Art of the Real: Elisabeth Subrin Program – April 11th, 2015

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Art of the Real: Elisabeth Subrin Program
Saturday, April 11th, 2015 – 4:00 p.m. EST
Film Society at Lincoln Center
Francesca Beale Theater
New York, NY
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Video Data Bank is pleased to join New York’s  Film Society of Lincoln Center, as they celebrate The Art of the Real, an annual showcase featuring an expansive view of the documentary form.  Running April 10-26th, 2015 the groundbreaking festival seeks serves as a platform for filmmakers and artists to deliver a wider view of nonfiction cinema.

We are proud to announce that on April 11, 2015 Art of the Real will feature the work of Video Data Bank artist Elisabeth Subrin as part of the festival sidebar: Repeat As Necessary: The Art of Reenactment. The films and videos in this spotlight trace a partial history of reenactment as its own medium, an act of repetition that often leads to revelation. The screening is presented by the Film Society of Lincoln Center in collaboration with the Video Data Bank, and will be followed by a panel with Subrin, Thomas Beard, and Johanna Fateman.

Shulie
Elisabeth Subrin, USA, 1997, 16mm, 36m
Subrin’s brilliant and celebrated portrait of a woman on the verge of becoming a revolutionary restages shot for shot a lost 1967 documentary about then-struggling art student Shulamith Firestone. The resulting work is a reflection on the legacy of feminism, and on how much things seem to have changed yet fundamentally remained the same. This screening marks the re-release of Shulie, which has been out of circulation since 2012. [Images: Shulie, 1997, Super8/video/16mm]

Lost Tribes and Promised Lands
Elisabeth Subrin, USA, 2010, digital projection, 6m

An insightful study of the ways in which cities change, this film combines 16mm footage Subrin shot in the days after 9/11 of memorial displays around Williamsburg, Brooklyn, and the same sites nearly a decade later. The passage of time and ravages of gentrification are immediately apparent (Subrin had difficulty retracing her steps), yet the disjunctions between each moment in space and time are not easily attributed to one or the other, as loss builds upon loss.

Sweet Ruin
Elisabeth Subrin, USA, 2008, digital projection, 10m
Shot on damaged 16mm film stock, this radical adaptation of Michelangelo Antonioni’s script for his unmade film Technically Sweet stars Gaby Hoffmann in roles originally written for Jack Nicholson and Maria Schneider. Subrin presents this “abandoned footage” in a dual projection, its flaws evidencing its ruin. Hoffmann blurs the lines between Nicholson’s “T.” and Schneider’s “The Girl” by retaining her femininity as both characters, at one point squatting to pee. Described as a meditation “on love, violence, and cinema,” Sweet Ruin will be screened here for the first time in a theatrical setting.