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\nBradley Eros\u00a0is an artist working in myriad mediums including film & video, collage, performance, expanded cinema, and installation. Eros\u00a0has been a catalyst of the New York film community since the 1980s and his\u00a0works have exhibited and screened extensively in the US and abroad including at the Whitney Museum of American Art (in \u201cDreamlands: Immersive Cinema and Art: 1905-2016\u201d, \u201cThe Whitney Biennial 2004\u201d, and \u201cThe American Century: Art & Culture 1900-2000\u201d) as well as at The Museum of Modern Art (MoMA), MoMA PS1, New Museum, The Kitchen, Participant Inc., Pioneer Works, Performa09, Exit Art, Anthology Film Archives, Parrish Art Museum (Water Mill, NY), The Andy Warhol Museum (Pittsburgh, PA), Camden Arts Center (London), Arsenal (Berlin), and The New York, London and Rotterdam Film Festivals. His work has been written about in\u00a0ArtFCity<\/em>,\u00a0Artforum<\/em>,\u00a0Hyperallergic<\/em>,\u00a0The Brooklyn Rail<\/em>,\u00a0The\u00a0Wall Street Journal<\/em>,\u00a0and the\u00a0Village Voice<\/em>, among many others.\u00a0Collaborations include the\u00a0Alchemical Theater, the band\u00a0Circle X,\u00a0Voom HD Lab, and the expanded cinema groups\u00a0kinoSonik<\/em>,\u00a0Arcane Project<\/em>\u00a0and currently with\u00a0Optipus<\/em>. Grants and Awards include: Acker Award, NYFA Fellowship, Experimental Television Center (ETC), and Issue Project Room\u2019s artist in residence, among others. His work is in the permanent collection of the Whitney Museum of American Art.\u00a0Eros currently lives and works in Queens, New York.<\/span><\/p>\n<\/strong>
\n<\/strong><\/p>\nProgram:<\/span><\/strong><\/p>\n<\/strong><\/p>\nAerodynamics of the Black Sun<\/span><\/strong>
\nDigital video, color, sound, 2006,\u00a06 minutes <\/span><\/p>\n“Aerodynamics of the Black Sun”\u00a0is an alchemical process reflecting decay and regeneration in the solar realm. The elasticity of materials under chemical change creates metaphors and abstractions for manipulated plastics burning in the gate. These pyrographic ruptures are inspired by entropic phenomena and disintegration, as well as by artists who explore surface distress, puncture and erosion, such as Yves Klein, Lucio Fontana and Alberto Burri.<\/span><\/p>\n<\/strong><\/p>\nAurora Borealis<\/span><\/strong>
\n16mm film, 2002, 12 minutes<\/span>
\nw\/ live foley & electronics by Rachael Guma and Gabriel Guma (aka Gestalt Tone Color) and Masami Tomihisa<\/span><\/p>\n“Aurora Borealis”\u00a0treats the laboratory as a theater of metamorphosis, a magic show for staging transformations, with technicians as prestidigitators, performing conjuring and vanishing acts on elemental materials of solid-liquid-gas, using prisms, crystals, dyes to invoke the phantasmagoric and the sublime.\u00a0Created primarily from found footage acquired from a Texas school library,\u00a0“Aurora Borealis”\u00a0is an homage to two lyric surrealists of the cinematic collage, Joseph Cornell and Jean Painlev\u00e9. To Cornell, in his irrepressible wonder at the marvelous made manifest in the mundane, where common objects reclaim their mystery through subtle juxtapositions and revelatory tangents. And for Painlev\u00e9, in his own subaquatic science of marine biology turned wonderland and his poetic junctions of the subversive and the submerged.” – BE<\/span><\/p>\n<\/strong><\/p>\nDeliquescence <\/span><\/strong>
\nDigital video, 2004,\u00a09 minutes <\/span><\/p>\nAn ephemeral film of subterranean science,\u00a0Deliquescence\u00a0creates an aquatic environment that\u00a0emphasizes the liquidity of projected light. The work\u00a0employs external glass lenses, plus violet and\u00a0rose-tinted gels, and strategic hand-masking to\u00a0interlace the figures in a sexual m\u00e9lange, overlaying\u00a0a particularly tender fragment of pornography with the\u00a0amorphous undulations of a Japanese documentary on\u00a0marine flowers.<\/span><\/p>\n<\/strong><\/p>\nburn (or, The 2nd Law of Thermodynamics) v.3<\/span><\/strong>
\nDigital video, 2004,\u00a05 minutes 35 seconds<\/span><\/p>\nThe work uses a short strip of super8mm footage of 1970s bondage porn pulled through the projector gate and burned frame-by-frame, in a live performance.\u00a0A soundtrack fragment of Martin Scorsese\u2019s\u00a0Taxi Driver, with Robert De Niro\u2019s methodical rant and Bernard Herrmann\u2019s haunting score, seeps beneath the disintegrating images, signaling the sleazy milieu of Times Square. Here the fragility of the plastic material is both magnified and transformed, serving as a physical fact of film and a brutal metaphor. Meanwhile, energy is expelled through the process of heat, and liberation is attempted through an act of destruction.\u00a0In melting, the image becomes temporarily alive and strangely beautiful.<\/span><\/p>\n<\/strong><\/p>\nFlick or Film<\/span><\/strong>
\n16mm film, silent & live sound, 2018, 7 minutes <\/span>
\nw\/ live sound by Muyassar Kurdi<\/span><\/p>\nThis film results from the frame-by-frame shooting of various monochromes, followed by the spraying of silver paint onto the 16mm filmstrip. The flickering colors are given a new texture and sense of depth by the physicality of the paint, shifting in and out of focus. This work is always played twice, once silent, once with live sound.<\/span><\/p>\n<\/strong><\/p>\nScreen<\/span><\/strong>
\nPerformance, multiple film projectors, 2004,\u00a07 minutes<\/span><\/p>\n“With 8mm projector and 16mm projectors with no film, slide projector with dust on clear slide, spotlight, flashlight, anamorphic lens, glass, matches, white, black & silver 8 x 12 boards, mylar, mirrors, gels & filters, powder & spray, aperture plate, screen, streetlights, carlights, shadows, reels, soundhead, microphone, contact mic, performance demonstration, fingers & blink [\u2026] A didactic deconstruction (an apparatus stripped bare) of a multi-medium plastic polymorphic cinema concrete.” – BE<\/span><\/p>\n“Screen”\u00a0was the last work performed by Eros at NYC alternative theater venue “Collective: Unconscious”.<\/span><\/p>\n<\/strong><\/p>\nLiquid Crystal<\/span><\/strong>
\nPerformance, 8mm projector, flashlight, cut crystal drinking glasses, lenses, whiskey and water, 2000, 5 minutes <\/span><\/p>\n“Pulsating and flickering from projector strobe, moving projected light without celluloid or filmstrip. Light beams through glass as liquids (water then whiskey) are poured into and out of translucent vessels projecting clear and colored images and prismatic refractions onto the white wall of an unframed screen surface.” – BE<\/span><\/p>\n<\/strong><\/p>\neros.ion<\/span><\/strong>
\nPerformance, water-damaged Super8mm film, 16mm film, color,\u00a01999,\u00a010 minutes<\/span><\/p>\n“This filmstrip is projected without the use of the shutter. It is pulled through the projector by hand at an irregular speed, moving ahead (or backwards) slowly or quickly, sometimes stopping, altering focus, and at times allowing the deteriorated emulsion and celluloid to burn in the gate. It is a film without flicker and no fixed time frame. It has\u00a0“continuity without intermittency”,\u00a0challenging a given notion of cinema. [\u2026] It magnifies what Rosalind Krauss calls the ‘film\u00a0in\u00a0potentia\u00a0because film not-yet-projected.’ Nature of the thing in hand. An\u00a0objet trouv\u00e9\u00a0<\/em>transformed by a (revealed) trompe l’oeil.” – BE<\/span><\/p>\n<\/strong><\/p>\nASH (arcana sub hic \/ astra sub hoc: the secrets are under here \/ the stars are beneath this)<\/span><\/strong>
\nHand-made slides, 16mm film loops, live burning, 2018, 7 minutes<\/span>
\nw\/ live sound by Samara Lubelski<\/span><\/p>\n“Embrace the ephemeral, but mourn extinction.” An unfixed projection with film loops and slides made daily from the ashes produced by the ritual charring in the current show. These elements are reanimated and given new life in exhibition and performance. With “spring ephemerals” flower loop by Katherine Bauer.<\/span><\/p>\n<\/strong>
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\nMicroscope Gallery Event Series 2018 is sponsored, in part, by the Greater New York Arts Development Fund of the New York City Department of Cultural Affairs, administered by Brooklyn Arts Council (BAC).<\/em><\/h1>\n","protected":false},"excerpt":{"rendered":"Friday April 20, 7:30pm Bradley Eros eros.ion Ephemeral cinema performances and films Image courtesy of Bradley Eros and Microscope Gallery Microscope is very pleased to present a night of rare ephemeral cinema performance and films by Bradley Eros in connection with his current solo exhibition at the gallery \u201cAll that is solid melts into eros\u201d, […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_mc_calendar":[],"footnotes":""},"class_list":["post-20733","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.microscopegallery.com\/archive\/index.php?rest_route=\/wp\/v2\/pages\/20733","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.microscopegallery.com\/archive\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.microscopegallery.com\/archive\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.microscopegallery.com\/archive\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.microscopegallery.com\/archive\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=20733"}],"version-history":[{"count":11,"href":"https:\/\/www.microscopegallery.com\/archive\/index.php?rest_route=\/wp\/v2\/pages\/20733\/revisions"}],"predecessor-version":[{"id":20807,"href":"https:\/\/www.microscopegallery.com\/archive\/index.php?rest_route=\/wp\/v2\/pages\/20733\/revisions\/20807"}],"wp:attachment":[{"href":"https:\/\/www.microscopegallery.com\/archive\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=20733"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
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