Further info on the 2019 event can be found here.
Sections of the 2019 program, in the following order below:
- Pop-Up Video Art Exhibition: May 3-5, 12-4:30pm, Zimmerli Art Museum Lobby
- Fake news, a conversational gaze, exertions and the everyday digital.
- Reception, with live music by Clark: Friday, May 3, 6-8pm, Zimmerli Art Museum Lobby
- Refreshments and video art on display.
- Corporeal Considerations: Friday, May 3, 8-10pm, Voorhees Hall 105
- Bodies: moving, suffering, desiring.
- Autobios & Animations: Saturday, May 4, 6-7:30pm, Voorhees Hall 105
- The only thing connecting the autobios and animations is alliteration.
- Pensive Portraiture: Saturday, May 4, 8-10pm, Voorhees Hall 105
- You can’t rush this stuff.
All work descriptions provided by the artists.
POP-UP VIDEO ART EXHIBITION
May 3-5, 12-4:30pm
(and May 3 reception 6-8pm)
Zimmerli Art Museum Lobby
Fake news, a conversational gaze, exertions and the everyday digital.
Zheng Shi, Frosty Morning, 2018, China/USA, 4:33, World Premiere. Frosty Morning is a newly Audio-Visual work based on artist’s recent research on Machine Learning and Neural Networks. The original architecture of the code is designed to train a machine which can predict future images from consecutive video frames. After all the research, the artist decided to use the front page of the newspaper as a narrative view of our world instead of the video sequence, then downloaded all the front page of New York Times during the last 6 years and used them as a data set. So after training a machine to see daily newspapers from last six years, it becomes a sort of perpetual newspaper generator or probably a machine trying to predict “future.” However, it is actually not a correct approach to predict by simply using the front page of newspaper images. In the process of training, this machine only reads every pixel which is the result of deconstruction. Nevertheless, when we review the training process and generated results, the blurred image seems to reflect the reasonable and overwhelming world in the present. http://www.shi-zheng.net
Muriel Montini, Dame de cœur (Queen of hearts), 2018, France, 8:20, North American Premiere. Two children, one song. The boy does not seem to pay much attention to the music, whereas the girl seems to be connected to it; called by it, as if she alone was watching the world around, as if this song might reflect her future life. http://www.murielmontini.fr
Rachelle Beaudoin, Untitled (Jade Egg), 2017, USA, 4:03, NJ Premiere. In this untitled performance, I build and manipulate the space or landscape around me, performing a monotonous and undefined task before the revealing the purpose of the action. Assembling grasses, sticks, leaves, string, tarp and wire into a large circular nest form as the performance progresses; once the form is made, I quickly and without comment “birth” a jade egg into the nest. This product, the jade egg, or yoni egg, was made famous after being touted as a healing and muscle building product on Goop Gwyneth Paltrow’s lifestyle blog. Criticism of this product was swift from gynecologists and consumers who tried it. The idea that this product, which implies there is something wrong with your vagina or that it is weak, is empowering is part of a broader issue with the way beauty, self-help and personal care products are sold to women. “Untitled” is a personal reflection and cultural criticism on the ways sexuality and health are marketed and sold to women the United States. The egg and the form of the egg become fodder for my work as I use the object not as it was intended but in a literal way to contemplate my own experiences with fertility and birth. http://www.rachellebeaudoin.com
Marco Harnam Kaisth, Devotion, 2019, USA, 4:15, East Coast Premiere. “Devotion” involves the recitation of a devotional poem written by the artist while electrical muscle stimulation (EMS) actuates the ringing of a small brass bell with increasing speed and force. The artist comes from a religious tradition (Himachali Shaivism) that values penance and pain as a means to connection with God, and where bells are commonly used during prayer. This piece uses technology to augment what is fundamentally a religious act: EMS allows the artist to ring the bell more rapidly than naturally possible, and the painful aspect of its actuation serves as a way to enhance the devotional quality of the recitation. As such, this piece instantiates a positive connection between religion and technology, where technology and religion meaningfully enable each other’s goals. mhk.dev
Alexander Bayer and Grzegorz Kielawski, Nuit, 2018, Austria, 6:40, East Coast Premiere. In the glow of a digital night, a ghost story unfolds. Dancing mobile phones illuminate Vienna’s St. Stephen’s Cathedral to the sound track of Carl Theodor Dreyer’s “Vampyr”. While enchanted bodies circle, screen icons blend with the site’s iconography. Visual history being literally on hand, “Nuit” rolls into the depths of every day media practices. widokwidok.wordpress.com
Kent Lambert, RECKONING 7, 2019, USA, 4:34, World Premiere. RECKONING 7 is something of an instrumental interlude between longer, denser episodes of the RECKONING series, which is now being made and released “out of order”. Through an improvised electronic score and footage from the prison yard lobby of a popular battle royale game, it floats a modest proposal of multiplayer online game as altered space for collaborative performance, meditation, levitation, and indecision. RECKONING 7 considers the boredom of avatars and the futility of language. http://roommatemusic.com
Friday, May 3, 6-8pm
Zimmerli Art Museum Lobby
Refreshments, video art on display, and live music by Clark.
Friday, May 3, 8-10pm
Voorhees Hall 105
Bodies: moving, suffering, desiring.
Hannah Priscilla Craig, They Were Each Important To Each Other In That Moment., 2018, USA, 1:21, World Premiere. Captured entirely in one take, They Were Each Important To Each Other In That Moment glimpses the movement of life. The one-minute film witnesses unplanned micro-events through rhythms of light, color, sound, shadow, and shape. hannahpriscilla.com
Emma Rozanski, A New Kind of Ray, 2018, UK/USA, 4:37, East Coast Premiere. Inspired by The International Museum of Surgical Science collection and the current political climate, this experimental 2-channel video took its cue from a sign describing ‘A New Kind of Ray’, within the Museum’s X-ray exhibits. Documentation of found objects, simple animation and manipulation of light and colour set an oddly playful tone of an abstract journey. The videos are combined with a monologue reminiscent of absurdist theatre – and every bit as symbolically potent. The text gives clues to a metaphysical riddle of sorts, and ultimately asks the viewer to look inside themselves for answers. http://www.emmarozanski.com
Sabrina Mertens, Gentle Moments, 2017, Germany, 7:38, East Coast Premiere. A lonely employment office worker, Ute, meets polygamous and jobless Jens at a cuddle party group. http://www.sabrinamertens.com
Farshid Akhlaghi, Pain is Mine, 2018, Australia, 12:57, NJ Premiere. This short film is a one take film about a woman who has been addicted to pain killers for 5 years and now it is more than one year that he has stopped taking any kind of painkillers. Now she is seeking her salvation through music. Based on the Australian Bureau of Statistics, the number of overdoses from prescription pain killers is on the rise, with 800 Australians dying per year. Prescription opioids are killing more Australians than heroin. By telling this story in one shot, I tried to show how music which is one of the beauties of the world, can help people who are in pain, to be calm and relaxed. farshidakhlaghi.com
Jessie Darnell, 2000 WOMEN NAMED STACY, 2018, USA, 10:04, East Coast Premiere. 2000 WOMEN NAMED STACY is an exploration of online fetishism as a larger analogy for the Euro-centric gaze in pornography, control, self-degradation, and performative roles for a camera. Functioning as a moving digital collage of appropriated materials from Youtube, quicksand fetish websites, and pornography; the Stacy’s present themselves to the viewer as both Aggressor and Sacrifice. Instagram.com/hotmiserablewife
Laís Catalano Aranha, In and Out, 2018, Brazil, 3:15, World Premiere. “It is curious that we always dream of the same animals: lions, tigers, eagles, snakes. Basically, we want to be those who can devour us.” Mia Couto, Confession of the Lioness. “in and out” is a videoart produced with the use of appropriation and resignification of images and also unpublished images shot exclusively for this work. The artist’s research occurs mainly within the universe of human fragility, and for this she is constantly putting herself in small risk situations. Based on the book “Confession of the Lioness” by Mia Couto, and on the artist’s notes about the Brazilian political situation in 2018, this work thinks about the concept of visible traps, about the differences between hunting and fishing, and about us humans, who just like fish cannot see very well in the dark. http://www.laisaranha.com
Kera MacKenzie & Andrew Mausert-Mooney, Stones for Thunder, 2018, USA, 16:20, NJ Premiere. 3, 2, 1 . . . a TV director counts down, paltry images become actors, and bodies find sync. http://www.keramackenzie.com http://www.andrewmausert-mooney.com
Julio Alejandro Rodriguez Pozos, Mother, 2018, USA, 18:00, World Premiere. Two separate monologues from a mother and her son. Both narrate the same story; the cathartic events that led to the recovery of the son relating to his problematic past. Being rejected by his mother for being gay, struggling with mental health issues and drug abuse. The mother and the son allowed me to reinterpret the story using actors for the film. Although both were filmed separately when viewed together it becomes a conversation between the mother and the son. This work touches on subjects such as trauma and memory and how the pain of certain events can lead us to remember things differently. http://www.juliojandro.com
Carly Englander, Spit and Plastic, 2018, USA, 2:04, World Premiere. The viewer is accosted by my face and fluids in a two minute video. I create a relationship between myself, technology, and the viewer in which I intimately confront and offer myself to someone who must willingly participate. By addressing bodily fluid through visuals and sounds, I illicit repulsive responses. Through watching actions, deemed disgusting, thrown directly toward the camera, the viewer is met with the conflict of choice. The repeated cuts and edits in the video allude to the discomfort a viewer feels when watching someone spit towards the screen. The difficulty to lock eyes to the screen is inherent to the piece. I relate an individual’s afflictions towards their own bodily fluids through their reaction to those that violently escape me. carlyenglander.com
AUTOBIOS & ANIMATIONS
Saturday, May 4, 6-7:30pm
Voorhees Hall 105
The only thing connecting the autobios and animations is alliteration.
Travis Wood, Oh Ahw, 2019, USA, 0:50, World Premiere. Experimental collage film, made from dozens of books & magazines, hand cut and digitally played with. Music by berkeley based artist, Oldman Boykid. elshatrab.com
Oona Taper, A Place to Rest, Syncopated, 2018, USA, 3:01, World Premiere. ‘A Place to Rest, Syncopated’ is a visceral abstract portrait, a story of a life told through the eyes of a single room, and a love affair between person and space, image and sound. oonataper.com
Mo Flannery, The Event, 2017, Australia, 5:14, East Coast Premiere. The Event is an autobiographical account from the position of the Observer, who is working in a CCTV traffic control room. This work explores what it is to engage with images in a moral and ethical form and the vicarious complicities of the viewer; the resulting emotional labour and the fractured perspectives of representation. The politics of vision and the politics of a postmodern geographical landscape come to the fore. instagram.com/mo.flannery
Hugo Ljungbäck, When I Was Four, 2017, Sweden/USA, 5:51, NJ Premiere. When I Was Four reenacts a distant childhood memory of the first night in a new home, and relates it to an adolescent experience, in hope to uncover what truth the memory holds, if any. http://www.hmal.se/
Kendra Lohr, Dream Phone, 2017, USA, 3:43. Was it all a dream?
Claudio Marcotulli, Remo Memories, 2017, USA, 7:15, NJ Premiere. Remo Memories is an avant-doc short film about a journey through childhood, memory and water, where characters’ natural and polluted habitats cross paths. The film mixes original 8 mm footage of the director’s childhood vacations playing in the water with new footage of him paddle boarding and a conversation about nature between a mother and a daughter. Claudio Marcotulli is a Miami-based filmmaker and performer interested in exploring surreal and existential ideas, absurdity and ill-conceived characters.
Evie Metz, Who’s A Good Girl, 2018, USA, 2:55. I create handcrafted stop-frame puppet animations. They explore self-conscious emotions such as embarrassment, shame, and envy within unpredictable life scenarios. Following motivations of primal energy and natural instincts, this vignette considers a false dichotomy between human and animal. eviemetz.com
Maite Abella, Being and Becoming, 2019, Netherlands, 9:11, World Premiere. “When I hear “There is no failure, there are only lessons!”” I feel uneasy. When I was seventeen, a fortune teller told me: “You will enter the world of art through the main door.”” She was right: I work in one of the most admired museums in the world. Just that my job is not exactly what I expected.” Maite Abella lives and works in Amsterdam since 1995. In her work as an artist she dedicates herself to make experimental short films and to painting.
Maxime Jean-Baptiste, Nou voix, 2018, France, 14:26, North American Premiere. Nou Voix’ is an autobiographical video departing from the participation of Maxime’s father, as a Guyanese figurant, in the movie ‘Jean Galmot aventurier’ (1990), which deals with the history of French Guiana. By re-enacting a part of the film, Maxime and his father try to amplify other kinds of voices that have been unheard in the original French film. http://cargocollective.com/ValKing
Maggie Brennan, Yours, 2018, USA, 3:53, NJ Premiere. “Yours” is a 2-D animated short about loneliness, love, and the vulnerability of aging in a tech-driven world. Billie, an elderly woman with a glamorous past, signs up for a senior-friendly dating account. Soon, a young, handsome man reaches out to her. To the tech-savvy, he is an obvious scammer. Billie, however, is naive: his words of love launch her into a reverie of a life she never had and never will. maggie-brennan.com
Saturday, May 4, 8-10pm
Voorhees Hall 105
You can’t rush this stuff.
Sara Suarez, Watermarks, 2018, USA, 14:03, East Coast Premiere. Watermarks is a portrait of Richmond, Virginia. Where Confederate monuments adorn the land, the traumatic history of slavery along the James River remains largely unrecorded. As a narrator offers to guide us through contemporary landscapes, impressions of this buried world emerge through hand-developed 16mm film and unconventional sound design, questioning how the past is recorded or suppressed. saravsuarez.com
Francisco Navarrete Sitja, Your own matter is the confluence of all things, phase I, 2019, Chile/Spain/Netherlands, 17:50, World Premiere. “Your own matter is the confluence of all things, phase I” is a video essay that addresses the phenomenon of duplication of landscapes scenarios as territorial exploitation and strategy for the construction of national identity in Chile. Exploring the colonial representations and associations between “identity”, “nature” and “instrumentalist senses of materiality” as rhetoric of belonging. The starting point is the current architectural construction of an inner chapel named “Nuestra Señora de los Ángeles” (Our Lady of the Angels), at Rancagua City in the south of Chile. This chapel will be a replica of an inner chapel of the famous “Sagrada Familia” church in Barcelona. By working with graphics and sound archives as visual narrative the video essay analyze the ideological meanings assigned to the matter of this chapel and replicated architecture. The video essay tells about the impact of colonialism and globalisation strategies to create national identity through different materialities (Chile’s raw materials) that will cover the architectural surface of this chapel. By transforming different found archives in Internet like 3d models, soundscapes from minerals surfaces and interpretations of interviews with historians, geographers, philosophers, anthropologists, architects and other citizens from Chile (Global south) into a video essay. francisconavarretesitja.com
Naixin Xu, The Drive: 6 Days 4392 KM 30000 Yuan, 2018, China/USA, 59:25, NJ Premiere. In this observational documentary, the viewers are led to embrace the role of silent observers in one truck’s voyage from mainland China to Tibet. The aim of the project is to present, from an observer’s view, fluid and subtle, pictures of the culture itself; its people, its landscape, its economy. All are struggling and remolding between the traditional and the modern. The film is slow, no dramas. There are two equal elements in the this observation. The one focuses on the cross-country journey of the truck, the driver and the trip itself, which is sequenced chronologically, from loading goods in a small city in southeastern China, to being on the way, and to unloading the goods in Lhasa. The other observes the “sacred land” Tibet; its secularization and sanctification, old and the new. It’s an attempt to make a adventure of movement and space. It’s about experiencing and living through this long journey. The images are pictures, and what they are pictures of; in expanded and compressed time. xunaixin.com