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The event will start on: Saturday Jul 21, 2012, 08:00 pm
At SAW Courtyard
67 Nicholas Street
Posted by: dorothysbff
Young Americans: More New Fringe Film and Video from the USA
Young Americans is part of Red/White/Blue: New American Fringe Film and Video, a six-part series that showcases diverse, emerging artistic talents from the United States, taking place from July 13th to July 21st 2012.
This screening presents short film and video works by a variety of emerging American artists in the early stages of their careers. These artists come from diverse geographic areas across the United States, as well as from diverse social and cultural backgrounds, and many of the works in this programme were made while the artists were still students.
Featuring an eclectic mix of found footage, animation, performance and formal experimentation (often charmingly low-fi and DIY), this programme takes the viewer on a journey through reappropriated YouTube videos, experiments with projected light, grainy analogue video effects, hacked 16-bit video games, dance rehearsals, occult magic and botanical surveys of flora and fauna. Join us for this screening showcasing the remarkable imagination of the next generation of American film and video artists.
oops (Chris Beckman, Springfield MO, 2009, 10 min.)
Somewhere between a home-video mixtape and a virtual travelogue, oops is composed entirely of appropriated YouTube videos, seamlessly stitched together via a motif of camera accidents. It serves both as a transportative adventure and metaphorical elucidation of YouTube itself (i.e. endless related videos), exemplifying the Internet’s infinite repository of “throwaway” social documentation. From suburbia to subterranea, the radically shuffling environs induce a vertiginous yet aesthetically contextual thread — a transcendent, reincarnating POV; our omnipresent camera — by which the nature of the verité videos, eschewing any filmic grounding, plunge the viewer into a relationship of fleeting immediacy with their many videographers.
Projections (Kendra Ryan, Los Angeles CA, 2010, 2 min.)
A repetitive pan of colour bars passes over multiple spaces to reveal images: a doorknob, a girl, a cat, a cord. Background replaces foreground in this incredible trompe l’oeil that creates a faux projection, where we sense that we are in the rooms themselves, where dreams and memories reside. One motion over multiple spaces becomes an exploration of memory, at once present and past.
Transmissions (Grey Gersten, Brooklyn NY, 2008, 3 min.)
There exists a deeply confessional element involved in our private interactions with technology. We confide in machines because the illusion of their detachment creates a false sense of anonymity. Transmissions examines how automatons facilitate interactive fantasy realms in direct response to our unspoken emotional projections. The virtual dream space aspires to be a reflection of the individual but is not autonomous. Fallout data arbitrarily collides and resonates within a larger network of users. This network can be thought of as a sentient organism, one that feeds and redistributes our collective subconscious.
The Well of Representation (Evan Meaney, Knoxville TN, 2011, 7.5 min.)
In part a remake of Hollis Frampton’s Gloria! (1979), in part a repurposing of hacked, 16-bit video game technology, The Well of Representation asks us to reconsider our fear of the liminal. Following the convergent narratives of several voices, ranging from the linearly historical to the cybernetically personal, we come to understand the journey ahead: searching from interface to interface, knowing that whatever home we find will be a collaborative compromise, one where we might live beyond our representations and finally come to say what we mean.
Reflection (Jillian Peña, Brooklyn NY, 2010, 9 min.)
Reflection is a study in the process of making a dance performance. Created improvisationally during a residency at Archauz in Århus, Denmark, the video depicts a choreographer and her 5 dancers rehearsing with a tech director to transform their space. They look at place as a technical overlay, but aim to depict it as being created by their bodies.
The Language of Leaves (Micki Pellerano, New York NY, 2006, 6 min.)
The Language of Leaves is a procedure of spiritual Alchemy performed through the medium of film. Utilizing Hermetic archetypes and symbols, it serves as an evolutionary vehicle through the Alchemical process known as Putrefaction and its various stages.
Cataract (Alexis Eggertsen, Seattle WA, 2008, 5 min.)
Cataract is a meditation on the origins of behavior and of transformation. The viewer is submerged in the silver sea of the psyche. The milky blindness of the visual cataract surges into a mythic foaming surf, a dormant birthplace for a new way of sensing and knowing. Facing departure and seeking metamorphosis, Cataract sensually dips its filmic toes into the synaesthetic undertows of the unknown.
Aesthetic Species Maps (David C. Montgomery, Fernandina Beach FL, 2009, 7 min.)
A time-based detail of the range of shapes and patterns within several species of flora and fauna, which were collected, grown and scavenged from around the artist’s home and then animated with a flatbed scanner. Subtle differences between one frame or specimen and the next create hypnotic, pulsing motion, and visualize the genetic diversity of forms which simultaneously reflect balance, symmetry, and an infinite potential for variation.