Sunday February 10, 7pm
TV, THE YANKEES, AND HOLIDAY CHEER
Short video works by Michel Auder and Andrew Neel
Stills from TV America (Michel Auder, 1984) – © courtesy of the artist
We bring the current exhibition by Michel Auder and Andrew Neel to its close with a screening program of video works by both artists, TV, the Yankees & Holiday Cheer. The short works in the program expand the exhibition for the evening, placing each artist’s work in a broader context, both in relationship to each other and to their own body of work. In TV, the Yankees & Holiday Cheer the attention shifts from the fanaticism, ritual, fame, faith and the business of religion addressed in the exhibit to the sacred traditions of modern American culture.
In the 1984 TV America, Auder expands upon the carefully edited, video collage format of his earlier “Jesus” (currently on exhibit), this time shooting entirely from the small screen. Incorporating a constant stream of images, laundry detergent & skin care commercials, motorcross and NASCAR races, Ronald Reagan, the Academy Awards ceremony, and war lords, the focus broadens from religious to cultural indoctrination. And, Neel’s Yankees Triumphus, documenting the 2009 Yankees World Series Victory parade, continues the artist’s investigation into public revelry and fandom and how it is fueled in the 24/7 media age. In this work, made the year after his “15 Minutes of Jesus” (on exhibit) Neel records the mass jubilation, which often becomes exaggerated before Neel’s camera as parade goers continuously mistake it for those of the major news outlets.
Yankees Triumphus, Andrew Neel, video color, sound, 12 minutes, 2009
The video is a portrait of the 2009 World Series Victory Parade for the New York Yankees. The short film serves both as a gestalt of a city at a particular moment, as well as an investigation of public revelry and ‘fan culture’. It is part and of continuing series of films investigating ritual, devotion, nationalism and public fervor that Neel has been shooting since 2008.
Faces on Christmas Day, Andrew Neel, video, color, sound, 5 minutes, 2011
A set of portraits of real people, media, and objects around the house captured while a family gathering is taking place.
TV America, Michel Auder, VHS, color, sound, 22 minutes, 1984
Auder videotaped the movies, news, awards and sports shows, commercials, presidential speeches and other programs playing on his TV screen in the early 1980s and edited into this video collage. The result is not only a time capsule of American culture of that period, but a comment on America’s obsession with TV and the role the medium plays in shaping the culture itself.
MICHEL AUDER was born in Soissons, France and has lived in New York since the late 1960s. Since then video has been his primary artistic medium. Auder’s work has been exhibited and screened widely in North America and Europe at institutions including at MoMA, The Whitney Musuem; Centre Pompidou, Paris; Kunsthalle Wien, Austria; Center for Contemporary Art, Malmoe, Sweden; Philadelphia Museum of Art; The Renaissance Society at the University of Chicago; Anthology Film Archives; and many others. He has been a professor in the sculpture department at Yale University and was appointed critic at the Yale School of Art in 2009.
ANDREW NEEL has been working with film and video in various forms for more than a decade. His works have previously exhibited or screened at galleries and festivals including Freight & Volume gallery, Berlin International Film Festival, South by Southwest Film Festival, Newport Film Festival among many others. He has directed 4 feature length documentaries (Darkon, Alice Neel, The Feature (w/ Auder), New World Order). King Kelly, his latest film and first fictional feature opened in New York in December. His films have been distributed by IFC and ArtHouse Films, aired on Cablevision and the Sundance Channel, and won several awards including the New Visions Award at the Copenhagen International Documentary Festival. Neel received a BA in Film Studies from Columbia Collage. He was born in Vermont and like Auder, currently lives and works in Brooklyn, NY.
Stills from Yankees Triumphus (Andrew Neel, 2009) – © courtesy of the artist
Saturday February 9, 7pm
MOTHER IS THE BEST BET AND DON’T LET SATAN DRAW YOU TOO FAST
Videos by Richard Sylvarnes
with live soundtrack by Zero Times Everything (ZXE)
(Pietro Russino, Tony Geballe, & Richard Sylvarnes)
Still from The Last Words of Dutch Schultz © 2013 courtesy of Richard Sylvarnes
Microscope Gallery is pleased to present an evening of video works by Brooklyn-based artist Richard Sylvarnes including the world premiere of The Last Words of Dutch Schultz, a 65-minute feature based on the delirious, death-bed ramblings of the gangster, who died following a shooting in Newark, NJ in 1935. The video incorporates found footage including travelogues, FBI training films, silent-era films, newsreels, commercials, and more and features the actor, filmmaker and playwright DJ Mendel and NY Mets broadcaster Alex Anthony. Two recent short videos by Sylvarnes will precede the feature.
The night also marks the debut of Zero Times Everything (Pietro Russino, electric guitar & loops; Tony Geballe, guitar; and Richard Sylvarnes, loops, synthesizer, and sometimes electric guitar). The group will provide live soundtracks to all three video works.
PROGRAM (approximately 80 minutes)
Disney’s Dream Debased, Digital Video, Color, 6 minutes, 2010
This particular landscape was shot over the course of several hours then condensed and manipulated into six minutes. Light and its variation is the theme of this work.
As The Sun Slowly Burns Away, Digital Video, Color, 8 Minutes, 2012
A mini metaphysical meditation on humankind’s position in the greater cosmos. The work includes several layers of animation and incorporates the infamous YouTube video of an inebriated David Hasselhof videotaped and interrogated by his daughter. The pain inherent within his daughter’s taping is brought to perspective against an impressionist – some may say callous – universe.
The Last Words of Dutch Schultz, Digital Video, Color and B&W, 65 Minutes, 2013
On October 23, 1935 the notorious gangster Dutch Schultz was shot in the Palace Chop House in Newark, New Jersey as he was trying to rebuild his crumbling empire. Once at the hospital he developed a 106 degree temperature and was given morphine to soothe the pain. Shortly afterwards, he became delirious, his mind untethered and unleashed itself into a stream of consciousness. Even in his present condition the police continued to question him as to the identity of his assailants. A stenographer was called in and took verbatim all Dutch said before he slipped into a coma and died. This incredible document was published in the newspapers the next day. This film takes the transcripts in their entirety and using found footage – everything from 1930’s travelogues, FBI training films, silents, newsreels, television serials, pre-code films, to golden age 1930 era Hollywood films – explores the underlying meaning of the text and examines the rich complexity of inner life in the face of death and the complex nature of unconditional love. Ping-ponging through time and space Dutch’s ramblings are at times poetic, at times historic and personal, but as it nears the end it shows him receding back into childhood into the protection of his mother.
– – –
RICHARD SYLVARNES is a filmmaker, photographer, and musician. His work screens nationally and internationally including at The Tribeca Film Festival, Anthology Film Archives, The Kitchen, Chelsea Art Museum, Thessalonica Film Festival, Jeonju International Film Festival, Dances Camera West, Museek International Music Video Festival in St. Petersburg, Russia, Galerie Du Jour , Paris, Galerie Tristesse, Berlin, among many others. He has been a guest Lecturer at Harvard University and currently serves on the Board of Directors for The Filmmakers Cooperative.
TONY GEBALLE has recorded, performed, produced and taught music of many kinds all around the world. His main instrument is guitar, including nylon-string, steel-string, 12-string and electric. He has designed sound, composed music and performed in numerous theatrical productions in New York City and internationally. His solo 12-string guitar CD “Native of the Rain” was released on Robert Fripp’s DGM label.
PIETRO RUSSINO born in Sardinia, Italy and currently lives and works in New York. His music has been featured on MTV and on John Schaefer’s WNYC show “New Sounds.” He founded with gallerist Pat Hearn the band “Wild and Wonderful,” a fixture of the New York East Village art scene. Russino worked extensively with Robert Fripp and “The League of Crafty Guitarists” touring throughout America and Europe, and recording for EG and Fripp’s DGM label. He has collaborated with Italian multi instrumentalist, producer Bebo Baldan, singer-songwriter Joel Zoss, Richard Sylvarnes, and Jon Diaz. His first solo CD, a project called “Hypnofolk”’ was released in 2011.
Monday February 4, 7PM
MORE OF HIM
films and videos by Stan Brakhage, Christopher Harris, Ted Kennedy, Owen Land (George Landow), Jeanne Liotta, Tenzin Phuntsog, and Jonas Mekas
admission $6 – several artists will be in attendance
Still from Christopher Harris’ 28.IV.81 (Descending Figures) © 2011 – Image courtesy of the artist
Our current exhibition “The Jesus Show” featuring video by Michel Auder and Andrew Neel, started us thinking more deeply about the relationship between religion, specifically Christianity, in the realm of the avant-garde and experimental cinema. It is not something we previously considered at any length. And yet, now as we contemplate the subject, we realize that of course many artists of the moving image, like the painters and sculptures and other visual artists before, would be drawn to and inspired by – whether skeptically, critically, or in appreciation of – the highly visual and often extreme story and imagery of Jesus’ life, suffering, and bloody crucifixion.
For More of Him we have selected a range of film and videos, varying in approach and tone, dealing with the iconography of Jesus, Jesus as a star and rebel, the Christian conversion experience, modern day Passion Play rituals and other related issues. The program features works by three seminal figures of the avant-garde: Stan Brakhage’s hand-painted “The Jesus Trilogy and Coda”, one of the final works by the legendary filmmaker who died in 2003; Owen Land’s 1973 “Thank You Jesus for the Eternal Present”, the first of several, often witty, Christian themed films; and Jonas Mekas’ Day 191 from the 365 Project, which includes footage of Billy Graham at a Madison Square Garden Crusade in the mid-1950s. More recent works include Christopher Harris’ “28.IV.81(Descending Figures)”, a double projection piece filmed at the Holy Land Experience Theme Park in Orlando Florida; “Crosswalk”, by Jeanne Liotta, recorded at consecutive Good Friday parades in the Lower East Side; Tenzin Phuntsog, “Christo Redentor” shot from a helicopter circling the giant statue in Rio de Janeiro and Ted Kennedy’s appropriated footage collage triptych “Rebel”.
There were other works we would have liked to have included, but we have chosen not to overdo this one. Auder’s and Neel’s works will be playing on installation before and after the screening for those who want more.
Jeanne Liotta, 35mm transfer, color, stereo sound, 2010, 19 min
“Nuyo-realism” from the streets of Manhattan’s Lower East Side, Crosswalk is a locative portrait in sound and image, shot at the intersection of home movie and cinema vert. Participation and observation take place on consecutive Good Fridays, highlighting the hybrid urban collage of peoples, cultures, and performances in daily life.
“Set in New York’s Losaida, Crosswalk’s directness––embodied in handheld shots and the grainy tactility of Super 8––respects its subject. Liotta’s camera follows a Good Friday procession on the Lower East Side. Through crowded streets, the Christ figure falls the requisite three times as “soldiers” lash him into line. Sensitized to her material’s connotations, Liotta avoids messages. ” — Tony Pipolo (Artforum)
28.IV.81 (Descending Figures)
Christopher Harris, Dual 16mm, color, silent, 2011, 3 min
The film is comprised of footage Harris shot at a performance of Christ’s Passion, staged as an attraction at a Florida amusement park. We see a well coiffed, Christian-metal Jesus getting scourged by costume-shop Romans with headset mics, while zaftig women in tennis shoes weep and wail. Meanwhile, the audience penetrates the diegesis quite often—an arm with a camera pops in, or we see the crowd standing around in the heat looking bored. But more significantly, Harris’ use of dual-screen and end flares result in mutual image competition. Jesus gets whipped while yellows and reds ping-pong back and forth across the display. The Romans move through fogs of zipping white projector light. The images themselves operate contrapuntally (close-ups and medium shots, mismatched reaction shots, etc.), but Harris’ use of the pure filmic light continually disrupts these faux-holy scenarios from coming into being. This flimsy display of devotion is shown up by something genuinely overpowering, or at least recognizably real. — Michael Sicinski, “Between Two Eyes: Four Emergent Avant-Garde Film/Videomakers for the New Decade,” Cinema Scope Issue 47
Ted Kennedy, digital video, color, sound, 2009, 3:36 min
Rebel is a video collage of material appropriated from narrative and educational sources. A coming of age story.
Tenzin Phuntsog, HD video, color, sound, 2011, 12 min (sound by Brian Chase)
Christo Redentor (Circumambulation), was filmed on location in Rio De Janeiro, Brasil. The piece documents an aerial circumambulation for a duration of approximately 11 minutes around the Christo Redentor statue in Rio. Slowly, as the viewer makes revolutions around the iconic statue Christo, it disappears, revealing the intention of the circumambulation. The music is constructed from the overtones of a single snare drum hit. From here, the steady pulsing of the delayed sustain slowly uncovers the kaleidoscopic spectrum of frequencies contained within that single snare drum hit. From one, an endlessly unity emerges.
DAY 191 of 365 Project
Jonas Mekas, digital video, color, sound, 3.5 min, 2007
c. 1955 I filmed Billy Graham at Madison Square Garden – JM
Thank You Jesus for the Eternal Present
Owen Land (George Landow) 16mm, color & b/w, 5.75 min, 1973
A visual mix consisting of a conversation with Howard Cohen, who I met at an International Auto Show in New York City. GL
The Jesus Trilogy and Coda
Stan Brakhage, 16mm, color, 20 min, 2001
“The Jesus Trilogy and Coda” is composed of the following four parts:
1) “In Jesus’ Name” presents an almost continuous fluttering movement midst the complexity of multiple small shapes in mostly autumnal colors, like unto a wind moving through fall leaves. Embedded in this skein (almost as if branches of this scene) are the dark lines ephemerally (almost invisibly) composing the conventional face of Christ.
2) The second film, entitled “The Baby Jesus” begins with pearl-pinks and gold-flecked shapes midst “garden greens.” It proceeds to contrasting desert scenery slashes of sand-yellow under black “sky,” with ephemeral suggestions of animal locomotion. Then there’s some sense of darkened interior, the colors of swaddling folds. Rolling hills, and a starred “night sky” with flecks of herded white, then a gathering of colors as of collected people shapes. After intervening black, the beseeming rocky side of a hill increasingly flecked with blood red. The desert-likeness comes again with, again, animal-like locomotion. Mills, mottled white, like snow, give way finally to peacefully wood-toned enclosures.
3) The third part, “Jesus Wept,” utilizes a variety of shapes and colors so fretters and interlocked with darkness as to create the sense of a glamorous terror within which palpable shapes of “tears” appear and weave a counterbalance of sorrowful calm. Because these “tears” are as if in bas-relief (side and front lit), textured and altogether of such a visual solidity, they form an aesthetic bulwark against the (back lit) fret of forms.
4) Finally, “Coda: Christ on Cross” contains the most easily nameable of all the shapes in this trilogy: it is, thus, an aesthetic “summing-up” with full emphasis upon the crucifixion which is visible again and again as a mass of twisting lines and tortured forms, flecked with vermilion blood-likeness. The intervening scenes are stark, dark dramatics, reactive to the recurring cross. The conventional face of Jesus is occasionally visible as lines that are consonant with the, at times, almost renaissance draftsmanship of these scenes. The attempt is to sum-up Death as iconic triumph in relation to the three previous films. — SB
Approximately 66 minutes
Still from Owen Land’s Thank You Jesus For The Eternal Present © 1973 – courtesy of Anthology Film Archives
STAN BRAKHAGE (1933 – 2003) is considered among the most important figures in American avant garde cinema. At the time of his death he had made more than 350 works on celluloid film, over the course of five decades.
CHRISTOPHER HARRIS has screened at festivals, museums and cinematheques throughout North America and Europe including the International Film Festival Rotterdam (2005, 2008, 2010), the VIENNALE (Vienna International Film Festival), the Edinburgh International Film Festival, the Leeds International Film Festival, the San Francisco Cinematheque and Rencontres Internationales Paris among others. His most recent film 28.IV.81 (Descending Figures) was named one of “The Best of 2011 in Avant-Garde Film” by IndieWIRE and his films are the subject of the Cinema Scope magazine article “Between Two Eyes: Four Emergent Avant-Garde Film/Videomakers for the New Decade.” He is currently an Associate Professor of Cinema Studies at the University of Central Florida in Orlando.
TED KENNEDY is a moving image artist based in Brooklyn, NY. He has a degree in Economics and serves on the boards of the Ann Arbor Film Festival and UnionDocs.
OWEN LAND (George Landow) (1944 – 2011) was an American filmmaker, artist and writer. He was an assistant to Gregory Markopoulos and mentored by Stan Brakhage. He is recognized for his 1960s and 70s structuralist films such as Film in Which There Appear Edge Lettering, Sprocket Holes, Dirt Particles, Etc that explored the properties of celluloid. He distanced himself from this context and introduced complex wordplay and an irreverent humor in his later works. P. Adams Sitney described Land’s works as “some of the most radical, super-real and haunting images the cinema has ever given to us.”
JEANNE LIOTTA makes films and other cultural ephemera , encompassing a constellation of mediums at a lively intersection of art, science, and natural philosophy. Anthology Film Archives will be screening a survey of her works in March called “The Real World at Last Becomes a Myth”. She is presently Assistant Professor of Film Studies at CU Boulder, and is also on the faculty at the Milton Avery Graduate School of the Arts at Bard College.
JONAS MEKAS is a New York based poet, filmmaker, and leading figure and force in the American avant garde cinema. Retrospectives of his work took place recently at the Serpentine Gallery London; The Pompidou Centre, Paris; and BFI, London. Upcoming retrospectives include CCBB, Sao Paulo; FICUNAM, Mexico City; and Film Museum, Vienna. Mekas has been working with the moving image since he bought his first Bolex in 1949, just weeks after arriving from Europe as a UN War Refugee. Mekas was born in Lithuanian in 1922.
TENZIN PHUNTSOG is Brooklyn-based artist and filmmaker. His work considers the fundamental and provocative aspects of time, space, examining the esoteric and the modern. Evocative, subversive undercurrents run throughout the work. Phuntsog has previously shown his works among others at VideoBrasil 2011, Microscope Gallery, Rubin Museum, Galeria Vermelho, Moca Geffen LA, Anthology Film Archives, Communisma Da Forma, Echo Park Film Center.
Saturday February 2, 7PM
a film by The Sisters of the Lattice
HD video, 82 minutes, 2013
Music: Zeljko McMullen, Luke Loeffler, Michael Beharie
© 2013 – Image courtesy of The Sisters of The Lattice
Microscope Gallery presents the anticipated premiere of LINK, a feature length video meditation – part documentary travelogue, part psychedelic incantation – by The Sisters of Lattice. The film chronicles their recent cross-country tour during which they visited small towns and cities, casinos and deserts, seeking a particular unknown individual in each place to connect through energetic transference over conference call with other strangers they met along the way. LINK traces the story of five of these chosen people while focusing on the simultaneous intimacy and separation created by modern tele-presence.
Each of the individuals they connected with was responsible for choosing the Sisters’ next destination by using their custom iPad app containing a moving Google map of the US. The Sisters then travelled to the exact GPS coordinates selected to find their next participant. The Sisters journey took them through Pittsburgh, Hartford, South Dakota, Sedalia, Colorado, Wendover, Utah, Halleluiah Junction, Nevada, Portland, Silicon Valley, the Redwoods, Los Angeles, Joshua Tree, The Salton Sea, Albuquerque, Lake Powell, Los Vegas, Cleveland, Little Rock, Oklahoma City and more. From hundreds of these interactions with strangers, 5 selected “links” were ultimately connected to one another using an energy transference conducted over a conference call.
– – –
The Sisters of the Lattice are willfully conjoined techno-mystics who work to deepen the connection between individuals and the technological devices they use everyday. They perform a range of ceremonies with participants using computers, cameras, cellular phones, and online platforms that both indulge and question the mediated experience in our lives.
© 2013 – Image courtesy of The Sisters of The Lattice
Monday January 28, 7pm
great times are waiting
Videos by Zach Nader
Admission $6 – Artist in person
Still from Optional Features Shown (2012) © Courtesy of Zach Nader
Microscope Gallery is very pleased to present great times are waiting, the first solo-screening of video works by Texas-born, Brooklyn-based artist Zach Nader. The curated program includes works made over the last three years utilizing found online footage, advertisements, and television programming to examine the way anticipation and expectation proliferate throughout image culture. A key question asked in these works is: how do we collectively view and understand our viewing? Through complication of the source material, existing images are used to navigate new ways of approaching aspiration and loss.
“Combing the current torrent of images, I alter visual content in a search for new possibilities of visuality and perception.” –ZN
video, color, silent, 3 min 48 sec, 2010
video, color, silent, 1 min 14 sec, 2010
video, color, silent, 1 min, 2012
video, color, sound, 1 min, 2012
tv (all at once)
video, color, silent, 7 min, 2011
video, color, silent, 54 sec, 2012
video, color, sound, 2 min 16 sec, 2012
video, color, silent, 2 min 5 sec, 2012
video, color, silent, 7 min 44 sec, 2012
around the house
video, color, silent, 2 min 25 sec, 2012
video, color, silent, 31 sec, 2011
great times are waiting
video, color, sound, 1 min 12 sec, 2013
video, color, silent, 2 min 40 sec, 2012
optional features shown
video, color, silent, 2 min 10 sec, 2012
video, color, sound, 5 min 45 sec, 2013
– – –
Zach Nader is a Brooklyn, NY based artist that investigates uses and usefulness of images. Nader has recently exhibited at Jen Bekman Gallery, NURTUREart, Magenta Flash Forward Festival with Humble Arts Foundation, and Houston Center for Photography. And his work will be featured in an upcoming group show at Yaffo 23 in Jerusalem, Israel. He also helps run usefulpictur.es, a site highlighting the work of artists that actively seek to complicate current understandings of photographic images, and conducts artist interviews for layflat.org.
More info at: http://zachnader.com / http://www.usefulpictur.es / http://www.layflat.org/author/zachnader/
Still from Caught Stealing (2012) © Courtesy of Zach Nader
Sunday January 27, 7pm
BODY ACTION 1
Sound and performance by Cammisa Buerhaus
with Dribbling Candy & Butoh dancers
© Photo by Sandra Servat
Body Action 1 is an aural performance by NY artist Cammisa Buerhaus involving live multi-band radio broadcasts and reel-to-reel taping; a company of butoh dancers, led by the artist Dribbling Candy; and hard candy, spit, and lotus flowers. In this work, every dancer will effectively be transformed into an autonomous, unregulated radio station transmitting sounds generated by their movements.
“As advancements in technology contribute to an increasingly laborless society, intellectual property takes on new importance, while our physical forms are in danger of becoming redundant. By making each body an autonomous, unregulated radio station, we simultaneously reclaim modes of transmission from the state, and step outside of the picture surface.” – CB
Cammisa Buerhaus works as a sound-sculptor as well as a transmission artist. She creates new conditions for the spatial orientation of the individual that experiences the presence of her works. She explores the phenomenological capabilities inherent in sonic, sculptural inventions. Her work has been previously shown at MoMA, NY; Issue Project Room, Brooklyn; The Salzburg Experimental Academy of Dance, Salzburg Austria; PS 1, Queens; Saint Ceclia’s Convent, Brooklyn; Gruntwork, Berlin, and The Clockwork Tower, NYC among others
Dribbling Candy is an interdisciplinary artist working to explore the evolutionary state of the human spirit in the 21st century. She endeavors to blur the separation between personal and social space, daily life and art, so as to create collective and collaborative moments of subliminal intimacy, which expel and transform the borrowed body and self of society. Dribbling Candy is Sandra Servat.
Saturday January 19, 7pm
Live sound by Robert Aiki Aubrey Lowe (aka Lichens)
w/ visuals by Nick Ciontea
trt: approximately 50 minutes
© Image courtesy of Nick Ciontea
Microscope Gallery resumes our event series at the space – following the holiday break – with a special evening of illuminating sound by Robert Aiki Aubrey Lowe (aka Lichens). For the night Lowe will present “Trompe L’oeil”, a new improvisation for modular synthesizer and voice played against a video synthesized patch piece by Nick Ciontea. In Lowe’s work, the sensitivity of analogue modular systems echoes the organic nature of vocal expression and in this case is meant to put forth a trancelike state. He suggests the piece be received not in the painterly sense suggested by the title, but as a literal translation of “mislead the eye.”
Lichens sometimes sounds like a field recording of some Earth-worshiping pagan cult ritual, or perhaps a séance.
— Mark Richardson, Pitchfork
Robert Aiki Aubrey Lowe (b. 1975) is an artist and multi- instrumentalist that works with voice in the realm of spontaneous music often under the moniker of Lichens. Most recently, creating patch pieces with modular synthesizer and vocalizing to them has been a focus of live performance and recordings. Lowe has also worked in collaboration with Ben Russell, Ben Rivers, Rose Lazar, Hisham Akira Bharoocha, Tarek Atoui, Evan Calder Williams, Luck Dragons, Lee Renaldo, Genesis P-Orridge as well as many others.
Nick Ciontea works as an electronics technician focusing on synthesizer manufacturing and video art. Working solely with analog synthesizers, he creates textures and patterns lost in the age of digital media. Nick lives and works in Chicago.
A night of film, video and live performance
January 7, 7-11pm
with works by:
Albert Alcoz & Alberto Cabrera Bernal / Rachelle Beaudoin / Will Bragger / Josh Bricker / Seth Indigo Carnes / Nicola Carter / Katie Cercone / CocoRose & Sonny / Sam Cooke / Clint Enns / Paul D’Agostino / Brian Patrick Franklin / Erin Grant / Klara Jirkova / Devon Johnson / Timothy P. Kerr / Cory Kram / Denise Iris / Ellie Irons / JaeWook Lee / Jodie Mack / Jason Martin / James G. Mattise / Kevvy Metal / Ellen Mueller / Adam Paradis / Nicholas Parish / Metrah Pashaee / Peter Rose / Jennae Santos / Michael Szpakowski / Alysse Stepanian / Angela Washko / Tina Willgren / Kit Yi Wong
& live projection performances by:
Jeanne Liotta / Tara Merenda Nelson / Margaret Rorison / Joel Schlemowitz / Stephanie Wuertz
Sunday December 16, 7pm
THE WOLF MAN (WHY ARE THE WOLVES WHITE?)
New films and videos by Tim Geraghty
Artist in person
Microscope Gallery is very pleased to present THE WOLF MAN (WHY ARE THE WOLVES WHITE?), a screening of recent works – including 2 premieres – by Tim Geraghty. The Brooklyn-based film/video maker works by day as a professional documentary and TV editor, but has been making experimental films and videos for several years. THE WOLF MAN (WHY ARE THE WOLVES WHITE?) will be his first solo screening.
“An underlying theme of this program is the presence of what is absent. A few of the films & videos deal with how personal or cultural history is not history at all — our history and lineage is in the present tense. With movies, you can bring what appears to be invisible, in the past, to life. I use layering, in-camera superimposition, and even the third dimension with 3D videos to emphasize these ideas. The shadows in one shot on a roll of film become unexposed negative for a in-camera superimposition. There is a presence in the absence of light. A computer malfunction during video playback reveals a new and telling side to its electronic makeup. In all of the movies, I’m trying to get my hands onto and present the invisible.” — TG
TRT: Approximately 70 minutes
COMING UP THREES
HD Anaglyph 3D Video, 7 min, 2012
Subterranean technological nightmare vision in delicious 3D super-impositions. An attempt to get to work and getting caught in a an underground maze. Technology overwhelms me.
Flip Video Camera & Crystals, 9 min, 2011
When Romulus and Remus argued over where to found the city of Rome, they sought divine guidance in the flight patterns of birds to settle the dispute. On those same hills in 2011, I search for similar signs and omens. The birds are still flying but the society is static. The pillars support little among the ruins and the Colosseum recalls past brutality. Perhaps such cultural stasis can be counteracted by the movement of cinema. The pillars boogie. Archways wiggle and hop. Color emerges from decay. Cinema moves what is still.
THE WOLF MAN (WHY ARE THE WOLVES WHITE?)
VHS, 16mm, HD Video, Reel-to-Reel magnetic sound, 22 min, 2012
Loosely inspired by the patient in Freud’s famous case study. A composed documentary starring Rachelle Rahme and Pancho.
THAT’S THE HE AND THE SHE OF IT
HD video/3D video, 20 min, 2010-2012
A diary movie made from footage shot on the Flip camera, Canon s95, and the Fuji Finepix Real 3D camera. Very much a movie about my growing relationships to the people in my life and to the film medium. Optics dominate my experience.
16mm color/b&w reversal film, 11 min, 2012
Shot on a Bolex after years of resistance towards shooting film, towards becoming a filmmaker, towards shooting what interests me in my everyday life. Shot while on my way to or returning from work in Midtown, to dinner in Sunset Park, on my walk to get coffee and coconut buns in Chinese bakeries on 8th Ave, Brooklyn. Reflections. Shadowplay. Natural and in-camera superimpositions. Shooting into the light.
– – –
Tim Geraghty is an experimental filmmaker and video artist from Providence, Rhode Island, currently living in Brooklyn, New York. He’s a professional broadcast news and documentary editor interested in radically re-editing footage, especially found footage from his line of work, into films with the associative language of dreams. He has previously exhibited his works at Anthology Film Archives, Migrating Forms, Issue Project Room, Microscope Gallery, White Box, SCOPE NY, Lincoln Center, SUDLAB (Naples) and the Rotterdam International Film Festival.
All images are courtesy of Tim Geraghty © 2012
Friday December 14, 7PM
Screening & live music/visuals by Lazurite (Megan Moncrief)
w/ Julie Ortegon, Drew Gibson and CS Luxem
Microscope welcomes Bushwick-based artist/musician Lazurite (Megan Moncrief) to the gallery for a screening and musical performance. Ascension Twitch is a collection of new and recent video works involving found footage and fluorescent colored animations, mostly created in MS Paint. The works include soundtracks by the solo artist and with several of her collaborative projects, including Boring Acid, No Wife for Jesus, and Tinku.
A musical performance by Lazurite accompanied by live video collage will follow the screening. Lazurite (on ukelin) will be joined by Julie Ortegon (vocals), Drew Gibson (guitar), and CS Luxem (tremoloa).
Megan Moncrief is a musician and video artist raised in Louisiana and living in Brooklyn, NY. She performs solo work under the name Lazurite, and has a constantly growing list of collaborative projects with friends in the experimental music community. A self-titled cassette was released on Fabrica this summer. The first Lazurite album, Secular Geometry, will be re-released on vinyl in 2013.
All images are courtesy of Megan Moncrief © 2012
MONDAY DECEMBER 10, 7PM
Reels & Lights
by Crater (Luis Macìas and Adriana Vila)
gifts & presence
films, video, sound to celebrate the birthday of Bradley Eros
Microscope is pleased to host a very special night of projector performance, film, video and sound organized by Bradley Eros. The event is a double feature, so-to-speak, starting off with a 16mm filmless projector performance by Barcelona-based artists Luis Macìas and Adriana Vila, “Reels & Lights”, a tribute to the movie projector also involving strobe lights, optical sound & light sensors.
The second program includes film, video, sound and more by friends and collaborators of Bradley Eros on the occasion of his birthday. Featuring works by Victoria Keddie, Rachelle Rahme, Joel Schlemowitz, Sarah Halpern, Tim Geraghty, Rachael Guma, Natas, Elle Burchill, Sadaf H Nava, Lary Seven, Marianne Shaneen, Marie Losier & Bradley Eros.
Reels & Lights
by Crater (Luis Macìas & Adriana Vila)
16mm projector, strobe lights, optical sound & light sensors
approx. 30 minutes
A tribute to the movie projector. The appearance of the cinematic apparatus in its simplest form, using intermittent light and shadows, silence and sound. This is a project of pre-expanded cinema using a 16mm film projector as a research object.
The projector becomes the protagonist. The perforations of a double perforated black film are used as a source of intermittent and constant repetitive optical sound. Also the vibration of the projector is used trough a sound sensor that is placed in it’s interior. These two sources of sound emanating from the projector are fused finally into a sound mixer.
gifts & presence
films, videos, sound, and/or performance
by friends of Bradley Eros
for his birthday
A birthday bash looking gift horses in the mouth, for and against eros.ion, in the presence of eyes & ears, with film, video, music or performance by Victoria Keddie, Rachelle Rahme, Joel Schlemowitz, Sarah Halpern, Tim Geraghty, Rachael Guma, Natas, Elle Burchill, Sadaf H Nava, Lary Seven, Marianne Shaneen, Marie Losier & Bradley Eros. They’ll all be there!
Luis Macias is an artist, filmmaker, image recycler and teacher specializing in experimental cinema. His work with 8mm, Super 8 and 16mm film are conceived as Expanded Cinema Performances. His artistic concerns focus on two points: the physical work on film and film recycling and re-invention of new relationships between moving images.
Adriana Vila Guevara is an anthropologist and filmmaker. She has performed in film and art centers with multiple Super8 and 16mm projectors, has worked with different experimental musicians on live concerts and live projections, documentaries, as well as film and video installations. She often works with ethnographic auto-critical ideas using concepts of identity, memory and representation.
Macias’ & Vila Guevara’s performances and installations have been shown at various art centers, galleries, institutions, and other venues including: Museum of Fine Arts, Caracas, Venezulea; Museum of Modern Art, Salvador de Bahia; Cinematheque National of Venezuela; Artist Television Access (ATA Site) San Francisco, Echo Park Film Center, Los Angeles; Millenium Film Workshop, New York among others.
More info at www.cratercollective.com
Monday December 3, 7PM
THE FLORIDIAN SWEATS
Videos by Derek Larson
Microscope Gallery is very pleased to present Derek Larson’s The Floridian Sweats, a recently completed compilation of video works resulting from a year the artist spent living in a deserted east Florida beach town. Larson describes the work as “a schizophrenic glimpse into digital nostalgia.”
The Floridian Sweats, video compilation, color, sound, 2012
Total running time: approximately 45min
“The work is inspired by one strange year spent living and surfing in a dilapidated beach town on the east coast of Florida, which was partially developed and then deserted by investors after the recent economic recession. The videos speak to the politics, weather and structures of the state. The work ranges in visual styles, effects, texts and sound. Some pieces inject visual one-liners, some measure fictional video space by calling attention to the medium, while others combine literary allusion through stories told by animated characters.” –DL
Derek Larson is an artist currently based in Georgia. He received his MFA from The Yale School of Art and has exhibited in the US and internationally, including at Jack the Pelican and Louis V.E.S.P in New York. Recently, he presented his Memes project at the Finnish Museum of Photography in Helsinki. His work has been featured in the Seattle Times, NY Arts Magazine and Rhizome @ The New Museum in New York among others.
Saturday December 1, 7PM
live 16mm multi-projector film performance
& new and recent video works
by Thomas Dexter
Thomas Dexter is a Brooklyn-based artist working within the traditions of experimental film, sound art, performance, and playing with electricity. In works spanning direct filmmaking, 16mm film performance, single channel video, and collaborative installation, Dexter creates compositional systems which intentionally “cross the wires” between binaries that shape our experience of various media: image and sound, signal and noise, illusion and material, ephemerality and timelessness. Dexter’s solo and collaborative projects have been featured at Experimental Intermedia, PS1, Roulette, The Elizabeth Foundation Project Space, Issue Project Room, Sideshow Gallery, the Mononoaware Festival, Bushwick BetaSpaces, the Index Festival, Firehouse Art Space, The Invisible Dog art space, the Splatterpool Gallery and ESP TV. He is a member of the Future Archaeology collective.
Wednesday November 28, 7pm
THE HIGHWAYMEN NYC #8
Poetry Reading with Laura Henriksen, Brett Price, Polly Bresnick, and Jay Deshpande
Free – RSVP recommended at email@example.com
Microscope Gallery welcomes The Highwayman NYC for an evening of poetry with Laura Henriksen, Brett Price, Polly Bresnick, and Jay Deshpande.
The Highwaymen NYC, a 12 month long poetry reading series taking place on the full moon of each month, is held at a variety of independent, non-profit, art and performance spaces and clubs throughout Brooklyn. The goal of The Highwaymen NYC is to strengthen a community of emerging, active & relevant poets in Brooklyn and create a meeting place where these poets can showcase and discuss their work.
Laura Henriksen’s work has previously appeared in the Brooklyn Rail, Death and Life of Great American Cities, and Peaches and Bats. She lives in Brooklyn, NY.
Brett Price lives and writes in Brooklyn, NY. With Ed Steck and Natalie Häusler, he co-created and edits the small press, American Books.
Polly Bresnick is the author of Old Gus Eats, a chapbook containing stanzas fourteen through twenty-three of Homer’s The Odyssey translated visually from the Greek (Publishing Genius, 2012). Her forthcoming chapbook MIRROR POEMS is a collection of antonymic translations (O’Clock Press, 2012). Her work has recently appeared or is forthcoming in LIT, The Fiddleback, Bling that Sings, elimae, and Monkeybicycle. She lives in Brooklyn, NY.
Jay Deshpande poems and reviews have been published or are forthcoming in Washington Square, La Petite Zine, Handsome, Boston Review, Jacket2, Shampoo, death hums, Upstairs at Duroc, and the Argos Books anthology Why I Am Not A Painter. He is the former poetry editor of AGNI, and the curator of the Metro Rhythm Reading Series in Brooklyn (metrorhythm.wordpress.com).
MONDAY NOVEMBER 26, 7PM
Stom Sogo: films & videos
From Light Without Colors -© Stom Sogo
Microscope and other New York friends of Stom Sogo celebrate the singular Japanese artist with an evening of his films and videos. Sogo’s works are difficult to define, often involving layers and textures and reprocessing, shot mainly on Super 8 or low quality video. They look like no one else’s.
“Total anarchy, pushing the limits, going out/within further and further, marveling at all the beauties and laughing at all the absurdities. To me this is what Stom was all about at all times. ” – Raha Raissnia
“Stom was both cunning and tender, even now I use him to measure imposters. He certainly laughed at the solemnity with which the courtiers behave. He always wanted more, again.” – Albert Herter
Sogo moved to New York at the age of 18 in 1992 and lived in the city for more than a decade, screening his works at venues including tiny basements to institutions such Anthology Film Archives (where he also worked for some time), MoMA, and the Whitney Musuem. He died this summer in Japan.
The program for the evening will be selected from the many works Sogo gave to his friends over the years, including both better known works as well as those not previously screened. The night will flexible and can continue for as long as the audience desires.
– – –
STOM SOGO was born in 1975 and moved to the United States in 1992. He graduated with a BA in art and film from Hunter College, New York, in 2000. Sogo started Open Screenings at Anthology Film Archives in 1995, inspiring a whole crew of filmmakers. His Super8 films and video works have screened at various festivals and exhibitions including Rotterdam Film Festival; the Whitney Biennale; Lincoln Center, MoMA, Light Industry, Union Docs, Chicago Filmmakers, Image Forum (Tokyo), Microscope, and many others.
From Silver Play – © Stom Sogo
SAT NOVEMBER 24, 7PM
TAKAHIKO IIMURA 60-70s: PERFORMANCE/FILM/VIDEO
US Premiere of Screen Play, a film performance
& screening of Early Film Poems
Artist in Person, w/ Andrea Monti as “Sitter”
We are very pleased to welcome back to Microscope Japanese film/video pioneer Takahiko Iimura – whose work is currently on view at the MoMA’s exhibition Tokyo 1955–1970: A New Avant-Garde through February 25th. This special one-night event features the US premiere of Iimura’s 1963 16mm film performance Screen Play and a screening of his Early Film Poems, a collection of 6 works made between 1962 and 1971 (shot on 16mm, 8mm and video), bearing witness to the artist’s early interest in Dadaist poetry. New soundtracks by Akiko Samukawa and Haruyuki Suzuki now accompany several of the films.
In Screen Play – which originally premiered in1963, at Sogetsu Hall in Tokyo – the film Iro (Color) (16mm, color, 1962) is projected directly onto the back of a performer whose clothes iimura gradually cuts away along the borders of the image. In this work, Iimura frees the projection screen from the rigid structure of the traditional screening by intervening on the projectable surface itself, allowing the light to pierce through the fabric and touch the skin of the body.
Iimura says about the projected film:
“I filmed the chemical reactions that emerged when I dropped some paint into oil from a close distance, maybe from ten centimetres away. These colours exploded and created waves, and for at the end I heated it up from underneath until it went black. Nekes once filmed an operation and projected that onto his stomach, but that was done in 1965 so I was a bit earlier.”
LIVE FILM PERFORMANCE
Screen Play (originally 1963), about 15min.
The film Color (1962) is projected onto the back of a performer who is sat faced away from the audience whilst another performer cuts the sitter’s suit in the shape of the screen. The film, that slowly reveals itself against the skin of the performer, is an abstract film that uses a mixture of colored paint that is heated from underneath. Music by Yasunao Tone (Sitter – Andrea Monti; Frame cutter – Taka Iiimura)
Early Film Poems
16mm & 8mm transferred to DVD, 6 films, 44 minutes
The Pacific Ocean (1971), 7min. music: Akiko Samukawa (2012)
Shot on 8mm on the 12-day boat journey between Yokohama and San Francisco, Iimura’s The Pacific Ocean consumes the anticipation and uncertainties of a voyage on waves with an obsessive attention on the ripples. An added score by Akiko Samukawa (2012) deepens the anxiety as it sinks in that we are no longer aware of the direction in which we are heading.
Kiri (The Fog) (1970), 3min. silent
Shot on 8mm on a mountain in Japan, the abrasive winds that drift the fog in Iimura’s Kiri are so fierce we almost believe it to have grazed the filmstrip. The scratches, however, emerge as dust particles that submerge in and out of the mist. A comparative piece to Larry Gottheim’s Fog Line (1970), Kiri shows rare patience in such a situation.
Honey Moon (1966) 7min. music: Akiko Samukawa(2012)
A touching portrait of his partner Akiko and the days following their wedding, Iimura’s conceptual rigour loosens in favour of intimacy in Honey Moon.
I Saw the Shadow (1966) 7min. silent
A precedent to Iimura’s video work where he becomes his own subject, I Saw the Shadow sees Iimura follow his own shadow in and out of vision as he roams around streets, steps and fields. As the film progresses, it becomes increasingly unclear whether it is his shadow or camera that is guiding his steps.
Iro (Colors) (1962) 10min. music: Yasunao Tone (1962)
First projected onto Jiro Takamatsu’s naked back at the legendary Sogetsu Art Center for the performance Screen Play, Colors is an experiment in concoction. Iimura drops paint into oil and water and melts wax as he films the colors take shape whilst simultaneously dissolving into one another. An eerie soundtrack by Yasunao Tone of Group Ongaku and Fluxus creates an impression of music being the witch behind the craft.
Dada 62 (1962) 10min. music: Haruyuki Suzuki (2012)
Yomiuri Independent was an annual show between 1949-1963 that exhibited all art that was submitted. Artists in the early 60s began to take advantage of the challenge by provoking the organisers with their submissions that cast a question on the framework of art within the gallery space. The objet d’art and performances we see in Dada 62 are fragments of what was shown in its 1962 version with pieces by Genpei Akasegawa, Jiro Takamatsu and Shinmei Kojima making an appearance. Iimura interpreted a graphic score by Yasunao Tone in his projection of the film at the Naiqua Gallery where he performed the projector as an instrument. As usual for Iimura, the piece is not simply a document but an interaction with the art he films.
Takahiko Iimura has been a pioneer artist of Japanese experimental film and video, working with film since l960 and with video since 1970 while residing in New York and Tokyo. He is a widely established international artist, having numerous solo exhibitions in major museums such as the Museum of Modern Art, New York, the Whitney Museum, New York, Anthology Film Archives, New York, Centre George Pompidou, Paris, the National Gallery Jeu de Paume, Paris, Palais des Beaux-Arts, Brussels, Reina Sofia National Museum, Madrid, and the Tokyo Metropolitan Museum of Photography, Tokyo in addition to an artist residency at the German Academy of Arts, Berlin, and Bellagio Rockefeller Foundation Study Center, Bellagio, Italy.
Sunday November 11, 7pm
Videos by Catherine Elwes, Marni Kotak, Linda Mary Montano, and Lynne Sachs
plus a rare interview with Mary Kelly
Still from Marni Kotak’s Little Brother (2012)
With women issues at the forefront of recent political and social discourse, we present an evening of videos by working women artists including Catherine Elwes, Marni Kotak, Linda Mary Montano and Lynne Sachs concerning motherhood. The program features original video works and a rare interview with artist Mary Kelly, covering four decades from the setting of 70s feminism, where motherhood was often marginalized, to today’s over-the-top celebration of mommy culture.
The common element in these very different approaches to the experience of motherhood and the mother/child relationship is the elevation of the personal daily experience. Each of the works – even when unstated – is also a collaboration with the artists son or daughter, or in the case of one, with her own mother. The screening is in connection with the current exhibition by artist Marni Kotak, Raising Baby X: The First Year which runs through Monday November 12th.
“There is a Myth”, Catherine Elwes, video, color, sound, 19 minutes, 1984
A single breast fills the screen and is repeatedly pummelled by the infants hand. These brutal caresses soon produce the desired effect and milk oozes from the swollen nipple. The viewer, deprived of any conventionally sexual reading, is left to confront or repress pre-lingual memories of the physical and psychological pleasures of lactation. — C E
“Little Brother”, Marni Kotak w/ Ajax Kotak Bell, HD video, color, sound, 12 minutes, 2012
The latest in series of collaborative video works in which the artist equips her young child with a video to record his daily activities and the world he encounters. The featured segments were recorded during the past month.
“The Birth of Baby X”, Marni Kotak, video, color, sound, 4:30 minutes, 2012
Documentation from the live birth performance “The Birth of Baby X” in which the artist gave birth to her son as a work of art.
“Mom Art”, Linda Mary Montano, color, sound, 23 minutes, 2012
An interview between Mildred Montano and Linda Mary Montano (1970’s) featuring Mildred Montano’s paintings.
“Same Stream Twice”, Lynne Sachs with Maya Street-Sachs, 16mm b&w to DVD, 4 minutes, 2001-2012
My daughter’s name is Maya. I’ve been told that the word maya means illusion in Hindu philosophy. In 2001, I photographed her at six years old, spinning like a top around me. Even then, I realized that her childhood was not something I could grasp but rather – like the wind – something I could feel tenderly brushing across my cheek. Eleven years later, I pull out my Bolex camera once again and she allows me to film her – different but somehow the same. — L S
In addition, a 17 minute segment from a rare interview with artist Mary Kelly discussing her works including her influential work “Post Partum Document”.
– – –
CATHERINE ELWES is a British artist known for her groundbreaking work in video. Her practice has also included performance and installation, critical writing, curating and teaching. Born 1952 in St Maixent, France, Elwes attended the Slade School of Art and the Royal College of Art during the late 1970s and early 1980s. This followed a period in the late 1960s and early 1970s in which the political climate led some artists to question the authority of the art object. Concurrently the use of alternative media such as performance and installation became widespread. Elwes became interested in these forms, as well as the debates around feminism, which has been an abiding concern in her work. Indeed, Elwes was involved with the Women Artists’ Collective and Women’s Arts Alliance and played a curatorial role in two landmark feminist exhibitions: Women’s Images of Men and About Time, both at the ICA in London in 1980, the latter devoted entirely to video and time-based media. Recently she has acted as Director of the UK Canadian Film and Video Exchange, a biennial event that connects video artists from across Canada and the United Kingdom.
LYNNE SACHS makes collages, !lms, videos, installations and web projects that explore the intricate relationship between personal observations and broader historical experiences. Much of her work weaves together poetry, drawing, painting, politics and layered sound design. Over the last year, she presented one-woman exhibitions at the Wexner Center for the Arts, the Walker Art Center and the National Gallery of Art.
LINDA MARY MONTANO is a seminal figure in contemporary feminist performance art and her work since the mid 1960s has been critical in the development of video by, for, and about women. Attempting to dissolve the boundaries between art and life, Montano continues to actively explore her art/life through shared experience, role adoption, and intricate life altering ceremonies, some of which last for seven or more years. Her artwork is starkly autobiographical and often concerned with personal and spiritual transformation. Montano’s influence is wide ranging – she has been featured at museums including The New Museum in New York, MOCA San Francisco and the ICA in London.
MARNI KOTAK is a Brooklyn-based performance artist who makes multimedia works in which she presents her everyday life as art. She recently received international attention in 2011 for her “Birth of Baby X” exhibition in which she gave birth to her first child as a live performance. Kotak’s “Found Performances”, or works based on daily activities, experiences, or accomplishments, include staged re-enactments of her own birth, attending her grandfather’s funeral, losing her virginity in a blue Plymouth, and her wedding. Her works has previously exhibited at English Kills Gallery, Alice Chilton Gallery; and Fountain Art Fair Miami/NYC among others. She is a recipient of a 2012-2013 Franklin Furnace Fund award as well as a grant from the Brooklyn Arts Council. She received a BA from Bard College and an MFA from Brooklyn College.
Stills from Linda Montano’s Mom Art (2012) and Lynne Sachs’ Same Stream Twice (2001-2012)
Monday, November 5, 7PM
The Friendship State: Texas Experimental Filmmakers
Film & Video Screening organized by Caroline Koebel
With works by: Lyndsay Bloom, Caroline Koebel, Jennifer Lane, Kelly Sears, Scott Stark
Still from Jennifer Lane’s “Fawn” (2003)
Microscope Gallery is pleased to present The Friendship State, a screening organized by Caroline Koebel of works by five Texas based artists.
This is Koebel’s curatorial return to NYC after leaving three years ago for Texas. She was previously curator of Reel Time at P.S. 122; produced and directed the Body Hold Out Festival at WEBO Performance Space; presented Ba Ba Baby at the Knitting Factory (with Stephen Vitiello of EAI); and various programs for the Film-makers’ Cooperative, NYC.
“I conceived this program in response to pondering upcoming travels back to NYC and the context in which I’d like to screen my work now that I live in Austin rather than there. Leveling all the scary stuff about my new state is what you learn from the inside, not the least of which is that the motto of Texas is “friendship.” In my three years here, I have been sustained and inspired by the presence of a range of film and video artists. The Friendship State embraces the dialog between makers and comprises five artists, including me, from diverse points of Texas—each engaging select tactics to reveal, negate and ultimately transcend moving image boundaries.” — Caroline Koebel
(trt: approx. 77 min)
Introduced by Caroline Koebel
Jennifer Lane, 2003, 16mm film transferred to digital video, color, sound, 5:00
A nude, androgynous woman and a wild deer engage in a subtle pas de deux in the rigidly designed interior of a suburban house.
Caroline Koebel, 2011, miniDV & Super 8 transferred to digital video, color/b&w, silent, 7:45
Inspired by a colony of cliff swallows nesting under a freeway in Austin, Swoop considers human-animal interactions through optical rhythms and flight patterns. Birds—cliff swallows as well as thousands of purple martins on their migration path—collide with construction of new freeways to nowhere.
Scott Stark, 2012, 35mm film transferred to digital video, color, sound, 7:00
Worldly surfaces, shifting shadows and overlooked patterns: a series of short 35mm films generated from digital still images and printed onto movie film. The top and bottom half of each image alternate in the projector gate, arranged in a dizzying array of rhythms and patterns. The images also bleed onto the optical soundtrack area of the film, generating their own unexpected sounds.
Barton Springs Lake Travis
Lyndsay Bloom, 2011, hand processed 16mm film, color, silent, 2:22
Water scenes, Austin, Texas.
Lyndsay Bloom, 2012, hand processed 16mm film, b&w, silent, 1:30
Underwater shot at Film Farm, Mount Forest, Ontario.
Once It Started It Could Not End Otherwise
Kelly Sears, 2011, digital video, b&w/color, sound, 7:30
An animated horror film constructed from the candid photos and handwritten messages of discarded high school yearbooks. As an unknown force seeps into the walls of the school, the student body is consumed one extra curricular activity at a time.
Jennifer Lane, 2010, HD video, color, sound, 8:00
An experimental nature film about the water cycle of planet earth. Mirroring the style of an educational film, images of the unique and varied cloud formations of far West Texas are accompanied by voice-over narration that could have originated from another time and place.
Repeat Photography & the Albedo Effect
Caroline Koebel, 2008, 16mm transferred to digital video, b&w, sound 8:12
Intermixes unlikely suspects to reflect upon the impact of global warming on glaciers. Boxing scenes from Scorsese’s Raging Bull are re-shot with a Bolex 16mm camera and then hand processed and juxtaposed against National Public Radio reportage and artist Katie Paterson’s audio project. Part 1 of Flicker On Off.
Kelly Sears, 2007, digital video, color, sound, 8:20
A mysterious disappearance on a 1960s space journey launches the counter-culture revolution, the government blocks contraband radio broadcasts, and American fervor for conquering space results in tragic ends. Psychedelic Rock, wayward space transmission, happenings, scientific research, the space race, high hopes, failed dreams, and bodily levitation all come together in the story of The Drift.
Good and Gone
Lyndsay Bloom, 2012, hand processed 16mm film transferred to digital video, b&w, silent, 10:45
Women wonders wander water, shot at Film Farm, Mount Forest, Ontario.
Scott Stark, 1983, 16mm film color, sound, 11:00
A camera mounted on a movable cart, pointing down at the floor, passes over a seemingly endless succession of gaudy carpets and surfaces in a single shot through a major hotel. The movements across the 2-dimensional space, and in and out of elevators through 3-dimensional space, suggest a conceptual map of the visible environment, which is perhaps drawn by the camera itself.
LYNDSAY BLOOM received her BFA at the Cooper Union in New York City and currently works out of Texas where she has been shooting and processing her own 16mm and super 8 films since 2009. In addition to being an artist-educator in Texas public schools, she has worked on films with Jennifer Reeves and Winsome Brown, taught photography at Camp Stanton Meadows in Virginia, and joined grassroots organization Lo Curativo in teaching and performing puppet shows for youth in Buratovich, Argentina. She was a 2012 resident at Film Farm in Mount Forest, Ontario.
CAROLINE KOEBEL is an Austin-based filmmaker and writer on faculty at Transart Institute (New York-Berlin). Her experimental films and art videos have played internationally, with recent retrospectives at Festival Cine//B (Santiago, Chile) and Directors Lounge (Berlin, Germany). She has published in Jump Cut, Brooklyn Rail, Afterimage, Art Papers, and elsewhere. She holds a BA in Film Studies from UC Berkeley and an MFA in Visual Arts from UC San Diego. www.carolinekoebel.com
JENNIFER LANE was born in Dallas in August of 1968 and currently lives and works in Marfa. She studied art at the Rhode Island School of Design in Providence and the Art Center College of Design in Pasadena. Her films, videos, and drawings have been exhibited at the Castillo Di Rivoli in Turin, the ZKM Center for Experimental Media and Technology in Karlsruhe, the Royal College of Art in London, the UCLA Hammer Museum in Los Angeles, the Miami International Film Festival, the Austin Film Society, and on Japanese television. www.jenniferlanestudio.com
KELLY SEARS is a Houston-based animator and filmmaker, whose award-winning collage films draw on documentary, science fiction and experimental cinema and combine traditional stop motion animation with digital compositing techniques. She reworks popular media artifacts to create new readings of the nation’s past and forge connections with contemporary history. Her many exhibition venues include MoMA, The Hammer Museum, Light Industry, Sundance Film Festival, Chicago Underground Film Festival, Ann Arbor Film Festival, and Black Maria Film Festival. She teaches classes on experimental animation, found footage video and collaborative arts practices at the University of Houston. www.kellysears.com
SCOTT STARK has made over 75 films and videos since the early 1980s, and has created numerous installations, performances and photo-collages. His work has shown nationally and internationally in venues as diverse as New York’s Museum of Modern Art, the San Francisco Cinematheque, the Film Festival Rotterdam, and the Tokyo Image Forum. His 16mm film Angel Beach was invited into the 2002 Whitney Biennial, and in 2007 he received a Guggenheim Fellowship. He is the webmaster for Flicker, the web resource for experimental film and video. www.scottstark.com
Still from Caroline Koebel’s “Repeat Photography & the Albedo Effect” (2008)
AJAX’S FIRST BIRTHDAY PARTY
A live performance event by MARNI KOTAK
Saturday October 27, 3-6PM
Free Admission, Reservations are recommended at firstname.lastname@example.org
With: Ajax Kotak-Bell, Marni Kotak, Jason Robert Bell, Hungry March Band, Pepper the Clown, and much more
Hungry March Band starts promptly at 3PM.
Marni Kotak and her son Ajax return to Microscope – the site of the baby’s birth last year – for “Ajax’s First Birthday Party”, a live performance and real-time birthday event featuring Hungry March Band, Audrey Crabtree as “Pepper” the clown, a champagne toast, a giant cake and more. In “First Birthday”, Kotak presents the actions, rituals, and pageantry of this traditionally important rite in the context of a performance at the same time the moment is being lived. The public is invited to join the celebration.
By making the private public, Kotak emphasizes the performative nature involved in our everyday roles, blurs the boundary between performer and audience member, and strives to create a wider sense of community through interpersonal interaction. “First Birthday” continues a series of related performances including “Baby Shower”, “The Marriage of True Lug”, and “The Birth of Baby X”, all from 2011, during which the artist’s baby shower, marriage, and birth of her first child took place. In these works, Kotak also addresses a core premise behind the prevalence of our virtual sharing culture – the possibility that people we do not know are interested in our lives – and takes it to another and arguably more authentic level, inviting strangers into her inner circle of family and friends to witness and even participate face-to-face in the most significant moments of her life.
“Ajax’s First Birthday Party Performance” is in conjunction with Kotak’s current exhibition RAISING BABY X: The First Year
The artworks in the exhibition were made possible, in part, by the Franklin Furnace Fund supported by Jerome Foundation; the Lambent Foundation Fund of Tides Foundation, and by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.
Marni Kotak is a Brooklyn-based performance artist who makes multimedia works in which she presents her everyday life as art. She received international attention in 2011 for her “Birth of Baby X” exhibition in which she gave birth to her first child as a live performance. Kotak’s “Found Performances”, or works based on daily activities, experiences, or accomplishments, include staged re-enactments of her own birth, attending her grandfather’s funeral and losing her virginity in a blue Plymouth. Her work has previously exhibited at English Kills Gallery, Alice Chilton Gallery; and Fountain Art Fair Miami/NYC among others. She is a recipient of a 2012-2013 Franklin Furnace Fund award as well as a grant from the Brooklyn Arts Council. She received a BA from Bard College and an MFA from Brooklyn College.
by John Waters
MONDAY OCTOBER 22, 7PM
Suggested Donation $6
With all this talk of the middle class in this election season, we cannot help but dig up John Waters’ outrageous take down of suburban lifestyle “Pink Flamingos”. It has been forty years since the notorious cult film was first released by the “Pope of Trash”, as William Burroughs called Waters. Unbelievably some of us here at Microscope have still not seen the film; we think it’s time.
“I’ve always tried to please and satisfy an audience who think they’ve seen everything. I try to force them to laugh at their own ability to be shocked by something. This reaction has always been the reason I make movies.” – J W
“Note: I am not giving a star rating to “Pink Flamingos,” because stars simply seem not to apply. It should be considered not as a film but as a fact, or perhaps as an object.” Roger Ebert
by John Waters, original format 16mm film transferred to 35mm, color, sound, 95 minutes, 1972
Starring Divine, David Lochary and Mary Vivian Pearce
Notorious Baltimore criminal and underground figure Divine is christened as “The Filthiest Person Alive”. A sleazy married couple make a passionate attempt to humiliate her and seize her title. The film is Waters’ 3rd feature and his first in color. It was shot in 16mm and transferred to 35mm film.
Saturday October 6, 7PM
INFINITE BODY COLLAPSE
Screening of New Video Delay Works by Alex Carpenter
Microscope Gallery welcomes back Alex Carpenter for the presentation of “Infinite Body Collapse”, a new collection of works drawn from recent video delay sessions with dancer Alexis Maxwell, as well as audio recordings made this summer in an allegedly haunted house in Alexandria, Virginia.
Through Alex’s video delay system, performed actions (danced, drawn, light-operated) are captured and layered continuously upon playback with previous cyclical generations, providing material for the performer to build on in a largely “unthinking” way. The system engages the performer in a focused, ecstatic process of observing and responding, as normal points of focus are saturated, obliterated, and a space is cleared for the unfolding of activity on a different scale.
“Perhaps ghosts don’t exist “between” normal points of focus, but reside at the core of these points. The essence of things lies within the things, not somewhere else. We don’t need to make the things softer and more delicate, just because we envisage an essence that is itself soft and delicate. If anything, we need to make the things LOUDER, MORE forceful, MORE singular. Maybe then, once our perception tires of the surface layers, becomes exhausted, we will at last see the fragile core that has always eluded us.” (Alex Carpenter)
Program (TRT approx 60′):
Portrait of Alexis Maxwell
Portrait of Nicholas Syracuse
Infinite Body Collapse
Alex Carpenter is an Australian artist and researcher living in New York City. Currently, he works chiefly with extended delay processes to create modes of improvisation that engage ecstatically with foundational elements or otherwise hidden nuances within audio and visual material.
Alex has shared bills with artists such as Francisco Lopez (Madrid), Will Guthrie (Melbourne), Kyle Bobby Dunn, Richard Lainhart and Ella Joyce Buckley (NYC), and presented work at numerous venues in Adelaide, Melbourne, NYC, Washington DC and Seoul, including (in NYC) Diapason, Issue Project Room, Pianos, LMAKProjects, The Tank and Microscope Gallery.
ABSURDO ABSOLUTUM II
Video screening organized by Marianna Ellenberg and David Louis Zuckerman
MONDAY OCTOBER 1, 7PM
Still from Josh Mannis’ Zeal for the Law (2012)
Pitsuive Brown and Cassandra LaDuke discuss their dance movement, the LaDuke-Brown movement, while showcasing some of their moves with their star dancer Shhhh Gerard.
A documentation of Fox’s performance of feminist video art history at Tate Modern
Bongwater Music Video “The Power of *&^”
The Great eighties punk-art band “Bongwater”, with lead vocalist Ann Magnuson and Mark Kramer. “ an abrasive and/or abstract, dense and sludgy experimental style with often dreamy and cacophonous vocals by Magnuson” (-wikipedia)
Summer ’08 -’11
A Bit of Dirt draws a correlation between the ethical bankruptcy depicted in Stanislaw Ignacy Witkiewicz’s 1927 work Insatiability—upon which the libretto is based—and that of contemporary society. An ensemble cast, awash in ennui, lip sync the soundtrack sung in multiple tracks by the artist, on a baroque set of projected and printed imagery.
Ariel Kavoussi is a young Filmmaker and Actress, about to embark on an adventure with the Wham City Collective in Baltimore, Maryland. Ariel is currently starring in Ellenberg/Zuckerman’s film “The Misadventures of Ariella Von”.
Marianna Ellenberg is a video artist and professor currently based in Brooklyn, NY.
Ellenberg received her MFA in Fine Art at The Slade in London in 2005. Ellenberg has exhibited her work at international festivals and galleries, including Momenta Art, EMAF (Germany), LA Freewaves and NY Underground Film Festival.
David Zuckerman is a feature filmmaker and independet film critic, based in Brooklyn NY. He recently finished a documentary of musician Henry Wolfe, on his 2012 Brazilian tour. David is has completed two features, and is currently in production on a third. Zuckerman teaches Directing at Montclair State University and holds an MFA in Film from Bard College.
Mike Estabrook is a Brooklyn based multi-disciplinary artist whose work spans the gap between the playful, the imaginative, and the political. His animations, installations, paintings and drawings have been shown internationally at museums and galleries, as well as film screenings. He just completed a summer residency at the MacDowell Colony in Peterborough, NH, where much of his recent animations were executed.
Josh Mannis is a video artist based in Los Angeles, California. He is represented by Thomas Solomon Gallery. His mind-altering, mantra like videos investigate masculinity, narrativity and modern dance.
Max Maslansky makes paintings and drawings that primarily deal with mythology, psycho-spatial landscape, and class. He has exhibited in Los Angeles and New York and received his M.F.A from Calarts in 2006. He lives and works in Los Angeles.
Shaina Feinberg is a performance artist, writer and comedienne, based in NYC.
Erik Moskowitz is a video artist based in Brooklyn NY. Along with partner Amanda Trager, Moskowitz/Trager have screened their works in international film festivals and exhibited at Momenta Art (Brooklyn) and 303 Gallery in New York City. They have received numerous awards for their video work, including a NYFA fellowship and a Free 103.9 distribution Grant.
William Santen is a Lexington, Kentucky native, currently based in Brooklyn, NY. His work has been screened at Nicole Klagsbrun, New York; the Masc Foundation, Vienna, Austria; and Tufts University, Medford, MA, among other venues. For 10 years, Santen was a songwriter for BMG Music, culminating in 2004 with the release In the Night Kitchen. He is a graduate of Columbia University MFA Program, 2011.
NEW FILMS, RECENT FILMS, WORKS IN PROGRESS
BY JOEL SCHLEMOWITZ
Saturday September 29, 7PM
Filmmaker Joel Schlemowitz screens a selection of new short films and works-in-progress, including a series of film rolls from his recent travels throughout the cities and countryside of Japan. The program includes his recent short film “For Adolfas” made with footage he shot in 1999 of the filmmaker Adolfas Mekas who died last year. The screening takes place in connection with Schlemowitz’s current exhibition LIGHT OBJECTS at Microscope featuring camera painting and cinema sculptures. The exhibit runs through October 7th.
16mm, b&w, sound, 6 min
In memory of Adolfas Mekas. 16mm footage shot at a book release party for “The Sayings of St. Tula” in 1999, and Adolfas’s retirement party as head of The People’s Film Department at Bard College in 2004.
“Dream twenty-four dreams per second.” — St. Tula
16mm, color, silent, 3 min
16mm, color, silent, 3 min
16mm, color, silent, 2 min
Works in Progress:
some recent camera rolls from Japan:
Unedited footage, some rolls of film to be incorporated into other projects, others to exist as they are now seen, as camera roll films. The first four rolls examine the working class area of Tokyo: the neighborhoods of Arakawa, Taito City, and Asakusa.
Arakawa-ku – Hokora – Chisai Niwa – Matsuri in Asakusa
“Today few patterns of original Edo are visible. One – besides the castle core and the ring-like roads – that still exists is the bifurcation of the city, perhaps not part of the original intention but an aspect that has done much to create the city’s character.
This bifurcation occurred as the shogun and his officials decided to grant the more salubrious and hilly portions of the new city to the military aristocracy and the newly filled-in delta flatlands of the bay and river to the merchants and craftsmen who purveyed and laboured. These latter lands became the Shitamachi. The name means ‘towns below’ and refers to those areas beneath the castle but still within the city limits. . .
“Now comprised (according to the Shitamachi Museum) of Kanda, Mihonbashi, Kyobashi, Shitaya (Ueno), Asakusa, Honjo and Fukagwa, it still retains what little is left of the feel of old Edo – distinctly plebian, also fun-loving, less inhibited than those remains of areas where the military aristocracy, the shogunate, observed its rules of decorum. . .
“Originally Asakusa and beyond were a plain of flowering grasses – hence the name. . . .
“Despite its beauty, however, the place enjoyed a singularly bad reputation. An ogre lived in her cottage on the moor, goes one story, and travelers disappeared with noticeable regularity. . . Also – a more important consideration – the land lay to the north-east of the castle, a direction considered by geomancers to be the least fortunate. Consequently, the area was neglected.” – Donald Richie “Tokyo – A View of the City”
16mm, b&w, silent, 3 min
Hokora (small shrine)
16mm, b&w, sound, 3 min
Chisai Niwa (little gardens)
16mm, color, silent, 3 min
Matsuri (festival) in Asakusa
16mm, color, sound, 3 min
“Young girls today don’t wear regular kimonos, saying they feel restrained by the number of cords. But in summer they do want to wear a yukata, which is much lighter and less restrictive. . .
“In former years, to enjoy the cool of evening men also wore yukata of their choice, as if competing with each other. Their wives could make a yukata of a striped, checked, or octagonal pattern in one night. My father was particularly fond of his ‘towel yukata,’ which my mother sewed together from thirteen stylish towels of different patterns.” – Sadako Sawamura “My Asakusa, Coming of Age in Pre-War Tokyo”
An evening with Taka, in Koenji
16mm, color, sound, 3 min
The traditional day for eating grilled eel
16mm, color, sound, 3 min
16mm, color, sound, 3 min
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Joel Schlemowitz’s films have screened widely at cinemas, festivals, and institutions including including the New York Film Festival, Tribeca Film Festival, MoMA, The Whitney Museum, Harvard Film Archives, New York Underground Film Festival, The London Film Festival, and many others. HIs light boxes, sculptures and installations have been previously exhibited at Courthouse Gallery at Anthology Film Archives, KUMUKUMU Gallery, Museum of Contemporary Cinema (Madrid), Ukrainian Institute of America, The Images Festival (Canada), Bound & Unbound Gallery, and Microscope Gallery (Brooklyn).
© All images are courtesy of the artist
SO IS THIS
a 16mm film by Michael Snow
MONDAY SEPTEMBER 24, 7PM
Microscope Gallery presents a rare screening of the 1982 16mm film by seminal Canadian artist Michael Snow So is This. The film is a sumptuous mix of tautology, self-reference and humor, consisting solely of written text. Snow uses a playful approach combining reflections on the text itself and its use within the language of film. Snow’s words confront with their own meaning as well as their added components of image and duration, creating a dialogue between the screen and the viewer’s mind. Undoubtedly, a film that speaks for itself.
So Is This
by Michael Snow, 16mm, color, 48 min, 1982
“Snow manages to defamiliarize both film and language, creating a kind of moving concrete poetry while throwing a monkey wrench into a theoretical debate (is film a language?) that has been going on sporadically for 60 years. If you let it, Snow’s film stretches your definition of what film is – that’s cinema and SO IS THIS.” — J. Hoberman
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Michael Snow was born in Toronto in 1929. He studied at Ontario College of Art and soon established himself as a successful painter and musician. In 1962, he moved to New York City and became acquainted with the avant garde film scene centered around Jonas Mekas’ Filmmakers’ Cinematheque. It is in NYC, that his groundbreaking 1967 film Wavelength, which includes a 45-minute camera zoom within a fixed frame and is now considered as a landmark work of structuralist filmmaking – screened for the first time. Today, Snow continues to work with the moving image and is recognized as one of Canada’s most important living artists. Michael Snow has had solo exhibitions among others at the Art Gallery of Ontario, Toronto; XXV Venice Biennale; The Museum of Modern Art, New York; Centre George Pompidou, Paris; Kunstmuseum, Luzern, Switzerland; List Gallery, MIT, Cambridge, Massachusetts. Large retrospectives of his films were presented at Pacific Film Archive, San Francisco; Walker Art Center, Minneapolis; Osterreichisches Film Museum, Vienna; Image Forum, Tokyo; Cinémathèque Française, Paris; and Cinémathèque Royale de Belgique, Brussels, and many others. Among his many awards are a Guggenheim Fellowship, the Order of Canada, and two Los Angeles Film Critics Awards. Snow exhibited in New York earlier this year at Jack Shainman Gallery. He currently lives and works in Toronto, Canada.
© All images are courtesy of the artist
I FEEL NOTHING
Videos by Cat Tyc
SATURDAY SEPTEMBER 22, 7PM
Microscope Gallery welcomes Brooklyn-based artist Cat Tyc to present a selection of her single channel video, music videos, and experimental narrative works made over the past decade, including her latest work-in-progress. Tyc’s works have been recognized widely, with her early music videos airing on MTVu and Logo’s NewNowNext and her recent installations exhibited at the Brooklyn Museum of Art and Camac du’ Art in Paris among other venues.
The focus of the works selected for I FEEL NOTHING is on desire,”or to be more specific, Lacan’s concept of the “objet petit a” (object of desire), is explored consistently with desire, not as a relation to an object, but a relation to a lack of said object.” Tyc sites her diverse influences as the avant grade filmmakers Stan Brakhage, Rudy Burckhardt, Nathaniel Dorsky and assorted 1950s drug psychedelia films. Sound is also an important and constant element of her work, which she blames on a childhood spent obsessively watching MTV and listening to her Walkman as she imagined mini-movies in her head.
Tyc’s visual depiction of “seeing” sound moves into a realm far deeper than music video, becoming something closer to abstract illusionism.
— XLR8R magazine
(approx. 60 minutes)
Statement of Facts (with Vanessa Place), video, color, sound, 7 min. (work in progress) 2012
An archival collage narrating poet Vanessa Place’s 2012 Whitney Bienniel performance text of the same name.
butterflies (with Elke Rindfleisch Dance Company, music by Dusty Reske), video, color, sound, 6 min. 2007
For a time, I was filming dancers in rehearsal. This is footage from the Rindfleisch Dance Company that I filmed in Clinton Hill in 2007, then I edited it to Dusty Reske’s sound scape.
Candy, video, color, sound, 1 min. 29 sec. 2012
I perform a selection of an original poem in my apartment.
2 Poems (with Aaron Kiely) video, color, sound, 2 min. 3 sec 2007
Poet Aaron Kiely reads two poems to me.
Collection of Silence video, color, sound, 1 min. 31 sec. 2009
Poet Eileen Myles organized a flock of poets to perform acts of poetry throughout the Museo del Barrio and I filmed it to collect the sound.
The Night The Whole World Caught On Fire ( Music by The Feverfew) video, color, sound, 5 min. 2005
A music video of sorts for The Feverfew edited from one shot of fire in Imovie.
The Feather Test (co-directed with Adam Long, Music by Aweather) video, b&w, sound, 6 min. 2007
This music video aired on MTVu and was also screened at the Kassel Documentary Film and Video Festival in a bill appropriately titled: “Love Is”.
The Fox’s Teeth (Music by Dusty Reske) video, b&w, sound, 3 min. 34 sec. 2008
This was the first music video I ever “directed”. We shot it in my basement at the time.
Why Can’t I Be You? (w/ Bob Kendrick & Maile Thiessen.) video, color, sound, 3 min. 40 sec. 2008
This karaoke video was made for the PDX Festival Karaoke Video Art event in 2008.
P.D.A. ( Sound by Gary Hustwit) video, color, sound, 2 min. 2004
Kiss. Kiss. Noise.
Furness ( Music by Dusty Reske) video, color, sound, 6 min. 35 sec. 2006
I was trapped housesitting for a friend during a hurricane. I filmed anything I could to not lose my mind during that long weekend. The goldfish were the real stars of the day. About six months later, I edited it to Dusty’s soundscape.
Pearl Into Sand (Music by Tara Jane O’Neil) video, color, sound, 3 min. 20 sec.
This is a combination of archival footage and dancer footage I filmed for TJO’s sound scape. It is my goodbye note to Portland.
Umbrella, video, color, sound, 9 min. 34 sec. (2009)
This is a short experimental narrative that I directed, produced and edited from a script I re-adapted from a short story by Fernando Sorrentino called “There Is A Man in the Habit of Hitting Me Over the Head with an Umbrella,” making the protagonist female to open the metaphor for deeper interpretations.
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Cat Tyc is a Brooklyn based filmmaker/poet/video artist who has been working in video since 2003. She has directed music videos that have aired on MTVu and LOGO’s NewNowNext. In 2006, she was a Fellow in Video Art/Documentary at the Flaherty Seminar’s “Creative Demolition” session at Vassar College. Her first short narrative “Umbrella” (2009) has gone on to screen in galleries and festivals in Seattle, Portland, NYC, Berlin and London. She has had installations at the Brooklyn Museum of Art, the Camac du’ Art in Paris and at Art Basel in Switzerland.
All images are courtesy of Cat Tyc © 2012
Video screening & live music by Melissa Skluzacek
Monday September 17th, 7PM
Microscope Gallery kicks off Year Three of our Event Series on Monday Sept 17th with a special night of works by Bushwick-based artist/musician Melissa Skluzacek, including the premiere of her Horizon series of short videos accompanied by a live, improvised soundtrack. The Horizon videos expand upon an evolving body of Skluzacek’s work, which she describes as “invested in visualizing infinity and the dissolution of space through the passage of time.” The video program also includes a selection of video works made over the past 7 years, exploring Skluzacek’s use of temporary sculptural installations as mediated constructed environments.
To close, Skluzacek sits down with her guitar to play a selection of songs from her catalogue of recorded and composed works developed during her days as a founding member of the Minneapolis bands Elada and Tenderwheel as well as new works under the Tenderwheel moniker that have never before been performed live. The night marks the first time that Skluzacek has performed to her videos and also the first time she has played publicly in New York since moving here as an art student in the mid-2000s.
(trt: approx. 60 minutes)
Horizons series (video with live audio accompaniment)
Drive By Horizon MN
digital video 2012, 3:40 min
Drive By Horizon CA
digital video 2012, 3:30 min
Drive By Horizon TX
digital video 2012, 3:30 min
digital video 2012, 10:30 min
digital video 2012, 3:00 min
PART TWO (video works only)
digital video 2006, 3:20 min
digital video 2009, 3:30 min
digital video 2011, 4:30 min
Smoke and Mirrors
digital video 2011, 3:14 min
PART THREE (musical performance)
Melissa Sklzuacek plays and sings songs live from a discography that spans ten years of previously recorded albums from various bands for which the artist was a founding member and main songwriter.
– – –
Melissa Skluzacek has exhibited her work at Issue Project Room Brooklyn NY; Nueberger Museum Purchase NY; Hudson Valley Center for Contemporary Art Peekskill, NY; Bushwick Film Festival Microscope Gallery Brooklyn NY; Co-Worker’s Project Entwine NYC; Beta Spaces Brooklyn NYC. She is a recipient of a Jerome Foundation Grant and an Arts Exchange Fellowship from the Westchester Arts Council. Skluzacek’s work has been written about in the New York Times and the Minneapolis Star Tribune. She has performed and recorded nationally and internationally as a musician with the bands Elada, Tenderwheel & Party of One. Melissa Skluzacek received her MFA/MA from SUNY Purchase College in 2007 and lives and works in New York City.
All images are courtesy of Mel Skluzacek © 2012