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Map for “Treasure of Lima, a burried exhibition” by Constant Dullaart, 2014

15 December, 2014 by

Map-for-Treasure-of-Lima-a-burried-exhibition-by-Constant-Dullaart-2014

Map for “Treasure of Lima, a burried exhibition”
by Constant Dullaart, 2014

A “stainless steel 3d printed cylinder with encrypted location” made by Constant Dullaart for “Treasure of Lima: A Buried Exhibition.”

“Swoosh Composition” by Michael Bell-Smith

5 December, 2014 by

“Swoosh Composition” by Michael Bell-Smith

“Swoosh Composition”
by Michael Bell-Smith
Vinyl RV Decals
84″ x 76″

 

Review: Highlights of NYFF Projections 2014

26 November, 2014 by
Lorem Ipsum 1 (2013) by Victoria Fu

Lorem Ipsum 1 (2013) by Victoria Fu

Last month, the 2014 New York Film Festival unveiled the debut of the “Projections” program, a section of the NYFF that presents “an international selection of artists’ film and video work that expands upon our notions of what the moving image can do and be.” Previously known as “Views From The Avant Garde,” which was programmed by Mark McElhatten and Gavin Smith, this subterranean section of the NYFF has been a premiere destination for avant-garde and experimental cinema. With the Projections program, curators Gavin Smith, Aily Nash, and Dennis Lim moved the program in a noticeably new direction, a direction that is more open to exhibiting video work and the work of emerging artists.

We had the pleasure of viewing the many of the short works that exhibited at the 2014 NYFF’s Projections program and this article highlights some of our favorites.

 

Tomonari Nishikawa

Sound of a Million Insects, Light of a Thousand Stars
Tomonari Nishikawa, Japan, 2014, 2 min, 35mm, color, sound

Sound of a Million Insects, Light of a Thousand Stars is a conceptual celluloid film wherein artist Tomonari Nishikawa buries 100 feet of 35mm film negative underground near a Japanese countryside road that is 15 miles away from the infamous Fukushima Daiichi Nuclear Power Station. Nishikawa states that, “The area was once an evacuation zone, but now people live there after the removal of the contaminated soil. This film was exposed to the possible remaining radioactive materials.” The results are abstract and beautiful, producing blots and streaks in colors of marine, fluorescent green and cyan, and observing these colored marks jitter across the screen evokes contemplation over strange and powerful forces, e.g., nuclear energy and its latent ability to either help or harm humanity.

 Visit Tomonari Nishikawa’s website

 

Night-Noon-Shambhavi-Kaul

Night Noon
Shambhavi Kaul, Mexico/USA, 2014, 12 min, video, color, sound

In the opening of Shambhavi Kaul’s Night Noon, howling winds dust up sand and travel across the barren desert lands of Death Valley, poetically observing the interactions between the natural forces and Mother Earth and its inhabitants. Trekking across the land in a graceful and hushed manner, the film patiently captures the beautiful surroundings as it moves ahead to find large glistering bodies of water, strange rock formations, and living creatures like colorful parrots and wild dogs. Immaculately framed, and subtly stylized with moving compositions that sometimes verge on the surreal, Night Noon is an absorbing moving image portrait of the natural environments that exist far away from human life.

Visit  Shambhavi Kaul’s website

 

Fe26-Kevin-Jerome-Everson

Fe26
Kevin Jerome Everson, USA, 2014, 7 min, 16mm, color, sound

With Fe26, Kevin Jerome Everson documents two men from Cleveland, Issac ‘Ipleeza’ Chester and Jonathan ‘Streets’ Lee, as they move around the city scrapping metals from abandoned homes and from manhole sewer covers. It’s a brief yet nuanced glimpse into the lives of these two men, and Everson’s mellow and veritably sincere approach further establishes him as one of the premier contemporary artists working within documentary cinema.

Visit Kevin Jerome Everson website

 

jodie-mack-razzle-dazzle-still

Razzle Dazzle
Jodie Mack, USA, 2014 5 min, 16mm, color, silent

With Razzle Dazzle, Jodie Mack continues her mastery of the art of animation, creating a varicolored and sparkly film that quickly shuttles through many different fabrics and materials, especially those bejeweled with rainbow and glittery ornamentations that shimmer and reflect light, glittering and dazzling the eye of the viewer.

Visit Jodie Mack’s website

 

paul-clipson-Light-Year-still

Light Year
Paul Clipson, USA, 2013, 10 min, 16mm, color, sound

Energized by light, reflections, and spatial distribution in the urban world, Paul Clipson’s Light Year is an impressive piece comprised of countless superimpositions and multilayered images. The result is a beautifully natural moving image artwork, and Clipson’s framing configurations, image formations, and delicately complex use of color produce an organic unity of psychedelia that’s mesmerizing.

Visit Paul Clipson’s Website

 

Ken-Jacobs-Canopy

Canopy
Ken Jacobs, USA, 5 min, 2014, video, color, silent

Ken Jacobs’ latest piece presents a series of still images that gaze into a city sidewalk canopy from a construction site, and in typical Jacobs’ fashion, these images are manipulated, abstracted, and animated into undulating waves that flicker, dance, and glimmer.

Visit Ken Jacobs’ website

 

Victoria-Fu-Lorem-ipsum-still-image-2

Lorem Ipsum 1
Victoria Fu, USA, 2013, 13 min, 16mm transferred to video, color, sound

With fluorescent colors and vivid gradients, Victoria Fu’s Lorem Ipsum 1 experiments with moving image formats and software to create a hybrid film that’s compositionally playful and innovative. Fu’s experimentations with color, framing, and multiple image layers produce remarkable results; Lorem Ipsum 1 certainly is a standout piece of the 2014 NYFF Projections Program, and Victoria Fu is an contemporary artist to follow closely, simply because she continues to produce exciting and refreshing work.

Visit Victoria Fu’s website

 

Sone-SS-2014-Andrew-Norman-Wilson

Sone S/S 2014
Andrew Norman Wilson, USA, 2014, 11 min, video, color, sound

With Sone S/S 2014, Andrew Norman Wilson produces a conceptual video piece wherein a stationary camera surveils three different bank locations: the first sequence observes blue smoke pluming from a Chase Bank ATM; the second sequence monitors red smoke spreading from a Bank of America ATM; the third surveys green smoke rising from a TD Bank ATM. Smoldering smoke is colored-coordinated with the corporate colors of each bank; this provocative gesture is redolent of the US financial collapse of 2008, and the subsequent federal bailouts, along with the protests and activism that ensued.  A cryptically poetic voiceover ties these vivid images together, leading to the final act titled “Invisibility-cloaked hand gestures in offshore financial center jungle,” a longer sequence where invisible hand motions are superimposed atop of ferns, jungle treetops with monkeys, and the final images of foliage surrounding a waterfall, an image that appears so clean and sterile that might exist in a shopping mall.

Visit Andrew Norman Wilson’s website

 

Renaissance Centre Detroit Nicky Hamlyn

Renaissance Centre Detroit
Nicky Hamlyn, Canada/UK, 2012, 5 min, 16mm, color, silent

A simple, yet beautiful little film shot on 16mm, employing time-lapse exposures focused on the Detroit’s most iconic skyscraper, the Renaissance Centre, moving from day to night, through cloudy to sunny weather, as the electronic signage atop the GM Tower flickers between auto logos and baseball logos, typifying the substratum of american economics and culture.

 Visit Nicky Hamlyn’s website

 

Sound-of-My-Soul-Wojciech-Bakowski

Sound of My Soul
Wojciech Bakowski, Poland, 2014, 13 min, video, color, sound

Wojciech Bakowski’s Sound of My Soul employs animation, voiceover, music, and text to construct a strange, poetic, and presumably autobiographical piece that exists in the deep outer spaces of moving image-based art; it’s an estimably odd cinematic gem that one discovers and ponders; Bakowski’s experimentations with visual elements and composition produce satisfying results.

Visit Wojciech Bakowski’s website

 

Blake-Williams-Red-Capriccio-1

Red Capriccio
Blake Williams, Canada, 2014, 7 min, video, color, sound

Composed of found footage, Blake Williams’ Red Cappriccio is an anaglyph film set in the colors of blue and red. Opening with a peculiar and prolonged sequence centered around the flashing blue and red lights of a police vehicle, the film moves onward across winding roads and freeways to arrive at the destination of an empty basement rave room with beaming lights, and then abruptly ends with an image of a police car spinning donuts on pavement. With Red Cappriccio, Williams assembles a stylized and dreamlike short film that feels like a prolonged alternative title sequence to the COPS television show of the ‘90s, or like a collection of stylized b roll from a “Don’t Drink and Drive” or “Don’t Do Drugs” PSA — and it works well for this very reason — its atypical structure and hazy automobile travel provide a joyride of escapism.

Visit Blake William’s website

 

Seven-Signs-Sara-Magenheimer2

Seven Signs that Mean Silence
Sara Magenheimer, USA, 2013, 11 min, video, color, sound

A cryptic conversation between two computer voices anchors the fragmented structure of Sara Megenheimer’s Seven Signs that Mean Silence; it’s an experimental mnemonic device of video poetry that seemingly draws inspiration contemporary culture, digital art, and surrealist theory.

Visit Sara Magenheimer’s website

 

Mary-Helna-Clark-The-Dragon-is-the-Frame

The Dragon is the Frame
Mary Helena Clark, USA, 2014, 14 min, 16mm, color, sound

Mary Helena Clark’s The Dragon is the Frame is a moving image poem that floats around like a ghost or a free spirit, silently observing people, and stopping to stare at things. Its freeform structure enables it to jump around from place to place, with aesthetics bouncing from color saturated landscapes to moving patterns of houndstooth, from picturesque flowers to intimate moments of a young man styling his hair in the mirror as odd pop music plays. Moments with scrolling titles and voiceover ruminate over superficiality, fashion and society, and the film by and large pries into the ephemeral, ethereal, and emotional components of existence.

Visit Mary Helena Clark’s website

“Off the hook” by Pierre Clément, 2014

20 November, 2014 by

Off-the-hook-by-Pierre-Clément-2014

“Off the hook” by Pierre Clément, 2014
fishing rod, flat screen, video loop, variable dimensions

Photo credit: Vinciane Verguethen

“Fossile” by Pierre Clément, 2014

20 November, 2014 by

“Fossile” by Pierre Clément, 2014

“Fossile” by Pierre Clément, 2014

arrows, polystyrene, 87 x 27 x 18 cm

Photo credit : Vinciane Verguethen

“Mirage” by Pierre Clément, 2014

20 November, 2014 by

“Mirage” by Pierre Clément, 2014

“Mirage” by Pierre Clément, 2014

blank CDs, acrylic tubes, 125 x 70 x 11 cm

Michael Bell-Smith “Rabbit Season, Duck Season” at Foxy Production

2 November, 2014 by

Michael-Bell-Smith-Rabbit-Season-Duck-Season-1

Michael-Bell-Smith-Rabbit-Season-Duck-Season-3

Michael-Bell-Smith-Rabbit-Season-Duck-Season-4

Michael-Bell-Smith-Rabbit-Season-Duck-Season-2

Michael-Bell-Smith-Rabbit-Season-Duck-Season-5

Michael Bell-Smith
“Rabbit Season, Duck Season”
10 Oct 2014 – 26 Nov 2014 at Foxy Production, NYC

All images © Foxy Production

Hair Flip by Mike Fleming, 2014

26 October, 2014 by

Hair-Flip-by-Mike-Fleming


“Hair Flip (The End of Authentic Gestures)”
by Mike Fleming, 2014, kinetic sculpture, 20′ x 6′ x 8′

mannequin head, pvc, steel base, plastic barrel, pneumatics, air compressor, vinyl backdrop, backdrop stands, microcontroller

 

Laure Prouvost “For Forgetting”

20 October, 2014 by

New Museum, NYC, 2014, Laure Prouvost ©Benoit Pailley

New Museum, NYC, 2014, Laure Prouvost ©Benoit Pailley

Laure Prouvost "For Forgetting" New Museum Exhibition

New Museum, NYC, 2014, Laure Prouvost ©Benoit Pailley

Laure Prouvost
For Forgetting
New Museum, NYC, 2014

Images © Benoit Pailley; found via Contemporary Art Daily.

 

ACRE TV presents: Psychedelicatessen, Sept 1 – Oct 31, 2014

28 August, 2014 by

ACRE TV presents: Psychedelicatessen. poster by Kera MacKenzie & Andrew Mausert-Mooney & Matt Mancini

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:

Psychedelicatessen
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 KilduffThad KellstadtLeslie RogersEllen NielsenAnna IaleggioMark McCloughanJoseph Herring and Amy Ruddick; episodic shows by ElsewhereTara Nelson and Michael Wawzenek; and video works by Alpha Girls (Alma Alloro & Jennifer Chan)Blair BoginJennifer ChanJerstin CrosbyTimothy DMitchell DoseClint EnnsGWC InvestigatorsHooliganshipThad KellstadtJohn KilduffJodie MackJesse MalmedHani MoustafaEllen NielsenBen PoppLeslie RogersAndrew RosinskiBen RussellJoshua Gen SolondzToby TatumMichael WawzenekSean Whiteman and The Whiteman Brothers.

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For full program, artist, and schedule information please visit:
ACRETV.org

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

Robert Beatty Performance; OM Rider, Takeshi Murata Screening at LAMPO, 6/21/14

17 June, 2014 by
Takeshi-Murata-Robert-Beatty-OM-Rider

Takeshi Murata. Colorado, 2014 (still); digital animation with sound design by Robert Beatty. Courtesy of the Artist and Lampo.

THREE LEGGED RACE
(ROBERT BEATTY)
Saturday, June 21, 2014, 8pm
Graham Foundation @ Madlener House
4 West Burton Place, Chicago, IL
Admission FREE; RSVP here 

On June 21, 2014, American artist and electronic musician Three Legged Race (Robert Beatty) closes out Lampo‘s spring 2014 season with a performance and screening of new and recent work, as well as sound and video collaborations with artist Takeshi Murata, including the Chicago premiere of OM Rider and a new video piece commissioned by Lampo. 

The program will also include three recent Takeshi Murata works including:

  • I, Popeye (2010)
  • Night Moves (2012)
  • Problem Areas (2013, for Oneohtrix Point Never)

RSVP here.

About Robert Beatty
Robert Beatty (b.1981, Lexington, KY) is an artist and electronic musician who performs solo under the name Three Legged Race. He is a long-running member of the bands Hair Police, Eyes and Arms of Smoke, and C. Spencer Yeh’s Burning Star Core. Through Beatty’s collaboration with video artist Takeshi Murata, Three Legged Race has performed at the Ullens Center for Contemporary Art, Beijing, China; Deitch Projects, New York; the Mattress Factory, Pittsburgh; and the New Museum, New York. In 2013, Beatty released the acclaimed “Soundtracks for Takeshi Murata” (Glistening Examples), a collection of his audio work for Murata. Beatty’s performances and recordings explore the repetition and decay of simple musical themes, evoking minimalist sci-fi soundtracks, clouded hypnotic landscapes, and primal industrial techno. He lives in Lexington, Kentucky.

Robert Beatty first appeared at Lampo in October 2008, when he premiered a two-movement work, “Falling Order I and II.” In March 2010, he and Takeshi Murata appeared together in the Lampo series, in a live performance and screening co-presented by Lampo and Conversations at the Edge.

About Takeshi Murata
Takeshi Murata (b.1974, Chicago, IL) graduated from the Rhode Island School of Design in 1997 with a BFA in Film/Video/Animation. In 2007, Murata was the subject of a solo exhibition, Black Box: Takeshi Murata, at the Hirshhorn Museum and Sculpture Garden in Washington, DC. His work has been included in solo and group shows at The Museum of Modern Art, New York; Museum of Fine Arts, Houston; Yerba Buena Center for the Arts, San Francisco; Taka Ishii Gallery, Tokyo, Japan; Peres Projects, Los Angeles; Gavin Brown’s Enterprise, New York; Eyebeam, New York; FACT Centre, Liverpool, UK; Contemporary Arts Center, Cincinnati; Mattress Factory, Pittsburgh; New York Underground Film Festival; Smack Mellon, Brooklyn; Foxy Production, New York, and Deitch Projects, New York, among others.

About OM Rider (from Electronic Arts Intermix)
In OM Rider, Takeshi Murata deftly weaves the aesthetics of retro-noir, video games, and Italian giallo film into a cinematic exercise in cool, narrative minimalism and distilled rebellion. In a vast desert bathed in neon hues, a misfit lycanthrope blasts syncopated techno rhythms into the night. Meanwhile, an old man sits at a large, round table in a void-like space, rigidly sipping coffee and rolling snake-eyed dice as the faint sound of the werewolf’s pulsating, phantasmic synth grows louder. Hopping on his motorcycle and ripping a bowl, the werewolf tears full speed ahead over forbidding terrain while his hoary counterpart becomes increasingly anxious…

At once opaque and thrilling, OM Rider expands upon Murata’s previous 3D character-based animation and references to horror cinema, benefiting from the integral collaboration of longtime composer Robert Beatty, here joined by musicians Devin Flynn and C. Spencer Yeh.

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