Microscope Gallery presents

Holy BOS! Films & Videos
for Holy Bos! Festival

SUNDAY JUNE 3, 7:30 – 11 PM
at Bobby Redd Project Space – The Church
626 Bushwick Avenue (at Jefferson)
Brooklyn, NY 11221

In connection with the Holy BOS! Festival at the Bobby Redd Project Space (The Church), Microscope Gallery presents an evening of film, video and performance, including Bushwick Visions, two curated programs of innovative films and videos by Bushwick artists, followed by {AEIOU} An Eye Is (an) Organ Unleashed, multi-projector and sound performance featuring Bradley Eros, Lary Seven, Kenny Wollesen, Dalius Naujo, Rachael Guma, Natas, Amanda Long , Rachelle Rahme, Kenny Curwood , Katherine Bauer on video and film projections, organ, percussion, choir, electronics, foley, and more.

Holy Bos! Festival Site: www.holybos.com


We present two programs of short films and videos from Bushwick area artists selected through an Open Call. Featuring animation, music video, performance, documentary, experimental, appropriate footage, hand-made film, cell phone works and more.

Participating artists: Amy J. Boyd, Katie Cercone, Thomas Dexter, Christopher Gorski, Ellie Irons, Gautam Kansara, Joyce Lainé, Jonas Lozoraitis & Denisas Kolomickis, Mariana Luna, Eric Mann, Mitch McCann, Hyatt Michaels, Jonathan Monaghan, Megan Moncrief, Mitch Moore, Hiroshi Shafer, Christy Shigekawa, Richard Sylvarnes, Henry G. Sanchez, Laura Trager, Cat Tyc, T.R. Pickerill, Melissa Skluzacek, James Woodward, Sean Wrenn, and Stephanie Wuertz.



As the sun slowly burns away
Richard Sylvarnes, video, col, sound, 7:33 min, 2012
Music by Zero Times Everything

As The Sun Slowly Burns Away is a mini metaphysical meditation on mankind’s position in the greater cosmos. The experimental work includes several layers of animation and video including the YouTube video of an inebriated television star David Hasselhof videotaped and interrogated by his daughter. The pain inherent within his daughter’s taping is brought to perspective against an impressionist universe. I can relate to that.

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Richard Sylvarnes is an artist whose work in photography, film, and video has been exhibited nationally and internationally, most recently at the Museek Festival in St. Petersburg, Russia. In 2012 he finished the found-footage mash-up film/operetta “The Last Words Of Dutch Schultz” which will be distributed by Cinema Purgatorio. His films “H.C.E.” and “The Cloud Of Unknowing” both premiered at the Tribecca Film Festival (2006 & 2002 respectively). In 2009 he received a Creative Capital Grant, along with choreographer David Neumann, to make Neumann’s projection-heavy performance “Big Eater”, which premiered at the Kitchen in New York City. He was also nominated for a Rockefeller Renew Media Fellowship in 2008. He has a BA in Photography from The Rochester Institute of Technology and has studied at Berklee College of Music, New York University, and the School of Visual Arts.

Mitch Moore, 16mm to video, col, sound, 4:05 min, 2012

Originally intended for installation, this footage was captured during an intensive period of performance journaling. This assemblage meditates on modes of physical/spiritual expression in urban space.

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Mitch Moore began his artistic career as an illustrator, and developed into a filmmaker after moving to New York in 2008.  The human form has been central to Mitch’s work. Through film and movement, he explores the dimensions of the human physical condition. Most recently, Mitch has been creating work which seeks to examine the dichotomy between the rigidity of design and the flexibility of the human form.

Speculative Aboriculture
Ellie Irons, HD video, col, sound, 6:26 min, 2011

Speculative Aboriculture explores a conception of ecology that encompasses human activity, erasing the artificial borders between humans and habitat. The video stems from my fascination with the growing field of synthetic biology. It weaves together footage of a highly contrived sculptural form built from storm-downed branches, found wires and living moss with shots taken in a small suburban forest in Long Island. These two distinct habitats blur and blend, resulting in a piece that gradually reveals an ecosystem in which technological and biological evolution are increasingly intertwined. Oil and water are harvested from or embedded in leaves, branches, wires and moss while an indeterminate system of machinery shudders and vibrates just beyond the frame. The minute details of this hybrid environment are accompanied by a shifting soundscape of traffic, electricity and forest life.

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Ellie Irons is an interdisciplinary artist and educator exploring the interplay of humanity and ecology through drawings, environmental sculpture and new media. Born in rural Northern California, she went to college in Los Angeles, where she studied environmental science and art. After falling in love with biology fieldwork, she began to combine art and ecology. She moved to New York City in 2005, and completed her MFA at Hunter College 2009. She now teaches and keeps a studio in Bushwick, Brooklyn. She is a member of the Bushwick-based collaborative Future Archaeology. Recent exhibitions and projects include Neversink Transmissions, and public project with Daniel Phiffer, as well as group shows at Smack Mellon, Splatterpool Gallery, and NO Gallery.

Music to commute / Suffer by
Amy J. Boyd, shot in super8, b/w, sound, 2:30 min, 2012

Car horns blaring, gears crunching, trucks rumbling, brakes screeching. The aural onslaught of the daily commute seeps into our lives with entitlement. Social water torture. Break out of the monotony for your own survival.  Shot and edited using Canon 514 XL-S Super8 film camera in Bushwick and Greenpoint, Brooklyn.

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Amy J. Boyd is a video artist and documentary producer living in Bushwick, Brooklyn. She has previously worked for the Chicago Underground Film Festival and attended the Atlanta College of Art. This is her first New York City area exhibition.

Treemonisha Drank Up (Kakey Long Tongue Redux)
Katie Cercone, video, col, sound, 4:50 min, 2012

Treemonisha Drank Up (Kakey Long Tongue Redux) takes its name from ragtime composer Scott Joplin’s early modern folk opera Treemonisha, one of the first Black operas to receive widespread crossover recognition. Characterized by its Modernist rejection of African myth and ritual in favor of Enlightenment style individual determinism, Treemonisha’s poetic armature was the polarization of education and light against superstition and darkness played out in the title character receiving schooling in a white woman’s home. As a foil to its namesake, Treemonisha Drank Up is a yoga hip hop feminist fusion about a white female – educated to the point of neuroses and nervous disorders – balancing out her third chakra as she absorbs the intuitive archetypes, metaphors and ritual of the African cultural memory preserved in Hip Hop. The appropriation of elements of the African spiritual tradition occurs within a transnational post-modern milieu. It is a mirror against the artist’s deep sense of familial loathing hinging on her privilege and a disordered relationship to food precipitated by her given family’s characteristically American individualist inability to give and receive love fully.

Treemonisha Drank Up adopts the Lioness, the animal associated with the third chakra as well as an important icon of Ancient Africa (best embodied in the Sphinx, the goddess protector of the Pharaohs) as its power symbol. Notable Hip Hop icons appear as God/Goddess Archetypes conjured via a possession dance: Lil Wayne, Lil B, Rihanna and Nicki Minaj, the latter having been recently called out by Kismet Nuñez as a form of Elegua/Eshu, the African ‘trickster’ God at the crossroads of human transformation. Citing her chameleon like maneuverability and two-faced depiction of Black feminist possibility, Nuñez writes “Nicki Minaj as diasporic black, as radical, and as speculative.” Treemonisha Drank Up also samples and remixes an internet video by  We can only take an idea and make it into a painting.

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Katie Cercone was born 1984 in Santa Rosa, CA. She has shown her Hip Hop Feminist performative video sculpture throughout the United States and abroad. She is also a yoga instructor and has published critical writing in Bitch Magazine, REVOLT Magazine, Utne Reader, PLAYspace Mag, Women’s Art Journal and N.Paradoxa. Cercone is a founding member of the radical queer feminist collective Go! Push Pops.

Untitled #1
Christy Shigekawa, video, b/w, sound, 1:10 min, 2012

I am inspired by ambiguity and mystery in everyday life, unpredictable circumstances and coincidence. Untitled #1 is part of a series of experimental short videos based on footage shot during my travels, both near and far. My videos are an attempt to see more in the environment around me and to transcend the mundane towards something beautiful and strange. The videos are distorted to reveal the inherent alien qualities underlying the ordinary.

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Christy Shigekawa was born in Los Angeles, and schooled in various parts of California, ultimately earning a BA in Graphic Design from California State University, Chico. In 2006, she decided to further explore her life-long love of photography at Cranbrook Academy of Art, culminating in an MFA in Photography (2008). Christy currently lives and works in Brooklyn. She enjoys meandering along the nebulous divide between the worlds of art and design.

Unfocused Eyes
Mitch McCann, 16mm to video, col, sound, 3:18 min, 2011

This was a music video created for the song ‘Unfocused eyes’ by local band “Cave Days ” lead by band member Jon Murphy who is employed with Mitch at the local coffee shop Little Skips. The video was depicted on the J train in Brooklyn and intended to take a visual ride along with song’s ambient cosmic crescendos.

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Mitch McCann was born in Marshalltown, Iowa in 1982. He was raised in Kansas and attended school there until moving to New York City in 2003. McCann earned a BA in Film from the School for Visual Arts, where his emphasis was Film Directing. McCann’s passion for filmmaking emerged from an initial interest in photography coupled with his experience in theatre and acting.  The melding of theatre and creating unique photographs metamorphosed into moving emotions.  His minimalist satirical voice pitted against rich patterns and textures makes McCann’s art stark yet powerful. Enter his absurd world where objects are pulled out of context and our quotidian realities merge with the metaphysical.  Currently on display at local coffee shop Little Skips (where he is also employed as a barista) is a collection of photography prints McCann has produced as an additional part of Bushwick Open Studios 2012.


Bedtime Stories (The Parsi People)
Gautam Kansara, single channel video, col, sound, 5 min, 2011

“Bedtime Stories” is a collaboration with my mother that expands on the notion of that childhood tradition. Taking the form of a audio/visual encyclopedia, the project addresses a variety of historical topics that my mother is passionate about, many of which she began researching during her PH.D at the School of Oriental and Asian Studies at the University of London. Our discussion topics to date include The Mughal Empire, The Parsi People, The Mahabharata, The Quit India Movement and The Partition of India, and Jhansi Ki Rani.

My mother and I discuss these topics during recorded phone conversations. The resulting dialogues are edited into lectures and paired with rapid-fire slideshows sourced from Google image results. Hundreds of keywords pulled from the lecture are visualized, providing a collective counterpoint to the intimacy of my mother’s pedagogy. As the viewer listens to my mother’s lecture, the slideshows that appear directly relate to the words she is saying, adding an overwhelming amount of ‘related’ imagery to supplement her vocal content. This juxtaposition highlights two vastly divergent learning strategies, one more traditional and lecture based, the other related more to the kind of hyper-fast learning utilized by the characters in “The Matrix”, and suggestive of current superficial research methods that simply draw on Wikipedia.

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Gautam Kansara (b. 1979, London) is an artist and educator based in Brooklyn, New York. His video and photographic works have been featured internationally in numerous exhibitions and screenings at galleries, museums and other spaces including The Center for Book Arts in NYC;  Shrine Empire Gallery, New Delhi; X-Initiative, NYC;  Real Art Ways, Hartford CT; Reina Sofia Museum, Madrid; Haus der Kulturen der Welt, Berlin; Kunsthaus Dresden, Dresden; LMAK Projects, NYC, and The Bronx Museum. Gautam has been an artist-in-residence at Smack Mellon, Swing Space, and the Center for Book Arts. Gautam is an adjunct professor at Manhattan Collage Department of Fine Arts.

Laura Trager, 16mm to video, col, sound, 3 min, 2012

This film is an hommage to the French film author Jean-Luc Godard and his unique use of audiovisual abstraction in order to create a highly affective reaction in the viewer. By investigating Godard’s filmic handwriting in the interplay of color, music, and the spoken and written word, »HOMMAGE« studies the expressive potential of camera-aware filmic portraits as they can be experienced in three of Godard’s early movies: Le Mépris (1963), Alphaville (1965) and La Chinoise (1967).

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Laura Trager is a German-born Bushwick resident currently pursuing a Master degree in Media Studies at The New School. With a background in film philosophy and film criticism she only recently started exploring the filmic medium as a practitioner and presents her first short film at Holy BOS!


Sean Wrenn, video, col, sound, 3:45 min, 2012

Documenting external evidence, this video is layered in a way that alludes to specific experience, as well as the futility of technology in an ever updated infrastructural network of human and material transportations (i.e. the trains, digging, and building façades). The audio track includes publicly archived recordings from mid-20th century shortwave “numbers stations.” These radio transmissions intended to relay secret codes via public channels, for easy accessing by international undercover spies/agents. Because the transmissions are universally accessible by shortwave radio receivers, the surreality of these encoded recordings echo inner/outer experience by exploring this relationship in terms of intellectualized/instrumental pattern discernment of frequency-vibrations otherwise flowing freely in the air.

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Sean Wrenn is a Brooklyn-based artist whose work “echoes the geology of New York life, capturing through the lens my daily traverse/navigation from home to studio in East Williamsburg Industrial Park to job/work sites, and to freelancing gigs.” Wrenn’s work has exhibited at The Bronx Museum of Art, NYC; Donnell Library Window Space, NYC; Chashama, NYC; Project Space, Baltimore, MD; Life Café, Brooklyn; and others. Wrenn has a BA in Studio Art from NYU Steinhardt (2002) and an MFA from Mt Royal School of Art, MICA (2006).

Super Fine Overlord
Megan Moncrief, video, col, sound, 2:16 min, 2012

Super Fine Overlord is an excerpt from a long-form piece completed in March of 2012. The imagery references various attractions Monsanto built at Disney’s Epcot theme parks during their long association from the 60s through the 80s – particularly House of the Future and Journey Through Inner Space. The animations are stitched together from frames created in MS Paint.

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Megan Moncrief was raised in Louisiana and makes her home in Brooklyn, NY. She creates sound and video as Lazurite, makes 2D work under her regular-person name, and scratches at a bass in the psych ensemble Warcries. She was founder and director of departed Brooklyn gallery Brewer’s Mansion, and is a collaborative curator under the LoXM (Ladies of Experimental Music) umbrella.

Deep Black Incantation #17: the lost shore
T.R. Pickerill, video, col, sound, 7 min, 2010

The heart and the mind are separated. This loss of unity is as vast as space. Man/mind being as an astronaut lost/stranded on a lifeless rock far from home/earth and love which is the heart/life/lover. She is the Lost Shore of his dreams. An island of unity to call home and find the embrace of his love. The vast gulf in his being a purgatory of memories. These memories tho are his vehicle, but will they return him to his love?

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T.R. Pickerill is a multimedia artist with roots in poetry and photography. He has been greatly influenced by artists such as W.S. Burroughs, S. Beckett, B. Gysin, A. Artaud, and work of the Viennese Actionists, and 70’s SoCal video and performance art. Since 1997 he has been developing the Omen Project, a series of performances, video, and installations centered on his writing, and inspired by the themes in the Iliad and the Odyssey. Most notably He has staged 12 productions and taken part in many Video festivals internationally, including participation in the Liverpool Biennial. Mr. Pickerill has worked and designed for theater and dance since 1994, and currently lives in Brooklyn, NY.

Eric Mann, HD video, col, sound, 3 min, 2012

The feeling of a day in the town of Hvar, Croatia. Made in May, 2012. Featuring Gregory Mann.

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Eric Mann is a filmmaker from San Francisco who heads off elsewhere much to make movies and is open to anything. Film. Video. Narrative. Experimental. His main interest is working with people not normally exposed to film production, including a segway in India and a hopeful exploration of Latin America. Musician, actor, and government major younger brother, Gregory Mann, is often a key collaborator. Eric’s currently finishing post production on his film “Poyitu Varen” and making a collection of eclectic shorts.


Fish Song
Joyce Lainé, 16mm, b/w, silent, 3 min, 2011

With ‘the pleasure of fishes’, a scroll from the yuan dynasty, and the accompanying poem by Zhou Dongqing…
“Not being a fish, how do we know their happiness?
We can only take an idea and make it into a painting.
To probe the subtleties of the ordinary
we describe the indescribable.”
…a girl walks through the city, trying to find a fish to whom to play the banjo to, finding always something wrong (no fish, or dead, or plush) until she’s guided to a fish who is not in the outsides of the city but confined in a tiny back room of equipment.

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Joyce Lainé is a French and Mexican visual artist and physicist with a preference for celluloid over video and an extensive portfolio of photographs and illustrations. To date she has presented silly and whimsical stories that share and explore the joy and heartbreak she has found in the world, and is mainly inspired by friends to make these personal narratives. Currently she is also a physics researcher at New York University and a 35mm photographer.



Christopher Gorsky, 16mm, col, sound, 3 min, 2012

Single-source found footage of a 1970’s educational film paired with audio samples from a dialog between a doctor and patient during a 1950’s CIA LSD25 test, chopped up and respliced to convey the challenges between freedom and banality, happiness and compliance, expression and rigidity. The outcome is that neither extreme is neither true nor false, but existing simultaneously in a non-dualistic notion.

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Christopher Gorski lives in Bushwick and primarily works in photographic, filmic and musical mediums in a manner that often distorts their boundaries and limitations. His photographic work has been exhibited at venues such as Modern Love in Portland, OR and 801 in Milwaukee, WI as well as published in Fine Line Magazine.


Puget Sound Double Sunset
Melissa Skluzacek, single channel/dual screen video, col, sound, 3:20 min, 2012

Puget Sound Double Sunset is a single channel video. It was shot with a digital video camera on a ferry between Victoria, Canada and Seattle, Washington. The work is part of an ongoing exploration of the experience of moving through landscape. The camera’s distorted viewpoint is used to emphasis the hypnotic and repetitive effect that occurs while traversing landscape and watching a sunset.

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Melissa Skluzacek received her MFA/MA from SUNY Purchase College and lives and works in Bushwick, Brooklyn.  Skluzacek is a recipient of a Jerome Foundation grant. Her work has been exhibited and presented at the BOS Film Festival 2011, curated by Microscope Gallery; Beta Spaces, NY Studio Gallery, Phillips de Pury Gallery, Arts Exchange Gallery, Supreme Trading, Brooklyn, Hudson Valley Center for Contemporary Art, Issue Project Room (2006), Nueberger Museum, Purchase, NY and others.


Dance with icebox
Jonas Lozoraitis and Denisas Kolomickis, video, col, sound, 7:22 min, 2011

In Brooklyn apartment dancer engages in relationship with refrigerator. Refrigerator can be seen as closest household appliance to our primary consumed product – food and therefore a symbol of personal consumption. The large size of refrigerator can suggest encouraged excessive consumption that can grow into wasteful addiction in western World. The size also allows dancing side by side, on top and inside. In this film icebox becomes a fetish and object of passion and desire. Its magnitude compared to the dancer and its unmovable stability contrasts with plasticity and fragility of human movements. Personalized Icebox becomes the passive receiver of human emotion and movement. Visual style is created using hand-held camera as main source of light. Manipulated image suggests interaction with performance and not objective nature of observation.

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Jonas Lozoraitis is a Lithuanian-born artist based in Brooklyn, NY.  His creative output relates to ideas expressed in fluxus.
Denisas Kolomyckis (1992) was born in Lithuania, Vilnius. He is an actor and choreographer now based in New York. He has performed at venues including Zebulon in Brookly, Fluxus Ministery in Vilnius and at agnès b. fashion week in Paris.


James Woodward, digital video, col, sound, 2:39 min, 2011

An interpretation of America’s national ballad, Anthem uses found imagery of neon-green waterfalls interspliced with a lip-synching Ronald McDonald. Tina Turner and Britney Spears are melted down to their core; snippets of sound providing a familiar yet distorted soundtrack. Tension and repetition build into a chaotic and demented climax, evocative of our nation’s current state.

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James Woodward was born and raised in Oakland, California and is currently pursuing his MFA in Studio Art at NYU Steinhardt where he teaches Digital Photography.  Selected exhibitions and screenings include the Reina Sofia, Madrid; The Queens Museum, New York; The Museum of New Art, Detroit; White Box, New York and Camel Art Space, Brooklyn. He works primarily in video and sculpture.

Mariana Luna, video (cell phone movie), col, sound, 4:52 min, 2012

The voices in this vignette cell phone movie are my own, Meredith Monk, Ammiel Alcalay, and Carlos Hernandez giving me advice. It was made from scraps of a chance footage sound and video archive recorded on my cell phone in 2011. It’s as much about a period of a healing from placebo effect as it is about a period of pneumonia, homelessness, and revisiting haunts of memory. It’s a footnote to myself about when, via writing an autobiographical series of vignettes about nomadism, I became aware of how much 7 years of living in different parts of the world as busking musician, farmer, squatter, and lady flâneur was an aftershock of being an immigrant and serial migrant since before I could speak. Maybe the pneumonia that almost killed me at 29 was simply an effect of the mold and rat poison the landlady put in my basement apartment, maybe it was a valve for letting go of an old depression, maybe it was a compass, maybe it was an exorcism – it’s been suggested we get sick to ritualize healing and purging.

The music and poetry are written and performed by me, with the exception of two fragments that end and begin the vignette – the first is from a letter written by Pablo Neruda in exile, the last is from a poem by Antonio Machado. Neruda and Machado were both poets in exile. Home can be found in exile, health in illness, success in failure, wholesomeness in fragments. Fellini: The vital confusion of life is the only salvation we have against dogmatic mummifications. There are no characters, only apparitions. There are no stories, only fragments.

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Mariana Luna aka don quijote, was born in Mexico City in 1981 and currently lives in Brooklyn, NY.
She is into hi-fi, lo-fi, and sci-fi. She’s performed and shown work in usual and unusual places includling Carnegie Hall, the Juilliard School, theaters, bars, trains, abandoned buildings in NYC, Berlin, Canada, Iceland, Mexico, etc. Primary media: words, film, photography, sound/music. Primary themes: memory/oblivion, death, voyeurism, revolution, serial migration.


Dauphin 007
Jonathan Monaghan, CGI animated HD video, col, sound, 3:11 min, 2011

Referring to the heir-apparent to the French throne, Dauphin 007 is a short animation which draws on elements and narratives surrounding French monarchy. The Dauphin is portrayed as a would-be king lion who meets an untimely demise after an eagle snatches his crown away. Medical devices and Gothic architecture re-occur throughout the animation, creating a distorted mix of reality, imagination and cultural critique.

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Jonathan Monaghan (b. New York, 1986) makes short films that combine high-end computer animation with surreal and fantastical scenes drawn from religious themes, popular culture and Western history. Work by Jonathan Monaghan has been shown in the Hirshhorn Museum in Washington D.C., the Today Art Museum in Beijing, and the BFI Southbank in London. He has been awarded residencies from MakerBot Industries, Yaddo, and Seven Below Arts Initiative. Jonathan works out of his studio in Bushwick.

Villanelle part 2b: Stan
Hyatt Michaels, digital video, col, sound, 2:54 min, 2012

Villanelle Part 2b: Stan is an excerpt from a six-part video art and documentary project chronicling the current state of the AIDS crisis. Mixing personal interviews with theater, dance, video art and found footage, the project will illuminate progress made since the beginning of the crisis, as well as prevalent issues affecting disparate people and groups in the United States and around the world.

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Hyatt Michaels is a Brooklyn-based video artist, filmmaker, and playwright. He graduated from University of Michigan-Ann Arbor with a B.A in Film Studies in 2008.  Hyatt also participated in the Union Docs Collaborative Studio and Artist Residency from 2009-2010.


Pearl Into Sand
Cat Tyc, video, col, sound, 3:53 min, 2011

A dance piece set to Tara Jane O’Neil’s “Pearl into Sand”.

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Cat Tyc is a Brooklyn based filmmaker/poet/video artist interested in exploring the paradoxes of class in her work. Since 2002 she has been making video work. For a brief time, she directed music videos that 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. Her recent installations have shown at the Brooklyn Museum of Art, the Camac du’ Art in Paris and at Art Basel in Switzerland.

Henry G. Sanchez, video, col, sound, 7:16 min, 2012

The video is of the artist’s father regaling his family about his experience of running with the bulls in Pamplona, Spain. The record of his Christmas time conversation are layered with videos highlighting the romance and reality of a centuries old tradition.

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Henry G. Sanchez’s work and curatorial projects have been included in Grace Exhibition Space; Guggenheim Museum, Soho; Pera Musuem, Istanbul; Lab Gallery, NY; Jersey City Museum; Here Art Center; Pierro Gallery, South Orange, NJ; Rupert Ravens Contemporary and Affero Gallery in Newark, NJ; City University of New York; 58 Gallery, Jersey City, NJ; Taller Boriqua Gallery, NY; Centro de Arte de Sevilla, Spain and others. Sanchez takes a multi disciplinary approach to ideas that concentrate about interpretations of personal and political history. He received his M.A. in International Relations from Rutgers University in 2000. After a brief career in politics and non-governmental work, he has devoted his time and efforts to his art in Brooklyn, NY where he lives and works. He also currently teaches Fine Arts Digital Media at the School of Visual Arts.

Thomas Dexter, 16mm transferred to HD video, b/w, sound, 3:54 min, 2012

Ink animation on 16mm film leader and light-to-sound audio synthesis.

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Thomas Dexter is a Brooklyn-based artist and performer working with light and sound. Dexter’s artwork explores the perceptual errors, exchanges, and limits that shape our finite understanding of the world around us. Often this manifests in compositional systems through which images generate sounds and sounds generate images. Dexter’s solo and collaborative projects have been featured at PS1, Experimental Intermedia, Roulette, The Elizabeth Foundation Project Space, the New Museum Festival of New Ideas, Art in Odd Places, Issue Project Room, Sideshow Gallery, the MonoNoAware festival, Bushwick BetaSpaces, the Index Festival 2011, and most recently at the Splatterpool art space. He is a member of the Future Archaeology collective.

In my dreams
Stephanie Wuertz, shot on super8 color negative, col, sound, 3:11 min, 2011
Music by Jeans Wilder

Waves of neon light unleash a sea of pastel visions. Shot in Disney World on super-8, the movements and thrills of the fairground are intimately explored.

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Stephanie Wuertz is a moving-image artist based in New York. She has a BFA from Memphis College of Art and an MA in Media Studies from The New School. Drawing inspiration from early cinema and proto-cinema her work explores absence, transformation and kinesthesia. She has screened, performed live projections, and exhibited her work at such venues as Issue Project Room, Live with Animals, Monkeytown, White Box, The Schoolhouse, CoExist Gallery, Cherry Kino Lab and Anthology Film Archives. Her music videos have been featured on Pitchfork, Gorilla vs Bear, Altered Zones, and 20jazzfunkgreats.

Cotton Handkerchief
Hiroshi Shafer, video, col, sound, 7 min, 2012

A girl on the beach finds a clam who becomes her lover and the girl decides to become a sea otter.
In order to overcome grief and become playful creature, like a sea otter, one must destroy one’s saviour.
Our illusion of happiness is predicated upon the infliction of pain, but it is a pain that we desire.

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Hiroshi Shafer was born in Tokyo, Japan and received a BFA from Tokyo Zoukei Art University in 1997. Afterwards, he became involved in independent TV production in Tokyo as a director of documentary programs. He moved to New York 2004 and now lives and works in Brooklyn, NY. He has exhibited nationally and internationally including Exit Art Gallery, NYC;  Fountain Art Fair, Miami; Flux Factory, Queens; God ofLove workshop, Prague, Czech Republic; Yogiga Expression Gallery Seoul, South Korea; and Hakusen Gallery Tokyo.

{AEIOU} An Eye Is (an) Organ Unleashed
Film & Sound Performance, 10PM

Sound & Visuals by Lary Seven, Amanda Long, Rachael Guma, Kenny Curwood, Natas, Sarah Halpern, Katherine Bauer, Rachelle Rahme, Bradley Eros, Dalius Naujo, Kenny Wollesen, and the voices of many.

An amateur choir with small ensemble of vibes, drums, percussion, horns & glass harmonica plus foley, oscillators, and pipe organ perform with live film & video projection performances.
Conducted by Kenny Wollesen & Dalius Naujo. Magnetized by Bradley Eros.

The “choir book” consists of songs by many New York-based composers (Dalius Naujo, Sandra Koponen, John Zorn, Jesse Harris and more), some folk songs, a few covers and some joyful conduction.

Bradley Eros

Bradley Eros works in a variety of media including: experimental film & video, collage, photography, performance, sound, text, expanded cinema & installation. He has exhibited at the 2004 Whitney Biennial & The American Century, The New York Film Festival, London Film Festival, MoMA, The Kitchen, Pacific Film Archives, SF Cinematheque, Performa, The Warhol Museum, Arsenal in Berlin, Lightcone in Paris; and also works with the New York Film-makers’ Cooperative, Anthology Film Archives, & Spectacle. Eros is also a catalyst, actively involved the diverse New York experimental film scene, initiating, exhibiting and curating at a multitude of spaces & venues, collectives & festivals, including The Kitchen, Exit Art, Millennium, Anthology, ABC No Rio, Galapagos/Ocularis, NY Underground Film Festival, Migrating Forms, Issue Project Room, PS1,Collective for Living Cinema, Light Industry, Participant Inc, White Box, Franklin Furnace, PS122, Cabinet, Colab, and most especially, the Roberta Beck Mercurial Cinema, at Collective Unconscious. His work is also in the collection of the Donell Media Center, Film Library.

Lary Seven

Lary 7 is a multimedia alchemist able to coax profane and inscrutable sounds and images from numerous and mysterious devices. His work has been described as that of a magician or scientist, not always certain of the outcome, but determined to see it through to its (Il)logical end. Since the late 1970’s he’s been building, soldering, photographing, recording, mixing, filming, playing, recombining, collecting, re-interpreting and creating in order to make something happen. He is the co-founder of Plastikville Records and Directart Productions Ltd. and is the founder of the Analogue Society. Seven lives and works in Manhattan’s East Village and is one of the last remaining vestiges of a once vibrant community.

Dalius Naujo

Born in Lithuania, Dalius Naujokaitis became an avant-garde feature of the 1980s Vilnius jazz scene performing with Juozas Milašius, Vladimir Chekasin, Petras Vyšniauskas, Skirmantas Sasnauskas and others. He moved to New York in 1995 and conducted a series of performances at Anthology Film Archives. Shortly he became involved with the Free Music on Second Street group, and began partaking in the Now We Are Here Orchestra’ projects with Jonas Mekas (vocal). At the same time Dalius collaborated with avant-garde filmmaker Ken Jacobs in “Lumiere/Naujokaitis/Jacobs: Nervous System Concerts, also with modern dance group “Limbic Six” and Tiny Mythic Theatre. Naujo’s music has been featured in several of Jonas Mekas’ films and has played and recorded with a variety of New York bands including Kenny Wollesen’s Himalayas and Wollesonics, Art Baron, Butch Morris, Joey Barron, Briggan Krauss, Jeff Ballard, Brazilian Girls, Tim Keiper, Jonathon Haffner, Otomo Yoshihide, Rocco John Group, and On Davis’ Cartoon Satellite. Naujo also leads and drums for New York based avant-garde music group Untyte, which performs ancient Lithuanian folk tunes with a downtown NY edge.

Kenny Wollesen

Kenny Wollesen, born in the four corners of America, has been playing music his whole life. Since the late eighties, shortly after he moved here from Santa Cruz, he’s recorded and toured with a host of legendary jazz and avant-garde players including Tom Waits, John Lurie, and John Zorn. He’s a member of the long-running Sex Mob, and was a co-founder of the Klezmorim, a group that fused klezmer with rock and jazz. Kenny’s talent might be described as the ability to capture what’s indispensable in a given musical tradition—be it New Orleans jazz, afro-Cuban, or klezmer—and raze its boundaries with his own imagination, which is transmitted by the subtlest of signals to his fellow players. His latest project is the marching band, most recently known as the Himalayas (aka Slam and other monikers—more surely to come), conceived with saxophonist Jonathan Haffner when Zebulon opened in July 2004.

Rachael Guma

Rachael Guma is a filmmaker and sound artist currently living and working in Brooklyn, New York. Through her experiments with Super 8 film and analog sound, Rachael strives to create an engaging live viewing experience that embraces the idiosyncratic qualities of technology, while maintaining a hand-crafted approach to her output. Ever since graduating from the San Francisco Art Institute, her films have screened at the San Francisco Cinematheque, RX Gallery, Mono No Aware, Northern Flickers, and Microscope Gallery. As a member of Optipus Film Collective, she has performed live foley sound at Participant Gallery, Dense Mesh IV, and the 2011 Index Festival.

Amanda Long

Amanda Long is a video sculptor whose installations investigate light, color, perception and universality. Her work has been exhibited at the Mattress Factory Museum, the Children’s Museum of Pittsburgh, the 1708 Gallery and Pixilerations v.7 in Providence Rhode Island. Long received her MFA in Art from Carnegie Mellon University in 2010, her BFA in Sculpture and Extended Media from Virginia Commonwealth University in 2005.
Her new media project, Lighter and Lighter is the recipient of the University Film and Video Association’s Carole Fielding Grant 2010. Long was a Fine Artist in residence in 2009 and a Tough Artist in residence in 2010 at the Children’s Museum of Pittsburgh where she created interactive videos “White Light”, “Silly Faces” and the “Motion Machine” for young children and their caretakers.

Rachelle Rahme

Rachelle Rahme is a filmmaker, musician, dj, artist and writer working and living in Brooklyn, NY. She is founding member of the Optipus Group, a collective of New York film & video artists. She received her BFA in Film & Television from Tisch School of the Arts and has been shooting 16mm and Super 8 films since 2004. She has screened her work at Sunset Strip, West Nile in Brooklyn, and ‘On Land festival’ in San Francisco. She has also exhibited, screened or performed at Anthology Film Archives, The Stone, Participant Inc, MonoNoAware, Issue Project Room, Watty & Meg, BOS Festival, and many others.

Katherine Bauer

Katherine Bauer works primarily with 16mm film and its material potential for sculpture, photography and installation. Much of her work involves mythologies, folklores, and narratives adapted from her travels across the United States and Southeastern Asia. The celluloid of film gives bodily presence to these narratives and enacts their themes of decay, eroticism and horror. Katherine received a BA from Bard College where she majored in Film and Electronic Arts. She is currently working on a MFA from NYU in Studio Art where she also teaches 16mm filmmaking. Her work has been shown across the United States in a variety of venues and galleries. Recently she has performed or shown work at The Knitting Factory, Anthology Film Archives, St. Cecilias Convent, Millennium Film Workshop, New York Underground Film Festival, Tribes Gallery, Mono No Aware, Union Docs, Unsmoke Systems Gallery in Braddock, Television Access Gallery in San Francisco, among others. Her films are available for rent from The Film-Makers Cooperative in New York City.

Kenny Curwood

Kenny Curwood was born in NYC in ’71. He likes to take apart old movie cameras and projectors, and re-purpose them to re-photograph film one frame at a time. He then processes the film in home-made chemical mixtures, with often dismal results. He is currently working on a script for a partly animated feature, based on his days of being a student at SVA from ’89-’95.

© Image courtesy of Bradley Eros

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