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PILOT PROGRAM OF TIME ZONES CHICAGO

Still from Best If Used By. Courtesy Aemilia Scott and Light Assembly.

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FEATURE FILM: The Girl Behind the White Picket Fence PREMIERE SCREENING AT THE MIAMI BEACH CINEMATHEQUE 1130 Washington Avenue, South Side, Ground Floor, Miami Beach, FL 33139 - FRIDAY, DECEMBER 7 at 5pm - BUY TICKETS ENCORE SCREENING AT THE MIAMI BEACH CINEMATHEQUE 1130 Washington Avenue, South Side, Ground Floor, Miami Beach, FL 33139 - SUNDAY, DECEMBER 9 at 5pm - BUY TICKETS

The Girl Behind The White Picket Fence (60m, Germany) dir. by Stefanie Schneider. An artists world of movie stills, 'The Girl Behind the White Picket Fence' is a succession of Polaroid film stills. One after another, this film takes this to the limit and still delivers. Sometimes quickly,

stills. One after another, this film takes this to the limit and still delivers. Sometimes quickly, sometimes slowly, flowing with the rhythm of the music or in the energy the film portrays. The gaps keeps the viewer paying close attention but this is no Instagram lark, this is real analog Polaroid film. This is a one off, a complete window into an artists mind as she sees the world.

Sunny, hot, in love, open spaces evoking freedom but also banishment. This film started out with a vision of grand collectiveness with all participants coming from Schneider's time in Hollywood ranging from directors to actors, producers to agents and writers to weirdos. The American dream was alive and well in this motley group who fell in love with Schneider's idea to capture a story about love on Polaroid film. The center of this story is the 'Lonely Hearts Radio Station' DJ, who talks to the searching broken hearted in the southern Californian desert. A sad young girl calls in to better understand what is going on which results in an unexpected chain of events. Main characters: Hans, the mystic played by the veteran actor Udo Kier. Heather's a young girl who's lost her parents played by Heather Megan Christie. Radio station DJ played by the comic Steve Marshall. Hank is the local garbage man played by Kyle Larson.

DOCUMENTARY FEATURE: Rising Tide - A Story of Miami Artists PREMIERE SCREENING AT THE MIAMI BEACH CINEMATHEQUE 1130 Washington Avenue, South Side, Ground Floor, Miami Beach, FL 33139 - SATURDAY, DECEMBER 8 at 5pm - BUY TICKETS

Rising Tide - A Story of Miami Artists (57m, U S A) dir. by Andrew Hevia. Miami is in the middle of a cultural explosion. Filmed during the lead up to Art Basel Miami Beach in 2011, Rising Tide is a story about the visual artists who live and work in this emerging art city. Featuring Jen Stark, the TM Sisters, Venessa Monokian, Funner Projects, Brookhart Jonquil and gallery owner Brook Dorsch, this documentary takes you inside the working worlds of these unique creative talents and serves as the perfect introduction to the history and trajectory of Miami's creative development.

During the first week in December, Miami Beach hosts one of the largest and most prestigious contemporary art fairs in the world, Art Basel Miami Beach. Over 50,000 people come to Miami for this event and it has kick-started rapid growth in the city's art scene. Satellite art fairs and events now take place concurrently, turning Miami into a playground for the international art world. Amidst this glitz and glamor, an ever growing collection of local artists struggle to be seen and make a living from their art. Rising Tide follows a few of these artists and explores the environment in which all this takes place. Produced, Directed and Edited by Andrew Hevia, Rising Tide is a coproduction with WLRN-TV and was funded in part by the John S. and James L. Knight Foundation.

SHORTS I: PHYSICAL MOVEMENT SCREENING AT THE MIAMI BEACH CINEMATHEQUE 1130 Washington Avenue, South Side, Ground Floor, Miami Beach, FL 33139 SATURDAY, DECEMBER 8 at 3pm (in conjunction with SHORTS II) - BUY TICKETS Transit (5m, U S A) dir. by Jeff Curtis. Transit is an exploration of space, distance and relationships between a constantly shifting duet and their observer.

Betwixt & Between (3m, U S A) dir. by Leigh Kimball. 'Betwixt & Between' is a stop-frame phenomenological foray into the apprehension of adolescence and the discombobulation of uncertain identity.

Rujak (3m, Singapore) dir. by Kenneth Feinstein. Sitting by the side of the road in the rain. Staring

Rujak (3m, Singapore) dir. by Kenneth Feinstein. Sitting by the side of the road in the rain. Staring at the water, the mind slips into various associative thoughts. These thoughts start from what I see and travel from there. This random mixture of thoughts is Rujak. Rujak is a Bahasa Indonesian word meaning mixture. It is the second part of a trilogy about Java. It uses a puddle as the spring board for the development of life that arises from water. The images seen in the water (going from the aquatic to modern transportation) are in bedded through the use of a tonal mask. the images being visible, but not really there.

As Above, So Below (6m, U S A) dir. by Brian Gonzalez. 'As Above, So Below' is about this devastating severance between people in the face of life and death, not just literally, but in every conceptual sense of life that is created between people when they connect. One is pulled above the tangible and delicate surface towards the infinite above, only to discover what holds them down is the desperation of another soul. The other, must be ultimately abandoned and left to discover her own growth independently, in order for either to grow with the universe in one's own, unique way.

4Chambers (5m, U S A) dir. by Jody Oberfelder. Pulses racing, an adventure into four chambers of one's heroic heart.

The New Commons (10m, U S A) dir. by Anthony Stagliano. The relationship between surveillance, power, and technological convenience are explored in this experimental short.

SHORTS II: ENCOUNTERS & RELATIONSHIPS SCREENING AT THE MIAMI BEACH CINEMATHEQUE 1130 Washington Avenue, South Side, Ground Floor, Miami Beach, FL 33139 SATURDAY, DECEMBER 8 at 3pm (in conjunction with SHORTS I) - BUY TICKETS blinkinggirls.com 1min (1m, Japan) dir. by Blinking Girls. blinking, girls, foreplay, trance, electricity, simulation, simulated, prostheticization, intranet, protocol, being away, ecstasy, input, output, processing, hyper-cinema, gaming, video, games, audience abstraction, confessional behavior, leisure suit larry, tasha, blinks, cursor, if then else, reality, violet, accessories, pinky paradise, sweet pink games, extension, hot tub, tinychat, energy, configuration, twitter, hi, do cats blink, stars, amiga, anime, anigao, hola!

Nasty Piece of Stuff (9m, United Kingdom) dir. by Jordan Baseman. Narrated by Alan Wakeman, political activist and a founding member of the Gay Liberation Front in the UK, Nasty Piece of Stuff is an open and frank account of Alan's first sexual experience in the early sixties, during which he reveals he was raped. Whilst narration shifts from humorous to traumatic, visually the film features frenzied stop-frame animation of the streets of Soho, London, shot on 16mm film and digitally edited.

Separation Sonnet (8m, U S A) dir. by Andressa Furletti. A relationship told by the movement and positions on the swings. Inspired by the homonyms sonnet by the Brazilian poet 'Vinicius de Moraes'.

We Have A Fine Home (8m, U S A) dir. by Joseph Hennessy. A housewife performs her daily chores, cooks her family dinner and goes about her quiet existence. But she becomes suspicious of her teenage son's sexuality and eventually discovers another boy in his bed. Once her suspicions are confirmed, the mother struggles with her own reaction to her son being gay.

Pauline, Etienne (37m, France) dir. by FREDERIC NIOLLE. Friendship is an art of loving. Pauline and her best friend Etienne don't fit anywhere, and are regularly lost. But they go good together and always can find a way. Today they are going to paint a large canvas for Cedric and cannot find the studio. Etienne has got no sense of direction. Pauline cannot admit that she has fallen deeply in love with Cedric.

SHORTS III: OTHER TYPES OF PRESENCE SCREENING AT THE MIAMI BEACH CINEMATHEQUE 1130 Washington Avenue, South Side, Ground Floor, Miami Beach, FL 33139 -

SCREENING AT THE MIAMI BEACH CINEMATHEQUE 1130 Washington Avenue, South Side, Ground Floor, Miami Beach, FL 33139 SUNDAY, DECEMBER 9 at 3pm - BUY TICKETS island Light (3m, U S A) dir. by Andrew Rosinski. A story of a summer night on a lake, where I paddled a boat to an island.

Best If Used By (23m, U S A) dir. by Aemilia Scott. Maggie loves her job at the grocery store, and even more, she loves her boyfriend Max. When she learns that Max died suddenly, she can’t cope with the news. She realizes that the only way to stay together with him is to steal his body and bring him to the grocery store's refrigerator. One by one, the store's employees, the coroner, and Max's parents discover Maggie and Max's new life in the cooler. Each comes to terms with Max's death by spending time with him, both in and out of the refrigerator.

Nadya (11m, U S A) dir. by Jonathan Sanford and Mary Rasmussen. Using atmospheric visuals and sounds, 'Nadya' tells the story of a 14 year old Russian girl living in an environmentally devastated town populated only by women. The inhabitants attempt to revive the town, calling upon a Geologist to determine toxicity levels in the area, with the hopes the former copper factory can be re-opened. Nadya and the Geologist's lives become inextricably linked in an unexpected way.

Alter Human (21m, Sweden) dir. by Lars Siltberg. Alter Human is a suggestive trip using glaciers and ice caves to speculate on human body, consciousness and time. Imagined on an extremely extended time lapse the video and the soundtrack warps the shape and the features of the human body in a series of drastic anatomic reformations. A continuous flow of ink and slime serves as narrator and impeller as gravity moves the liquids to interweave with the ice crust, dispersing downwards to stalactites dripping into the moraine. The four animate beings presented in the film are stripped from language and society, giving way for life of nurturing and reproduction. The shape of the characters Man Bear, Eng and Chang, Ball of Need and Protoplasm undergo transformations from solid to liquid, from hairy to wet, from man-like to amoeba.

Illusive Fields (18m, U S A) dir. by Katharine O'Brien. “Illusive Fields” is a horror film, but one that is deeply human, as it explores a man’s philandery as means to maintain vitality and avoid the harsh reality of his own aging. It is also an exploration of the differences between the ways that men and women age, and the problems that creates for lasting relationships. It just so happens that Gary, the director of a fashion magazine, has come to reside in a house haunted by the ghost of a once-famous female model who took her own life. Scornful of the industry that turned its back on her once she reached a certain age, the ghost takes revenge on both Gary and the young girls that capture his interest. We are very pleased to have Ben Goldwasser of MGMT beginning a foray into film scoring with this project. Ben's unusal eclectic tones bring a complex haunting yet beautiful quality to the end of the film and we are thrilled to have his mark on the film.

ARCHITECTURAL PROJECTIONS - MULTIPLE LOCATIONS (SEE LISTING FOR DETAILS) May 2, 2011, Morgantown, West Virginia (Osama bin Laden is Dead) (19m, U S A) dir. by David Oresick. May 2, 2011 Morgantown, West Virginia (Osama bin Laden is Dead) is a video that examines one of many celebratory and violent moments that erupted following President Obama's announcement of bin Laden's death. Here, a group of West Virginia University students set their couches on fire and watch them burn while onlookers capture the moment that is at once visually arresting and ethically fraught. The action is slowed down and repeated, interrogating both the public reaction to the death and its documentation in the images recorded, then immediately disseminated online. This video is a provocative meditation on the way in which public grief and anger manifests in the celebration of a person's killing.

PROJECTION LOCATION: The Clevelander Hotel, 1020 Ocean Dr., Miami Beach, FL 33139 Cosmic Ancestry (2m, U S A) dir. by Jill Taffet. Cosmic Ancestry is an immersive multi-channel video projection installation that ponders the origins of existence. It was inspired by the scientific theory that life on Earth was seeded with genetic material from space.

PROJECTION LOCATION: The Clevelander Hotel, 1020 Ocean Dr., Miami Beach, FL 33139

C P R (7m, U S A) dir. by Kimberly Warner. While watching lifeguards perform rescue drills at a neighborhood pool, a woman faces her own need to be saved. Her longing to transcend the mundane draws her into an emotional affair and realization that it’s up to her to take the next breath or remain at the bottom of the pool.

PROJECTION LOCATION: The Art Deco Welcome Center 1001 Ocean Drive, Miami Beach, FL 33139

Eclipse (30m, USA) dir. by Lee Barry. 30-minute virtual eclipse, with a black disc slowly passing in front of a bright blue disc. The soundtrack is a collage from individual tracks from my Miles From Mars album and out-takes from 'Atmosphere Generation' projects. The experience of a celestial event such as a solar eclipse is a profound contemplative moment where one can ponder one's existence in context with the earth, the solar system and beyond. The virtual eclipse approximates and metaphorizes the experience with tension and release as the two entities briefly coincide. The soundtrack follows the contour of the experience, with the music gathering more tension at total eclipse.

PROJECTION LOCATION: The Essex House, 1001 Collins Ave., Miami Beach, FL 33139

ART PORN - SCREENINGS AT VERGE ART FAIR AT ESSEX HOUSE

Circular (4m, U S A) dir. by Julie Nymann. What if a person could give birth to herself, reproducing like a cell, in a never ending process. Will the individual survive? Who will be the original?

sub-lime (No runtime, Australia) dir. by Mary Caswell. Dark faces in the lime light.

Naked Love - Ea's garden (6m, Denmark) dir. by Sara Koppel. A sensual trip through Ea’s sexuallity in a surrealistic abstract poetic atmosphere.

Rehearsals (45m, Germany) dir. by RP Kahl. Three performers, a hotel room, one big bed – plus a camera and a selected audience. And the question if it is possible to perform real and authentic sex. This is the basis for the video REHEARSALS. For REHEARSALS RP KAHL is undergoing an

sex. This is the basis for the video REHEARSALS. For REHEARSALS RP KAHL is undergoing an intimate self-experiment. In a staged rehearsal the three performers Marie Goluke, Aline Mauch and RP Kahl act as the characters Marie, Nina and Hans from BEDWAYS, but at the same time as themselves without the protection of a part or any fictional level. In front of a small audience Kahl and his two comrades are creating a situation that could have been happening behind the scenes of the BEDWAYS production. How do you get into a sex scene? How do you initiate intimacy? How strongly do you have to merge in the moment, when does it become “real”? The three of them rehearse a sex scene with the notion of the camera and the later film audience – except that the audience is physically present in the same room during the rehearsal already.

Thus the camera does not only circulate around the actors and their physical interactions but it also documents the spectators, who are becoming part of the performance themselves in the intimacy of the hotel room. Just like the camera they witness a playful as well as honest quest for an authentic way to depict sexuality, the most intimate kind of human performance. Whereas the fictive director Nina Bader fails with her film project in BEDWAYS, RP Kahl is offering a different possibility in REHEARSALS: Dealing with sexuality in an open and sometimes humorous way in front of the audience and camera. With this RP Kahl creates a flickering hybrid of video art, documentary and performance with feature film elements which allows the viewer to reflect, observe and to show empathy, but also to let his voyeurism run free, depending on his perspective.

Collaborations # 1,3,4,5,6 (14m, USA) dir. by Ei Jane Lin. Video documentation of Performance Art oriented interventions in live realtime interactions with the community of cam4, a participatory amateur pornography website hosting “Free Live Sex Webcams” and “Free Live Cams Sex Chat”

ART TV / LIVECASTS - SCREENINGS & BROADCASTS AT VERGE ART FAIR AT ESSEX HOUSE Don't Go Away (25m, Canada, U S A) dir. by Christine Kirouac. From celebration to squabbles, food serves as a microcosm for the push/pull of family dynamics. Coming from a passionate French-Canadian restaurant family, Kirouac’s experiences of familial relations have been continually filtered through the ubiquitous, yet intimate act of cooking. 'In Don’t Go Away', Kirouac combines these histories and emotions into a mediated conversation with her deceased father “Fernie.” From 1976-78, Fernand (Fernie) Kirouac co-hosted (with George Knight) “Charcoal Chefs” – one of the first televised cooking shows on CBC (Canadian Broadcasting Corporation) Television. Long before the days of stage sets, pre-cooked conclusions and digital polish, Fernie and Knight demonstrated barbecue cooking techniques on location in a Winnipeg park. Fernie passed away in 1990, leaving behind one episode in the CBC archives. Decades later, Kirouac reformulates the footage to meet her adopted father at an intersection between analog and digital.

She hired two North Carolina actors to “play” her, playing Knight opposite her own father via splitscreen, (the right side shot in Winnipeg 30 years prior, the left in NC). As dishes are prepared, moments of seamless connection are interspersed with collapse and fragmentation as power shifts back and forth between an experienced chef and his younger assistant(s). As the daughter vies back and forth with the father, we are witness to the vulnerability, humor, discomfort, endearment and even underlying antagonism, loss and memory typical in all our families.

AGOD (5m, USA) dir. by Thorne Brandt. This video is a 5:00 minute digital collaged loop of over 1,100 individual hand drawn animated loops that were created by me every day, in less that a day, as a personal meditation and exploration. This video looks different every time it is exhibited, because it is in a state of flux. It is an organic video because it grows towards a state of entropy as more content is added to it. It comments on the decay of meaning as more information is added, and plays with the traditional frame of what a video is.

Infernal Cakes/Adjacent Manias dir. by Joseph Herring. Infernal Cakes/Adjacent Manias is shot, mixed and broadcast live. The performance represents a hybrid of folk dance, televised cook-offs,

mixed and broadcast live. The performance represents a hybrid of folk dance, televised cook-offs, collision sports, and video games. Infernal Cakes/Adjacent Manias explores historical and contemporary pop-cultural forms of human interaction. The forms examined include: 1. The cakewalk and its evolution a from a cathartic lampooning of plantation society dance into a county fair ceremonial game of chance 2. The live-telecast football game 3. The cooking-based time management video game. Archetypes are reconfigured as the priority of the manifestations of gender and power relations are challenged.

CATHARTIC KARAOKE dir. by Genevieve Belleveau. CATHARTIC KARAOKE will use a classic karaoke format to aid participants in clearing emotional and mental blocks through the cleansing dynamics of sung music, live action role play and meta-therapy. Host gorgeousTaps will invite participants to sing along with her original karaoke videos which have been specially developed to clarify spiritual pathways and invoke ones higher self. No subject, genre or emotion is unwelcome as we explore the spectrum of human expression through the medium of popular music.

TINY LENSES - SCREENINGS AT VERGE ART FAIR AT ESSEX HOUSE DIEGO (6m, U S A) dir. by Santiago Echeverry. My brother Diego was murdered on August 24th, 2008 in Bogot谩, Colombia. In 2011, I was invited to participate in Electr贸polis, an architectural video projection festival, happening just a few feet away from where he was murdered. This is the linear video I created after the event, using audio and video clips captured with my cell phone camera of the last times I saw my brother alive, as well as images of his funeral, burial and trial of his murderer. The soundtrack was composed mixing the audio from the clips used in this piece and a radio news clip related to Diego's murder and the judicial process.

Fair (4m, U S A) dir. by Jeff Holmes. There are brief memories in our histories - fleeting images of long gone moments that exist only as incomplete stories. We might remember a color, a sound or a feeling. 'Fair' is an attempt to approximate one of those moments. A dream, with an original soundtrack meant to capture the feeling of spinning on a warm summer night with nothing to worry about and nowhere to be.

Study for a lament, No. 2 (6m, U S A) dir. by Matt Whitman. This piece was done as continued fulfillment of mercenary duty to the digital project. It is a recording of a recording of a recording of a recording -- quintessential digitalia. The initialization of this work comes from the final scene of the 1974 Roman Polanski film Chinatown.

The I Love You Project® dir. by Debbie Davies. "The I Love You Project® is a collaborative global interactive social art project conceived by visual artist Debbie T. Davies. Davies uses digital microscope camera to videotape people saying “I Love You” in their native language. The project's message is that peace and love between people of diverse backgrounds cannot be achieved unless we start a one on one relationship with strangers."