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Ism, Ism, Ism: Altered Surfaces

Ism, Ism, Ism: Altered Surfaces

Cosmorama, by Enrique Pineda Barnet

Thursday November 30, 2017, 7:30 pm

Los Angeles Filmforum and the Hammer Museum present

Ism, Ism, Ism: Talleres: Experimental Women Filmmakers from Latin America

Guest: Curator Ángela López Ruiz

Tickets: Free, no RSVP needed.  Tickets are required and available at the Box Office one hour before the program. General admission tickets are available one per person on a first come, first served basis following member ticketing. Early arrival is recommended.

More information: https://hammer.ucla.edu/programs-events/2017/11/talleres-experimental-women-filmmakers-from-latin-america, www.lafilmforum.org

This program showcases female filmmakers who sought to carve out a place within the male-dominated world of Latin American independent audiovisual production. Key works, such as Argentine filmmaker Narcisa Hirsch’s Taller (Workshop)(1975), exemplify the defiant position toward gendered and essentializing aesthetics expected of Latin American women filmmakers. This program includes pioneering Uruguayan filmmaker Lydia García Millán’s Color (1955), one of the first abstract experimental films from Latin America; the politically charged Super 8 experiments by Puerto Rican underground artist Poli Marichal; and recent video essays by Mexican artist Ximena Cuevas. Curated by Ángela López Ruiz.

This screening is in conjunction with the exhibition Radical Women: Latin American Art, 1960–1985, at the Hammer Museum, Sep 15-Dec 31, 2017

https://hammer.ucla.edu/exhibitions/2017/radical-women-latin-american-art-1960-1985/

Part of Pacific Standard Time: LA/LA, this exhibition will reappraise the contribution of Latin American women artists and those of Latino and Chicano heritage in the United States to contemporary art.

In a way that no other exhibition has done previously, Radical Women: Latin American Art, 1960–1985 will give visibility to the artistic practices of women artists working in Latin America and US-born women artists of Latino heritage between 1960 and 1985—a key period in Latin American history and in the development of contemporary art. Fifteen countries will be represented in the exhibition by more than one hundred artists, with 260 works in photography, video, and other experimental mediums. Among the women included are emblematic figures such as Lygia Clark, Ana Mendieta, and Marta Minujín alongside lesser-known names such as the Cuban-born abstract artist Zilia Sánchez, the Colombian sculptor Feliza Bursztyn, and the Brazilian video artist Leticia Parente. The artists featured in Radical Women have made extraordinary contributions to the field of contemporary art, but little scholarly attention has been devoted to situating their work within the social, cultural, and political contexts in which it was made. This groundbreaking exhibition will constitute the first genealogy of feminist and radical art practices in Latin America and their influence internationally, thereby addressing an art historical vacuum. Radical Women will also include a national tour and a scholarly publication.

Hammer Member Benefit: Members receive priority ticketing (until 15 minutes before the program) by skipping the general admission line and can choose their seats, subject to availability.  Parking: Under the museum, $6 flat rate after 6 p.m. Cash only. 

Food and drink may not be carried into the Billy Wilder Theater. Read our food, bag check, and photo policies.

This screening is part of Los Angeles Filmforum’s screening series Ism, Ism, Ism: Experimental Cinema in Latin America (Ismo, Ismo, Ismo: Cine experimental en América Latina). Ism, Ism, Ism is an unprecedented, five-month film series—the first in the U.S.—that surveys Latin America’s vibrant experimental production from the 1930s through today. Revisiting classic titles and introducing recent works by key figures and emerging artists, Ism, Ism, Ism takes viewers on a journey through a wealth of materials culled from unexpected corners of Latin American film archives. Key historical and contemporary works from Argentina, Brazil, Bolivia, Chile, Colombia, Cuba, Ecuador, México, Paraguay, Perú, Uruguay, Venezuela, Puerto Rico and the United States will be featured. Many of the works in the series are largely unknown in the United States and most screenings will include national and area premieres, with many including Q&A discussions with filmmakers and scholars following the screening. The film series will continue through January 2018 at multiple venues, organized by Filmforum. www.ismismism.org

Ism, Ism, Ism is accompanied by a bilingual publication, Ism, Ism, Ism / Ismo, Ismo, Ismo: Experimental Cinema in Latin America (Jesse Lerner and Luciano Piazza, editors, University of California Press, 2017) placing Latino and Latin American experimental cinema within a broader dialogue that explores different periods, cultural contexts, image-making models, and considerations of these filmmakers within international cinema. Available worldwide, https://www.ucpress.edu/book.php?isbn=9780520296084.

Ism, Ism, Ism is part of Pacific Standard Time: LA/LA, a far-reaching and ambitious exploration of Latin American and Latino art in dialogue with Los Angeles. Explore more at www.ismismism.org, lafilmforum.org, and www.pacificstandardtime.org.

Lead support for Ism, Ism, Ism is provided through grants from the Getty Foundation.

Significant additional support comes from the Andy Warhol Foundation for Visual Arts, the National Endowment for the Arts, and the Mike Kelley Foundation for the Arts.

Pacific Standard Time is an initiative of the Getty. The presenting sponsor is Bank of America.

Placeres de la Carne

Horacio Valleregio, 1977, 12min, super 8, color, sound, Argentina.

AZILEF

Luís Ernesto Arocha, 1971, 8 minutes, 16mm, b/w, sound, Colombia.

At your heels

Azucena Losana, 2017, 2:36 min, 16mm, color, sound, Argentina/República Checa.

Nuestra señora de Paris

Teo Hernández, 1981-1982, 22 min, 16mm, color, sound, France.

Cosmorama

Enrique Pineda Barnet, 1964, 5 min., 35mm film transferred to digital, color, sound, Cuba

Electric Arthropods

Manuel DeLanda, 2017, 3.30 min, color, sound, USA.

As without so within

Manuela de Laborde, 2016, 25 min, 16mm, color, sound, Mexico/USA/United Kingdom.