DRKRM
pop_up004: “UNRULY FASCIA”
signals of anti-fascist disruption
Experimental films
16mm+digital projections
$15
Doors@6:30pm
Films@7pm
Screenings:
Between Relating and Use,Nazli Dinçel, 2018
IG reel, @mxsiaan
Notes from the Periphery,Tulapop Saenjaroen, 2021
The Elephant & the Room,Anas Qadamani, 2024 (North American debut!)
Greetings from Anas
Intermission
Wasteland No. 3: Moons, Sons, Jodie Mack, 2021
RUN!,Malic Amalya, 2019
The Watchmen, Fern Silva, 2017
Love's Refrain,Nathaniel Dorosky, 2001
(run time: 1:31:09)
About the filmmakers:
Nazlı Dinçel
Nazlı Dinçel’s hand-made work reflects on experiences of disruption. They record the body in context with arousal, immigration, dislocation and desire with the film object: its texture, color and the tractable emulsion of the 16mm material. Their use of text as image, language and sound imitates the failure of memory and their own displacement within a western society.
In addition to exhibiting with institutions, Dinçel avidly self-distributes and tours with their work in micro-cinemas, artist run laboratories and alternative screening spaces in order to support and circulate handmade filmmaking to communities outside of institutions.
Dinçel transitioned in 2022. All genders in previous works and writings should be understood accordingly.
Siaan / Mx. Stallion
I AM 🏳️⚧️ Drag King 👑 Performer; Actor; Singer; Model; Mover & more 🎭 Jack of all trades, mastery in process 🎬
Instagram: @mxsiaan
Tulapop Saenjaroen
Born in 1986 in Chon Buri, Thailand, Tulapop Saenjaroen is an artist and filmmaker whose practice encompasses moving image, performance, and sound. His recent shorts interrogate the relationship between image production and the formation of subjectivity, as well as the paradoxes between control and freedom under late capitalism. Working through narrative, animation, and essay film, he explores themes such as tourism, self-care, mental illness, free labour, power relations in storytelling, metaphysical rupture, and cinema itself through processes of re-making and re-interpreting images and their networks.
Anas Qadamani
Anas QADAMANI (1998, Syria) is a multidisciplinary artist based in Rotterdam. He began his artistic journey in Syria as a classical cellist before fleeing the country at the age of 17 due to the war. Arriving in the Netherlands in late 2015, he continued his classical music studies and soon expanded his practice to include still and moving imagery, sound design, and composing for film and TV productions. His work is deeply influenced by his experiences of war and migration, and critically explores systemic violence and struggles in the Global South.
Jodie Mack
Jodie Mack is an experimental animator who received her MFA in film, video, and new media from The School of the Art Institute of Chicago in 2007. Combining the formal techniques and structures of abstract/absolute animation with those of cinematic genres, her handmade films use collage to explore the relationship between graphic cinema and storytelling, the tension between form and meaning. Musical documentary or stroboscopic archive: her films study domestic and recycled materials to illuminate the elements shared between fine-art abstraction and mass-produced graphic design. The works unleash the kinetic energy of overlooked and wasted objects and question the role of decoration in daily life.
Malic Amalya
Malic Amalya (b. 1980 - Burlington, VT) is an experimental filmmaker working across 16mm, video, and performance. His films are situated between formal avant-garde traditions, the anti-assimilation subculture of queercore, and intersectional feminism. His creative framework is informed by prison abolition, decolonization, anti-racism, gender self-determination, disability justice, anti-capitalism, and climate justice.
Malic is an Assistant Professor of Experimental Media and Film Production at Emerson College. He earned an MFA in Moving Image from the University of Illinois-Chicago, an MA in History and Theory of Contemporary Art from the San Francisco Art Institute, and a BA from Hampshire College. He was an Affiliate Artist at the Headlands Center for the Arts, and has been an artist in residence at Signal Culture and the Vermont Studio Center.
Fern Silva
Fern Silva (b. 1982, USA/Portugal) is an artist who primarily works in 16mm. His films consider methods of narrative, ethnographic, and documentary filmmaking as the starting point for structural experimentation. He has created a body of film, video, and projection work that has been screened and performed at various festivals, galleries, museums and cinematheques including the Toronto, Berlin, Locarno, Rotterdam, New York, London, Melbourne, and Hong Kong International Film Festivals, Anthology Film Archives, Gene Siskel Film Center, Cinemateca Boliviana, Museum of Art Lima, Brooklyn Academy of Music, Museum of Contemporary Art Chicago, New Museum, Greater New York at MOMA P.S.1, and Cinema du Reel at the Centre Georges Pompidou. He has organized and curated screenings at venues including the Nightingale Cinema, Gallery 400, and DINCA Vision Quest in Chicago. His work has been featured in publications including Film Comment, Cinema Scope, Filmmaker Magazine, Millennium, and Senses of Cinema. He studied art and cinema at the Massachusetts College of Art and Bard College. He is Visiting Faculty at Bennington College and is based in New York.
Nathaniel Dorsky
"The major part of my work is both silent and paced to be projected at silent speed (18 frames per second). Silence in cinema is undoubtedly an acquired taste, but the delicacy and intimacy it reveals has many rich rewards.
In film, there are two ways of including human beings. One is depicting them. Another is to create a film form which, in itself, has all the qualities of being human: tenderness, observation, fear, curiosity, the sense of stepping into the world, sudden murky disruptions and undercurrents, expansion, pulling back, contraction, relaxation, sublime revelation. In my work, the screen is transformed into a "speaking character", and the images function as pure energy rather than acting as secondary symbol or as a source for information or storytelling. I put shots together to create a revelation of wisdom through delicate surprise. The montage does not lead to verbal understanding, but is actual and present. The narrative is that which takes place between the viewer and the screen. Silence allows these delicate articulations of vision which are simultaneously poetic and sculptural to be fully experienced." - Nathaniel Dorsky