Screening

Ahead of their evening performance, Cel Genesis presents a screening of Johan Johansson’s Last and First Men.
 

Ahead of their evening performance, Dreamcrusher presents a screening of Ken Russell's Altered States.
 

Ahead of her evening performance, Lucy Liyou will share and talk about a collection of various TV programs, experimental video, and films in connection to her work.
 

Ahead of their evening performance, Ian Mugerwa aka Dawuna, presents a screening of Claire Denis’ Beau Travail (ranked among the ten best films of all time in the 2022 Sight and Sound Critics Poll) and talks about how the film relates to their artistic practice.

Think of early electronic music and you’ll likely see men pushing buttons, knobs, and boundaries. While electronic music is often perceived as a boys club, the truth is from the very beginning women have been integral in inventing the devices, techniques and tropes that would define the shape of sound for years to come.  
 
The history of women has been a history of silence. Recent protests calling for greater recognition of women’s achievements have swept across politics, business, even Hollywood. The world of music is no exception.
 
As one of the film’s subjects, Laurie Spiegel explains: “We women were especially drawn to electronic music when the possibility of a woman composing was in itself controversial. Electronics let us make music that could be heard by others without having to be taken seriously by the male dominated Establishment.”
 
With the wider social, political and cultural context of the 20th century as our backdrop, this all archival documentary reveals a unique emancipation struggle, restoring the central role of women in the history of music.
 
With Laurie Anderson as our narrator, we’ll embark on a fascinating journey through the evolution of electronic music. We’ll learn how new devices opened music to the entire field of sound, how electronic music not only changed the modes of production but in its wide-ranging effects also transformed the very terms of musical thought.

Jonesy, Fiend, Super 8 on HD, 3min., 1992
Greta Snider, Hard-Core Home Movie, 16mm, 5min., 1989
Jill Reiter, Birthday Party, 16mm on video, 9min., 1993
G.B. Jones, The Troublemakers, super 8 on DV, 20min., 1990
Scott Treleaven, The Salivation Army, super 8 and video, 22min., 2001
Rick Castro, “3. Dr. Chris Teen Sex Surrogate” (from Three Faces of Women: a feminine trilogy), VHS, 25min., 1994
Greta Snider, Our Gay Brothers, 16mm, 9min., 1993

Roberto Fatal [they/them/ellos] is a filmmaker and storyteller. They come from Rarámuri, Tewa Pueblo, Ute, and Spanish ancestors and Mexican-American culture. Their Queer, gender fluid, Mestize/Mixed identity informs the sci-fi, apocalyptic films they make.

German film enfant terrible Rosa von Praunheim trained his lens on the trans and gender-defying Americans who sought refuge in Berlin’s 80s club scene, catching some of the most honest and alarmingly prescient intergenerational dialogues about trans life ever dedicated to celluloid in the process.

Dirty Looks has dug deep into documents of trans history to assemble a program of archival trans portrait films that spool from experimental cinema of the 1970s, activist video, and personal portraiture. Spanning an early decade of production, illuminating (lost?) queer histories and liminal spaces across America, The Girl Can’t Help It screens poignant testimonials and early rhetorics of trans-femme ideation.