ADVANCE TICKETS<\/a><\/div>\n<\/strong>
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\nProgram:<\/span><\/strong>
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\n<\/strong><\/p>\n( \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0)<\/span><\/strong>
\nby Audra Wolowiec<\/span>
\n2 x slide projections, 98 slides (inkjet prints on paper with Sea 006, a scented oil made in collaboration with Tara Pelletier), 2015, approx. 10 minutes <\/span>
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\nFirst performed at the Poetry Project at St. Marks Church,\u00a0( \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0)\u00a0is a language-based short film composed on two slide projectors. Held by punctuation and fragments of an\u00a0unfolding narrative, signals sequence from left to right. The projections communicate through call and response, buoyantly searching, locating each other and the audience in a shared space of reading.<\/span><\/p>\n<\/strong>
\n<\/strong><\/p>\nHead\u00a0of the Wake<\/span><\/strong>
\nby Bruce McClure<\/span>
\n16mm film performance, sound, 2018, duration variable<\/span>
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\n\u201cElisha\u00a0beacon, beckon bright! This bumper sticker is used to boast aloud and alone to itself. Follow it up with end speaking; the briefest glimpse of glad rags through whose slit spills unmeshed waves to yonder time where flash becomes word and\u00a0silents self round.\u00a0 A\u00a0double joined morning, they deliver chalking on\u00a0walls with a little lamp belt chorus. Every line’s end a head strength pass through the eye of \u201cfor instance.\u201d Constructor and\u00a0lexical student corrected with the\u00a0black. After glow of a shower proof wall, the doorplate a blind of black sailcloth over show and show to the server of servants looping the lamp! Seated with such\u00a0flop right down determination reminds us of\u00a0twice importunate towns of X, Y and\u00a0Z. The inventions that led to optical sound-on-film technology employ the use of an electric lamp, called an exciter, shining through a translucent waveform printed on the edge of a film strip. When the light shines through the film, it is read by a photo-sensitive material and fed through a processor that converts the photovoltaic impulse into an electrical signal that is then amplified and converted into analogue sound waves through a speaker. Captured by wanamade sing signs to sound sense\u00a0enjoined flashily by disordered visage.\u00a0Single barreled names for\u00a0double paralleled twixty twins.\u00a0Step up to another charge of a light barricade; double\u00a0focus. A runabout to match it. Sing a ring.\u00a0How is this at all? Searchers for tabernacles and the celluloid art! Certainly it has only one square step, to be steady. My own\u00a0doubled\u00a0with love and single biased hate, settled and stratified\u00a0in the capital city. Double quick\u00a0turned out to remove their\u00a0origins, opened it closed. Hot and cold and electricity with attendance\u00a0and lounge and promenade to scrape your souls. Commit no.\u201d – Bruce McClure, June 9, 2018<\/span><\/p>\n<\/strong>
\n<\/strong><\/p>\n-+=Oo.<\/span><\/strong>
\nby L\u00edvia S\u00e1 <\/span>
\n2 x 16mm film, 2014, 4 minutes 33 seconds<\/span>
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\n\u201cMinus plus equals the integration of different shapes, which transform themselves while becoming one and many. This is a hand made 16mm dual projection that explores the negative and positive spaces as well as the reuse of residual film material, which eventually turn into underwater particles.” – LS<\/span><\/p>\n<\/strong>
\n<\/strong><\/p>\nWhite Fang, Black Tooth<\/span><\/strong>
\nby Sarah Halpern, w\/ live score by Judith Berkson and Matt Wellins<\/span>
\nPerformance for 16mm film and overhead projections, sound, 2018, approx. 15 minutes<\/span>
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\nThe title refers to the giant dog characters from the Soupy Sales show, who only ever appear as huge arms, with suggested bodies out of frame, grunting, gesticulating and sometimes throwing pie. This piece deals with the influence of the world outside of one’s immediate vista. With the increasing presence of screens, what part of our daily experience might be considered ‘in’ or ‘out’ of frame?<\/span><\/p>\n<\/strong>
\n<\/strong><\/p>\nCircumambulations (Linear)<\/span><\/strong>
\nby Andrew Ranville, Josh Guilford, w\/ sound by Roarke Menzies<\/span>
\n2 x 16mm film, sound, 2017, 15 minutes<\/span>
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\nCircumambulations (Linear) is a theatrical version of a modular work conceived for multiple exhibition spaces. The theatrical version consists of two rolls of 16mm film projected side-by-side and repeated five times. Each film was shot on Rabbit Island, a remote 91-acre wilderness located in Lake Superior. Mapping the circumference of the island (9,504 ft.) to the length of a 16mm camera roll (4000 frames), Ranville and Guilford walked the island\u2019s coast in opposite directions on subsequent days, exposing a single frame of film roughly every 2.376 feet. When projected side-by-side, the resulting films combine to form an alternative representation of the island, collapsing its dense interior and evoking a shifting land mass defined by a constantly fluctuating border of water and stone. Working entirely with field recordings taken by Ranville and Guilford to create the film’s score, Menzies looped, overlaid, and played back selections of the recordings at different speeds, altering and re-recording these selections in his Brooklyn studio to poetically retrace the filmmakers’ steps through time, equipment, and multiple material transfers. <\/span><\/p>\n<\/strong>
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\n![\"slidepoem_still\"](\"http:\/\/www.microscopegallery.com\/wp-content\/uploads\/2018\/06\/slidepoem_still.jpg\")
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\nFrom “( \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0)” by Audra Wolowiec, double slide projection, 2015, 10 minutes – Image courtesy of the artist<\/span>
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\n_<\/span><\/p>\nJudith Berkson<\/strong> is a soprano, pianist and composer living in Brooklyn, New York. She studied voice with Lucy Shelton and composition with Joe Maneri at the New England Conservatory. She has collaborated with Kronos Quartet, Wet Ink, Yarn\/Wire and City Opera and has presented work at Picasso Museum Malaga, Roulette, Le Poisson Rouge, Joe\u2019s Pub, The Stone, Barb\u00e8s and the 92 Street Y. She has received a Six Points Fellowship, a Jerome Foundation grant, Meet The Composer grant and support from the New York Foundation for the Arts.\u00a0Her solo album \u201cOylam\u201d (ECM Records) was called \u201cStandards and Schubert and liturgical music, swing and chilly silences, a beautiful Satie-like piece to open and close the record\u201d by Ben Ratliff of the New York Times. <\/span>\n<\/p>\n<\/strong><\/p>\nJosh Guilford<\/strong> is a filmmaker, programmer, and scholar based between Western Massachusetts and New York. He holds a Ph.D. in Modern Culture and Media from Brown University, and serves as Visiting Assistant Professor of English in Film and Media Studies at Amherst College. His films, essays, and curatorial programs have appeared in a variety of festivals, publications, and venues.<\/span>\n<\/p>\n<\/strong><\/p>\nBruce McClure<\/strong> graduated from architectural school in 1985. His projector performances have been included in many national and international events including among others the Whitney Biennial, Centre Georges Pompidou Paris, France, International Film Festival Rotterdam, the Netherlands, and Image Forum, Toyko, Japan. Drawing on the experience of Harold Edgerton\u2019s stroboscopic flash and the flicker films of recent decades, McClure applies his formal training as an architect to construct mind-altering, multi-projector works of light and obstruction accompanied by optical sound. In early 2016, McClure\u2019s work will be object of an exhibition at Witte de With Center for Contemporary Art in connection with a series of performances taking place at the International Film Festival Rotterdam.<\/span><\/p>\n<\/strong><\/p>\nRoarke Menzies<\/strong> is a New York City-based artist and composer who creates electronic and electroacoustic works. His music has been described by The New Yorker as \u201ca layered electronic throb, coming and going, always enhancing but never overpowering.\u201d Preforming widely, he recently presented work at Untitled Art Fair in Miami in November of 2016 and was profiled in Musicworks Magazine.<\/span><\/p>\n<\/strong><\/p>\nSarah Halpern<\/strong>\u00a0works with film, paper, sound and performance. She has exhibited her artwork and performed at venues including Anthology Film Archives, The Kitchen, Experimental Intermedia, Microscope Gallery, and NYFF\u2019s\u00a0Views from the Avant Garde among others.\u00a0She has collaborated extensively with electronic musician and composer Matt Wellins\u00a0as well as expanded cinema performance group\u00a0Optipus. Halpern was born in Washington DC and lives and works in Queens, New York. She received a BA in Film and Electronic Arts from Bard College. She received a MacDowell Colony Residency Fellowship in 2014.<\/span><\/p>\n<\/strong><\/p>\nAndrew Ranville<\/strong> is an interdisciplinary artist who works nomadically. Previously based in London, United Kingdom from 2006-2015, Ranville received his MFA from the Slade School of Fine Art in 2008. He recently represented the United States at the 5th Moscow International Biennale for Young Art in June of 2016. He is a Fellow of the TBA21 Academy and the Royal Geographical Society.<\/span><\/p>\n<\/strong><\/p>\nL\u00edvia S\u00e1<\/strong> is a multimedia artist, originally from S\u00e3o Paulo, Brazil. At the age of 18 L\u00edvia moved to San Francisco to study Cinema Production and worked with a variety of independent filmmakers and photographers. She is currently based in Brooklyn and just finished her masters degree in Media Studies at The New School. Livia\u2019s personal work range from human rights issues to experimental narratives by using both documentary and experimental filmmaking. Often times, her work goes beyond conventional approaches to cinema as she is interested in altering the viewer\u2019s perception while stimulating different senses in her storytelling. <\/span><\/p>\n<\/strong><\/p>\nMatt Wellins<\/strong> (b. 1983) is a musician from Pittsburgh, PA. His work is largely based in analog circuitry, the snafus of live performance, and a general ambivalence toward commercial equipment. His current interests are in the private loft theater of 1970s New York, cybernetic music systems, and the ZBS Artist-in-Residency program. He has released music on What the…? Records and presented work at Anthology Film Archives and EMPAC. Along with Michael Johnsen, he maintains the Electronic Music Resource at Ubu.com.<\/span><\/p>\n<\/strong><\/p>\nAudra Wolowiec<\/strong> is an interdisciplinary artist whose work oscillates between sculpture, installation, text and performance with an emphasis on sound and the material qualities of language. Her work has been shown internationally and in the United States at MASS MoCA, CCS Bard Hessel Museum, Art in General, Jordan Schnitzer Museum of Art, Studio 10, The Poetry Project, and the Center for Performance Research. Features have included BOMB, Modern Painters, The New York Times, The Brooklyn Rail, CAA Journal, Sound American, and reductive journal. Residencies include Bemis Center for Contemporary Art, Complex Systems Art and Physics Residency at the University of Oregon, supported by a National Science Foundation Grant, and Dieu Donn\u00e9. She currently teaches at Parsons School of Design, SUNY Purchase, and Dia:Beacon.<\/span><\/p>\n<\/strong>
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\n![\"Circumambulations\"](\"http:\/\/www.microscopegallery.com\/wp-content\/uploads\/2018\/06\/Circumambulations.jpg\")
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\nFrom “Circumambulations (Linear)” by Andrew Ranville, Josh Guilford, w\/ Sound by Roarke Menzies, 2017, 15 minutes – Image courtesy of the artists<\/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).<\/h1>\n","protected":false},"excerpt":{"rendered":"Saturday June 16, 7:30pm Double Halves Double projection film works by Josh Guilford & Andrew Ranville, Sarah Halpern, Bruce McClure, L\u00edvia S\u00e1, Audra Wolowiec Artists in person Bruce McClure, sketch for “Head of the Wake” (2018) – Image courtesy of the artist “Single barreled names for\u00a0double paralleled twixty twins.\u00a0Step up to another charge of a […]<\/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-21119","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.microscopegallery.com\/archive\/index.php?rest_route=\/wp\/v2\/pages\/21119","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=21119"}],"version-history":[{"count":14,"href":"https:\/\/www.microscopegallery.com\/archive\/index.php?rest_route=\/wp\/v2\/pages\/21119\/revisions"}],"predecessor-version":[{"id":21156,"href":"https:\/\/www.microscopegallery.com\/archive\/index.php?rest_route=\/wp\/v2\/pages\/21119\/revisions\/21156"}],"wp:attachment":[{"href":"https:\/\/www.microscopegallery.com\/archive\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=21119"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
![\"Bruce_Elijah\"](\"http:\/\/www.microscopegallery.com\/wp-content\/uploads\/2018\/06\/Bruce_Elijah.jpg\")
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