City and are included in major art collections.

Co-sponsored by the Cinema Department and Harpur College Dean’s Speakers Series

INFO: 607 777 4998 

www.binghamton.edu/cinema/events/visiting-artists.html

www.facebook.com/CinemaBinghamtonU/

Spring 2022

MARCH 29 (TUE.)

Luis Macías: Your Eyes Are Spectral Machines – Live Projection Performance

In-theater presentation at Lecture Hall 6

PROGRAM: The Eyes Empty and the Pupils Burning of Rage and Desire (2 x 16mm projectors, silent, 25 min.) / The Kiss (35mm, sound, 9 min.) / Spectral Landscape (3 x 35mm slide projectors, silent, 25 min.) TRT 59 min. 

Luis Macías (Barcelona, Spain) is a film artist interested in the materiality of celluloid and the appropriation and reinvention of recycled found materials through live performance using projectors.  Macías studied at Centro de Estudios Cinematográficos de Cataluña (CECC) and graduated in Art History from Murcia University, Spain. His films and performances have been presented at various museums and film festivals, including the International Film Festival Rotterdam and Light Cone in Paris. Macías is co-founder of Crater Lab, an independent artist film lab in Barcelona. 

APRIL 5 (TUE.)

Kim Kielhofner: Video Works 2010 - 2022

Online presentation via Zoom
https://binghamton.zoom.us/j/93240000957

PROGRAM: Cahiers 1-4 (video, 9:38 min., 2010) / Rehearsal (video, 2:37 min., 2012) / Louis (Over Nebraska) (video, 6:34 min., 2015) / Anna (video, 5:17 min., 2017) / THIRD READING (video, 10:58 min., 2017) / Endgame (video, 1:30 min., 2011) / The Shepherd (video, 6:08 min., 2018) / The Coldest Day of the Year (video, 8:36 min., 2020) / Today I Did Nothing (video, 8:21 min., 2022) TRT 59:39 min. 

Kim Kielhofner works in video, drawing, and collage. She is interested in how we understand narratives - personal and historic - and how we place ourselves into them. Her process is based on interests in layered narrative, cinema, and literature through which she has developed an archive of images and ideas. Her work has been presented in solo shows at Dazibao (Montréal, CA), LUX (London, UK), VOX (Montréal, CA), Sporobole (Sherbrooke, CA) and k48 (Vienna, AT). Her work has also been shown widely in group exhibitions and screenings including Kassel Documentary Film and Video Festival, WRO Biennale, Oberhausen International Short Film Festival, and Bienal de la Imagen en Movimiento, Buenos Aires. She has been an artist in residence at KulturKontakt (Vienna, AT), Aberystwyth Arts Centre (UK), The Red Mansion Foundation (Beijing, CN), and International Studio and Curatorial Program (Brooklyn, US).

APRIL 14 (THU.) 

Ephraim Asili: The Inheritance 

Online presentation via Zoom
https://binghamton.zoom.us/j/92492847183

PROGRAM: The Inheritance (35mm, 100 min., 2021) 

After nearly a decade exploring different facets of the African diaspora – and his own place within it – Ephraim Asili makes his feature-length debut with The Inheritance, an astonishing ensemble work set almost entirely within a West Philadelphia house where a community of young, Black artists and activists form a collective. A scripted drama of characters attempting to work towards political consensus – based partly on Asili’s own experiences in a Black liberationist group – weaves with a documentary recollection of the Philadelphia liberation group MOVE, the victim of a notorious police bombing in 1985. Ceaselessly finding commonalities between politics, humor and philosophy, with Black authors and radicals at its edges, The Inheritance is a remarkable film about the world as we know it.  – Grasshopper Film

Ephraim Asili is a filmmaker, DJ, and Traveler whose work focuses on the African diaspora as a cultural force. His films have screened in festivals and venues all over the world, including the New York Film Festival; Toronto International Film Festival; Ann Arbor Film Festival; San Francisco International Film Festival; Milano Film Festival; International Film Festival Rotterdam; MoMA PS1; LAMOCA; Museum of Fine Arts, Boston; and the Whitney Museum of American Art. As a DJ, Asili can be heard on his radio program In the Cut on WGXC, or live at his monthly dance party Botanica. Asili currently resides in Hudson, NY, and is a professor in the Film and Electronic Arts Department at Bard College.


www.binghamton.edu/cinema/events/visiting-artists.html

www.facebook.com/CinemaBinghamtonU/


Contact: Melissa (Missy) Miller - Secretary
Email: mjmiller@binghamton.edu
Phone: 607-777- 4998


Past Visiting Artists/Speaker Series Events

  • Fall 2020

    Tuesday November 10, 2020
    PEER BODE: A RETROSPECTIVE

    In a career spanning over 4 decades, video artist Peer Bode has created an extensive body of work that investigates electronic media events, active perception systems and culture. A graduate of Binghamton University’s Cinema Department, Bode studied with Ken Jacobs, Larry Gottheim, Nicholas Ray and Peter Kubelka, and later with Woody and Steina Vasulka, Paul Sharits, Tony Conrad and Hollis Frampton at SUNY Buffalo’s Media Study Program. Bode worked at the Experimental Television Center (ETC), which his lifelong mentor and friend Ralph Hocking established in Binghamton in 1970. At the ETC, Bode made his seminal early works while assisting and collaborating with the video artist and engineer David Jones, whose “Jones Frame Buffer” became a signature processor within Bode’s oeuvre. His work has been widely exhibited nationally and internationally at venues including MoMA, Anthology Film Archives, the Whitney Biennial, the European Media Art Festival (Germany), Impakt Film and Video Art Festival (the Netherlands), Viper Festival (Switzerland), among many others. A key figure of the Owego and Alfred schools of video arts, Bode headed the Video Arts Program at the School of Art and Design, NYSCC at Alfred University, where he co-founded the Institute for Electronic Arts (IEA).

    PROGRAM:

    Part 1
    Blue (4:50 min., 1975) / 100 Sec. Lumination (1:40 min., 1976) / Movements for Video, Dance and Music (11:44 min., 1976) / Camel With Window Memory (4:22 min., 1983) / Uber Organ (6 min., 2003) / Songs for Beijing (5:30 min., 2003)

    Part 2
    Wonderful Body Electric, Music, Writing, Data (4 min., 2013) / Harbin Infinite Write (15 min., 2016) / Turn You Change Direction (6:41 min., 2017) / Apparatus Part Two (6:06 min., 2020) / Apparatus Part One (7:40 min., 2020)

    TRT 74 min.

  • Fall 2019

    Wednesday September 25,  2019
    Orgone Energy Accumulator by Kenneth White
    Lecture Hall B89
    Screening: WR: Mysteries of the Organism (Dušan Makavejev, 1971, 85 min)

    Cinema Prof. Kenneth White presents the Orgone Energy Accumulator, a mysterious device invented by the radical Freudo-Marxist Wilhelm Reich. Reich first designed the Accumulator in 1940, envisioning it as a kind of fallout shelter against rising fascism. Following Reich’s blueprints, Prof. White and the artists Peggy Ahwesh, Keith Sanborn, and Soyoung Yoon, built a new Accumulator. Prof. White will speak about the Accumulator’s purpose, history, and legacy. Followed by a screening of WR: Mysteries of the Organism, the acclaimed film on the life and work of Reich by Dušan Makavejev (1932–2019).


    Tuesday October 15, 2019
    Phil Solomon
    Screening: The Passage of the Bride (16mm, 6:00 min.,1980) | The Snowman (16mm, 8:00 min., 1995) | Nocturne (16mm, 10:00 min., 1980) | Psalm II: “Walking Distance” (16mm, 23:00 min., 1999) | Remains to be Seen (Super-8 to 16mm, 17:00 min., 1989/94)
    TRT: 64 min.

    A celebration of artist, filmmaker, University of Colorado Boulder Professor and former BU Cinema Department student. “Phil Solomon was among the great avant-garde filmmakers of this era. Solomon’s films and videos create an interior universe that has rarely, if ever, been surpassed in any medium for its intimacy, evocation of personal sensibility, expressive dream-like sounds and images, and for its sublime—and terrifying—sense of ambiguity between the recognizable world and its dissolution. Perhaps the last significant innovator of special effects on celluloid, Solomon magically transforms pre-existing images and sounds into dense landscapes.” (Steve Anker)


    Thursday October 24, 2019
    Hey-Yeun Jang
    Screening: on/off (film, 2:30 min) | Flickering (video, 7 min.) | 4-frame movie (film, 2:30 min) | (k)now (t)here (film, 8:50 min) | orchard, 5 (film, 7:30 min) | picture day: flip side (video, 17min) | ';' (film in progress, 10min)
    TRT: 59 min.

    Hey-Yeun, Jang is a Korea-born, New York-based installation and film artist. She often uses sequences of 16mm film still images to examine fleeting moments and meaning of swallowed words: explore in-between. Her installations have been exhibited in museum internationally and her films have screened at prestigious venues and numerous festival in the US, Europe and Korea. She received awards from New York State Council for the Arts and the National Endowment for the Arts.


    Tuesday October 29, 2019
    Carolee Schneemann
    Introduced by Kenneth White
    A celebration of the artist, writer, and filmmaker Carolee Schneemann (1939–2019), with a special screening of  celebrated Schneemann’s films Fuses (1964–67) and Kitch’s Last Meal (1973–76).


    Friday November 8, 2019
    Marielle Nitoslawska
    Screening: Breaking the Frame (100 min., 2012)

    Marielle Nitoslawska’s Breaking the Frame is a feature–length profile of the radical New York artist Carolee Schneemann. A pioneer of performance art and avant-garde cinema, Schneemann has been breaking the frames of the art world for five decades by challenging the taboos leveled against the female body. Breaking the Frame is a kinetic, hyper-cinematic intervention, a critical meditation on the intimate correlations animating art and life.
     
    “A work about a formidable artist that is itself an important work of art.” – Mark McElhatten, Views from the Avant-Garde, New York Film Festival.

    Note: Another screening will be on Sunday November 10, 2019.


    Thursday November 14, 2019
    Ariana Gerstein
    Screening: Close the Lid, Gently (4:56 min.) | Performance for Perfection 1200 (13:36 min.) | Images of Flying and Falling (24:14 min.) | upCycles (7:03 min.) | In Glass Houses (8:22 min.) | Skin in the Game (5:02 min.) | Traces of Elikem (6:59 min.)
    TRT: 68 min.

    Using complex hand-wrought editing methods and extensive optical printing Gerstein’s work dazzles in its visual complexity and rhythmic timing. Gerstein’s recent work innovatively integrates desktop image scanners into her analog filmmaking process, capturing minute personal gestures in a sort of slow-motion real-time animation process, creating a visuality both intimate and abstract. – Steve Polta, SF Cinematheque
     
    Her films have been screened and awarded prizes at festivals worldwide and awarded grants by New York Council for the Arts, N Y Foundation for the Arts, National Endowment for the Arts, and a Rockefeller Media Arts Fellowship.


    Tuesday November 19, 2019
    Malena Szlam
    Screening: Chronogram of Inexistent Time (35mm to digital, 6:00 min., 2008) | Rhythm Trail (Super 8mm, 10:00 min., 2010 – 2011) | Anagrams of Light (Super 8mm, 3:00 min., 2011) | Beneath Your Skin of Deep Hollow (Super 8mm to 16mm, 3:40 min., 2010) | Lunar Almanac (16mm, 4:00 min., 2013) | Morfología de un sueño (16mm, 5:30 min., 2015) | ALTIPLANO (35mm, 15:30 min., 2018)
    TRT: 48 min.
     
    “Malena Szlam’s films are meticulously assembled using a menagerie of techniques to physically alter the film elements resulting in dreamlike, collaged, flickering images leaving viewers with a sense of wonderment, displacement and an expanded sense of time. Szlam’s careful construction of her works serves to ground and guide viewers on a serene journey through these brief and powerful cinematic experiences.” (Los Angeles Film Forum). Chilean filmmaker Malena Szlam is a member of Montréal’s Double Negative Collective.

  • Spring 2019
    Vincent Grenier
    Jodie Mack
    Alexandra Cuesta
  • Fall 2018
    Stephanie Black
    Helga Fanderl
    Rose Lowder
  • Spring 2018
    Canyon Cinema 50 by David Dinnell
    Roger Beebe
    Laura Kraning
  • Fall 2017
    Larry Gottheim
    Katherin McInnis
    John Porter
    (John Knecht)
  • Spring 2017
    Ernie Gehr
    Leiws Klahr
    John Knecht
  • Fall 2016
    Peter Hutton (in memorial)
    Henry Hills
    Jesse McLean
    Gustav Deutsch & Hanna Schimek
  • Spring 2016
    Shambhavi Kaul
    Erin Espelie
    Ken Jacobs
  • Fall 2015
    Tess Takahashi
    Daichi Saito
    Maile Colbert
    Scott McDonald
  • Spring 2015
    Mary Helena Clark
    Robert Beaver
    Fern Silva
  • Fall 2014
    Sandra Gibson & Luis Recoder
    Stephanie Barber
    Richard Tuohy
  • Spring 2014
    Susan Ray
    Wenhua Shi
    Joshua Bonnetta
  • Fall 2013
    Scott Stark
    Jim Cohen
    Madison Brookshire
    Tomonari Nishikawa
    Jennifer Lauren Smith
  • Spring 2013
    Ute Aurand
    Laida Lertxundi
    Monteith McCollum
    Chris Sullivan
  • Fall 2012
    Ben Rivers
    Jonathan Walley
    Peter Rose
  • Spring 2012
    Emily Kunstler
    Ken Jacobs
    Jennifer Montgomery
  • Fall 2011
    Nathaniel Dorsky
    Vincent Grenier
    Dani Leventhal
    Ben Russell
  • Spring 2011
    Melika Bass
    Deborah Stratman
    Robert Todd
  • Fall 2010
    Jacqueline Goss
    Chris Kennedy
    Mark Street
  • Spring 2010
    Tony Conrad
    Nicky Hamlyn
    Todd McGowan
    Naomi Uman
  • Fall 2009
    Joseph Branden
    Abraham Ravett
    Hitoshi Toyoda
  • Spring 2009
    Ken Jacobs
    Michael Robinson
  • Fall 2008
    Matt McCormick
    Shana Moulton
    Ghen Zando-Dennis
  • Spring2008
    Saul Levine
    Jeanne Liotta
    Leonard Retel Helmrich
  • Fall2007
    Martha Colburn
    Phil Hoffman
    Leslie Thornton
  • Spring2007
    Larry Gottheim
    Ernie Gehr
    Phil Hoffman
  • Fall2006
    Bill Brown
    Cathy Crane
    Zoë Beloff
  • Spring2006
     
  • Fall2005
     
  • Spring2005
    Ken Jacobs
    Bruce McClure
    Michael Gitlin
    Black Maria Film Festival 
    Martin Arnold
  • Fall2004
    Abigail Child
    Nina Fonoroff
    Phil Solomon 
    Ariana Gerstein
  • Spring2004
    Joe Gibbons
    Mark Lapore
    Leighton Pierce
    Vincent Grenier
  • Fall2003
    Su Friedrich 
    Bradley Eros
    Peter Hutton
  • Spring2003
    Black Maria Film & Video Festival
    Janie Geiser
    Michele Smith
    Greg Biermann
  • Fall2002
    Peggy Awesh
    Ken Jacobs
    David Gatten
    Holly Fisher
  • Spring2002
    Black Maria Film & Video Festival
    Lynne Sachs
    Jennifer Reeves
    Miranda July
    Ken Jacobs
  • Fall2001
    Konrad Steiner
    Lewis Klahr
    Luis Recoder
  • Spring2001
    Chris Sullivan
    Robert Beavers
    Martin Arnold
    Barbara Meter
    Guy Sherwin
    Ariana Gerstein
  • Fall2000
    Ximena Cuevas
    Stephanie Barber
    Julie Murray
    Ariana Gerstein
    Gerald Marks
  • Spring2000
    Black Maria Film Festival
    Craig Baldwin
    Bill Morrison
    Vincent Grenier
    Robert Attanasio
    David Gatten
  • Fall1999
    Henry Hill
    Fred Worden
    Jim Jennings
  • Spring1999
    Dave Ryan
    Bruce McClure
    Alex Mendizabal