Experimental & Virtual Reality
¡PíFIES! (from the Spanish slang, "mistake") is an apology to the technical problems of the amateur filmmaker. A rhythmic collage where the focus is placed on the mistakes, or what would have been discarded by the cineiste, instead of being left.
Bio: Ignacio Tamarit (1991, Buenos Aires, Argentina) is a teacher, musician and filmmaker. Currently working at the Lumiton Audiovisual Museum while completing his studies in Film & Media Studies at the University of Buenos Aires. He studied film at the Centro de Investigación Cinematográfica. Worked as a volunteer in the film library of the Museo del Cine Pablo Ducros Hicken and has taught cameraless filmmaking workshops at Big Sur gallery of contemporary art. He is also part of the rock n roll duo "Mejico" with plastic artist Dante Litvak. His films have been screened at Mex - Parismental, France, Museum of Contemporary Art of Mar del Plata, Buenos Aires, Onion City Film Festival, Slamdance Film Festival, Festival Internacional de Cine de Mar del Plata among others.
(Paroxysms erupting because) Mr Rochester does not quite get it
“(Paroxysms erupting because) Mr Rochester does not quite get it”,
is an attempt to disrupt narrative by breaking up a very short section, approximately thirty seconds of a single-take shot by myself. The selected footage is then spliced-up in tandem with the sound and then repositioned, repeated and reversed in diverse order from the original footage resulting in a small (un)-graceful visual vignette. Once the editing complete, the sound is removed then separated into different tracks enabling the manipulation of each separate track. Altering the pitch, volume, and adding filter to the different sections resulted in a desired extra layer of disturbance.
A young girl has 20min time for talking about her disease to her psychiatrist's face…
Asal Gharib was born on 20 September 1986
She has B.A of cinema. She works as actress and filmmaker.
All My Star Wars Cards
Every Star Wars card I owned. A eulogy.
Amateur Naturalism is a digital video portrait that asserts a relationship between Turdus migratorius (American Robin) and Lumbricus terrestris (Earthworm). What emerges is an ecology further shaped by the light and sounds of the city organism, the whims of the amateur naturalist, and the limitations of digital video technology.
Batum takes as its starting point the experience of near drowning in the Black Sea in Batumi, Georgia. As such, the film is induced with a desire for an auto-ethnographical self-interrogation. Images that feature are a constellation of personal and collective memories, acquired through historical knowledge as exemplified by the poems of Osip Mandelstam and Joseph Stalin, among other cultural tropes. Batum explores a displacement of identity that emerges when we encounter past experiences. The film seeksto experience how memories become fiction once recorded and how in this process of recording, the camera itself holds a mysterious agency. Batum thus proposes that film, as one of the technologies of memory, can be seen as an innovative creator of memories themselves.
Bio: Kamila Kuc, Ph.D. is a writer, experimental filmmaker and curator. Her work reflects her interest in how film, as a technology of memory, can be seen as an innovative creator of memories themselves. Her films explore complex relationships between personal and collective memories, especially those which subvert the social and political identity constructions. Kuc is the 2016 Artist in Residence at Basement Films, Albuquerque, New Mexico, USA. She is a newly appointed Director of Media Production Studies (BA)/Senior Lecturer at Coventry University.
Becoming Chrome: or I'm Dead,
In "I'm Dead, I'm Alive", time has collapsed into a perpetual non-linear Hollywood trailer. Blockbuster franchises converge with biographical narrative, ancient mythos, and conspiracy theories in humanity's final stretch towards the new millennium. After the fin de siècle the present only exists in a moist reality; a continuous state of rendering.
Bio: Christopher Thompson (1990) is a video and installation artist. He holds a B.A. in Graphic Design from University of Southern Indiana and a M.F.A. from Washington University in St. Louis. His videos and installations have been exhibited internationally in the 5th Odessa Biennale at the Odessa Museum of Contemporary Art, Endless Editions Biennale in New York City, and Czong Institute for Contemporary Art in South Korea. Christopher lives and works in Brooklyn NY.
Beneath the burden We place upon It
“More and more I sense that Nature itself is groaning and collapsing beneath the burden we place upon it.” — Sebald
A brief history of the Iron Ridge Mine (now called the Neda Mine) and a sifting through of relationship between human and landscape.
Bio: Takahiro Suzuki is an artist currently residing in Milwaukee, WI (USA). He completed his BA in Studio Art from the University of Virginia concentrating in the media of photography and cinematography, and received his MFA in Film, Video, Animation, and New Genres from the University of Wisconsin-Milwaukee. His recent works in film and video have contemplatively explored the relationships between histories. By drawing parallels between and creating links through documented facts and statistical data Suzuki pushes towards and challenges the unreliable connection between correlation and causation. Through the creative voice of crafting these essayistic narratives, the end product is not so much a thesis upon which to land, but rather an open question or hypothesis for the audience to consider. His works have exhibited and screened nationally and internationally.
Based on a poem by Lisa Robertson, the movie asks questions about identity and citizenship and the necessity of poetry.
Bio: Started making work in 1980.
Janelle Vander Kelen
The repetitive motions of the canning process quietly remap the accreted horrors of female labor that intervenes in the lifespan of a vegetable arrested in forever-summer. A circuitous wandering explores this process and confuses conceptions of time and space as seasons accumulate into undifferentiated years of feminine relation to and reinvention of natural growth cycles. The physical constraints of the domestic and embodied architectures are eventually completely subverted by the excessive act of preservation.
Bio: Janelle VanderKelen is a video artist whose practice spans multiple media. Her work plays at the edges of things and explores the cultural and psychological impact of the experience of time, the linger, and things that are defiantly borderless, generatively erroneous, and that take up more time or space than they ought. She currently lives and works in Milwaukee, WI where she received both her MFA in Film, Video, and New Media and her MA in Art at the University of Wisconsin. Her work has screened and shown at festivals and galleries nationally and internationally. Some of her most recent exhibitions include ShapeShifters at The Grange Film Series in East Haddam, CT; The Milwaukee Underground Film Festival in Milwaukee, WI; and the traveling Femme Tour Truck Exhibition in conjunction with the Biennal Miradas de Mujeres at various cities throughout Spain and Portugal.
In the 1989 adult-oriented computer series Leisure Suit Larry, the eponymous Larry wanders the jungle of a colonized village searching for love, which he finds, after a multitude of failed romantic interactions, with Passionate Patti, a perfect and unattainable woman. In an act of cathexis, Larry's energies concentrate on Patti in a complex of libido, love, and gender expression that leads Larry/Patti on an investigation of duality. bell hooks' meditations on love and relationships attempt to guide them, both in textual interruptions and a voiceover meant to stimulate ASMR, or Autonomous Sensory Meridian Response, a euphoric experience most often triggered by women speaking in a raspy, child-like whisper for male viewers. But these attempts at disruption are often rejected by the game's instinct. Larry's explorations are anti-cathected--counter-charged in the language of Freud--and blocked by his own ego and the misogynistic, hetero-normative constructs of the game in which he wanders, his desires continually repressed.
Bio: Alex Hovet is a New York City-based artist. Working across multiple platforms and using various lens- and screen-based methods, her work navigates cultural and personal memory. She is currently pursuing her MFA in Photography, Video and Related Media at the School of Visual Arts.
Dept. of Cute
Digital culture is constantly altering the definition of what it means to be a "beautiful" woman, with the worshipping and glorification of the proper thigh gap, hipbone protrusion, exaggerated collarbone, etc. The female body is relentlessly being mutilated through digital software and, as a result, the female psyche is being attacked. This can become quite destructive to an individual's identity and self-worth. Through the practice of digitally manipulating the female physique, women are being demeaned as purely sexual objects where her genitalia is more cherished than her intellect and contributions to society.
This series of videos is currently being created to visually explain the destructive nature of the female consciousness as a result of modern culture's definition of what is pretty. These videos use color, sound and drastic manipulation of the female body to convey this concern. Dept. of Cute remarks on the more mental results of this digital mutilation of the female body.
Bio: Crystal Beiersdorfer graduated with a BFA in Studio Arts and a BA in Mathematics from Youngstown State University. She works in photography, video, digital art and installation art to convey her ideas. Her artwork primarily deals with security, reality and how the digitized world allows for alteration of the female identity and body.
Fugue (a storm is blowing from paradise)
Fugue (between the back of my mind and the tip of my tongue) is part of a multi-part project composed of several short experimental video-sound pieces. This on-going project references the musical form ‘Fugue’ – in which multiple themes are introduced, inverted, and enunciated by several voices in turn. ‘Fugue’ is also a term used in Psychiatry to describe a period during which a person or community suffers inexplicable memory loss. My project investigates the contemporary condition of consciousness and identity – as the collective mind maneuvers, morphs, and forgets itself in our constantly shifting and unstable world.
The interface between our private and public lives is often located at the digital screen where we slip - virtually – in and out again. Bodies are shed for virtual echoes in repeating cycles. Authentic encounters are replaced by scripted performance and become increasingly isolated, superficial and hollow. Who performs? Who witnesses? What is lost when we lose the wisdom of the contingent body-mind? How does the music of the universe become the noise in the ‘airlock’?
Bio: Nance Davies is a Boston based, interdisciplinary artist and curator whose work explores the impact of mass-mediated culture and consumerism on inter-relationships and interdependence of all life forms. Recent work explores the poetics of the ‘everyday’ gesture and the transformative role of empathy. Davies studied at Yale School of Art and received an MFA from Mills College in Oakland, CA in 1999. She was the recipient of the Coleman Award (Boston University) and the Zorach Fellowship (Skowhegan). She has exhibited in New York City; Boston; Melbourne, Australia; London; Dublin & Londonderry, Ireland; Istanbul Turkey; Johannesburg, South Africa; Athens, Greece; Seoul, South Korea; Baltimore, MD; Oakland, CA; Richmond, VA; Winston- Salem; NC; Portland, OR; and Rockport and Portland, ME. Davies was born in California. She currently teaches at Massachusetts College of Art and Design in Boston, MA, USA
Headspace and Timing
An experimental student film that explores the space within the mind of a US Army veteran.
Her Place IV
"Her Place IV" is the fourth film in the Her Place series. Each film is created through the warping and editing of found footage. Inspired by abstract expressionist painters such as Mark Rothko and Franz Kline, "Her Place IV" is not meant to tell a story but rather evoke moods in their most primitive form. The music is also composed by the re-working of numerous samples to create an ambient accompanist. With the droning music paired with the rapid color and light changes, one begins to wonder their world is moving too fast, or too slow.
Bio: As a sound and video artist, Carson creates meditative and abstract color field projections and organic electronic sounds that focus on color, repetition, and movement. Carson seeks to find the beauty of the mundane. By creating meditative works he challenges the way we see images and hear sounds. Through the warping and editing of previous materials, he gives new meaning to old art. Influenced by the works of Brian Eno, William Basinski, Oneothrix Point Never and Mark Rothko, Carson evokes the feelings of tranquility and patience. Carson graduated from Savannah College of Art and Design with my B.F.A. in Sound Design with minors in Film & Television and Art History and is currently a student at Seattle University where he is pursuing his M.F.A in Arts Leadership.
On the walls of the local Belgian Club in Delhi, Ontario (Canada) hangs a banal painting portraying Saint Catherine's Square, a square in the heart of the Belgian capital Brussels. Depicting this specific place the painting evokes the memory connected to it for the many Belgian immigrants in this particular Canadian region, which helps defining and enhancing the community's identity.
In home the camera starts from the level of the video pixel, an extreme close-up of the painting, and slowly travels backwards revealing the texture of paint and finally the architecture of the space, the interior in which this exterior was placed. The gaze of the viewer constantly shifts, from the abstract to the picturesque and to the real. Gradually the whole context is being revealed and metaphorically illustrates the concept of communities (essentially imaginary, artificial and idealised), the construction of national identity and the potential loss of it after migration. Both realities, Brussels and Canada, are connected by the sound, which mutates from the busy square in Brussels to the quiet spaces of the Belgian Club of the Belgian diaspora.
Bio: Pieter Geenen (°1979) lives and works in Brussels. After his Master in Photography he finished the international postgraduate program Transmedia at Sint-Lukas University College of Art and Design Brussels. In his audiovisual work he shows interest in the suggestive and evocative qualities of the landscape, in relation to the personal and collective memory and identity. He wishes to translate the ambiguity of the geo-political reality into reflections on the concepts of imperialism, borders, migration, identity, belonging and land.
His work has been presented at the International Film Festival Rotterdam, New York Film Festival, Hong Kong International Film Festival, VIDEOEX Zürich, DocLisboa, Images Festival Toronto, EMAF Osnabrück, EXiS Festival Seoul, FID Marseille, Rencontres Internationales Paris/Berlin/Madrid, M-Museum Leuven, La Capella Barcelona, Centre Pompidou-Metz, FRAC Basse-Normandie and Médiathèque FMAC Geneva among others.
In Darkness Let Me Dwell
9 tiny remixes of material from the 1950 noir 'D.O.A.' (public domain)
IN IT - to win it
The work “IN IT - to win it” tells a story of a drive-through intercom system that takes its own approach to its job quite seriously and seems to have a rather special relationship with its customers. By using its environment and contact with costumers, the intercom believes it has mastered the art of human communications, judgment making and compassion.
“IN IT - to win it” is filmed at a fast food drive-through “brand” architecture site. “Brand” architecture can be seen in most cities, typified by fast-food chain places. Even if in a foreign country, you can give yourself a break from the local menu and resort into the next international brand-name restaurant, and enter a theater of a unified space that you know so well. A place in no accordance with its external environment…
Kristín Helga Ríkharðsdóttir is an Icelandic visual artist currently living and working in Berlin. Using video, installations, photography and sound performances she explores the hyper-reality of everyday environment. She takes inspiration from her surroundings and works with society as an insider, a full participant and player. Her work has been featured in exhibitions in Iceland, as well as Sweden and the Czech Republic. She holds a B.A. in Fine Arts from the Icelandic Academy of the Arts.
A moving portrayal of an ineffable force that can be humanlike or embody itself within displayed objects. Inspired by concepts from the Koropokkuru folktale within Japanese Ainu culture and The Invisible Man.
Akiko is a filmmaker and educator originally from Fukuoka, Japan. She graduated from Massachusetts College of Arts and Design with a Film/Video degree. She is currently teaching Film, Video and Animation in the NYC area.
Philippe is a digital artist and animator who studied at the School of the Museum of Fine Arts, Boston. Originally from South Florida, he now lives and works in the NYC area. Some of his digital work includes gif art which is the source for projected imagery in the film Koropokkuru.
Le Bulbe Tragique
Ephemeral traces of nothingness - Rotoscoping farmers, crumbling churches, dying memories as hand-painted layers, decay & collage on film emulsion as incidental traces of nothingness.
Bio: Graduated from Concordia University with a Major in Film Animation and MFA in Studio Arts - Film Production option, Guillaume Vallée is interested in radical forms of moving images in analogue forms as a way of considering the direct interaction between different mediums. His work is an exploration of materiality within the creative process. In attempts of creating a more complex relationship with his subject matter, Vallée makes use of cross-medium forms that range from camera-less techniques to optical effects, glitch, video feedback, usually with found-footage, often resulting in surreal and chaotic imagery. Vallée is exploring the possibilites of magnetic video tape and creates hybrid video and performative work based on the materiality of these analogue supports. His experimental films and videos, distributed by Vidéographe, has been screened internationnaly.
Along with Sonya Stefan & Samuel Bobony, he's co-founder & curator of an A/V festival in Montreal called Ibrida*Pluri, co-presented with Eastern Bloc. Guillaume Vallée's completing a PhD in Études et Pratiques des Arts at UQAM, working around Montreal actual ''scene'', mainly related to cinema, music and multidisciplinary performances; he's studying the various creative and diffusion process within marginals and alternatives circuits.
Little Pieces of Paper
Three persons find some little pieces of paper. They unfold them, they read them and they swallow them.
Bio: Andrée-Anne, as a multidisciplinary artist trained as a D.O.P. in her undergraduate degree at UQAM, is very interested in sensorial cinema in her short films and installation projects. She just completed an MFA degree in experimental media at UQAM. Her work has been shown at Centre Bang, La Bande Vidéo, Sapporo International Shot Film Festival, Regard sur le Court métrage au Saguenay.
Mixin a Muddy Russian
A video using seven camera angles while showing how to mix a Muddy Russian cocktail.
Bio: Jason Harman was born in central West Virginia to an electrician and a government business forms employee. Jason traveled with his mother, father and older brother when time allowed, snapping pictures with a 35 mm camera during trips and around the house. Jason recalled that his mother taught him how to frame landscapes and portrait pictures, until her unfortunate death at 42. After his mother´s death, Jason continued to enjoy traveling with his father, taking in the sights, sounds, and smells of his surroundings, while striving to capture them in photos and videos for others to enjoy. Jason is currently a documentary videographer and photographer ( website at www.jehworld.com), and enjoys viewing and taking photos of all types and watching all genre of film. Jason and his wife Peggy own a multimedia company (JEHWorld) and enjoy making documentaries and traveling around the country visiting with friends and family while enjoying all the world offers.
Over the course of a year I recorded phone interviews with my mother, a Uruguayan psychoanalyst who has lived in Israel for decades. She spoke in her native Spanish and her heavily accented, adopted Hebrew. Our talks revolved around dream interpretation, the inexplicable ways in which meaning arises out of chaos, what to do when one doesn’t know what to do, how to tell when something must end, and also what the heck I was going to do with these recordings.
Bio: Gabriela Vainsencher is a Brooklyn-based artist, born in Buenos Aires anad raised in tel Aviv. Her solo and two-person exhibitions include Hanina Gallery, Tel Aviv, Israel (2016); Musée d’Art Moderne André Malraux, Le Havre, France (2012); Parker’s Box Gallery, Brooklyn, NY (2011); and La Chambre Blanche, Québec City, Canada (2009). Her group exhibitions include Bergamo Modern and Contemporary Art, Italy (2016); Kunstforening, Tromsø, Norway (2014); Pierogi gallery, Brooklyn, NY (2013), The Freies Museum, Berlin and The National Gallery of Saskatchewan, Canada (both 2009). Residencies include Yaddo, The Atlantic Center for the Arts (USA), Triangle Arts Association (France), and La Chambre Blanche (Canada). Vainsencher has been awarded the Lazarus Curatorial fellowship as well as a Leeman Boksenbom Scholarship from Hunter College in New York, from which she received her MFA
A contemporary landscape exploring the posthuman and post-industrial that searches out new ways to engage the body on the land, bridging interior and exterior worlds and blurring the edge of what is "me" and what is "outside me." This experimental short encompasses not only what is in front of the camera, but also the technological interfaces through which we perform landscaping.
Bio: SARAH BLISS’ work focuses on the body: its desire and its experience in time. She's an experimental and documentary filmmaker and artist working artisanally with hand-processed celluloid film, video, installation, performance and photography. She was educated in political science and religious studies (M.T.S., Harvard Divinity School). She investigates the experience of desire, time, memory, place, and the body, while engaging personal and social history. Her charged, highly emotive and poetic films and kinesthetic immersive installations have been exhibited at festivals, galleries, and museums internationally, including the Museum of Contemporary Art, Taipei, Taiwan; the Transideology Film Festival, Berlin; the Alchemy Film Festival, Scotland; and in two public outdoor commissions for the Boston Convention Center’s 80 ft tall, seven-screen Marquee. She has been recognized by a Massachusetts Cultural Council Fellowship in New Media, a production fellowship from Scotland’s Alchemy Film Festival, and by the Brazilian Azorean Prize of Plastic Arts. She teaches video production at Greenfield Community College and is a member of AgX, Boston’s artist-run film collective and lab. Website: http://www.sarahblissart.com
Hase & Zinser
"Parallel Lives" represents a cycle in which three colors rotate around a protagonist while each of the colors stands for a different moment in time. In all of them the protagonist finds himself confronted by causalities of his actions as he lives entirely isolated from the outside world.
Bio: As an artist collective we work with film and room installations. The focus of our media overlapping work is on a self-created species.This species is human as well as a product. It's aim is to become integrated into society as human and to establish itself on the market as a product.
S&L @ 70% or the de-erotification
In this piece shot concurrently on two cameras, each frame serve as representation of an individual space where the person occupying it stares straight out at the viewer and only looks away when scrutinizing the other person’s face. The interaction between the performers 'occurs' when each performer enters the adjacent frame, highlighting a gap that can or cannot be bridged by touch.
The positioning of the frames next to each other and the black space surrounding both frames on the screen is an attempt to negate the “out-of-field; that which exists elsewhere, to one side or around” (Deleuze 1986: 17) The out-of-field that potentially could be considered threatening as it cannot be observed.
I instructed the performers in this piece to reach in to each other’s spaces and calmly without haste, touch the other person’s face in a manner that should be as diametrically opposite as possible to anything that could be interpreted as “erotic”.
The idea was to counteract the relentless erotification of “touch”, perhaps it is my background as a fashion-model that made me reflect on this, as the erotification in fashion and advertising is relentless and hard to avoid.
Bio: Following a career as a fashion model Corinne Charton decided to pursue her interest in art at Central Saint Martins with a BA (Hons) in Fine Art, 2003 and went on to complete her MA in Fine Art at Middlesex university in 2106.
Self-portrait conducted in my 7th year of treatment for schizophrenia. An obsession by the name of “odd-numbers” torments me in daily life. ( Chap.1 ”The odd numbers”) A death sentence was being pronounced. With the sound of the scaffold coming down, the fear of self-destruction that “the reality” collapses into pieces from my foot (Chap.2 ”Transparent,I am.”).
Bio: Yuri Muraoka was born in Tokyo in 1981.
Dropped out of the high school attached to Japan Women's University, Graduated the 26th class of Image Forum Institute of the Moving Image. Continues to create moving images and photographic works of "self-portaiture". All of her works are self-created and self-performed.Mother of two children.
Yuri Muraoka official web site: http://www.yuri-paradox.ecweb.jp/index.html
Speculation of the Essence
Speculation of the Essence depicts the essence of nature through various microscopic structures, ultimately illustrating the totality of nature's beauty beyond the surface. A digital microscope was used to capture complex forms of various flowers to reveal the organic systems and visual movements that could not be seen with the naked eye. This exploration highlights the juxtaposition between the outsider's perspective upon nature and the essence of nature itself through the lens of a microscope.
Bio: Taehee Kim, a digital media artist, explores art, science, and technology. Her research investigates an intersection of aesthetic development with scientific methods and technology. She has received a M.F.A from Louisiana State University and is currently teaching in the Department of Art at Sam Houston State University as an Associate Professor. During the past years, Kim has exhibited her work nationally and internationally. Her works were exhibited in the Art Gallery at SIGGRAPH, SMart Multimedia Art Festival, Florida International, Long Beach Island Foundation of the Arts and Sciences, and 10th Seoul International New Media Festival in Seoul, South Korea.
Spotlight on a Brick Wall
Alee Peoples and Mike Stoltz
A performance film that navigates expectations of both the audience and the makers. A series of false starts. Dub treatment on the laugh track.
The CRADLE is a tragicomedy of absurd. Based on theater play. Made in VR cinematic space.
Instead of theater scene, here is surrealistic eastern cityscape filled by uncompleted portraits of citizens. Actors perform at the cradle like they are giving an accusatory speech at the tribune. This time the viewer transforms from the witness to the culprit.
The CRADLE is the story about the personality as an unfinished portrait. In conclusion the viewer has to finalize that portrait in his own way.
Director / Designer / Screenwriter -Tanya Kovaleva
Camera - Serden Salman
Sound - Eli Haligua
Music samples: Bilge Kosebalaban
Mom - Derya Günaydın
Aunt - Zinnure Türe
Dad - Hakan Emre Ünal
Uncle - Can Güvenç
The Garden of Delight
Three scenes reflecting on paradise, lust and hell.
In ‘the Garden of delight’ beauty and evil go together like in a dream. We dive into a world of erotic derangement, inhabited by dancing lovers, lustful mutated baboons, tropical birds, deformed pin-ups, butterflies and body-builders.
This hand-manipulated collage film, made entirely out of 35 and 8mm found-footage, explores the marriage between heaven and hell, our irresolvable endless conflict that goes with human nature.
Inspired on the triptych ‘the Garden of Delight by Jheronimus Bosch.
Music composed, recorded, mixed, and edited by: Aaron Michael Smith.
Timothy Paek – Cello
Yeji Oh - Piccolo
Elisabeth Shafer - Trombone
John Demartino - Double Bass
Shanon Rubin - Clarinet & Bass Clarinet
Janny Joo - Violin
Sean Gill - Percussion
We now seem to be in a country with no forward, only back.
Dee Hood ‘s background is in painting, sculpture and time based media. Her experimental videos have shown nationally and internationally.
Hood received her M.F.A. in Visual Art from the University of South Florida, Tampa in 1990. She is a Professor Emerita from the Ringling College of Art and Design In Sarasota Florida where she taught time based media from 1994 -2015. in the depatment of Photography and Digital Imaging.
The Stream 6
This work is a ballet using the sound and the movement of the algae and water. With the waterway as the theater, I filmed the choreography of the algae that flows in the water.I shot this with a waterproof camera on a slider dolly . Using this device I created a simulated experience of walking through the waterway for the viewer.
In the man-made waterways of rice paddies, the water in nature must follow artificial rules. In that way, nature is made abstract, giving rise to a new form of beauty distinct from the natural state. The theme of this work is the liveliness of the water as it follows the man-made course.
Bio: Sakurai was born in Yokohama,Japan in 1958 and graduated from University of Tsukuba [ M.F.A.] in 1985. Sakurai has taught at Seian University of Art and Design since 2012 as professor. Exhibitions include The 4th Sydney Biennale (1982), Postwar Art in Japan, The Getty Center, Los Angeles (2007), 62nd Melbourne International Film Festival (2013), 58th San Francisco International Film Festival, 13th International Festival Signes de Nuit, Paris (all 2015). Sakurai’s work can be found in the collections of the National Gallery of Canada and J.Paul Getty Trust. Grand Prix of Locarno City,The 4th International Video & Electronic Art Festival, Locarno,Switzerland(1993), Asolo Award the Best Videoart Work" at 35th Asolo Art Film Festival,Italy.(2016), The Best International Experimental Short Film - Eisenstein Award at 12th Blow-Up Arthouse International Film Festival,Chicago.(2016)
Grand Prize at 39th Tokyo Video Festival 2017 in Tokyo(2017)
The Trembling Giant
The Trembling Giant is an experimental nature documentary that remediates the iconic landscape of the American south-west by filming through the take-up reel of a 16mm film projector.
Bio: Patrick Tarrant (Melbourne, 1969) is a lecturer in filmmaking at London South Bank University who has written on the portrait films of Pedro Costa (Where Does Your Hidden Smile Lie?) and Ben Rivers (Two Years At Sea). Patrick has made video portraits and observational city films, while developing a hybrid filmmaking method that brings HD video and a 16mm film projector together (in The Take-Up and The Trembling Giant). Patrick's first 16mm film, Phi Phenomenon 2, brings the speed and force of an animated materialism to the otherwise calm place of Morgan Fisher's original. Patrick has had films screened at the Hong Kong, London and Melbourne Film Festivals, among others.
This is Yates
This is Yates is a reflexive analog-elegy that hates itself. Presented through a collage of serene and violent home movies, it invites the viewer to question not only the ways in which we shape identity via fragmented media, but also the processes through which we construct memory and deal with personal trauma. The film occupies a space between nonfictional portraiture and ethnographic dreamscape, offering a nuanced portrait of southern youth culture as well as a visceral rumination on bodies both decaying and enduring.
This is Yates was edited over the course over three years and completed during a residency with the Nickelodeon Theatre in Columbia, SC.
This Video is Harmless
Constructed from three scenes, This Video is HARMLESS is a short video about vulnerability and the suggestion of a moment that we never see. The contextual relationship between scenes implies a larger narrative that is never presented. It is in these narrative holes that we are able to speculate. By omitting the main action of the story, all other pieces inevitably point toward it, and provide an open-ended experience of what is distinctly cinematic without being explanatory.Constructed from three scenes, This Video is HARMLESS is a short video about vulnerability and the suggestion of a moment that we never see. The contextual relationship between scenes implies a larger narrative that is never presented. It is in these narrative holes that we are able to speculate. By omitting the main action of the story, all other pieces inevitably point toward it, and provide an open-ended experience of what is distinctly cinematic without being explanatory.
Bio: JOHN C KELLEYis a media artist and musician living in Knoxville, TN. His video work has screened internationally at institutions and festivals including the Arizona International Film Festival, Tucson, AZ; The Front, New Orleans, LA; The Mid America Arts Alliance, Kansas City, MO; The Print Screen Festival, Holon, Israel; Index Art Center, Newark, NJ; Alfred State College, Alfred, NY; Western Michigan University, Kalamazoo, MI; Purdue University, Lafayette, IN; Edinburgh Artists’ Moving Image Festival, Edinburgh, Scotland, UK; the SIMULTAN Festival, Timisoara, Romania and many others. Kelley has written original music for award-winning feature length narrative and documentary films through Gray Picture in St. Louis, MO, released music as a solo artist through King Electric Records in Austin, TX, and has appeared on more than 25 recordings and albums. He is currently an Assistant Professor of 4D and Transmedia Design in the School of Art at the University of Tennessee.
Trireme (Perchance to Dream)
What is it we want as a generation growing up with the digital and internet readily available as the air we breathe. Looking at new technologies such as 3D scanning and heavily influenced by the YouTube generation and how we access news, do we really see these 3D 'skins' of objects or the real-life people we view on YouTube any differently? 'Trireme (Perchance to Dream)' asks if they are becoming one and the same thing how can the artistic generation answer this gap between the virtual and physical?
True Bien Wagen Freunde
Lily Kuonen & Jim Benedict
True Bien Wagen Freunde is a collaborative video project between Jim Benedict and Lily Kuonen. The footage was gathered during shared and solo trips by the artists to Florida, Alabama, Arkansas, Montana, Iowa, France, Berlin, Prague, and Switzerland during the Summer of 2016. True Bien Wagen Freunde pushes the medium of video towards the layering and compression of memory. Time and place becomes blurred as stories and recollections are recalled and shared.
Watching TV with the Mind Off
Kevin Ramroop is a twenty-two year old just trying to do what he loves; making soulful and sultry r&b music. As he roams the forest of his childhood, Kevin reflects on the philosophies by which he lives his life, remembering the past while wondering about the future. Drifting in and out of the physical reality of the forest and his own hyper-realistic headspace, he finally makes a discovery about his perspective on the world.
Bio: Born near the cradling waves of Goa, India and raised in the diverse suburbs of Scarborough, Ontario, Sampreeth Rao has been making art since his childhood dinosaur nightmares forced him to redraw them as friendly animals. Today, not much has changed – his films still attempt to visualize the visceral.
Combining the realism of documentary with elements of music video and fictional narrative, his most recent work, Red in Your Head (2016), was selected for the inaugural TIFFxInstagram Shorts Festival - judged by the likes of Ava Duvernay, James Franco, and Ben Richardson. After receiving the RBC Emerging Director’s award in 2016, Sampreeth is currently working on a comedic short about Canadian immigrants who go camping for the first time.
A tarot card reading as a starting point.
A disruptive relationship as a point.
Translation of the cards' symbols to a joint.
Of the domestic exploration for finding my voice.
Bio: Liliana Colombo (b. Gallarate, Italy) lives and works in London.
She studied and practised ballet for over 15 years at the Accademia Proscaenium in Italy and at the Académie de Danse Classique Grace Kelly in France under the direction of Russian ballet dancer Marika Besobrasova, performing in various national and international theatres.
Liliana holds a BA in Media Communication Studies from IULM University of Milan and an MA in Experimental Film from Kingston University.