A very eventful night. Met a Nashville painter Richard Heinsohn, grandson of Miguel Fleta. I was assisted in part by Joseph Hudson’s bringing some Kuchar and Hollis Frampton discs. I used two screens, one smaller, folding up from its case on the ground; the other a standard tripod projector screen. I used two projectors, one much larger than the other. Larger screen and projector showed just a segment of “Weird Faction – Grand Detour – Portland, Oregon – 6/25/10,” mailed to me by Dustin Zemel, a filmmaker and curator currently working in Portland. The smaller screen showed “Goodiepal Presentation – MPH – May 2010 – Portland, Oregon” in its entirety. This too was mailed to me by Dustin Zemel.
These showed simultaneously as the sun finally began to sink. Beforehand, when visibility was hindered, Alejandro Jodorowsky’s “Fando y Lis,” and, off of the McSweeney’s Wholphin No. 9, Jörg Wagner’s “Motodrom” were shown on the clapboards of the back of Georgia’s house.
The third and final projection was Jodorowski’s “El Topo” shown on the dense, lush vegetation of the back yard. The contrasts of rider, horse and desert, sky were the goals, and they affected brilliantly! Faces emerged - whole characters disappeared when the wind blew. It was a huge image as well, maybe twenty or more feet wide.
During this, the smaller screen with smaller projector was showing very colorful text-based film by Hollis Frampton.
The contrasts and qualities of the films of this final part of the screening paired perfectly and stunned individually. We ended with Spenser Susser’s “I Love Sara Jane,” a highly entertaining short film made last year in Australia also introduced to me by the contemporary film quarterly Wholphin.