e-flux is very pleased to welcome our audiences to a new season of programs starting with our January line-up of live reading and music performances, and screenings. These include Writing on Raving: afters edition which celebrates the recent e-flux journal issue #132: Black Rave; a screening of works by Alain Guiraudie and Apitchapong Weerasethakul; screenings and conversations with DeeDee Halleck and Anocha Suwichakornpong; a very special performance by musician Maria Chávez, who returns from her medically induced sabbatical for her first live show since 2018; and the second chapter of the series Aesthetics of Resistance: Straub-Huillet and Contemporary Moving-Image Art titled “Landscapes To Be Deciphered” and featuring four screenings and discussions spilling over to February.
Please scroll down for more information, and links to events and tickets.
We wish you a happy, healthy 2023 and look forward to seeing you at 172 Classon Ave.
Monday, January 9, 2023, 7pm
Writing on Raving: afters edition
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After the ambient edition held last year at e-flux, join us for the afters edition of Writing on Raving—featuring readings and performances by Ev Delafose, Jesús Hilario-Reyes (aka MORENXXX), Journey Streams, and Ricky Tucker in celebration of the launch of e-flux journal issue #132: Black Rave guest-edited by madison moore and McKenzie Wark. Read more on the event here.
Thursday, January 12, 2023, 7pm
Labor, Class, Desire: A Screening of Alain Guiraudie and Apitchapong Weerasethakul
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Openly gay, devoted to the image of the everyday of working-class people from rural parts of the south of France, Alain Guiraudie maintains a singular and unique voice in contemporary moving-image art. His 2001 breakthrough film That Old Dream That Moves, hailed by Jean-Luc Godard as the best film that year, is a drama about the impenetrable mysteries of desire and the concrete facts of social reality. This screening presents a vitality-infused counter-narrative of labor and relationships, queering the dominant representation of the working class. Labor, Class, Desire features a screening of Guiraudie’s That Old Dream That Moves (2001, 51 minutes), preceded by Apitchapong Weerasethakul’s Mobile Men (2008, 3 minutes). Read more on the films and event here.
Saturday, January 14, 2023, 5pm
DeeDee Halleck: Screening and conversation
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An artist, filmmaker, and one of the original founders of Paper Tiger Television, DeeDee Halleck is an innovator in documentary, video art, and public access television. In collaboration with renowned American artists, Halleck has produced a unique body of work that reflects on art, academics, politics, performance, and live television. In this screening we are presenting a selection of Halleck’s rarely screened early portrait films and recordings of performances that have been recognized for being on the cutting edge of experimental documentary. As Halleck puts it, “It is one thing to critique the mass media and rail against their abuses. It is quite another to create viable alternatives.” Featuring Mr. Story (made with Anita Thatcher, 1969, 27 minutes), Jaraslawa (1971, 10 minutes), Dream of the Dirty Woman (1975, 13 minutes), and Bronx Baptism (1982, 30 minutes), followed by an in-person conversation with Halleck. The screening is part of the ongoing series Revisiting Feminist Moving Image. Read more on the films and event here.
Thursday, January 19, 2023, 7pm
Topography of Sound (2007–now) with Maria Chávez
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After a few years spent recovering from a rare brain disorder, Maria Chávez returns from her medically induced sabbatical to perform her first live show since 2018. Join us at e-flux on Thursday, January 19, at 7pm for this very special performance by Maria Chávez, followed by a Q&A with Chávez moderated by curator Sanna Almajedi. Maria Chávez is an abstract turntablist, conceptual sound artist, and DJ based in New York and born in Lima, Peru. Coincidence, chance, and failures are themes that are at the heart of her practice, which expands from the world of sound to sculpture and other disciplines. Chávez is one of the only people, if not the only person, in the world that uses the double-headed RAKE needles in her live performances. She uses broken needles that bounce and scratch in their attempt to play a groove. Sometimes she breaks the record itself and stacks broken shards of vinyl on the turntable. Through these experimentations, Chávez utilizes destruction as a method to discover new sonic worlds. Chávez’s influences stem from improvised contemporary music; she is an avid practitioner of deep listening and was mentored by the composer Pauline Oliveros. Chávez describes her turntablism technique as taking the detritus of vinyl and repurposing it into sonic sculptures that can be compared to improvised musique concrète pieces. Her latest body of work, a series of white Carrara marble sculptures, handmade in her studio in Carrara, Italy, has revealed a parallel with her vinyl practice. Chávez will discuss this new phase of her art practice at e-flux. Read more on the event here.
Thursday, January 26, 2023, 7pm
Love and Time: A screening of Anocha Suwichakornpong’s Come Here
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“In contemporary Thailand, the notion of love is a complicated one. Love, as an ideology, is inextricably linked to the nation,” says Anocha Suwichakornpong. In her recent film Come Here (2021, 79 minutes), four friends in their mid-twenties go on a trip to Kanchanaburi, a province in western Thailand. They visit the World War II memorial site of the Death Railway, built to honor the tens of thousands of war prisoners who lost their lives there. At night, back at the raft house, they are drinking, smoking weed, and talking randomly. Once in a while, someone would act out a scene from a play—it turns out they are all actors in the same theater company. Running parallel to this narrative is the story of another woman who finds herself alone in the middle of the forest after her friend mysteriously disappears. The four friends in the raft house say something that might allude to that woman, but it is not clear. The woman finds a natural stream. She drinks, washes her face, then goes into the water. Her face begins to transform into another person’s. It’s getting late, all the friends are intoxicated. Some pass out in the bedroom. Only two are left, by themselves. Romance is in the air. Fireworks go off, one after another, high up in the night sky. The others begin to wake up and they all stand still, watching the beautiful fireworks shooting up the sky before disappearing one by one. The screening will be followed by an in-person conversation with Suwichakornpong. Read more on the event here.
Aesthetics of Resistance: Straub-Huillet and Contemporary Moving-Image Art
Chapter II. Landscapes To Be Deciphered
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Tuesday, January 17, 7pm: Straub-Huillet and Atteyat Al-Abnoudy screening with a discussion between Lukas Brasiskis and Ali Hussein Al-Adawy
Saturday, January 28, 5pm: Deborah Stratman screening with a video Q&A with the filmmaker
Tuesday, January 31, 7pm: Ana Vaz, Oraib Toukan, Deimantas Narkevičius, and Martha Rosler screening with a discussion with Narkevičius and Rosler
Tuesday, February 7, 7pm: Marta Popivoda screening with a discussion with the filmmaker
In Too Early, Too Late (1980–1981), as well as in other films such as Moses and Aaron (1975) and From the Clouds to the Resistance (1979), Danièle Huillet and Jean-Marie Straub present a stunning collection of landscapes that function both as a backdrop and an integral part of their films’ narrative, and serve as a tool for a topographical exploration of political history(-ies). As film critic Jonathan Rosenbaum writes, in Too Early, Too Late Straub-Huillet invert the usual relationship between landscape and text, “the landscape becoming the film’s central text, the verbal text becoming the film’s ‘setting.’” Too Early, Too Late thus can be seen as an example of a rigorous intellectual approach to filming environments dialectically and treating them as a tool of critique of the current state of the world. By bringing together a diverse range of works that explore the political power of the images of landscape, this chapter of the series explores the aesthetics of resistance through landscape filmmaking in contemporary moving-image art. The films presented in the screenings seek to uncover the hidden histories embedded within the landscape. Through the use of long takes and precise framing, the filmmakers featured in this chapter aim to reveal the layers of meaning to be deciphered within the landscape, and to expose the ways in which it has participated in supporting or challenging dominant power structures, as well as in constructing historical memories. Read more on the series and events here.
Stay tuned to upcoming programs on our website, or subscribe to our events mailing list here.
Accessibility
–Two flights of stairs lead up to the building’s front entrance at 172 Classon Avenue.
–For elevator access, please RSVP to program [at] e-flux.com. The building has a freight elevator which leads into the e-flux office space. Entrance to the elevator is nearest to 180 Classon Ave (a garage door). We have a ramp for the steps within the space.
–e-flux has an ADA-compliant bathroom. There are no steps between the event space and this bathroom.
For more information, contact program [at] e-flux.com.
