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PART I

 











































© All images are copyright and courtesy of the artists


Imaginario (Imaginarium)

Jeymer Gamboa, Super 8mm to digital, b/w, sound, 2013, 7min 17sec
With Imaginarium, I wanted to address the subject of memory linked to the public space of the city of Buenos Aires, filming its most representative sculptures and monuments or those that struck me the most. In this way, my intention was to leave open questions regarding the representation of historic events and important figures, myths and other fictions, through the city’s sculptures. – JG

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Jeymer Gamboa (1980), San José, Costa Rica.  He majored in journalism and film production at the University of Costa Rica, and is part of Bisonte Producciones, a Costa Rican film collective. He has lived for the past six years in Buenos Aires, Argentina, where he studied Image and Sound Design. Among the short films he has directed are De cómo mirar a través de una ventana con ladrillos, Marino de tierra, and Rastros. He is author of the poetry book Días Ordinarios.

Sky

Cory Kram, video, col, sound, 2013, 3min 13sec
The Sky is alive. It is made up of faces we cannot see. The cosmic energies expelled from the large eyes of these faces influence our everyday lives. A collage composed of images gathered from Woman’s Day magazines of the 1970s.

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Cory Kram is a multidisciplinary artist living in southern New Jersey. She spends most of her time in Philadelphia working as a studio assistant for two sculptors. She is greatly inspired by abandoned honeymoon resorts and public transportation.

The White Coat Phenomenon

Kristin Reeves, video (transfer from VHS), col, sound, 2012, 3min
The body holds secrets confessed in examination rooms through expert techniques. Truthtelling clinical media has the authority to objectively answer what is found within physical bodies and processes. The White Coat Phenomenon uses found material from a distressed VHS training series on how to give examinations and the first ten questions of The Sexual I.Q. Test to analyze our understanding of sexuality and clinical subjectivity.

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Examining the examiners, Kristin Reeves investigates the poetic (mis)translations between physical and virtual bodies using still and moving forms. She has collaborated in over 20 performances including the Tony Fitzpatrick American Trilogy at the Steppenwolf Theater and the Pierogi Boiler Room as well as screening solo works internationally including the European Media Arts Festival and Revelation Perth. Currently she can be found at Ball State University where she is an Assistant Professor of Photo/Video/Intermedia Art.

Kill Me Now Abs

Rachelle Beadoin, video, col, sound, 2013, 6min 10sec
In this series of videos, I complete a workout from the website the Daily HIIT. I composite the video of my performance with the original video featured on the site. The idealized body of Lisa, the instructor, stands in contrast to my body and her performance of the exercises is sharper, faster and more explosive than I can perform, creating a somewhat humorous and awkward visual comparison.

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Rachelle Beaudoin is an artist who uses video, wearables, and performance to explore feminine iconography and identity within popular culture. She attended the College of the Holy Cross and holds a Master’s degree in Digital+Media from Rhode Island School of Design. She has exhibited at Intimacy: Across Digital and Visceral Performance Goldsmiths London UK, the University of Lapland in Rovaniemi Finland, Low Lives 3 and Itinerant Festival of International Performance Art, Queens NY. She was a Spring 2013 Artist-in-Residence at Anderson Ranch in Snowmass CO. She will be a Fulbright artist-in-residence at quartier21 in Vienna, Austria in 2014.

U No U Wnt 2 Kiss ME

Kevvy Metal, digital video, col, sound, 2013, 3 min 3sec
The mind’s eye as external voyeur in an alien world IRL or URL where male gaze and machine gaze are one.

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Kevvy Metal is a filmmaker and media artist who was born in Western New York at the end of the year 1989.  He packed up and left his small town, moving to Boston, MA to study film and philosophy.  He has since moved to Brooklyn, NY to explore this grand Mecca of Art and, among other things, truly live on his own; a modern day explorer in a vast forest of stink and rats (O! The Odor of this town!).  He is co-founder of the VHS tape publication MONOBROW.

Thin

Douglas Urbank, 16mm, color, silent, 2012, 8 min    
Experiment in narrowness in four parts.  The twin worlds of nature and childhood, viewed as abstractions.  Made from altered found footage, hand-painted film leader, and overlays.

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Douglas Urbank is an experimental filmmaker with a background in sculpture and drawing who began working with film in 2008.  Since 2001 he has hosted a radio program devoted to experimental, improvisational, and other unconventional music and sound art, and since 2009 he has been a member of the Fort Point Theatre Channel, an independent theatre company that brings together an ensemble of artists from the worlds of theater, music, and visual arts.

Always Nowhere

Liz Roberts, video, col, sound, 2013, 2min 29sec
A road movie where nobody goes anywhere. Excerpt from expanded cinema installation in which the viewer immerses inside the car to see the movie. Window film and rear projection turn all the auto glass to screens. The car speakers become a soundtrack of voice-over and music.

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Liz Roberts was born and raised in the middle, Wisconsin and Iowa, then spent her adulthood in the east, New York and New Jersey. Her film and video work has been shown at Ann Arbor Film Festival, Chicago International Film Festival, and the Knitting Factory, among others. She is currently an MFA candidate at Columbus College of Art & Design.

1997

Byron Chan, video, col, sound, 2012, 2 min
1997 is a single channel looped piece that raises questions about ongoing political issues in Hong Kong, China from 1997 onwards. After the first Opium War ended in 1842, the British Empire claimed Hong Kong. Since then, Hong Kong has become one of the most diverse cities in the world. China eventually resumed control of the land in 1997. However, change in government control resulted in chaos among the people. Most Hong Kong citizens believed that if China resumed control of their land, that they would begin to lose transparency of media and of government operations. 1997 depicts the mind-set of the people throughout that time period. I am among the last generation to witness this transformation. As the years go by, and as China continues to govern the region, the cultural diversity that has come to exemplify Hong Kong is slowly degrading.

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Byron Chan is an emerging media artist currently studying Integrated Media at the Ontario College of Art and Design University in Toronto. Chan works with an array of mediums ranging from painting to electronics. Current and recent works of Chan’s use video as a medium to explore the relationship between the digital era and modern culture. His recent projects include 1997 and Google Home. 1997 is a single channel loop piece that raises questions concerning ongoing political issues in Hong Kong, China from 1997 onwards. Google Home is a large scale projection investigating the relationship between digital media and the human body.

Terminal Island

Xiaowen Zhu, HD video, col, sound, 2013, 10min 50sec
Terminal Island reflects a visual and psychological journey inside a recycling company, where the world of materials ends and restarts. Through nuanced manipulation of documentary footage, the artist is interested in presenting an alternative perception of time and space in a physically specific and yet philosophically ambiguous environment.

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Xiaowen Zhu is a media artist, scholar and curator. Described as a visual poet, social critic, and aesthetic researcher. She uses video, photography, performance, installation and mixed media as platforms to communicate the complicated experience of being an international and to wrestle with the notion of a disembodied identity. Her questions are often raised from her observation and reflection as a critical thinker and an active communicator. Zhu is currently based in Los Angeles, USA. She received her MFA in Art Video from Syracuse University, USA and BA in Film, TV Production & Media Art from Tongji University, China. Zhu’s works have been shown at Art Basel Hongkong, ZKM | Center for Art and Media (Karlsruhe, Germany), V2_Institute for the Unstable Media (Rotterdam, the Netherlands), ISEA2011 (Istanbul, Turkey), Dumbo Arts Center (New York, USA), Videonale (Berlin, Germany), Museum of Contemporary Photography (Chicago, USA), Strozzina Art Space (Florence,Italy), Sainsbury Center for Visual Arts (Norwich, UK), DOK Munich (Munich, Germany), Everson Museum of Art (Syracuse, USA), Shanghai eArts Festival(Shanghai, China) and more.

All the Songs God is Responsible for According to Grammy Awards Acceptance Speeches, 1971-2012

Rocky Horton, video, col, sound, 2012, 2min 49sec
This work is a distillation of a little examined aspect of Pop culture. The work uses the Grammys as a metaphor for the complex and often comic relationship between religion and American culture.

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Rocky Horton was born in Arlington, Tennessee. He attended college at Harding University.  After graduating with a Bachelor of Science degree in Art, he lived and work in Italy, first Milan then Naples, for approximately two years. He received an M.F.A. in studio art from West Virginia University in December of 2003.  Since that time He has served as Associate Professor of Art at Lipscomb University in Nashville, Tennessee.

The Sight

Jeremy Moss, 16mm to digital, color & b/w, sound, 2012, 4min 9sec
A song of creation: immaterial spawns volatile matter; obfuscated landscape emerges from splintering celluloid.
Hand-made July 2012 at the Independent Imaging Retreat (Film Farm) in Ontario, Canada – a film about process,
about ways of seeing and looking through the celluloid membrane.

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Jeremy Moss (b. 1978, Saint George, UT) is an artist, teacher, and curator living in Lancaster, Pennsylvania. He was raised in the stark desert landscape of the American west, and his films and videos often stem from that severe terrain and the religion and culture that permeate the land of his upbringing. He earned an MFA in Filmmaking from Ohio University and a BA in English Literature from the University of Utah.  Currently, he is an Assistant Professor of Film & Media Studies at Franklin & Marshall College, and an active member of the curatorial collective Moviate.

Hey There, Mr. Lonely Heart

Clint Enns, buried 16mm to digital, col, sound, 2013, 2min
John Denver provides a lesson about self esteem and the personal benefits of caring.

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Clint Enns is a video artist and filmmaker from Toronto, Ontario, whose work primarily deals with moving images created with broken and/or outdated technologies. His work has shown both nationally and internationally at festivals, alternative spaces and microcinemas including Onion City, Images Festival,  He has recently received a Master’s degree in Cinema and Media from York University. His writings and interviews have appeared in Millennium Film Journal, Incite! Journal of Experimental Media and Spectacular Optical.

Arachnophilia

Stephanie Wuertz, video, col, silent, 2013, 4min
A single take exploration of the relationship between two porous surfaces: the spider’s web and the camera’s lens.

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Stephanie Wuertz is a moving-image artist, curator and media producer based in New York. She has exhibited, screened, and performed live projections of her work at White Box Gallery, Plug Projects, Kansas City, Microscope Gallery, The New Museum, Milwaukee Underground, Chicago 8: Small Gauge Film Festival, CoExist Gallery, Experimentica in Whales and Cherry Kino Lab.

PERFORMANCE













Tag Sale Cosmology

Erica Magrey, video (interactive), 2012-13, 7min
“Tag Sale Cosmology” is an interactive video database that explores the latent potential of discarded and decorative objects. The title refers to inspiration triggered by items found at tag sales, thrift stores, and flea markets, and in a greater sense, by cultural detritus in general. The project’s video menu allows the user (or in this case, the audience) to select an object of their choosing, investigating its capacity to eclipse its static function. By elevating these items for examination, we acknowledge their potential to inform us of our own greater purpose, providing vital feedback in the cosmic scheme of trash and treasure.

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Erica Magrey is a video, mixed media, and performance artist who has exhibited and performed in galleries, music venues, alternative spaces, and on public access television, in New York, across the US, and internationally. Highlights include screenings and performances at The Kitchen, Socrates Sculpture Park, Kaskadenkondensator Basel, and Dixon Place, and events for PS1, NADA and Deitch Projects. Magrey was the 2011 NY Artist in Residency with iaab/International Exchange and Studio Program Basel, Switzerland and is a 2012 NYFA Fellow in Interdisciplinary Work. She lives and works in Brooklyn, NY.

 

 
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PART I // PART II // PART III


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