Image from Landfill 16 is courtesy of Artist Jennifer Reeves.

Film by MFA Alumna Jennifer Reeves' film featured in

Free Radicals

A History of Experimental Film

31 January 2013, 7PM

Cornell Cinema, 104 Willard Straight Hall, Ithaca, New York 14853

Pip Chodorov introduces us to the world of avant-garde filmmaking. Through conversations with Hans Richter, Robert Breer, Michael Snow, Jonas Mekas, Ken Jacobs, Peter Kubelka and Stan Brakhage (in his final recorded interview), he explores the trials and tribulations of creating non-mainstream art alongside an industry that thrives on commercialism and profit. Chodorov is an ideal candidate to take on the topic due to his early immersion in these films via his father, television presenter, Stephan Chodorov, and his enthusiasm for the work is infectious. Those well versed in the subjects will find anecdotal joys, while those new to them will face an enchanting window into a whole new visual world, as the film is filled with a bevy of examples. “With the loss of several admired avant-garde filmmakers in the past few years, Free Radicals arrives as a welcome paean to the unfettered, resourceful creativity of its subject.” (NY Times) Shown with Jennifer Reeves’ 16mm film Landfill 16 (2011, 9 min). Recycled 16mm outtakes from a previous film are buried in the ground and then repainted—“a meditation on nature’s losing battle to decompose relics of our abandoned technologies.” (Jennifer Reeves)



(Jennifer Reeves, 2011, 16mm, 9 minutes)

“Exhumed 16mm film from my very own landfill in Elkhart, Indiana constitute the canvas of Landfill 16. After finishing my double-projection When It Was Blue I was horrified by the bulk of outtakes that would normally go to a landfill. So I temporarily buried the footage to let enzymes and fungi in the soil begin to decompose the image, and then I hand-painted the film to give it new life. This “recycling” is a meditation on the demise of the beautiful 16mm medium and nature’s losing battle to decompose the relics of our abandoned technologies and productions.

The ominous soundtrack mixes recognizable audio, from bulldozers to nature audio, with more abstracted textural and rhythmic sounds I created using audio from consumer-goods factories, old 16mm equipment, the cries of a dying bird stuck in my wall, and other oddities. Within this multi-textured, pulsating, abstract moving painting I attempt to express my dread of man-made waste that endangers land and wildlife.”
-- Jennifer Reeves

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