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This is a short clip from the film “Early Warnings” that details the sit-in that happened on Wall Street on the 50th Anniversary of the 1929 Stock Market Crash. The protestors were demanding an end to financial support for the nuclear industry and the action was part of the larger occupations at the Seabrook Nuclear Power Plant. The costumed figures on stilts are from the Bread and Puppet Theatre. The film is from Green Mountain Post Films.
Tagbanger· 10/16/11FREE all ages dance party, rock show and soiree!
Debut event, featuring:
Lucky Dragons
DJ Jimi Hey
Savory and sweet melon snacks and drinks from Eden Bakti’s Herbal Eden
Conveniently scheduled between afternoon nap and bathtime, this intergenerational mixer aims to let moms, dads and friends get loose, and for baby to do her thing!
I.M.A.H.A.N.H: Sunday, July 3, 3-7pm
Tagbanger· 06/22/11In conjunction with our residency at the Serpentine Gallery’s Centre for Possible Studies, the Bidoun Library is presenting a program of two films drawn from our collaboration with the online archive UbuWeb this Wednesday, June 8.
The program will be introduced by Masoud Golsorkhi, editor of Tank magazine.
Wednesday June 8, 2011
7-9pm
Free!
Centre for Possible Studies
64 Seymour Street
London W1H 5BW


Bahman Maghsoudlou
Ardeshir Mohasses & His Caricatures
1972
20 min
A short documentary about Ardeshir Mohasses (1938-2008) featuring rare footage of the Iranian artist in his studio in Iran before his self-imposed exile to New York, which was to last over thirty years. Mohasses’ anti-Shah and anti-Islamic Republic cartoons used settings and costumes of the Qajar dynasty (1794 to 1925) — a misdirection that fooled no one. The film features commentary from Iranian intellectuals of the time, including Houshang Taheri, Javad Mojabi, and Fereidoun Gilani. Mohasses, a man of few words, is noticeably mute throughout.
Kamran Shirdel
The Night It Rained
1967
35min
In northern Iran, a schoolboy from a village near Gorgan is said to have discovered that the railway had been washed away by a flood. When he saw the approaching train — so the story goes — he set fire to his jacket, ran toward the train, and averted a serious and fatal accident. Kamran Shirdel’s film The Night it Rained does not concentrate on the heroic deed promulgated in the newspapers, but on a caricature of social and subtle political behavior — the way in which witnesses and officials manage to insert themselves into the events. Shirdel uses newspaper articles and interviews with railway employees, the governor, the chief of police, the village teacher and pupils — each of whom tell a different version of the event. In the end, they all contradict one another, while the group of possible or self-appointed heroes constantly grows. With his cinematic sleights of hand, Shirdel paints a bittersweet picture of an Iranian society in which truth, rumor, and lie can no longer be distinguished.
Tiffany· 06/07/11Roseanne Barr was a sitcom star, a creator and a product, the agitator and the abused, a domestic goddess and a feminist pioneer. That was twenty years ago. But as far as she’s concerned, not much has changed.
Tagbanger· 05/16/11
Matt Anderson has released a new extended trailer for his documentary, Fall & Winter.
He has also started a Kickstarter page to raise funds to complete the film here.
Please check it out and support this important, powerful film.
Burden Baskets have been used by different groups of Native American people for various purposes, primarily for gathering seed, grain, fruit, wood, and personal belongings.
These baskets are made by Nanette Sullano using a coiling technique, inspired by traditional forms, with braided cotton rope, vegan suede lace, and leather. They are available in two shapes (womb or cone), three sizes for womb (small, medium, large), one size for cone (medium), and four vegan suede lace and leather colors (black, brown, golden, gray). All braided rope is 100 percent cotton and natural in color.
Jonathan· 02/12/11 
a film by Matt Anderson
‘Fall & Winter’ is a documentary that explores the origins of our global crisis in order to better understand the catastrophic transition we have now entered. This film presents the ideas and experience of a wide range of people dedicated to confronting this crisis head on. The result is an analysis of our failing institutions and culture so we may be equipped to handle drastic collapse and foster a vital, fundamental rebirth in the way we live on this planet.

Kelly Breslin, Fragment #3 (for Agnes Denes), Ceramic and Bronze, 2010
January 8 through February 5, 2011
Opening Reception 6-8pm, January 8 (tonight!)
via South Willard
Jonathan· 01/08/11 
Chris Burden, still from TV Hijack, 1972.
It’s generally known that Chris Burden made a few commercials for television in the 1970s. But any pursuit of why, expanding meaningfully beyond the descriptive synopses Burden himself provides for most of his individual works, has been curiously rare. Burden—then living in Venice Beach—was concurrently making live performance work that deployed television monitors as critical signifiers of voyeurism. This link between his use of the television set as an object or prop in performances like Do You Believe in Television or Velvet Water and his works that actually took place on television is crucial to parsing why arguably the foremost performance artist of his generation began to resituate a live performance practice to a medium that seems antithetical to live art. Television as both communicative and manipulative vessel is a major focus in Burden’s work from 1971 to 1977. Burden usually downplays the political connotations or intentions of his art, but this body of television work seems like an examination of militaristic training, specifically, how authority results in belief.
thanks Kathy

(a film by William Eggleston)
Tuesday 11/2 @ 8:00pm
at Cinefamily
Legendary photographer William Eggleston, working with filmmaker Robert Gordon, recently edited thirty hours of video footage he’d shot in 1974 of friends, family, and eclectic characters encountered in the bars and back roads of his hometown of Memphis, as well as New Orleans and the Delta region. The hypnotic result is Stranded in Canton, a film that consistently teeters on the edge of dream and nightmare states. Father of Modern Color Photography he may be, but he kicks just as much ass in eerie B&W, wrenching glorious images out of the early Sony Porta-Pak to conjure a febrile, desperate atmosphere that captures the Southern Gothic with an extraordinarily raw and rambling intimacy. The evening’s open bar is sponsored by Maker’s Mark — and special guests TBA! Dir. William Eggleston, 1974/2008, digital presentation, 77 min.
(This rare screening of Eggleston’s underground video masterpiece is organized by the Wallis Annenberg Photography Department at LACMA in conjunction with its exhibition “William Eggleston: Democratic Camera – Photographs and Video, 1961-2008″)
Mark· 11/01/10



