Sunday May 19, 7pm
organized & presented by Jesse Malmed
featuring works by Mary Helena Clark, Clint Enns, Claire L. Evans, Duane LInklater, Christine Negus, Chris Rice, Fern Silva, and Deborah Stratman
admission $6

Still from “The Thing Is Not The Thing Named” (Deborah Stratman, 2012) – © image courtesy of the artist

For the third time in almost as many years, artist and curator Jesse Malmed returns (this time from Chicago) to Microscope Gallery to present visionary cinema. Featuring works by Mary Helena Clark, Clint Enns, Claire L. Evans, Duane Linklater, Christine Negus, Chris Rice, Fern Silva, and Deborah Stratman.

Jesse describes the night as:
“The space betweens: Tool Time times ten times time, two-tiered translation, hyperspace hypnospace, hot air balloons, Kurt Kren, the trees, the audition, the proscenium wings, smoke on the water, the stars singing back.”

A program for, of and by the pore-explorers seeking what’s between the seen and what meaning can be gleaned from the synaptic. Sites of transition and transposition reveal that the heat is often in the imaginative distance between the nameable. These artists—whose work has shown cumulatively in contexts like the Whitney Biennial, Documenta, Rotterdam and the Deep Leap Microcinema—each evince a fascination with these nether spaces that is distinct in its method and aims, but work together and apart as friendly bedfellows. The hope is that the spaces between the works—the small ways large files bristle up against each other in the darkness of the cinema—open up the meanings and feelings of their borders.


(in particular disorder)

8 Seasons (excerpt)
Chris Rice, 2011, color, sound, video, 8.5 min
excerpted from a 33 minute work
The abutments, transitions and neighborly fences of Tim, his family and his show.

Passage Upon the Plume
Fern Silva, 2011, black & white, video, 6 min 44 sec
“Those who go thither, they return not again.”

OK to GO
Claire L. Evans, 2008, color, sound, video, 5 min 45 sec
Chain of hyper space scenes from films (a collaboration with Mike Merrill). Part of the thing which is so appealing about hyper space scenes in films is the idea that something fantastic and unknown lies at the end of them. In fact, here are the primary uses of Warp Speed/ Hyper Space as plot device:
A) Tunnel to unknown.
B) Escape from danger via total oblivion.
Both represent a kind of inversion, or temporary lifting, of the accepted order.

The Thing is Not the Thing Named
Deborah Stratman, 2012, video, 10:50 min
In support of experiences that are essentially common, but to which language does not easily adhere, the video passes through places that are both themselves, and stand-ins for others. The title is taken from Aleister Crowley’s 1918 translation of the Tao Te Ching.

For, Like, Ever
Christine Negus, 2010, color, sound, video, 6 min
A three-part animated video that humorously reflects on oblivion and death.

It’s Hard to Get into My System
Duane Linklater, 2010, video, color, sound, 6 min
An exercise in interpretation and translation. “The piece poses many questions: Is it possible for these disparate musical forms to communicate? What are the outcomes of this attempted communication?

Splice Lines
Clint Enns, 2012, video, color, 49 secs
Splices from Kurt Kren’s 6-64 Mama und Papa

By Foot-Candle Light
Mary Helena Clark, 2011, video, color, sound, 9 min
Scenes from the proscenium wings. A film imagined and recounted by foot-candle light. You close your eyes and, suddenly, it is dark.—Mary Helena Clark
Expect surprises.

– –
Chris Rice lives in New York where he recently co-curated the CKTV program with Cleopatra’s which just ended runs at BAM and the Shanghai Biennial.

Fern Silva splits his time between New York, Chicago and the world. A voracious traveler, he takes inspiration and images from the far reaches of a globe only sometimes aware of its ization.

Claire L. Evans lives in Los Angeles where she co-fronts the band/business/belief system YACHT. Mike Merrill is a publicly-traded person living in Portland. He was the subject of a recent feature in The Atlantic among other publications.

Deborah Stratman lives in Chicago. She is the subject of a mid-career retrospective at MoMA from June 21st-30th.

Christine Negus lives in the other London (Ontario) where she makes sad/happy, ironic/hopeful glittery party banners, neon signs, videos, t-shirts and the like.

Duane Linklater is Omaskêko Cree from Northern Ontario, where he still lives. His recent collaborative film project with Brian Jungen, Modest Livelihood, was presented  at The Banff Centre in collaboration with dOCUMENTA (13) before traveling to the Logan Center at the University of Chicago.

Clint Enns lives in Toronto where he is completing a second Master’s, this time in Cinema and Media Studies. The first was in Mathematics. His thesis was titled “Pure embeddings and pure-injectivity for topological modules,” which may also be a great way to describe his art.

Mary Helena Clark lives in Oakland. Her works have shown most everywhere and her ghosts haunts Chicago. Maybe Baltimore too.

Jesse Malmed is an artist and curator living and working in Chicago.

Still from “Passage Upon The Plume” (Fern Silva, 2011) – © image courtesy of the artist

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