Originating from Albuquerque, New Mexico, Glitter Vomit is a solo music project of Jazmyn Crosby with current collaborators Tom Foe and Beth Hansen. Glitter Vomit is music about miscommunication and the tools that make it happen. Glitter vomit sounds like static—it sounds like long slow thoughts, vulnerable sparse and layered guitar, cell phone, radio, and vocals in an echo chamber. It is music that you might hear in a basement after the apocalypse, with projections flickering like television light, mourning the loss of communication in the digital age.

An evening dedicated to the fascinating and propagandistic film, performances, and parades of 1930s United States and Germany. The program features selections from American and German musical films, including favorites from the king of spectacle, Busby Berkeley and Nationalist Socialist chorus line The Hiller Girls, propaganda films by Leni Riefenstahl, footage from World’s Fair synchronized swimming display Billy Rose’s Aquacade, and European Mass Gymnastics. Influential conceptual painter, Olivier Mosset, and performance studies scholar, Yasmine Jahanmir, will cap off the night with a discussion of how geometric abstraction and athletic embodiment converge in art and culture during this politically tumultuous time.

(Filmmaker, Irene Lusztig in person)

We are pleased to welcome the filmmaker Irene Lusztig (Santa Cruz) presenting her latest film, The Motherhood Archives. Archival montage, science fiction and homage to 1970s feminist filmmaking are woven together to form this haunting and lyrical essay film that excavates hidden histories of childbirth in the twentieth century. Assembling her extraordinary trove, including newly rediscovered Soviet and French childbirth material tracing the evolution of Lamaze, The Motherhood Archives inventively untangles the complex, sometimes surprising genealogies of maternal education. This extraordinary achievement illuminates our changing narratives of maternal success and failure while raising important questions about our social and historical constructions of motherhood.

(Filmmaker, Irene Lusztig in person)

We are pleased to welcome the filmmaker Irene Lusztig (Santa Cruz) presenting her latest film, The Motherhood Archives. Archival montage, science fiction and homage to 1970s feminist filmmaking are woven together to form this haunting and lyrical essay film that excavates hidden histories of childbirth in the twentieth century. Assembling her extraordinary trove, including newly rediscovered Soviet and French childbirth material tracing the evolution of Lamaze, The Motherhood Archives inventively untangles the complex, sometimes surprising genealogies of maternal education. This extraordinary achievement illuminates our changing narratives of maternal success and failure while raising important questions about our social and historical constructions of motherhood.

EV’S 3^rd Spring season opens with a deviant BANG, pairing two of the decadent 90’s most unsettling sexual provocateurs Matthew Barney & Luther Price. In their own distinct and deranged filmworlds, hyper/poly/queer sexuality is re-imagined in relation to fetishized MACHINES. Shot on the Isle of Man, Cremaster 4, the first film in the epic Cremaster Cycle, is Barney’s mythic motorcycle racing, adrenalized allegory featuring Barney as the dandyish tapsuited Satyr. Boston filmmaker Luther Price’s Me Gut No Dog Dog (1995), is a queer libido-driven obsessive found-footage dirge which must be seen to be believed! The film features a military training film, a 1970’s U of A student production of an action Kung-Fu film shot on the U of A Campus, circle jerks, anonymous businessmen, a motorized dildo machine, and modernist architecture! Never before screened on this dry coast, Price is one of the most brilliant underground film artists of our time.