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December 12, 2014

Brooks 1


A screening of experimental feminist film on gender, time, and work

Often During the Day, Joanna Davis (1978)
She Said, Susan Stein (1982)
Pictures on Pink Paper, Lis Rhodes (1982)
Mutiny (Is this what you were born for: Part 2), Abigail Child (1983)
Armchair Terrorist, Marion Reichert (1994)

Curated and introduced by Victoria Brooks, curator of time-based visual art at EMPAC (Experimental Media & Performing Arts Center) at Rensselaer Polytechnic Institute in Troy, NY

In her poem The Breast Anne Sexton ends with the line, “I burn the way money burns,” suggesting the complex and contradictory nature of female desire and its structurally dictated dual role—as lover but also care-giver and mother. These five films selected from LUX and Cinenova collections (1978-1994) not only confront this dual nature of women’s work. Through formal experimentation of both sound and image tracks, they also envision what Susan Stein describes in She Said as the “geometry of creeping lines” that inscribe the social relation of reproduction onto space itself.

In grappling with the multiple time-scales of women’s work, these films use a wide variety of techniques to make visible the real difficulty of representing domestic labour and unwaged time. Through the lens of a gendered camera, they attend to details and patterns of these underlying processes to offer innovative representations of the quotidian and unending time of women’s work. Read more.

Wednesday 17th December 2014
18 Shacklewell Lane, London E8 2EZ.
Tickets: £6


Asghar Farhadi: Life and Cinema with author Tina Hassannia @ Videology (12/14)

December 8, 2014


Since winning the Academy Award for Best Foreign Language Film in 2012 for his film A Separation, Asghar Farhadi has been understood to be one of the most important and popular filmmakers in Iran. Toronto-based critic Tina Hassannia, author of the first book-length study of this important artist, Asghar Farhadi: Life and Cinema, will discuss Farhadi’s work and the current state of Iranian cinema with Godfrey Cheshire (, one of the first critics to bring Iranian cinema to the attention of Western audiences in the 1990s. A book signing will take place afterwards.

308 Bedford Ave #1
Brooklyn, NY
December 14th
5 pm


Film Premiere: Masha Tupitsyn’s Love Sounds (11/4 + 11/5)

October 29, 2014

“Auditory landscapes can also be interpolations between space and time, space and reality, the psycho-social and the geographic, and temporality and memory. The act of listening involves a transitional state between attention and imagination, between sensual experience and understanding or seeking a possible meaning.” -Jean-Luc Nancy, Listening

Cinema remains the last medium for speaking and performing love culturally. While much emphasis has been placed on the visual iconography of love, with the exception of music very little attention has been given to love as an aural phenomenon since the tradition and practice of amour courtois. Partly inspired by Christian Marclay’s ontology of time in cinema, THE CLOCK, and René Magritte’s word paintings, which textualized the visual tropes of painting with “written” images, LOVE SOUNDS, a 24-hour sound poem and montage, dematerializes cinema’s visual legacy and reconstitutes it as an all-tonal history of critical listening.

At The Spectacle Theater, LOVE SOUNDS will be presented in four hours over two evenings. Tuesday, November 4th we will screen Part 1 (sections include Desire-Sex, Sexual Politics, Trust-Betrayal and Break-Ups). The following night, Wednesday, November 5th, we will conclude with Part 2 (sections include Heartbreak, Violence-Death, Fate-Time-Memory and Love).

LOVE SOUNDS, an audio history of love in cinema, concludes TNI contributor Masha Tupitsyn’s immaterial trilogy, and will be presented outside of the cinema as a 24-hour sound installation, accompanied by a catalogue published by Penny-Ante.

Both screenings are at the Spectacle Theater, 124 S. 3rd St, Brooklyn, NY







Book Launch: The Sacrifice of Abraham (10/27)

October 24, 2014

Alexander Nemser, Work Sample, Excerpt from “Moshe Feldstein, Icon of Self-Realization” from Alexander Nemser

Alexander Nemser is the author a new book of prose poems called “The Sacrifice of Abraham,” a sequence of fifty re-tellings of the story of Abraham and Isaac, each one wilder and more expansive, and growing to include Greek gods, love affairs, and redemption of garbage. “The Sacrifice of Abraham” is forthcoming in summer 2014 from Bookieman, an independent publishing platform founded by artist Nino Biniashvili.

“The Sacrifice of Abraham” reads like a lost Dead Sea Scroll, finally unearthed from the internet of the future. It brandishes genres—bible story, biblical exegesis—only to show them explode. The formal affiliations of the book are so various and thoroughly dissolved in gorgeous prose that they hardly register as such. Repeated reads suggest ancestors as disparate as Robert Lowell and Bruno Schulz; the book of Genesis and Ghostface Killah. On a macro-level the book exhibits a Whitmanian spirit. Holiness is a concept traditionally defined by separateness; to be holy is to be among a small elect. As the book despairs about the costs of a border between holy and unholy, it doesn’t necessarily knock the divide itself. Instead, the Sacrifice of Abraham seems to ask, how much the side of holiness might manage to include.

The release launch will take place on Monday, October 27th, at 7pm at Honey Ramka Gallery in Bushwick, Brooklyn (56 Bogart St, First Floor), just off the Morgan Ave L-train.