Fri February 20, 2015
Inevitability of Forgetting: Films of Lewis Klahr— We Live in Cities and Pass through Varied Ambiances…
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Working for over three decades, filmmaker Lewis Klahr is known for an extensive body of films based in collage, associational montage and cut-out animation grounded in elements of 20th Century popular culture, including advertising imagery, comic books, catalogs and ephemeral artifacts. In his tales of lost souls and dreaming drifters, The City looms large as a site of mystery, chance occurrence, loves lost and found. For this second of two in-person presentations Klahr presents a unique program of works selected especially for this screening as prequel and herald to an important new artistic direction. Featuring Klahr’s newest work, THE OCCIDENTAL HOTEL (2014)—a mash-up of European street photography and Mexican comic books and an oblique evocation of urban transience, espionage and the surrealist drift—this program will present a career-spanning selection of earlier films (1992–2001) derived from the urban dérive. Notable in this program are a number of early, lesser known films which combine Klahr’s trademark cutout animation with first-person live action camera work. Program to include: CITY FILM, a Lower East Side light-and-color study filmed 1988–92 (and screened as original Kodachome Super-8); THE APERTURE of GHOSTINGS, a three-part suite (ELSA KIRK, CATHERINE STREET and CREASED ROBE SMILE) of “hieroglyphic montage,” drawn from lost-and-found photos, circa 1963; WHIRLIGIGS IN THE LATE AFTERNOON, a personal love story of the artist’s life in New York City; and GREEN ’62, a portal to an older New York, conjured from a curved glass restaurant window on the Bowery. This special once-in-a-lifetime screening—never before presented in this configuration—will also include additional films by Klahr not in distribution as well as camera rolls, rushes and other film fragments, anonymous home movies from the artist’s personal collection and more, all presented with generous introductions and context.
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Working for over three decades, filmmaker Lewis Klahr is known for an extensive body of films based in collage, associational montage and cut-out animation grounded in elements of 20th Century popular culture, including advertising imagery, comic books, catalogs and ephemeral artifacts. In his tales of lost souls and dreaming drifters, The City looms large as a site of mystery, chance occurrence, loves lost and found. For this second of two in-person presentations Klahr presents a unique program of works selected especially for this screening as prequel and herald to an important new artistic direction. Featuring Klahr’s newest work, THE OCCIDENTAL HOTEL (2014)—a mash-up of European street photography and Mexican comic books and an oblique evocation of urban transience, espionage and the surrealist drift—this program will present a career-spanning selection of earlier films (1992–2001) derived from the urban dérive. Notable in this program are a number of early, lesser known films which combine Klahr’s trademark cutout animation with first-person live action camera work. Program to include: CITY FILM, a Lower East Side light-and-color study filmed 1988–92 (and screened as original Kodachome Super-8); THE APERTURE of GHOSTINGS, a three-part suite (ELSA KIRK, CATHERINE STREET and CREASED ROBE SMILE) of “hieroglyphic montage,” drawn from lost-and-found photos, circa 1963; WHIRLIGIGS IN THE LATE AFTERNOON, a personal love story of the artist’s life in New York City; and GREEN ’62, a portal to an older New York, conjured from a curved glass restaurant window on the Bowery. This special once-in-a-lifetime screening—never before presented in this configuration—will also include additional films by Klahr not in distribution as well as camera rolls, rushes and other film fragments, anonymous home movies from the artist’s personal collection and more, all presented with generous introductions and context.
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Date/Times:
992 Valencia Street, San Francisco, CA 94110
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