Tuesday, March 6: Heaven Is a Place


So, this blog became something of a ghost town in February. The reason for that is that I’ve been hard at work on a number of projects, which means that the coming months will contain a slew of announcements.

To inaugurate these announcements: this Tuesday, The Nightingale Cinema is screening a program entitled “Heaven Is a Place,” curated by my friend Jesse Malmed. (It’s an offshoot of the exhibition of the same name he curated at Heaven Gallery.) Each of the filmmakers & video artists showing work in it have been commissioned to create work for another historical exhibition or screening—i.e., it’s a chance for them to finally be a part of Frank Stauffacher’s “Art in Cinema” film series, or Douglas Crimps’ “Pictures” show, or Die Ausstellung “Entartete Kunst,” or whatever catches their fancy.

I have a short video showing in this screening, entitled OREO NABISCO secret planet POISON january 2018 Concealed Information CONFIRMED!!!! The exhibition I’ve chosen to align myself with will remain a secret for now. If you’re in Chicago, and you are able, I invite you to show up—7:30 PM on Tuesday March 6, at The Nightingale. It promises to be a great show. (Indeed, I’m preemptively both honored and embarrassed to have something I put together more or less on a lark to be shown alongside the work of filmmakers I genuinely admire.)

I’ll eventually post the video on Vimeo, but not until after it’s premiered. [UPDATE: I’ve uploaded it onto my Vimeo page, here.]

Swimming in the Valley of the Moon


Ian here—

Peter Hutton died on June 25, 2016. I could tell anecdotes here about having him for a professor across three courses at Bard College, about things he said to his students, places he took his students, and the impact he had on me as a young film student. I’ll spare you that, though, for now. For now, I’ll just say that I am extraordinarily grateful to Jesse Malmed and Patrick Friel for programming White Light Cinema and The Nightingale’s retrospective of Hutton’s work this past Sunday. It is, if I’m not mistaken, the first time Peter’s work has shown in Chicago since I first arrived here in 2008. It was wonderful to revisit it, and I am saddened that it took Peter’s death for this to happen.

What follows isn’t analysis, just some impressions, as a way of expressing gratitude to the programmers. I make such extensive use of visual aids normally in my writing that it can be reinvigorating to write about films that are only distributed on 16mm, and actually rely on the author to describe their experience. (I apologize if I’m out of practice!)

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