dan browne

may 2018

Looking forward to heading to NYC on May 8th to present Palmerston Blvd. at Anthology Film Archives for the launch of Millennium Film Journal's Issue #67! The programme is curated by Rachel Stevens & Grahame Weinbren and also features works by Lorna Mills, Naeem Nohaiemen, Alee Peoples, and Anita Thacher. The issue is available now – buy your copy at http://www.mfj-online.org/

Also this week, Palmerston Blvd. is presented at Alchemy Film and Moving Image Festival in Hawick, Scotland, in the programme "Dislocations" running daily from May 3–6th – details available here

I am also happy to announce Palmerston Blvd. will be presented at FRACTO in Berlin (May 24–28th), and at Winnipeg Underground Film Festival (June 1–3rd).

Generation will be presented at Far Out Film Festival in Nashville, Tennessee, on May 10th.

Finally, I am excited to announce the world premiere of Taylor Creek at San Francisco Cinematheque's Crossroads Festival, June 7–10th at the San Francisco Museum of Modern Art, in the programme "lines are drawn," alongside films by Paul Clipson, sair goetz, Rosa John, Nico La Shae, Talena Sanders, Kelly Sears, Alexander Stewart, and Antoinette Zwirchmayr. The full schedule looks amazing!

^ still from Taylor Creek (2017, 2.5 min)

april 2018

"Fever in the Insta-Archive: An Interview with Dan Browne," by Clint Enns will be published in the upcoming Millennium Film Journal, Issue #67 (Spring 2018). Pre-order discount until April 12th at http://www.mfj-online.org/.

"Palmerston Blvd.” (2017, 15 min, 4K) will be presented at Athens International Film + Video Festival, as part of the in-competition "Gravitational Field" programme, in Athens, Ohio, on April 14th.

"Palmerston Blvd." will be shown at Recontres Internationales Paris/Berlin, April 10-15, 2018.

"Palmerston Blvd." will be presented at Alchemy Film and Moving Images Festival, in Hawick, Scotland, May 3-9, 2018

"Palmerston Blvd." will be presented at Anthology Film Archives, as part of Millennium Film Journal Issue #67 launch, in New York, May 8th.

On April 12th, I will be doing a live video performance at Architextures in Toronto.

"Poem" will be presented at "Then It Moved, A Fraction," at Standards, as part of Mi Art Night in Milan, Italy.

“Generation” (2017, 2 min, HD) will receive its Canadian Premiere at Images Festival, in "Redacted Bodies," a selection of recent Toronto works curated by Alexandra Gelis, in Toronto on April 19th, 9pm, at Innis Town Hall (2 Sussex Ave.),

"Passage" (2016, 4 min, 16mm) and "Field" (2016, 2 min, 16mm) will be presented at "From A to Z: Transfigurations Between Black Box and White Cube," curated by Madi Piller and Clint Enns, in Vienna, Austria on April 20th. 

march 2018

It's a great honour to announce that I am interviewed by Clint Enns in the Spring 2018 edition of Millennium Film Journal, Issue 67. The issue is currently available on pre-order discount at MFJ's website until April 12th, so get your copy today! There will be a screening of Palmerston Blvd. at Anthology Film Archives on May 8th in support of the launch of this issue – more info on that soon!

This month, Field is presented at the Artifact Small Format Film Festival in Calgary on March 10th.

I will be also presenting a paper entitled "Diasporic sights: Place, Memory and Decay," at the annual Society for Cinema & Media Studies conference, on Saturday March 17th in Toronto. 

Other upcoming screening announcements: 

Palmerston Blvd. will be presented at Athens International Film & Video Festival (Ohio, USA), April 7-17th.

Generation will receive its Canadian premiere at "Redacting Bodies" at Images Festival on April 19th. 

Palmerston Blvd. will receive its UK premiere at Alchemy Film and Moving Image Festival (Hawick, Scotland), May 3-9th. 

Nude Descending (After Duchamp) will be presented at "Difficult Viewing and Listening: An Experimental Animation Retrospective," at Winnipeg Cinematheque on May 17th, curated by Murray Toews.

^ Palmerston Blvd. (2017, HD, 15 min) 

february 2018

This month, Palmerston Blvd. and Generation will be presented at Stuttgarter Filmwinter in Stuttgart, Germany, which runs from February 8-11th. Generation will also be presented at Les Inattendus Festival in Lyon, France, on February 10th. 

I am also happy to announce that Field will be shown at The 26th Annual Artifact Small Format Film Festival (formerly known as the $100 Film Festival) in Calgary. See the festival trailer here:

In other news, I will be travelling to Vienna this spring to participate in a film screening and gallery exhibition alongside a wonderful list of fellow Toronto artists curated by Madi Piller and Clint Enns. Here is the poster designed by Leslie Supnet, featuring an image I made in collaboration with Madi:

One of my digital collages commissioned for the second 12" Vinyl Vigilance release, VV-TWO, is also now on sale in a limited edition of 300. 

Finally, I want to express my sadness at the recent passing of Paul Clipson. This is a devastating loss for the Bay Area, for lovers of experimental film worldwide, and especially for his family and close friends. I corresponded with Paul over the past few months while preparing an essay on his films for San Francisco Cinematheque, which he was extremely supportive of. All that I can say right now is that it is unimaginably tragic that this artist, who was in the utmost prime of his creative capacities, will no longer continue to make such astonishing films. He will be missed by many as a generous friend, colleague, and a true master of the cinematic image. Here is a moving eulogy by his collaborator Lawrence English. And here is an impressive assembly of his work by Dennis Cooper, with some of my words from the essay and an interview. If you knew Paul and have been impacted by his death, please consider donating to this GoFundMe for Paul's family. SUPPORT ARTISTS WHILE THEY ARE ALIVE.

january 2018

Happy 2018! I'm pleased to report my work has been featured on several year-end "best of" lists: Palmerston Blvd. was included by Michael Sicinski in his list of the twenty-five best avant-garde films of 2017, and was also listed on Desistfilm's 2017 film round up by José Sarmiento Hinjosa and Aaron Cutler. Toronto Film Review's best of 2017 also included Palmerston Blvd. on lists by Clint Enns and Claudia Sicondolfo, and Generation was included on Stephen Broomer's list. I contributed my own lists of favourite works from last year to both these sites, focusing on international work for Desistfilm and Canadian work for Toronto Film Review. I hope you will get a chance to check out the excellent range of works noted by a wide range of contributors on both these sites!

Jim Shedden also included Alberta (2014) on his list of 100 Greatest Canadian Films, an ongoing series at Toronto Film Review to celebrate Canada 150. I also contributed my own list to this series.

Finally, in upcoming screening news, I am happy to announce two European presentations next month: 

Palmerston Blvd. and Generation will both be presented at Stuttgarter Filmwinter in Stuttgart, Germany, running from February 8-11th.

Generation will be presented at Les Inattendus Festival in Lyon, France, on February 10th.

^ Generation (2017, HD, 2 min) 

december 2017

Two articles were recently published on Palmerston Blvd. (2017) that I am happy to share:

Darren Hughes wrote a very generous analysis at the end of his assessment of TIFF '17 for the online journal Senses of Cinema. I will quote it here:

"Palmerston Blvd. is so neatly conceived, I wondered if the viewing experience might seem redundant, or if the concept might not be able to sustain the relatively long run time. In fact, it was the highlight of the fourth and final shorts program, 'As Above, So Below.' Working within tight formal restraints, including silence, Browne was forced to focus his creative attention on the limited set of tools at his disposal and constantly reinvent familiar images. I especially like a shot four minutes in, when he finds a new composition from a slightly lower, slightly skewed angle that turns the window frames into a kind of cubist collage. Gradually, other signs of life appear – first the family cat, and then split-second glimpses of Browne and his partner, and then finally, near the midpoint of the film, an infant swing and high chair. Seven years ago at Wavelengths, I found myself crying unexpectedly during a screening of John Price’s Home Movie, a 35mm, hand-processed study of his growing children. I explained afterward to a friend that Home Movie expressed a particular sensation I’d experienced daily during the five months since my first child was born. I called it a “nostalgia for the present” – a constant, conscious realisation that this moment is already gone and that someday, maybe soon, maybe in the distant future, I would desire deeply to return and reexperience it. I already felt the ache. Palmerston Blvd. has the same effect. When winter snows arrive and the halcyon light falls lower in the sky, the room becomes every warm room, with the sounds of a hissing radiator or the smell of a furnace. And when, at the end, the signs of Browne’s life are removed one by one – the toys and then the plants and then the table and chairs – it provokes a deep-in-the-bones feeling of loss, not only for a particular home (that universal, melancholy experience of locking a door for the last time) but also for a particular domesticity, for a particular light."

And Francesca Rusalen, writing in L'emerge del possibile, considers the role of the camera in shaping consciousness and perception (in Italian, trans. Google):

"...Palmerston Blvd. is not, in fact, its shots and even the most of their sum. The eye of the camera here is not the eye of those who want to monitor the movements and changes, of what records these shifts and changes... The camera proves to be the tool that expands man, his third eye, which does not see what we do not see, like binoculars, but that implements what we cannot: full delivery to the cinema...."

In other news, I will be doing another live performance, with Nelson Moneo (violin), Meghan Cheng (violin), Laila Zakzook (viola), Cheryl O (cello), Bill McBirnie (flute), and Eugene Martynec (electronics and keys), at Gallery 8-11, on Saturday December 16th, 2:30pm. This concert will feature the Canadian premiere of NYC composer (and youngest-ever Pulitzer Prize winner) Caroline Shaw’s Ritornello 2.sq.

This month I also published an essay, "Cinema for the Inner Eye: On the films of Paul Clipson," for San Francisco Cinematheque's blog. I was surprised to recently discover there has been no sustained critical assessment of Clipson's films, despite the fact that he has made over fifty in the past decade, some of which I consider to be among the finest poetic cinema of recent years. I tried to fill this gap (thanks to a generous invite from Steve Polta), and while this short essay is by no means exhaustive of Clipson's oeuvre, I hope it goes some distance towards explaining what I feel is significant in his work, and provides a point of entry for new viewers. You can look at some of his films on Vimeo.

2017 has been a strong year for me and there were many highlights: making the Images Festival's 30th anniversary trailer, 40+ screenings and performances, including my first international solo retrospective and first time at Wavelengths (on the 50th anniversary of its namesake – a film also about a window, whose maker was in the audience), video installations in three cities running for a total of six months, several chapters accepted for forthcoming publications, and a lot of great feedback. See you in 2018.

november 2017

This month I will be performing live at Luminous Gestures 2.0, an evening of composed and improvised new music inspired by light with Bill McBirnie (flute), David Story (percussion & piano), Bill Gilliam (piano), Cheryl O (cello), and Eugene Martynec (electoacoustics).

The event is Sunday November 19th, 8pm at Array Space (155 Walnut Ave., Toronto). Tickets are $15.

Excerpt from when stars collide (2017), paired with music by Bill McBirnie and David Story.

october 2017

Upcoming screenings of Palmerston Blvd. (2017):

Festival du nouveau cinéma (Montreal, QC), as part of the "Nouveaux Alchemistes" programming, screening October 8th & 10th. Filmmaker in attendance!

Antimatter [Media Art] Festival (Victoria, BC), as part of the curated short films programmes on October 15th, and as a continuous installation at The Ministry of Public Living, October 13th-28th.

Transient Visions: Festival of the Moving Image (Johnson City, NY), October 20-21st. USA premiere!

L'Age D'Or Festival (Brussels, Belgium), October 22nd. European premiere!

Houston Cinema Arts Festival (Houston, TX), in a programme called "Space is Lit," curated by Michael Sicinski. Festival runs November 9-13th, programming details TBA soon.

Glimmerglass Film Days (Cooperstown, NY), in a programme called "A Sense of Place: Four Views of Home," screening November 12th.

september 2017

This month you can find me at the Toronto International Festival, for the world premiere of Palmerston Blvd. in the Wavelengths section. The screening takes place on Monday September 11th at 4:00pm at the TIFF Bell Lightbox, in Wavelengths #4: "As Above, So Below". Tickets are available now.

View the TIFF trailer for Palmerston Blvd. here.

Michael Sicinski writes on MUBI, "Simple in concept but flawless in execution, Palmerston Blvd. is the story of a single year in the life of a family apartment, presented as a 14-minute temporal condensation. Although Browne is committed to an experimental vision, the power of this film derives from his classical approach. Much of Palmerston is framed in a wide angle that absorbs the main picture window and dining area, offered up like a proscenium. It’s here that we can discern the changes that define Browne’s family life—the eventual absence of some, the signs of new presences, and of course the shifting of the seasons. Smaller details are also brought to the fore, mostly to display their specific play with the sunlight or their refractive character. Like a living Alice Neel canvas, the film gives us flowers in mason jars and changing leaves out the window on the corner. Palmerston Blvd. is a dynamic film, in large part because it maintains a tension between the pictorial and the narrative. It’s the story of a space, and like all spaces, it comes to an end."

Eli Hayes writes, "A simply stunning work of audiovisual and temporal exploration, a journey in time and light, space, day and night. Shadows dance across the screen in both smooth and jagged movements through static, nostalgic environments—the catalyst for a chopped up and fragmentary dreamscape of memory, sitting adjacent, in the portal of parallels, just on the other side of reality."

I am also excited to announce Palmerston Blvd. will be presented at Antimatter [Media Art] Festival in Victoria, BC, this October. This year's edition is their twentieth anniversary -- congratulations to curators Deborah de Boer and Todd Eacrett for their hard work! In addition to being shown in the curated short film programming, Palmerston Blvd. will also be presented during the festival as a screen installation at The Ministry Of Casual Living that will be visible on the street. More details TBA soon.

^ stills from Palmerston Blvd. (2017, 14 min, 4K)

In other screening news, Gulf (2016) will be presented at Berwick Film & Media Art Festival on September 22nd, in a special programme entitled "Ultramarine: The Sea as Political Space," curated by Ilona Jurkonytė, Artistic Director of Kaunas International Film Festival, Lithuania.

^ still from Gulf (2016, 6 min, 16mm)

august 2017

Very happy to announce that Palmerston Blvd. will premiere at this year's Wavelengths at the Toronto International Film Festival! More details on that and other festivals soon. Meanwhile, here's the trailer.

The 2017 San Diego Underground Film Festival lineup has been announced, Generation screens Friday August 25th in a programme with works by Sky Hopkina, Karissa Hahn, Josh Weissbach, Ryan Wicks, Jeremy Moss and more! The full selection of artists is outstanding, I wish I could be there in person!

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