New Works Salon XVIII

Saturday, February 22, 2014
Echo Park Film Center
New Works Salon XVIII

This program is supported in part by grants from the Foundation for Contemporary Arts & the Andy Warhol Foundation for the Visual Arts.

Kate Lain
“I’m pretty fascinated by the ways we humans define, transform, and move through the spaces that surround us. I shot these two pieces two days apart in two very different Southern California landscapes while participating in two very different rituals of space, in the final days of 2013.” –Kate Lain.
Rhyolite Spiral (7 min., video)
Shot at Goldwell Open Air Museum near Rhyolite ghost town, Nevada.
Michigan State (2 min., video)
The Michigan State football float tours the San Gabriel Valley on the way to the 2014 Rose Parade in Pasadena.

Mark Toscano
The Stone Breakers (2014, 2.5 min., HD video)
A potentially valuable lesson in history and authenticity is sabotaged by poor supplementary materials.

Marilyn Hernandez
Derramo (2014, 2 min, Super 8, silent)
Bright lights that never turn off, sterile, care without caring. The most important person in a place and situation they hate. Heartache that knows no bound.

Ellie Parker
Herradura (2014, 5.5 min., Super 8 on video)
A film for the Artetas.
Amani & Rae (2014, 4.5 min., Super 8 on video)
A summer daydream.

Kelsey Brain
Dancing Near ‘América Tropical’ (2 min, 16mm)
The World Is Hard (8 min, HD video)
Why should I keep up?
This world won’t relax its grip on me,
And there’s no one here to save me,
So why should I keep up?

Thom Andersen

“Hey, Asshole!” (2014, 5 min., HD Video)
Concept: Thom Andersen
Editing: Thom Andersen, Christine Chang, Peter Bo Rappmund
Titles: Lucas Quigley
“While re-mastering Los Angles Plays Itself, I re-edited a number of clips, including The Takeover (Troy Cook, 1995), a grungy, sordid straight-to-video film remarkable only because executive producer Michael Woods and star David Amos had in 1990 planned and carried out the murder of Horace McKenna, Woods’s partner in the operation of a chain of strip clubs around Los Angeles—a crime echoed in the movie. After repeated viewings, I noticed a miniature tragedy (or black comedy) spread out over the first sixty minutes. Its protagonist is Waldo the bouncer, the victim of ruses and sucker punches, whose multiple failures lead him to one final heroic attempt to make amends. This is his story.” –Thom Andersen.

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