NEW YORK | FILM SOCIETY | LINCOLN CENTER

Ernst Karel, Verena Paravel & Lucien Castaing-Taylor, Ah humanity! (still), 2015. Film, 22 minutes. Japan/France/USA.

New York Film Festival
Experimental cinema and artists' moving image at NYFF

Projections: October 2–4, 2015
Retrospective: September 28–October 2, 2015

Film Society of Lincoln Center
Elinor Bunin Munroe Film Center
144 West 65 Street
New York, NY 10023

www.filmlinc.org/nyff




The New York Film Festival's Projections section presents an international selection of film and video work that expands upon our notions of what the moving image can do and be. Drawing on a broad range of innovative modes and techniques, including experimental narratives, avant-garde poetics, crossovers into documentary and ethnographic realms, and contemporary art practices, Projections brings together a diverse offering of short, medium, and feature-length work by some of today's most vital and groundbreaking filmmakers and artists.

In its second edition, Projections presents 54 films, including the US premiere of two new films by Ben Rivers(A Distant Episode and THE SKY TREMBLES AND THE EARTH IS AFRAID AND THE TWO EYES ARE NOT BROTHERS). Highlights also include Lucien Castaing-Taylor and Véréna Paravel's return to the festival after Leviathan with the world premiere of Ah humanity!, co-directed with Ernst Karel. The program also showcases new short-form works by artists and filmmakers returning to the festival, including Peggy Ahwesh, Victoria Fu, Lewis Klahr, Laida Lertxundi, Dani Leventhal, Sara Magenheimer, Jodie Mack, Lois Patiño, Michael Robinson, Ben Russell, and Fern Silva. Projections will also present restorations of the late Chick Strand's Soft Fiction and Curt McDowell's Confessions, both on 16mm and restored by the Academy Film Archive.

Artists making their first appearance at the NYFF this year include James Richards (Radio at Night), Simon Fujiwara (Hello), Michael Bell-Smith (Rabbit Season, Duck Season), Takeshi Murata (OM Rider), Cécile B. Evans (Hyperlinks or It Didn't Happen), Jon Rafman (Erysichthon), Hannah Black (All My Love All My Love),Basim Magdy (The Everyday Ritual of Solitude Hatching Monkeys), Beatrice Gibson (F for Fibonacci),Nicolás Pereda (Minotaur), Nelson Carlo de Los Santos Arias (Santa Teresa & Other Stories), and Louis Henderson, who has two films in the festival, including the world premiere of Black Code/Code Noir.

Projections is curated by Dennis Lim, Aily Nash, and Gavin Smith. Sponsored by MUBI

Retrospective
This year, the NYFF Retrospective features Luminous Intimacy: The Cinema of Nathaniel Dorsky and Jerome Hiler. For the last six decades, Nathaniel Dorsky and Jerome Hiler, partners in life and in cinema, have taken their cameras out into the world and filmed gestures, moods, atmospheres, states of being, light and darkness, movement and stillness. Hiler's register is ecstatic and polyphonic, Dorsky's devotional and poetic. The duo's contemporary, experimental films will be shown in the festival with 33 of Dorsky's works, including world premieres of Intimations and Prelude, and New York premieres of Summer, December, February, and Avraham and six of Hiler's films. All work shot and screened on 16mm. Made possible by the generous support of the Blanche & Irving Laurie Foundation, Inc. Filmmakers in person!

Visit filmlinc.org/nyff for more program and ticket information.

RICHARD T. WALKER | CARROL/FLETCHER | ANGELS BARCELONA

Richard T Walker, the predicament of always (as we are) (video still), 2014. 2-channel HD video installation, sound, 12:02 minutes. Courtesy of the artist, àngels barcelona and Carroll/Fletcher.

Richard T. Walker

in accordance with things 15 September–6 November 2015 àngels barcelona c/ Pintor Fortuny 27 08001-Barcelona Spain everything failing to become something 25 September–15 November 2015 Opening: Thursday 24 September, 6–8pm Performative tour with Richard T. Walker: Friday 25 September, 7pm Carroll / Fletcher 56-57 Eastcastle Street London, W1W 8EQ UK carrollfletcher.com angelsbarcelona.com Download the art-agenda iPad App Share

This autumn, San Francisco-based British artist Richard T. Walker is showing in two concurrent solo exhibitions at Carroll / Fletcher, London and àngels barcelona. At Carroll / Fletcher, everything failing to become something furthers the artist's ongoing research into the American West. Drawing on experimental sound-making and the combined legacies (and clichés) of land art and romanticism, Walker's latest work explores the relationship between sincerity and experience, feeling and understanding, music and language. The exhibition features a recent body of work never before shown in the UK, including a two-channel video shot in Southwest Texas, New Mexico and Arizona. Lightboxes present rocks turning into mountains, while reproductions of etchings taken from a 19th century Alpine travelogue bear cut-out mountain tops rolling at the bottom of the frames in which they are displayed. The video the predicament of always (as it is) (2014) begins with Walker in the pose of the Rückenfigur, a solitary presence seen from behind, amid deserted expanses. Clad in his signature red t-shirt, the artist sits enplein air in various natural locales while a recorded soundtrack of his own voice plays, as if he was attempting to converse with the awe-inspiring—but frustratingly mute—nature around him. Throughout the piece, Walker films a series of static instruments placed within multiple landscapes and proceeds to activate each one by throwing a rock at it from outside the frame. The modest, verging-on-pathetic gesture has an existentialist quality: motivated by the vital urge to fully commune with one's environment, it sharply highlights the virtual impossibility thereof. At àngels barcelona, in accordance with things is Richard T. Walker's third solo exhibition. Curated by David Armengol It's a matter of scale. Each stone is a potential mountain, as suggested by French sociologist Roger Caillois in his 1966 essay "Stones." In this text, he discusses his fascination with the world of minerals. It is a work of scientific contemplation, a fabulous and passionate meditation that leads you to understand that each stone is an ancestral, pre-civilized and authentic natural cosmogony. If we think about the relationship between distance and proximity when confronted with the sublime landscape that Walker activates through his actions on the natural environment, we have a physical and mental analysis of the territory as observed by Caillois. In both cases, the landscape of stones becomes a particular universe; in both cases, the usual relationship of the individual with nature fades in favour of a more introspective, even mystical connection. In short, an activation of the scenery in Walker's work always has to do with the emotional charge of music. In this sense, this exhibition revises the landscape of the American West as typified by the simple and magnificent prominence of the stone. It is an exercise of correlation between video, photography, sculpture and sound works in which the perception of wilderness—or, at least, of that which is not domesticated—depends on the multiple functions and symbols that Walker gives to the stone, which sometimes functions as a mere object, sometimes as a performative medium, and sometimes as a whole landscape in itself. Richard T. Walker (b. 1977, Shrewsbury, UK) is based in San Francisco. He holds a BA in Fine Art from Bath Spa University College (1999) and an MA in Fine Art from Goldsmiths College, London (2005). For more information, please contact: Carroll / Fletcher, London Khuroum Bukhari: T +44 207 323 6111 / khuroum@carrollfletcher.com àngels barcelona Quico Peinado: T +34 93 412 54 00 / info@angelsbarcelona.com

DIA ART FOUNDATION | ALLORA & CALZADILLA

Allora & Calzadilla, Puerto Rican Light (Cueva Vientos), 2015.  Guayanilla–Peñuelas, Puerto Rico. © Allora & Calzadilla. Photo: Myritza Castillo

Allora & Calzadilla Puerto Rican Light (Cueva Vientos)  Opening: September 23, 2015 Puerto Rico www.diaart.org

Jennifer Allora and Guillermo Calzadilla | Puerto Rican Light (Cueva Vientos)  September 23, 2015 - September 23, 2017 Opening on September 23, 2015, the autumnal equinox, Dia Art Foundation presents Puerto Rican Light (Cueva Vientos) (2015), a new long-term work by Allora & Calzadilla on the southern coast of Puerto Rico, inside a remote cave at El Convento Natural Protected Area. Puerto Rican Light (Cueva Vientos) is the newest iteration in a series of system-based sculptures by Allora & Calzadilla. Central to this commission is a solar energy converter that captures and stores sunlight, which is then used to power Dan Flavin's Puerto Rican Light (to Jeanie Blake) (1965). For Dia's commission, the artists ambitiously expand this sculptural gesture by installing Puerto Rican Light (Cueva Vientos) in a cave in Puerto Rico. The journey is part of the viewer's experience, similar to other Dia sites, including Walter De Maria's The Lightning Field (1977) in New Mexico and Robert Smithson's Spiral Jetty (1970) in Utah. Allora & Calzadilla address light (both natural and electrical), as well as its representations and meanings throughout modern history, within an environment that predates and may survive human civilization. Reminiscent of myths associated with the symbolism of the cave, Puerto Rican Light (Cueva Vientos) also directly addresses this natural setting as the scene of the first human artistic manifestations, which appeared in the form of cave paintings thousands of years ago. "Puerto Rican Light (Cueva Vientos) demonstrates Dia's commitment to long-term commissions, which is at the center of our mission," said Jessica Morgan, Director, Dia Art Foundation. "It has been a privilege to work with Allora & Calzadilla in realizing this work, which explores the connections between body, space, time, energy, and environment." Co-curated by Yasmil Raymond and Manuel Cirauqui, Puerto Rican Light (Cueva Vientos) is Dia's first long-term installation outside the continental United States since Joseph Beuys's 7000 Eichen (7000 Oaks) in Kassel, Germany, in 1982. This project is informed by Dia's commitment to Flavin, a core artist in Dia's collection. Major presentations of Flavin's light sculptures are on view at Dia:Beacon (Beacon, New York) and at the Dan Flavin Art Institute (Bridgehampton, New York). Puerto Rican Light (Cueva Vientos) is organized in collaboration with Para la Naturaleza, the nonprofit unit of the Conservation Trust of Puerto Rico. A special thanks to the Museo de Arte de Ponce for their partnership. Visitor Information Guided visits for small groups are available Wednesday through Sunday at noon. Visits include a moderate hike and last approximately two hours. Arrangements will be made for school and special groups. The work is situated between Guayanilla and Peñuelas, Puerto Rico. Travel times by car are: Ponce: 30 minutes San Juan: 2 hours Dorado: 2 hours, 45 minutes Aguadilla: 1 hours, 30 minutes Reservations are required. For more information, visit www.puertoricanlight.org. Publication  An illustrated publication will be available in winter 2016 in English and Spanish. It will investigate the work's creation and its place at the intersection of art history, environmentalism, philosophy, and scientific research. Funding Lead support is from project sponsors Robert and Encarnita Valdes Quinlan. Major support is provided by the Teiger Foundation. Generous support has been provided by the Diane and Bruce Halle Foundation and Dia's Commissioning Committee: Marguerite S. Hoffman, Fady Jameel, Jill and Peter Kraus, and Leslie and Mac McQuown. Additional support is provided by Tony Bechara, the Leon Levy Foundation, and Pedro Jimenez. Generous funding for the publication is provided by VIA Art Fund. Additional support is provided by Gladstone Gallery, New York and Brussels; Kurimanzutto, Mexico City; and Lisson Gallery, London and Milan. Para la Naturaleza Para la Naturaleza is dedicated to integrating society in the conservation of natural ecosystems. For more information, visit www.paralanaturaleza.org. Dia Art Foundation Dia Art Foundation is committed to initiating, supporting, presenting, and preserving extraordinary art projects. For more information, visit www.diaart.org. Contact: press@diaart.org / T +212 293 5598 Art_prospect

BASQUIAT | GUGGENHEIM BILBAO

Jean-Michel Basquiat, Exu, 1988. Acrylic and oil stick on canvas, 199.3 x 254 cm. Private Collection. © Estate of Jean-Michel Basquiat. Licensed by Artestar, New York.

Jean-Michel Basquiat | Now's the Time July 3–November 1, 2015Curators: Dieter Buchhart and Álvaro Rodríguez Fominaya (Bilbao) Sponsored by: Iberdrola Guggenheim Bilbao Abandoibarra et.2 Bilbao 48001 Spain www.guggenheim-bilbao.es

The exhibition features approximately 100 key works organized around the themes that inspired Jean-Michel Basquiat in the course of his intense career, cut short by his untimely death at age 27. Though Basquiat soon left the conceptual graffiti of his early days behind to exhibit in art galleries, his paintings use the language and symbols of the street, creating images that honor black men as kings and saints. As an artist, he immersed himself in high art and graffiti, jazz and rap, punk and pop culture, anatomy textbooks and comics, and then channeled this complexity into sophisticated, layered works that presaged today's internet culture. The Guggenheim Museum Bilbao is pleased to present Jean-Michel Basquiat: Now's the Time, an unprecedented exhibition in Europe that includes roughly 100 large-scale paintings and drawings from public and private collections across the United States and Europe. This show, organized by the Art Gallery of Ontario in collaboration with the Guggenheim Museum Bilbao, is the first thematic examination of Basquiat's output and has been made possible by the generous sponsorship of Iberdrola. Already famous at the age of 20 for his groundbreaking drawings and paintings, Jean-Michel Basquiat (b. 1960–d. 1988) took the New York art world by storm in the early 1980s. He gained international recognition by creating powerful and expressive works that confronted issues of racism, politics, and social hypocrisy. Although his career was cut short, his works remain hugely influential. Described by the artist himself as a "springboard to deeper truths about the individual," Basquiat's vivid and poignant work regularly referenced street art, given his beginnings in conceptual graffiti and his use of salvaged materials such as abandoned doors and packing crates as canvases. Media relations  Guggenheim Museum Bilbao Dept. of Communications and Marketing T +34 944 35 90 08 / F +34 94 435 90 59 / media@guggenheim-bilbao.es All information on the Guggenheim Museum Bilbao at www.guggenheim-bilbao.es (Press Room).