Participation in CeC ’09. The 4th annual Carnival of e-Creativity
With the program: Global Art Video 09
The Sattal Estate Bhimtal, Uttarakhand, India
From 27th of February to 1st of March 2009
From 27th of February to 1st of March 2009
Coordinated by: Toni Calderón e Ima Picó. Forja Arte Contemporáneo. Valencia (Spain)
Curator ~ Jillian Mcdonald (New York)
Natural Interpretation ~ Rick Silva's poetic intervention plugs the white dune, snow-crusted brook, and other quiet wonders into his scheme as hapless instruments in a sublime analogue remix. Stephanie Lempert translates the mouth movements of passive goldfish into English monosyllables.
Relentless Remix ~ Orit Ben-Shitrit and Harold Moss's magazine imagery montage permits us a glimpse of their subterranean dreamworld populated by strange monsters. Liselot van der heijden finds innuendo and ridiculous machismo in one familiar posture from a Hollywood western. Paul Slocum's solicited recreations of a melodramatic scenario from sitcom television are fascinating in their subtle variations.
Fantastic Mischief ~ Marina Zurkow's space invaders cavort unseen as they infiltrate New York City's gritty textural infrastructure. Tricia McLaughlin's 'machine for living' posits an architecture that happily destroys and asexually reproduces itself in a satirical romp.
You're Not My Father ~ by Paul Slocum, is composed of a sequence of recreations of a 10 second scene from the television show Full House, overlaid with sound loops from the scene's original music. The crews who re-shot the scene were recruited through Internet message boards and Craigslist; each was paid $150. Instructions for shooting the scene and delivering the footage were issued to the crews. The project includes participants from Austin, Cincinnati, Chicago, Dallas, Denton, London, and San Francisco.
You Show Me Yours and I'll Show You Mine ~ by Liselot van der Heijden, features ubiquitous cowboy John Wayne, inexhaustibly shows off acrobatic tricks with his gun.
Villa Savoye ~ by Tricia McLaughlin, in which Le Corbusier's Villa Savoye's own shadow tramples on the building, as pink innards are pushed out of the interior. Working with the remains of the original building, the pink gooey blobs start to form a new home. These breathing blobs also stick to the shadow 'monster', adding to the changing form of the structure. In this animation the 'machine for living in' is now a living machine.
A Rough Mix ~ by Rick Silva remixes nature in this glitchy and poetic high definition work.
The Long from Inside ~ by Orit Ben-Shitrit and Harold Moss, is a digital time-based composition that gives a glimpse into a psychological state reflecting both internal and external realities. At its heart is a reconstructed narrative of a quotidian cinematic world that slowly begins to rupture.
The Space Invaders ~ by Marina Zurkow is a composite of live action footage and 2D character animation that plays off vaudeville sketches, early cartoon pranks, and Grand Guignol's shock theater. In The Space Invaders, USA's Homeland Security Advisory System -particularly Code Orange- is made manifest as a set of characters who gallivant beneath the radar in New York City. Rendered as fleshy, capricious agents, these particular 'invaders' personify the nostalgic arcade game of aliens who fall from the sky. The video's amoral crack-dwellers, hobs and giants who translucently roam the streets come from inside, and not by spaceship or by airplane.
Read My Lips ~ by Stephanie Lempert, addresses the role of language as one of many possible methods of communication, with the artist drawing attention to our use of the spoken word's interpretation within each society. Working with a speech pathologist to decipher the “words spoken” by each fish, the artist is able, through inflection and tempo, to bring new meaning to the breath movements of common goldfish.
THE NAMASTIC ART COLLECTIVE (Helsinki, Finland)
Realised in Cooperation with AV-ARKKI, Finland
Digital and media art are one of the strongest and most innovative fields of art in Finland. This is due to many reasons, including the fact that Finland is a high-tech country and artists have always been interested in experimenting with the new possibilities of new media. Sometimes there is also interaction between art and enterprises who are directly interested in the discovery of new tools or new ways to use old devices. There is innovation everyday in this field; it evolves very quickly with technique as well as with aesthetic. And it reflects on society, on our way of living, on our identity.
In this investigation, some of the artists play with technology as a tool to reach something beyond the Human, the Mental Projection of a Digital Self. Sometimes in a playful and joyful way, sometimes in a more introspective and demanding As Finland does not have a very long tradition of art and there is a sense of freedom among the artists when they create. The same goes for the public too. Most people, especially the younger generations, are rather open minded and tech-savvy and can appreciate the convergence of art and technology very well. This kind of “mental climate” combined with accessible technology and good venues is fertile ground for interesting digital art. This has also attracted many foreign artists to come to live and work in Finland, enriching the art scene with their knowledge and energy. The Namastic Art Collective has set out to take Finnish digital art to international festivals also to share the products of this unique culture with the wider world.
X-Rayed ~ by Juha Mäki-Jussila
Love Song ~ Adel Abidin
Beat Box – Alternate Take ~ by Jani Rusica
Pulse + ~ by Pink Twins
Neon ~ by Egle Oddo
Elle ~ by Rikard Lassenius
Bewegung ~ by Kristina Frei & Marko Timlin
Blue Giraffe ~ by Mikko Maasalo
Seven ~ Pekka Sassi
The Egg ~ by Maurice Blok
The Burden ~ by Oirjetta Brander
The Elicopter ~ Markus Renvall
For Better, For Worse ~ Heta Kuchka
Caustically Happy ~ Tjader Knight
In the Forest There Is a Path of Martin Heidegger ~ by Jaana Kokko (12:00 || 2006-2008)
When working as an artist-in-residence in Freiburg, Germany, my studio was situated near the philosopher Martin Heidegger's home. The Black Forest was next to his house, and on the edge of the forest was a path named after him.
In the video, I am addressing my questions and thoughts to Professor Heidegger. He acts as a narrative link, a person that moves the video's plot forward. The piece presents hope for a better and more equal encounter between people.
Performers: Percy Cubas (Freiburg 6/ 2006), Maja Teofilovic (Berlin 4/ 2006), Jaana Kokko (Freiburg 1-6/ 2006), Alexander Lackmann (St. Petersburg 8/ 2005), Outi Vuoriranta (Voiceover, Helsinki 5/2008),
Nordic improvisation meeting 2007 participants (Outokumpu, Finland 6/2007): Keskusta pyörille -mielenosoittajat. Järj. Maan Ystävät. (Helsinki 10.7. 2007).
Soundmaterials: Cembalo: Jontte Knif || Äänitys: Kuisma Eskola (Helsinki, Sibeliusakatemian kamarimusiikkisali 11/2006)
Additional sound recording: (water birds, chrystal: Samy Kramer. (Helsinki 4-5/2008)
Sound Mix, Sound Editing: Samy Kramer
Script, Cinematography, Sound and Editing: Jaana Kokko
Translations: Elina Mikkilä, Jaana Kokko, Samy Kramer
Further reading, watsching/ or direct Quotes in the text: Heidegger, Martin - Arendt, Hannah: Briefe (1925-1975). Verlag Vittorio Klosterman, Frankfurt am Main, 1991. 2. painos. Hertzog, Werner: Maasta se kääpiökin ponnistaa. Elokuva. 1970. Jarman Derek: Puutarha. Elokuva. Great Britain, 1990. Kokko, Jaana : Luopumisen Estetiikasta (Ideologisen taiteen näyttämö 12/2004). Lackmann, Alexander : "To Sappho", Kokoelmasta Erotica. Omakustanne, St. Petersburg, 2006. Ton Steine Scherben. http://www.riolyrics.de. http:// www.youtube.com
Thanks: Martin Heidegger and Hannah Arendt, Samy Kramer, Outi Vuoriranta, Kirsi Liimatainen, Andrea, Maja Teosovic, Percy Cubas, Kathrin Hintsch, Rolf Störtzer, Johannes Rühl Arts Council of Finland (2006) Visek (2007)
Curator Sergio Zavattieri ~ in cooperation with Zelle Arte Contemporanea & Galleria Gianluca Collica (Italy)
We may be asking too much of art. Nowadays, we are more dependent on technology and consumerism in general. In that way we almost forget about what is going on inside us, which is habitually something actually more intricate and significant. Perhaps, for the same reason, we are every day trying to construct a different world for ourselves.
(Total Duration: 60'58” minutes)
Monster ~ by Robert Morgan (12' / 2004 / UK)
Mater ~ by Paolo Bonfiglio (7'20''/ 2007 / Italy)
Current Electra presents: Antony Hill ~ by Cane CapoVolto (04'14” / 2007 / Italy)
Current Electra presents: Christoph Heemann ~ by Cane CapoVolto (5'42”/ 2007 / Italy)
The Bride ~ by Katia Beltrame (14'43” / 2006 / UK)
Orgasm in the Movies, 2008 ReEdit ~ Stephana Scmidt (15'30” / 2008 / Germany)
Recollection Music Box ~ by Federico Lupo (2'09”/ 2008 / Italy)
PURE SCREEN *02
Curator Sophia Crilly. (Manchester, UK)
PureScreen is Castlefield Gallery's regular screening event for artist film and video. Since its inception, in March 2003, the programme has provided a platform for outstanding recent work and supported new and established practitioners and curators. It operates an annual, international open call for submissions for new works, and also produces PureScreen: Film & Video Artists Information Pack, compiling international resources with the intention of assisting artists and curators whose practice involves the production and exhibition of moving image work. PureScreen is supported by Arts Council England, and from each new season of screenings a DVD compilation is produced, which tours internationally, in order to support and promote the practice of the artists PureScreen has worked with.
The films selected for inclusion on PureScreen DVD *02 represent the highlights and a cross-section of the diversity of works from the 2006/07 season of screening programmes, featuring recent work by UK and internationally based artists.
The Sun Always Shines on the Righteous ~ by Jordan Baseman (London, UK / 2004 / 16')
The Sun Always Shines on the Righteous takes place during a demolition derby held in Barrow-in-Furness. The work features ‘Grandad': a 41 year old grandfather, demolition derby driver and philosopher, and Adam: a six foot tall, 30 stone drag entertainer, whose stage name is ‘The Fat Tart'. (Support by Grizedale Arts)
Love is a Burning Thing ~ by Dave Griffiths (Manchester, UK / 2005 / 7' 40”)
Fiery bursts lurk between movie reels, signalling unseen mechanics. Projectionists watch and count the governing pulse, anxiously attempting to perform seamless changeovers. This film draws from an ongoing collection of cue-dot episodes that are painstakingly sifted and appropriated from free digital-TV broadcasts. This growing archive of near-redundant objects provides an archaeological means of remembering cinema's outgoing physicality, and a method of inquiry into narrative and perceptual processes.
Untitled (Dog) ~ by Alexander Heim (London, UK / 2006 / 4' 15”)
Shot in the suburbs of China's rapidly growing capital, Beijing; a stray street dog wanders around a busy road and for a moment makes it his place to rest, strangely disorientated and unaware of the threat by the cars. His inability to differentiate between manmade and natural environment makes him vulnerable, yet keeps him in charge of the situation in an almost glorious way.
Colours ~ by Hamish Dunbar & Jack Holden (London, UK / 2005 / 13)
Colours was inspired by a real character based in San Francisco known as the Red Man; an elderly gentleman, whom for no apparent reason always painted his face and hands in red paint and dressed impeccably in red clothes. The Red Man died in December 2002, aged 84. His unique appearance had killed him: the Chinese food colouring and other substances he had used to paint himself had poisoned his blood and damaged his internal organs. The film was created using extracts from the artists' personal archive of their own film footage, with the inclusion of new scenes featuring a red man.
Barenzirkus ~ by Jim Hollands (London, UK / 2005 / 7' 15”)
A found footage work depicting a Russian Bear Circus from the 1960's. Purchased from a second-hand shop in Liepzig, the artist re-filmed the Super 8 film on video and added his own sound. It provides a meditation upon the nature of abuse and heartbreak. The work contains images that some people may find upsetting.
Lenox ~ by Esther Johnson (Hull, UK / 2006 / 10' 15”)
Lenox is a look at the past and present of one of Buffalo's oldest hotels and the many stories contained within its weathered walls. A journey through a hotel's faded 1920's Art Deco interior, versus shabby retro Americana.
Humming ~ by Lisa Keiko Kirton (Aberdeen, UK / 2005 / 5' 30”)
A woman returns home after a night out, and we see her removing her adornments, slowly stripping away the facets of conventional beauty and becoming adopting her true state, whilst humming a tune.
Eden ~ by Rob Kennedy (Glasgow, UK / 2004 / 1' 49”)
A fragmented city of extraordinary light penetrates a brief staccato bombardment of words. Snatched glimpses of private worlds, drenched in the sulphur flood of city night, fight with these words, to tell a tale of waiting and desire. A story of maladjusted scale, set amidst the auditory fizz and crackle of electronic construction.
Derf ~ by Jeremy Newman (Ohio, USA / 2004 / 3' 58”)
Derf is a documentary video short about an alternative cartoonist from Cleveland, Ohio. From his teenage years with Jeffrey Dahmer, to garbage truck epiphany, it traces his path to underground celebrity. The story is told through his drawings and commentary.
Automatic Film 1 (In Another Place) ~ by Alex Pearl (Melton, UK / 2005 / 4' 30”)
Automatic Film 1 was made using a range of automatic camera operators and actors, which were let loose in a disused church.
Ghost Story ~ by Erica Scourti (London, UK / 2006 / 3' 50”)
In Ghost Story, Erica Scourti tells her life story as a collage made up of the titles of various celebrity autobiographies. The artist's own biography thus becomes a fragmented tale told in part very subjectively through the prism of memory. The line between real life and fiction is blurred, likewise calling into question the veracity of what is recounted in the cited books.
Cross Examination ~ by Josh Weinstein (New York, USA / 2005 / 5' 40”)
Cross Examination takes the man on the street interview into the realm of a sociological experiment in which the artist spontaneously asks strangers on the streets of New York about himself based on their immediate perceptions of him. The humorous and candid responses belie the complexity of the experiment.
Nowhere Man ~ by Marilyn Whittle (Hertfordshire, UK / 2006 / 1' 40”)
A digitally re-worked 16mm vintage, found-footage film, which shows the protagonist searching into archaic virtual reality goggles. As the film progresses it becomes apparent that his sense of self is lost, which culminates in his implosion.
VIDIOT IN CONTEMPLATION
Videoart Center Tokyo. Curator Yuki Yoshida. (Japan)
life IMAGED ~ by Kazumi KANEMAKI (2006 13min)
The juxtaposition of the images between a Western movie by Hollywood and the artist's routine life in the split screen, makes us compare the drama and the daily life. This also shows her daily life where surrounding images internalizes her. This work involves gender issues, since there is an attitude that as a woman it's hard to accept herself as the "Loser" in the Western movie.
Living in the Box ~ by Kentaro Taki+Naoya Ooe (2007 7min)
Body parts are displayed in the white box as specimen. Each part tries to seek something and these behaviors seem to remind ourselves of today's blockaded situation. This is the collaboration work with Naoya Ooe(operation) + Maiko Date(dancer) directed by Kentaro Taki. This is the short version of the original work.
AI ~ by Sung Nam HAN (2006 9min)
This is the second part from trilogy on "AI=sexual intercourse." In front of fusuma painting "Kaede-zu"by Tohaku Hasegawa(16c. painter), a couple make indirect intercourse by gazing each other. Their cross-gazing intercourses with the movements of fusuma painting. "At this moment, the couple are as if without heaven, without ground, without society, without people at all.
SHOT ~ by Nishiyama Shuhei (2007 11min)
Each “moment” of destructive force of the reality has been shot, recorded, and visualized. Set the boundary of before and after deconstruction at the 'moment' when image and sound of collision match together, and the artist visualizes idea of 'non-revertible'. This work deconstructs the image of deconstruction by differentiation, repetition, expansion and addition of image/sound of different moments.
Pathologic Video Practices ~ by Naoya Ooe (2006 2min)
The simulation of how audiences reacted to films in early times, evokes the sense of falsehood but new perspectives. The extendation relates to the reference to media that to release from captivity of information system.
The Lost in the Backyard of Surface ~ Naoya Ooe (2006 7min)
The simulation of how audiences reacted to films in early times, is a fiction but creates the new perspectives. From the point of video, this discloses the principles of imprisonment by the media information, and will be extended to the criticism against media.
Abrare Koinobori (GOLDENSHIT) ~ by Katsuyuki HATTORI+Yusuke SHINMURA (video performance 2005 15min)
This video consists of 6 acts of rhythmical and optical composition of a live quartet. The spectator encounters the boundary between the light and the image. A documentation of the premiere performance at Art Space Kimura, Tokyo in 2005.
Bild:Muell=Image:Junk ~ by Kentaro Taki (video installation 2006 5min)
A documentation of a video installation exhibited in Yokohama Portside Gallery in 2006. "Bild:Muell" means "Image: Junk" in German. The video collage projected on various shaped cubes simulates the cityscape overflowed with images/information.
More info: CeC'09