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JAN/FEB 2013 JAN/FEB UC BERKELEY ART MUSEum & PacIFIC FILM ARCHIVE PROGRAM GUIDE SILenCE anna HALPRIN APIChaTPONG WeeRaseThaKUl rUDOLF De CRIGNIS PaCIFIC GUITAR EnseMBLE KYLE COOPEr STan LAI ALFRED HITCHCOCK ITALIan WesTERns WERneR SCHROETEr AFRICan FILM FesTIVAl JAPan’S ART TheaTER GUILD short list> 1/2/3 contemplate get lost watch out! Experience Silence, a major exhibition that In the radiant layers of hues and tones of Prepare for four months of suspense from explores the absence of sound as subject and Rudolf de Crignis’s blue paintings. P. 4 Alfred Hitchcock. See your old favorites medium in modern and contemporary art and again—from Vertigo and The Birds to North by film, fromMagritte to Marclay, Bergman to toast Northwest and Rear Window—and discover Brakhage. P. 9 Raise a glass of Pyramid Ale to Lady Port- his earlier British films, includingYoung and Huntly (Isabella Rossellini) at the tenth Innocent and The Lady Vanishes. P. 20 be a part of history anniversary screening of Guy Maddin’s Don’t miss the new —and final—staging of The Saddest Music in the World. P. 27 go global Anna Halprin’s legendary 1965 dance Parades See the world from the perspectives of and Changes, featuring live music by electronic meditate filmmakers from Egypt, Kenya, the Republic music pioneer Morton Subotnick. You have Come clear your mind in the first of a three- of Congo, Sudan, Morocco, Haiti, and South three opportunities to be involved in the part series of guided meditations in the Africa in our 2013 edition of the African Film collective problem solving that is at the heart galleries, with Wes Nisker of Spirit Rock Festival. P. 18 of the dance: Friday, February 15; Saturday, Meditation Center. P. 13 February 16; and Sunday, February 17. P. 5 Cover Giorgio de Chirico: Melancholia, 1916, oil on canvas; 20 × 26 ½ in.; The Menil Collec- tion, Houston. Photo: Hickey-Robertson, Houston. 1. Anna Halprin: Parades and Changes P. 4 2. Rear Window, 1.25.13 P. 21 3. Christian Marclay: Pink Silence (The Electric Chair), 2006; silkscreen ink on synthetic poly- mer paint on canvas; 22 × 30 ¼ in.; collection Migs and Bing Wright, New York. Courtesy Paula Cooper Gallery, New York. P. 7 4 4. Rudolf de Crignis: swatch from Painting #02-26, 2002. P. 4 UNIVErsITY OF CALIFOrnIA, BERKELEY ART MusEum anD PacIFIC FILM ArchIVE, GET MORE PROgram guIDE Volume XXXVlI Number 1. Published five times a year by the University of Cali- Want the latest program updates and event Download a pdf version of this and previous issues fornia, Berkeley. Produced independently by the UC Berkeley Art Museum and Pacific Film Archive, which is solely responsible for its contents. BAM/PFA, 2625 reminders in your inbox? Sign up to receive our of the Program Guide at bampfa.berkeley.edu/ Durant Avenue, Berkeley, CA 94720-2250, (510) 642-0808. Lawrence Rinder, monthly e-newsletter, weekly film update, exhibition programguide. Director. Nonprofit Organization: Periodical Postage Paid at Berkeley Post Office. and program announcements, and/or L@TE event Subscribe to the digital BAM/PFA Event Calendar at Usps #003896. POSTMASTER: Send address change to: UC Berkeley Art Museum updates at bampfa.berkeley.edu/signup. and Pacific Film Archive, Woo Hon Fai Hall, 2625 Durant Avenue #2250, Berkeley bampfa.berkeley.edu. CA 94720-2250. Copyright © 2013 The Regents of the University of California. All rights reserved. Learn more about our L@TE programmers at bampfa.berkeley.edu/late. 2 JANUARY & FEBRUARy 2013 L@TE: FRIDAY NIghTS L@TE FRIDAY NIGHTS 1 2 3 FRIDAY / 2.1.13 7:30 PACIFIC GUITAR ENSEMBLE Programmed by Sarah Cahill Doors 5:00 This “eclectic group of pluckers”—eight virtuosos of classical guitar, including ensemble founders David Tanenbaum and Peppino D’Agostino—supplements nylon strings with steel, combines electric basses with seventeenth-century theorbos, and throws in an oud for good measure. Tonight they join forces to tackle a wide variety of music, including Steve Reich’s seminal Electric Counterpoint, as well as works by Sérgio Assad, Terry Riley, and Astor Piazzolla. FRIDAY / 2.15.13 7:30 ANNA HALPRIN: PARADES AND ChANGES Visionary choreographer Anna Halprin performs a new version of her iconic work Parades and Changes, her final staging of the piece that formed the foundation for her subsequent career. Dancers from around the world are coming to Berkeley to participate in these three last performances, featuring live music by electronic music pioneer Morton Subotnick. Parades and Changes will also be performed on Saturday, February 16 and Sunday, February 17 at 7:30 p.m. This performance is part of Anna Halprin / MATRIX 246, which also presents scores and ephemera related to the history of Parades and Changes in Gallery 1 (p. 5). FRIDAY / 2.22.13 7:30 BARETROUPE Programmed by Sean Carson Doors 5:00 1. Pacific Guitar Ensem- L@TE is made possible by the Thomas J. Long Foundation ble, 2.1.13. Photo: Aleza and the continued support of the BAM/PFA Trustees. Special Join us for an unquiet evening of music, theater, and video in this first of three D’Agostino thanks to media sponsors East Bay Express and San Francisco L@TE events presented in conjunction with the exhibition Silence. UC Berkeley’s own Bay Guardian. 2. BareTroupe, 2.22.13 BareTroupe performs a selection of scenes and songs that touch upon themes of quietude and isolation. Rio Vander Stahl leads a dynamic chamber ensemble in exploring 3. Anna Halprin, 2.15.13. GET MORE Photo: Kent Reno the use of silence in the classical music tradition. And an experimental video work by Share your photos of L@TE! Submit your Christopher Ariza abducts, obstructs, and obscures media newsfeeds. photos on flickr to our group L@TE: Friday Nights @ BAM/PFA to join our photostream. Please come early for best seating. A limited number of chairs will be available. Visit flickr.com/groups/bampfalate. L@TE FRIDAYS: GAlleRIES OpeN UNTIL 9 P.M. 3 BAM / PFA EXHIBITIONS Rudolf de Crignis MATRIX 245 “I use the art of painting to represent color as the transparent appearance of light.” 1 JANUARY 30–MAY 5 NEW EXHIBITION of blues and grays, each work is a singular array of pigments, 1 Press release for Rudolf De Crignis Paintings such as ultramarine, cobalt blue, royal blue, Scheveningen (New York: Peter Blum Gallery, 2003). 2 Quoted in Michael Paoletta, Rudolf de Crignis When Swiss-born artist Rudolf de Crignis (1948–2006) first Warm Gray, and Persian red. De Crignis would begin with a Newsletter (October 2012). visited Manhattan in the late 1970s, he was deeply affected by smooth white gesso ground, then over weeks add as many as 3 Harvard Art Museums website, Minimalism, particularly the powerfully spare abstract paint- forty layers of semitransparent paint in glazes. He alternated harvardartmuseums.org/art/172847. ings of Agnes Martin, Robert Ryman, Brice Marden, and Ad layers in horizontal and vertical strokes, gradually creating Reinhardt. He soon made New York his home and shifted from surface depth. Often, he would move a painting from one wall MATRIX 245 is organized by Chief Curator and Director of Programs and Collections performance, video, and installation-based work to making to another during the course of a day in order to capture shifting Lucinda Barnes. The MATRIX Program is abstract paintings and drawings about color, light, and space. light in the studio. The finished paintings coalesce as radiant made possible by a generous endowment Gradually, de Crignis came to focus on the color blue, primarily veils of color interwoven with light reflecting back from the gift from Phyllis C. Wattis and the continued ultramarine blue, aiming to “bring the blue onto a level where white gesso ground through the sequenced hues and tones. support of the BAM/PFA Trustees. it becomes totally neutral… [so that the paintings] are just De Crignis wrote about his paintings as works in progress, catalysts to create the space and the light.” 2 Rudolf de Crignis: Painting #02-26, one decision leading to the next without a preordained plan. 2002; oil on canvas; 30 × 30 in.; MATRIX 245, the artist’s first solo museum exhibition in the Above all, his goal was for his painting to be perceived as an Courtesy Estate of Rudolf de Crignis. Photo: Christopher Burke Studio. United States, brings together fourteen paintings and graphite- experience. Through “this lively act of perception, the work and-wash works on paper from 1991 to 2006. A constellation becomes a picture-space.” 3 4 JANUARY & FEBRUARy 2013 EXHIBITIONS Anna Halprin MATRIX 246 PUBLIC PROGRAMS FRIDAY / 2.15.13 / 7:30 FebRUARY 15–ApRIL 21 L@TE: Anna Halprin: Parades and NEW EXHIBITION Changes P. 3 Before each staging of Parades and Changes, Halprin SATURDAY / 2.16.13 / 7:30 “There was no chance in Parades and Changes,” recalls shuffles index cards that contain separate instructions Anna Halprin: Parades and Changes composer Morton Subotnick. “Everything was done for the dancers, crew, lighting and scenic designers, SUNDAY / 2.17.13 / 7:30 by choice, but there was a freedom in choice.” composers, and even the audience, and then posts the results. With so much left unrehearsed, each Anna Halprin: Parades and Changes First performed in 1965, Anna Halprin’s Parades and performance is an exercise in collaborative problem Changes pioneered the use of everyday movements solving. Responses to the dance have varied from and domestic rituals in dance, marking the onset MATRIX 246 is organized by Assistant Curator Dena Beard. an outright ban on the work by the New York City of postmodern choreography. The dance revolves The performances of Parades and Changes are made Police Department in 1967 to adoring fan mail from possible in part by The Creative Work Fund, a program of the around a set of mundane tasks—unrolling giant a cattle farmer in Sweden.
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  • Kihachi Okamoto Nace En 1924 En Yonago, Totori

    Kihachi Okamoto Nace En 1924 En Yonago, Totori

    Kihachi Okamoto Nace en 1924 en Yonago, Totori. Se traslada a Tokio en 1941 para ingresar en la Universidad Meiji. Allí se convierte en un ávido cinéfago, aficionado a las películas estadounidenses de acción y a las comedias francesas. Se gradúa en 1943 y entra en la Toho como ayudante de producción. Poco después es reclutado y llevado a la escuela del ejército para oficiales en la reserva, desde donde vio el final de la guerra. En 1945 vuelve a Tokio y trabaja como ayudante de dirección para Taniguchi, Makino o Naruse. En 1957 la Toho anuncia un proceso de selección para ascender a los ayudantes de dirección que presentaran el mejor guión. La sinopsis de ¡Oh, mi bomba! y el guión de El forajido solitario le hicieron ganar el ascenso y para su debut se le asignó la comedia Todo sobre el matrimonio, en 1958. El forajido solitario, su quinta película, basada en su propio guión, fue un enorme éxito en 1959. Su reputación se construyó en paralelo a la de otros cineastas jóvenes del momento: Suzuki, Masumura, Imamura y Oshima. Se convirtió en el director habitual de las películas de acción de la Toho. En 1974 creó la productora Kihachi y se despidió de Toho. Aunque es un director relativamente desconocido en Occidente, sus historias llenas de humor y ritmo son muy populares en Japón. Murió el 19 de febrero de 2005 cuando estaba a punto de comenzar su película número 40. Una reescritura del cine de género “Si Kurosawa es el John Ford de las películas de samuráis, Okamoto es el Samuel Fuller del género” dijo en una ocasión el crítico estadounidense Bruce Eder.