“Preloader as an Aesthetic Narrative”
by Jasper Elings
“Preloader as an Aesthetic Narrative”
ACRE TV is an artist-made livestreaming tele-vision network featuring live and canned videos, performances, durational works, and experimental broadcasts. It is run in the collaborative spirit of ACRE (Artists’ Cooperative Residency and Exhibitions). ACRE TV programs a series of two-month continuous streams based on a theme.
This season ACRE TV is pleased to present:
September 1 – October 31, 2014
A cornucopia of psychedelia, a delicate spread of the finest things, delicious and heady, sumptuous and somatic. Food films but also film foods. Cooking shows where the food narrates and the chefs are chevre. A mayonnaise malaise, half Erowid and half Martha Stewart, some things you need a half pound of, others much less.
If television delivers the people, ACRE TV delivers the Soylent Green, thinly sliced and mostly eyes and ears and brains. I stream, you stream, we all stream for mustard paintings and ketchup pairings. I’ve never seen the Food Network, but I assume it’s like this. A perfect time to watch weekly shows, to hear field recordings of fields, to tell the whole world about being a waiter for Godot.
Psychedelicatessen includes live performances by John Kilduff, Thad Kellstadt, Leslie Rogers, Ellen Nielsen, Anna Ialeggio, Mark McCloughan, Joseph Herring and Amy Ruddick; episodic shows by Elsewhere, Tara Nelson and Michael Wawzenek; and video works by Alpha Girls (Alma Alloro & Jennifer Chan), Blair Bogin, Jennifer Chan, Jerstin Crosby, Timothy D, Mitchell Dose, Clint Enns, GWC Investigators, Hooliganship, Thad Kellstadt, John Kilduff, Jodie Mack, Jesse Malmed, Hani Moustafa, Ellen Nielsen, Ben Popp, Leslie Rogers, Andrew Rosinski, Ben Russell, Joshua Gen Solondz, Toby Tatum, Michael Wawzenek, Sean Whiteman and The Whiteman Brothers.
Poster Design by Kera MacKenzie & Andrew Mausert-Mooney
Sandwich Design by Matt Mancini
Programming by Kate Bowen, Kera MacKenzie, Jesse Malmed, and Andrew Mausert-Mooney, with help from Elsewhere
dinca.org is now accepting and reviewing submissions for its upcoming iteration of Vision Quest. We’re currently accepting submissions of video, film, experimental media, moving image installation, realtime audiovisual performance, proposals for digitally exhibited commissioned artworks (DECA — more info on this to be posted soon), and more.
Based in Chicago and presented by dinca.org, Vision Quest is a three-day festival celebrating the most innovative contemporary moving image and media art culture from artists worldwide, with salient interest in supporting artworks made using unconventional processes and emerging technologies. Vision Quest is presented in a multimodal and multimedia format, where audiovisual performances are cross-pollinated with time-based media screenings and digitally exhibited commissioned artworks (DECA) to present a showcase of the most essential contemporary media culture.
Thus far, over 100 works have screened at Vision Quest, many of them being national and international premieres, and some of which were made by artists that have exhibited at a variety of festivals, museums, and galleries of note including: MoMA, Tate Modern, the Whitney Biennial, New York Film Festival, International Film Festival Rotterdam, Sundance, MCA Chicago, Threewalls, London Film Festival, Anthology Film Archives, Toronto International Film Festival, Los Angeles Film Forum, Images Festival, Ann Arbor Film Festival, Migrating Forms, Museum of the Moving Image NYC, Eyebeam NYC, Viennale Austria, and MoMA P.S.1.
Submitting is free of charge; if you’re interested in submitting, please complete the submission form below before October 7, 2014.
To better understand what we do and what type of work we’re looking for, we strongly suggest you look at our 2012 program & 2013 program. Also view photos from the 2012 program here and photos from the 2013 program here & here.
Submit here: http://dinca.org/dinca-vision-quest-submission-form
Spheres 1-20, 2013, 20 min, HD video, sound
by Sara Ludy
“In Spheres 1-20, ambiguous forms float in polygonal landscapes created from snippets sourced from Ludy’s wanderings of the internet, personal photos, and samples of computer-aided-drafting motifs. Taking two-dimensional screen captures and image-mapping them onto three-dimensional rotating forms, Ludy creates her Spheres as virtual architectures that refer to an amorphous and psychological space. Between each 1-minute episode of the video, abrupt cuts shift the focus to new structures while an audible synthesized drone changes pitch with each reveal, similar to the shift found between levels in video gameplay.
Ludy’s interest in spatial compositions stems from her lifelong captivation with video games, haunting second life and google warehouse looking for imagery and her professional experience creating immersive environments as a VJ for Los Angeles nightclubs. She pursues a sense of familiarity and the uncanny, pointing to the flexible spectrum of spaces designed for human habitation and the facsimiles of those spaces found online.” – Rob Hult, Klaus Gallery
A film by Chris Marker, 1996, 106 minutes
US Theatrical premiere, opens August 15th at Brooklyn Academy of Music (BAM)
A woman (Laura), a computer, an invisible interlocutor: such is the setup on which LEVEL FIVE is built. She “inherits” a task: to finish writing a video game centered on the Battle of Okinawa – a tragedy practically unknown in the West, but whose development played a decisive role in the way World War II ended, as well as in postwar times and even our present.
A strange game, in fact. Contrary to classical strategy games whose purpose is to turn back the tide of history, this one seems willing only to reproduce history as it happened. While working on Okinawa and meeting through a rather unusual network — parallel to Internet — informants and even eye-witnesses to the battle (including film director Nagisa Oshima), Laura gathers pieces of the tragedy, until they start to interfere with her own life.
Thalé by Barry Doupé
2009, 5 min, video, sound
Barry Doupé’s Thalé (2009) experiments with the phenomenology of light and colour through fiber-optic flower arrangements. Doupé’s animations are inspired by the Thale Cress plant, which is commonly used in biological mutation experiments. His rotating electronic floras, which resemble neon lights, sex toys and fireworks, glow in the dark digital void.
– Amy Kazymerchyk, Fabulous Festival of Fringe Film