FILMIDEO 2016

Amy Cannestra: that Sweet, that Nasty, that Gushy Stuff (Wisconsin) 1:53
This video is a compilation of an 18 channel video installation. that sweet, that nasty, that gushy stuff is a group of videos that objectifies the human body, and humanizes the object.

Carson Grubaugh: The Abolition of Man (USA) 18:17
A re-reading of an excerpt from C.S. Lewis’ lecture “The Abolition of Man.”

Dominique Duroseau: Prison l Prisoner reprised with Nigger in mind (NJ) 05:00
This piece revisits a hooded contraption I made entitled “Prison[er]” (2011) that you raise over your head and then tediously screw shut; it questions the ideals of mental and physical imprisonment as well as self-imprisonment. “Prison | Prisoner reprised with Nigger in mind” continues to address these issues, bridging past conditions of our culture with current issues and systemic processes which target Persons of Color. The video is a fixed-camera shot that depicts the artist slowly and steadily breathing, with a heavy chain wrapped taut around her neck, restricting her air-flow.

Rose Cleary: ayo (UK) 9:24
Within an increasingly online and technologically based society, identities are transcending the “real”, becoming virtual. This mirrors Ray Kurzweil’s Singularity prediction (that technology will alter the human race irreversibly through genetic augmentation). With new technologies taking a growing role in physical relationships (Tinder, Oculus Rift porn functions, etc) I want to examine the idea of the human physically merging with the machine, in a very human way – exploring touch, simulating sensuality. Acknowledging the connotations of this exploration as a video piece, how will a woman’s expression of desire be received?

John Kelley: Still (Arkansas) 3:09
“Still” is an illustration of the inherent tension between stillness and movement, as it relates to a narrative image. Shot in the style of a series of popular screen stills from Stanley Kubrick’s “The Shining”, this short video examines the role of stillness and still images as representatives of movement, and vice versa.

Dénes Ruzsa: Footprints (Hungary) 5:37
The expansion of human civilization in space seems not much longer a fiction like decades before. Slowly 50 years after the lunar landing, man looking for the possibility of long-term survival on Mars. The digital footage is mixed with some kind of „analogue collage”. The animated frames were projected to different objects and surfaces with a low light projector. The projection were recorded as moving picture again and combined with the original one. In the final work we did not wanted to over-emphasize the collage, which we have arrived. These parallel screens fit to the theme of the film.

Eric Parren: Drifting (CA) 13:40
The synthesis of analog video and analog audio is based on oscillations. Audio uses oscillators at a lower frequency than video, but in general creating the signal for analog audio and video is based on the same principals. Drifting is a study of these oscillations and was created using vintage video synthesis equipment coupled with contemporary audio synthesis modules. In the mid 70s engineer Bill Hearn built the Hearn Videolab after a conversation with video art pioneers Bill Etra and Steve Rutt. The design of the Videolab was based on Don Buchla’s architecture for modular audio synthesizers which he pioneered a decade earlier. The Videolab is a modular voltage controlled video synthesis system that can be used to process and produce a wide range of video. For Drifting the focus was on the synthesis capabilities of the system by combining multiple oscillators to create patterns. These patterns were routed through other video processing modules, such as the Jones Colorizer. By also routing the video into, and out of, a modern Eurorack modular audio synthesizer feedback and modulation patterns emerged that introduced unpredictability into the signal flow. The unstable nature of the analog system -producing its inherent drifting- became a defining characteristic of the audiovisual instrument. The film was recorded as an in-studio live performance at the Signal Culture artist in residency.

TangenT Art Collaborative: RedAct mural video (PA) 14:23
The expansion of human civilization in space seems not much longer a fiction like decades before. Slowly 50 years after the lunar landing, man looking for the possibility of long-term survival on Mars. The digital footage is mixed with some kind of “analogue collage”. The animated frames were projected to different objects and surfaces with a low light projector. The projection were recorded as moving picture again and combined with the original one. In the final work we did not wanted to over-emphasize the collage, which we have arrived. These parallel screens fit to the theme of the film.

Hye Young Kim: Blue Hysteria (NC) 2:35
I question how to define and who decides normality/abnormality in female bodies by creating a series of hysterical actions with Barbie doll as a metaphor of an idealized, regulated and stereotyped female body. In Blue Hysteria, I tried to transform hysterical female bodies from inappropriate and uncontrolled psychological disorder to refusal to be a beautiful object and resistance against body regulation like flapping the wings for entire freedom.

Irena Pejovic: YOU ARE A MOBILE ARCHITECTURE 2015 Excerpt (NJ) 20:42
Body, Wind and Fabric –

Stephen Douglass: Siege Device#8 Commutable Part #5 When is the present Video Loop (USA) 16:16
Exhaustive techniques of repetition and permutation challenge the ‘nowness’ of the present.

Jane Turner: Things as they are, as they are in a dream (UK) 3:12
A short film made locally showing the coexistence of nature and culture. When I made this film I realized that the veil of culture does not conceal anything and that nature and culture exist both dependently and independently at the same time.

Jesse Chun: Subtitles (NY) 5:25
“Subtitles” is a conceptual poetry piece that employs the trope of a film narrative. From a research-based process, I collect select texts and colors from various interior design magazines. The appropriated words and hues are re-arranged into new conversations about home, desirability, memory and displacement.

Jessica Fenlon: monkeyBoy (IL) 5:37
Data decay animation; opening 30 seconds are silent. All digitally-destroyed looks are intentional, there’s nothing wrong with your computer. Malaise. How can you go to the job they say you have to have, when they don’t have one to give you. Something about blame, scapegoats, numbing out, getting lost.

Lance Rautzhan: Nobody Ever Drowned In Their Own Sweat (PA) 4:07
Since 2008, I have been jumping rope in my studio in front of whatever it is I’m working on. It forces my concentration away from the physical strain of 30 minutes of exercise and onto the intellectual gymnastics it requires to make my work. The video itself is a parody and archetype of what to takes to be an artist in America today.

Amanda Kline: Closer (OH) 1:48
On one side of the screen a bug writhes on the ground, most likely in the final moments of life. On the other side, a human attempts to mimic the bug’s movements, hoping to erase, if only for a moment, the constructed hierarchy of life that places humans above all else. Closer is an expression of the complex and various relationships that humans have with nature. At once sublime and terrifying, nature exerts a magnetic pull over humans. Yet, food and housing technology physically separates us more each day. We satisfy the desire to get closer to nature through artificial means; images of grand vistas on our computer backgrounds, faux wood grain covering our coffee tables, and taxidermied animals on our walls. Photography and video counters this by making the natural world easily accessible through images.

Irena Pejovic: With Floor – A Moving Sensing Event (NJ) 8:19
Video recording of a moving-sensing event, walking on an uneven surface, wet and dry, soft and rough.

Blazo Kovacevic: Probe (Montenegro) 20:00
Probe: recorded live streaming video of the airport screening (Montenegro)
Live video from the screen of the X-ray baggage scanners, located at the undisclosed international airport, was streamed to the gallery spaces during the exhibition reception. For one day and for 20 minutes only visitors in the several galleries as well as online viewers were able to peek into the privacy of random passengers, without knowing anything about their true identity. Rather, they have had the opportunity to imagine persons and personalities based solely on their luggage content.