A 50 x 50 Millennium Film Workshop Screening, celebrating its 50th Anniversary. MFJ 67 is the 50th Volume of the Millennium Film Journal.
This 50th volume of the Millennium Film Journal offers an indication of the expanse of territory explored by contemporary moving images artists: from celluloid to GIFs, from installations to intimate screenings, working with materials personal or impersonal created with diverse methods and in multiple technologies, or drawn from many types of archive, from family photos to graphic fragments pulled from internet pornography. This program is a sampling of that cornucopia.
Programmers: Rachel Stevens & Grahame Weinbren, with help from Josh Guildford and Seth Watter .
All texts excerpted from Millennium Film Journal No. 67, with a few changes.
• Lorna Mills & collaborators Ways of Something
[Episode 1 excerpt] (2014 16:00 digital)
Lorna Mills invited over a hundred mostly North American and European artists to produce a one-minute moving image sequence in response to an excerpt of equivalent length from John Berger’s original BBC program. Mills selected and edited one hundred fourteen of these “crowdsourced” responses into a four-part video that mirrors the original program’s episodic structure and is precisely synced to Berger’s voiceover.
From “Ways of Seeing After the Internet” by Johanna Gosse
• Dan Browne Palmerston Blvd (2017 16:00 digital silent)
I had started taking photographs of my living room window as a means of working towards an increased sense of awareness, a means for experiencing how seemingly static things encountered amidst one’s daily existence change slowly over the time. By the time the project was finished, I had taken 250,000 images (or twice as many as all of my other photographs combined) and inadvertently documented my first year of domestic life as a parent.
From “Fever in the Insta-Archive: An Interview with Dan Browne” by Clint Enns
• Lorna Mills and Yoshi Sodeoka, Money2 (2012 1:15 digital)
• Lorna Mills, Ethereal Imperial No. 2 (2017 3:00 digital)
• Lorna Mills, Ethereal Imperial No. 4 (2017 3:00 digital)
What strikes on first viewing of a loop by Lorna Mills is the apparent of ugliness of it all: ugliness in terms of subject or content and ugliness in terms of pictorial structure. Beauty, traditionally, prolongs its perception by swinging the eye on a grand tour of sorts; and ugly is that which distracts and confuses and makes the eye smart from its overexertion.
From “Lorna Mills, or the Uses of Ugliness” by Seth Barry Watter
• Naeem Mohaiemen Rankin Street 1953 (2013 7:43 digital)
In Tripoli Cancelled, (discussed in MFJ No. 67) the kernel of the story is born of an auto-biographical morsel—a story about how Mohaiemen’s father was stuck in this very airport for nine days without a passport before the Bangladeshi embassy intervened—and many of the details are pulled from Naeem Mohaiemen’s real life, but the essence and structure of the story are a dream-like fiction. In contrast, Rankin Street, 1953 (2013) engages quite directly with traces of Mohaiemen’s personal family history and archive, particularly of his father, through looking at the first photographs his father ever made, shot in their family home.
From Rachel Stevens, “Naeem Mohaiemen’s Tripoli Cancelled”
• Alee Peoples DECOY (2017 10:42 16mm)
Watching celluloid requires coming together with a bunch of strangers, sharing sights and sounds in a darkened room, maybe making a friend. More than a showcase for the moving image, the Light Field Festival proposes a view of art as a way to be together with other people creatively, while also suggesting that art’s potential for inclusivity increases the more it experiments and deviates from normal experience. Along with other works, Alee People’s suburban nightmare, Decoy, suggest(s) the all-too-real terrors of the carceral state.
From “Gathering Momentum: Light Field 2017” by Patrick Harrison
• Anita Thacher Lost / In Memoriam (2010 7:18 digital)
. . . an ode to deceased women poets, beset with the burdens of motherhood and household, but nonetheless committed to expression of ideas, emotions, language, and art. Anita's empathy for her subjects runs through this film and her other works like a silver current.
From “Anita Thacher Remembrance” by Grahame Weinbren
TRT approx 66 minutes