Friday & Sat. October 17, 18
Shows start promptly at 8:30pM
$6 suggested donation for artist
2 Nights featuring the films & videos of Catherine Pancake,
local filmmaker, musician, and organizer.
FILM PROGRAM:
Basketball: 16mm color/sound
5 min.
En Hard Dormant: 16mm BW/silent 6 min.
Two Sentences for the So-called Normal: Super8
color/sound 30 min.
The Suit: 16mm color/sound 30 min.
VIDEO PROGRAM:
Some Enchanted Evening: DV 7 min.
The BackDoor Boys: DV 28 min.
The Committee for the Advancement of Sex Appeal in
Experimental and Improvised Music: dv 30 min.
Effortless Battle (ext.): dv 12 min.
Klumpki Heart Wonderful: VHS 30 min.
For the past eight years, Catherine Pancake has been one of the most vital
contributors to Baltimore's art scene as a member of the Red Room and Charm
City Kitty Club collectives and the High Zero Foundation, as a renowned
performing percussionist and sound-artist, and, most poignantly, as a film-maker.
Her delirious and exuberant films have delighted audiences with fascinating
subjects, extraordinary craft, formal insight and strange vistas from the
edge of consensus reality. Seen separately, each of her pieces speaks to
a gray and subversive area of the psyche - from the linguistic play of "Two
Sentences for the So-Called Normal" and the maniacally detailed
narrative "The Suit" to the sexual boundary-play
of "Klumpki Heart Wonderful" and "The
BackDoor Boys" to the sensually rich, psychedelic formalism
of "Effortless Battle" - but seen together, the
baffling variety of her work coheres as a manifestation of a singular and
rich world-view. Over two evenings this October, CHELA celebrates Catherine
Pancake's film and video works and unique vision by presenting, for the
first time, a one-woman show spanning 1996 to the present.
BIOGRAPHY & NOTES A native of West Virginia, Pancake relocated to Baltimore shortly
before making her first film, Klumpki Heart Wonderful, a study in not OK
male sexuality starring Baltimore musician Neil Feather which won the City
Paper's Best Local Film that year. Klumpki was rejected from the Psychotronic
Film Festival by outraged, male judges, causing female judges to set up
a separate festival to screen it. Her next film, Two Sentences for the So-Called
Normal, which juxtaposes fringe sensibilities by giving members of the avant-garde
arts community and Pancake's clients as a mental health worker one minute
to define a random word, proved even more controversial and has rarely been
seen. After five years of meticulous labor in which she produced only two
other short pieces, Pancake reemerged with The Suit, a self-financed 30
minute, 16mm color sound spectacular adaptation of a story by Blaster Al
Ackerman in which a man tries to win the woman of his dreams by making a
suit out of hundreds of thousands of canned vienna sausages. Identity, mania,
creation and romance-in-isolation merge in elaborate and hilarious scale.
Pancake's involvement in music manifests in her document of the High
Zero 2000 festival in which experimental, improvising musicians, real-life
givers of what no one asks for, and their significant others answer the
question, does playing experimental improvised, experimental music increase
you sex appeal? In The Back Door Boys, Pancake elicits the straight sex
exploits of the real (!) touring, drag king Backstreet Boys tribute group.
In Effortless Battle, she gives electronic musician Ian Nagoski's sounds
a visual analog in a bombardment of near-stasis, furious sensuality and
philosophical questions on perception itself.
For the past several years, Pancake has been working on a documentary
of the political exploitation and environmental catastrophe taking place
in southern West Virginia, where hundreds of thousands of acres of mountains
have been blown apart in search of remaining threads of coal, and where
residents are forced to live with their most precious possessions in the
trunks of their cars in anticipation of the day when the resulting floods
will destroy their lives. Like all of Pancake's major work, Moutaintop
Removal is a true document of the fringes of experience, a protest against
dullness and conformity, an affirmation of the richness of lived experience
and an epic exposition of subtle, unseen or impolite personal realms.
This show directly benefits the completion of Mountaintop Removal.
We look forward to seeing you at this special event. -- Notes by Ian
Nagoski