Radios Adios, (Henry Hills, 2013 preservation) 


A list of thirteen films–new or nearly new–that I saw screened in 2013. Words and/or descriptions provided by the makers in the instance where this was possible and/or necessary. 


Radios Adios, (Henry Hills, 2013 preservation) 

Radio Adios is a monologue in 12 plaited strands; an extremely precise, condensed and intensely rhythmic Busby Berkeleyish spectacle of an examination of conversational and literary language over a fair range of vocal timbre, microphones, volume settings and single-system sync peculiarities and its dissolution into music to the accompaniment of simultaneous Manhattan ambiances punctuated by fragments of jazz, personalized handheld camera movement, movement from cut to cut--juxtapositions of scale, pulsating changes in light intensity, a varying pallette of various filmstocks, generations, etc., at an appropriately furious pace and in strict one-track sync, offering simultaneously several levels of apprehension or interpretation to encourage multiple viewings.

Starring Hannah Weiner, Diane Ward, Sally Silvers, Jemeel Moondoc & Muntu, Aline Mayer, Jackson MacLow, Abigail Child, Charles Bernstein, Bruce Andrews and Rashied Ali on drums, with George Kuchar as a Maoist revolutionary.– Henry Hills


Tastefully Taut Against Germanium Satin (Bruce McClure, 2013)

Having ceremonial power they vote themselves, town, port, and garrison. A barefaced palpitating pulpit, a spinning society, and fortunately sirens are enthusiastically attached. Lavishing lagan of a lighthouse ladders up the old time turner, earning and gets his wick on a piece of railing. In the heliotropical noontime following a fade, transformed and pending versions revised, a metallurgic re-glow of beaming is at bat swinging at the bared board bombardment screen, tastefully taut against germanium satin tending to tele-frame. Step up to the charge of a light barricade. Down the photo-slope in synchopanck pulses, the autonomic thropic mussles glitter-a-glatter-a-glutt, borne by carrier valves. Spray gun rakes split them in a double focus and the fire spot of a sun gunner traverses an illustration rutilant in sunk and sundered lines. Shlossh! He lifts the life wand and the dumb speak; let us leave theories there and return to here's here. – Bruce McClure



Despedida (Alexandra Cuesta, 2013)

Boyle Heights in East Los Angeles. The neighbourhood resonates with the poetry of local resident Mapkaulu Roger Nduku. Verses about endings, looking and passing through; a string of tableaux gather a portrait of place and compose a goodbye letter to an ephemeral home.–Ann Arbor Film Festival



Bird (Jayne Parker, 2012)

The film builds on a concept and original performance piece by Lixenberg, and Parker's earlier film of Katharina Wolpe performing Messiaen's bird-inspired piano music. Filmed at Steinway Hall, London, Lixenberg's birdsong is reflected in the bird-wing shape of piano lids and the instrument's golden-strung interior. The addition of reflection and the dark casket-like casing of the instrument sets the scene for Lixenberg's interest in the bird as a carrier of the soul at death, inspired by the Egyptian Book of the Dead. 



Main Hall (Philip Fleischmann, 2013)

Main Hall meets Viennese modernist with modular inscription and the poetry of the impersonal. And, as always, the result is paradoxically alive with artifact, incident, and the human touch. No ornament, no crime.–Michael Sicinski 

Designed by Josef Maria Olbrich in 1898, the main exhibition hall of the Vienna Secession is generally regarded as one of the first White Cube Spaces of art history. The myth of the neutral space has a long tradition of being critically examined by the institution itself. Using 19 specially designed cameras, Main Hall adds a purely cinematographic gesture to the space's history by having it look at its own architecture. –Philip Fleischmann



Listening to the Space in my Room (Robert Beavers, 2013)

Adhering to a solitary intimacy while simultaneously acting as an ode to human endeavour and shared impulses toward fulfillment through art, Listening to the Space in my Room is a moving testament to existence and our endless search for meaning and authenticity. The film's precise yet enigmatic sound-image construction carries a rare emotional weight.–Andréa Picard



Constellations: Leopard, Leaves, Rust, Containers, Glasses, Yellow Leaves, Stream (Helga Fanderl, 2013)

By editing in the camera every subject matter finds a cinematic form and rhythm of its own. Transforming fragments of real life experience in a specific moment and place, every individual film is complete in itself and reflects the process of its creation. Programming my short films in new configurations is a very important part of my artistic practice, in accord with the way the films are created. As within each individual film, time is structured and rhythms are created within each composed series of films. One could characterize each program as one possible temporary 'montage', exemplifying essential aspects of the whole body of work. The interplay of different films evokes all kinds of correspondences and contrasts as it evokes an intense filmic cosmos in which one can easily loose the normal notion of time and space.– Helga Fanderl



Three Studies in Geography (Neil Henderson, 2011)

Three distinct locations brought together, encompassing three previously separate films made over ten years. Each location presents a particular balance of land, sky and water: the irrigation canals of South Lincolnshire, a naturally forming jetty on the North coast of Kent, and a circular man-made island off the east coast of England. – Neil Henderson



to be here (Ute Aurand, 2013)

The final part in a trilogy which began with INDIA (2005) filmed in Pune, and JUNGE KIEFERN (2011) filmed in Japan before and after the Miyagi earthquake.

Home Movie Gaza (Basma Alsharif, 2013)

The Gaza Strip as a microcosm for a decline in civilization, finding perspective in a domesticity that is complicated, derelict, impossible to separate from its politics. – Basma Alsharif



Rhinoceros (Kevin Jerome Everson, 2012)

Alessandro de' Medici makes a passionate appeal to rally the good people of Florence. Shot on video, the work resembles a televised broadcast in the last days of Muammar Gaddafi.–Kevin Jerome Everson



Three Landscapes (Peter Hutton, 2013)

A film study of human movement across three distinct landscapes; Detroit, Michigan, the Hudson River Valley, New York and the Dallol depression in Northeastern Ethiopia.

Kino Da! (Henry Hills, 1981)

Kino Da! (ah, key, key) KINO DA!/The Dead die die dada low king quanto zhong/MOVE! (ur, ur)/Grey todays it-a clear to the quick ear, quicker z'heels/The Poe (pay, po, pee, pick-pick), nuf of "D" yet/Call Vertov/(beep, beep)/Eisenstein even/& viterulably cheeness of a ram innerwear/(airs; when)/Time, Time, Money/d-d-d/ junk rock did travel & falls/(spring)/Fall/Spring is the simplest inflationary dime.///Be in everything Joy, in experimental & proletarian & wwea air of airs/at this school of poetry-painting/CUT! "To know/toe/no! no! MONTAGE (nadazha), in any instant (instant) of the writing of Stein & the facts of that (tle) kind./FEEL (the steak)/yes, ache, in trends & whatevers./Mmmm-pah-ah, Cops, man, in case (nnn), man (nnn)./(KO) be-a mayu po pony; (KO) be-a what?) o-long kind.//GO! (be what) OM, prose, Pentacost; be what this there the (pause) & (serious pause) the neb with a gram of ire illia-it's still justs Jah.//Viparko r-rrr re ad adici, yes!/YES!//ssssssssssane! /mmmm vidda pot re-a-uschious of a ship. Viparko Roma Schoma Schlav keybo z'Krushchev. (wink).


Patrick Keiller, Robinson in ruins (book)

• The View from the Train: Cities and Other Landscapes, Patrick Keiller. Verso Books, 2013  
• Friedl Kubelka Vom Gröller Photography & Film, edited by Dietmar Schwärzler. Christoph Keller Editions and JPRIRingier Kunstverlag AG, Zurich, 2013
• I Live I See: Selected Poems of Vsevolod Nekrasov, translated from the Russian by Ainsley Morse and Bela Shayevich. Ugly Duckling Presse, 2013



• Hanns Eisler Compositions for Film at the Österreichischen Filmmuseum

• Michael Snow, CCMC and Wolf Eyes at the Museum of Contemporary Art Detroit (MOCAD)


Poemas y antipoemas, Nicanor Parra, 1954
Las últimas composiciones de Violeta Parra, 1967


To make a long story short
I leave all my possessions 
to the Municipal Slaughterhouse
to the Special Forces Unit of the Police Department
to Lucky Dog Lotto

So now if you want you can shoot 
–Nicanor Para

Para abreviar la cosa
dejo todos mis bienes
a beneficio del Matadero Municipal
a beneficio del Grupo Móvil
a beneficio de la Pollo Gol

Y ahora pueden disparar si quieren
–Nicanor Para


Oona Mosna is Program Director of the Media City Film Festival in Windsor, Ontario, Canada. She has curated screenings for numerous venues internationally including L'Espacio Fundación Telefónica (Argentina), Courtisane Festival (Belgium), the Ann Arbor Film Festival and Cinematheque Ontario (Toronto). Since 2005 she has organized retrospective screenings and exhibitions including career surveys of works by Peter Hutton, Helga Fanderl, William Raban, Johan van der Keuken, Saul Levine, Kurt Kren, and Sergei Loznitsa. In 2013 she recommended for Tate Britain and released a vinyl LP with Canadian artist Michael Snow.