The Bridge Progressive Arts Initiative
GALLERY HOURS: W-F 12 - 6, Sat 10-3
209 Monticello Road, Charlottesville, Va. 22902 | 434 · 984 · 5669
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Tuesday, March 31, 2009 | 8 – 9:30pm


PETER HUTTON (b. 1944, Detroit) is one of cinema’s most ardent and poetic portraitists of city and landscape. A former merchant seaman, he has spent nearly forty years voyaging around the world, often by cargo ship, to create sublimely meditative, luminously photographed, and intimately diaristic studies of place. Whether seeking remembrance of a city’s fading past or reflecting on nature’s fugitive atmospheric affects, Hutton sculpts with time; each film unfolds in silent reverie, with a series of extended single shots taken from a fixed position, harking back to cinema’s origins and to traditions of painting and still photography.

+_New York Portrait, Chapter 1_1878-79_16mm_16mins

PETER KUBELKA (b. Vienna, 1934) Founding member and curator of the Oesterreichisches Filmmuseum. “Peter Kubelka is the perfectionist of the film medium: and, as I honor that quality above all others at this time, I would simply like to say: Peter Kubelka is the world’s greatest filmmaker – which is to say, see his films!” Stan Brakhage

+_Unsere Afrikareise_1961-1966_16mm_12mins
+_Arnulf Rainer_1958-1960_16mm_6.5mins

MARTIN ARNOLD (b. Vienna, 1959) Arnold has constructed, in his films pièce touchée (1989), passage á l’acte (1993) and Alone. Life Wastes Andy Hardy (1998), a cinema machine – not simply a custom optical printer or recycling system, but a kind of mnemographic machine, an apparatus that writes and rewrites memories on the surfaces of film. Arnold´s cinema, however, is not a smooth machine. The breakdowns, short-circuits and gasps that define his cinema create a violently neurotic machine. Arnold´s machine stutters and twitches from the moment it is turned on. This is due, in part, to the fact that Arnold´s cinema barely holds together under the strain of a constant tension between its elements. It is a machine that thematizes even as it reproduces the scene of its own breakdown, obsessively and compulsively.

+_Pièce Touché, 1989_16mm_16mins
Awards: Golden Gate Award 90, “New Visions,” SF Int’l Film Festival; Best of the Festival, Ann Arbor Film Festival; Best of Category, Athens Film Festival; Jury Citation, Black Maria Film Festival; Gold Award, Houston Int’l Film Festival; Certificate of Merit Award, Chicago Int’l Film Festival; Special Mention, Festival Int’l du Jeune Cinema, Montreal; Special Mention, Int’l Contest of Short Films, Huesca-Spain; Audience Award, Int’l Short Film Festival, Bonn, Germany.
Exhibition: NY Film Festival, 1990; Semaine de la Critique, Cannes Film Festival, 1990; Collective for Living Cinema, NY; SF Cinematheque; National Film Theatre, London; Mus�e National des Arts Africains et Oceaniens, Paris; Millennium, NY; LA Filmforum; Pacific Film Archive; Stanford University.


+_Concrescence, 1996,_16mm_2.5mins
Hand-painted, step printed collaboration b/w Phil Solomon and Stan Brakhage. Collection: Museum of Modern Art

EVA WEBER, Germany, Co-Founder, Odd Girl Out productions with Samantha Zarzosa. London-based independent filmmaker working in both documentary and fiction, she began her career making several award-winning short fiction films before joining the BBC. After leaving the BBC, Eva set up her own production company with Samantha Zarzosa.

+_City of Cranes, 2007_DVD_14mins
Winner Best Short Documentary 2008 Los Angeles Film Festival, Hellenic Red Cross Audience Award for Best Foreign Short at the 2008 Thessaloniki Documentary Film Festival, and the Jury Award for Best Short at the 2008 Full Frame Documentary Film Festival.