{"id":62,"date":"2014-05-19T20:13:11","date_gmt":"2014-05-19T20:13:11","guid":{"rendered":"http:\/\/www.indexartcenter.org\/?page_id=62"},"modified":"2015-04-20T19:44:53","modified_gmt":"2015-04-20T19:44:53","slug":"filmideo-2014","status":"publish","type":"page","link":"http:\/\/www.indexartcenter.org\/?page_id=62","title":{"rendered":"FILMIDEO 2015 Day 1"},"content":{"rendered":"

\"FILMIDEO-2015--web\"<\/a><\/i><\/big><\/big><\/span><\/span><\/span><\/p>\n

Program order and artist selections have been posted for April 18 and 25! (click here for DAY 2)<\/a><\/big><\/big><\/span><\/span><\/span><\/p>\n

\n

Going on it’s ten year anniversary – FILMIDEO\u00a0 film and video screenings
\nis a yearly event that celebrates the great diversity and
\nwork of independent filmmakers and video artists both nationally and
\nfrom around the globe.
\nFor an entire month, IAC transforms its gallery space
\ninto a screening theater, where artist\u2019s works
\nare projected onto a 10\u2019x10\u2019 screen.<\/p>\n

Saturday, April 18, 6 to 10pm-\u00a0Filmideo Day 1<\/strong><\/p>\n

1. Susanna Flock: <\/b>Trying to Build a Sentence (Austria) 2:39<\/i>
\nIn Trying to Build a Sentence, the words \u201c-Back- -to- -back- -they- -faced- -each- -other\u201d have
\nbeen individually applied onto cows in a field. The relationship between these single sentence
\nelements is intersected by the consistent coordinated behaviour of the herd. Consequently, the
\ngrammatical syntax is exemplified, discerned through a different type of system. The spatial arrangement
\nof the individual terms fuses and shifts, evoking varying semantic associations within the viewer.<\/p>\n

2.\u00a0 Alida Salerno: <\/b>CLEAN (USA) 2:15<\/i>
\nClean is a mixed media video exploration of a gestural dance phrase that revolves around washing of the hands and face. It performed and choreographed by Isabel Layton and filmed and edited by Alida Salerno.
\n
\n3.\u00a0 Susana Flock: <\/b>Stronger (Austria) 1:42<\/i>
\nBased on the assumption that when listening to pop music one is not primarily paying attention to the semantic parts of language but rather to the voice, this work tries to explore the relationship between text and music in mainstream pop. The often “missing” denotation of certain mainstream pop hits is counteracted as the texts are spoken without their musical accompaniment. Thus reception of the text is foregrounded. The role of the speaker being an important component of the work, any articulation relies on a specific context.
\n
\n4.\u00a0 Ana Barr & Nuno M. Pereira:<\/b> CONTINUUM (Portugal) 3:01<\/i>
\nContinuum is a film about the fragment and the illusion of the continuum. Shot at the Port of Lisbon the film is also a metaphor voyage where the movement of reality and time turns into a synesthesia. Fragment and totality overlap within the same frame and calls for the spectator close attention to details for the construction of an endless narrative as the different perspectives of the real move within the same frame. How does the real become fiction?<\/p>\n

5.\u00a0 Anna Beata Baranska & Michal Baranski: <\/b>Side by Side (Poland) 2:37<\/i>
\nSimple picture. Components: a fluorescent lamp, pieces: 1. Multiplication of object and sounds. Fluorescent lamps are formed into an image, in subsequent stages of the film they are reproduced exponentially. Besides typical mathematical associations, geometric progression is also associated with human impact on the surrounding environment and technology, which it creates (eg systems 32 or 64 bit, etc.)
\nTechnological progress, of which we are eye-witnesses, is growing very rapidly. This may raise the question: are we able to keep up with every novelty? Image gradually becomes more and more chaotic, the lights flash faster and faster, which makes the initial order begin to emerge pictures, that are causing in us feeling of anxiety. Similar feelings may cause (and certainly should cause) s progress and human pressure on the surrounding area, especially on the environment.<\/p>\n

6.\u00a0 Tsuyoshi Anzai: <\/b>Out of Studio (Japan) 4:07<\/i>
\nTsuyoshi Anzai is a remarkably active young artist nationally and internationally. Anzai uses machines with repetitive actions and mass-produced colorful ready-made products and create a semi-controlled situation. Through a variety of irregularity and accidents occurred in this constructed system, Anzai symbolically expresses uncertainty and uncontrollable situation in our contemporary society. <<Ecstasy of Replicate No.15>> was a video work showing such controlled repetitive actions and the emergence of irregularity in contrast by recording the same actions in the video.<\/p>\n

7.\u00a0 Brooke Griffin:<\/b> Instructions to Hearing Persons Desiring a Deaf Man (Cambridge, MA) 3:57<\/i>
\nThis short experimental animation is based on a poem of the same name by Deaf poet Raymond Luczak. Without any spoken word, the film’s only use of language is in American Sign Language, left untranslated. This particular poem tells the poet’s personal story of frustration and resilience: the struggle of a Deaf gay man to find love in the Hearing community.
\n
\n<\/b>8.\u00a0 Jenny Vogel: <\/b>The Art of Forgetting (New York) 2:53<\/i>
\n3D scans of sculptures from the Metropolitan Museum of Art made available on thingiverse.com become the actors in a narrative about memory. History is referred to, but collapses in a virtual world; cold and permanent marble is replaced with flickering and unreliable TV noise.<\/p>\n

9. Leona Strassberg Steiner: <\/b>Land 1 (New Orleans) 2:13<\/i>
\n
\n<\/b>10.\u00a0 Don Rice & Rick Fisher: <\/b>Arcadia (Canada) 4:49<\/i>
\nArcadia uncovers some unpleasant truths about idealized pastoral landscapes.<\/p>\n

11.\u00a0 Piotr Zoladz: <\/b>Factory (Poland) 3:10<\/i>
\nThe video was recorded in the area of an abandoned cellulose factory located in a village Niedomice, Poland. The film is based on a widely understood rule of contrast.
\nGloomy buildings of the abandoned factory are contrasted with expressive shapes of abstraction, colours are confronted with sombreness and apathy of a black and white recording.
\nIn this manner a new visual context is created, along with post-industrial architecture constituing a main part of the scenario. The soundtrack is filled with music composed in accordance with the natural rhythm of the video – it complements it, becoming a part of a dualistic nature of vision and sound. I would also like to tell about this less known factory, which has completly fallen into ruin after 1989, and it has become, as many other objects, a symbol of the 20th century industrialism.<\/p>\n

12.\u00a0 Francois Knoetze: <\/b>Cape Mongo \/ VHS (South Africa) 4:53<\/i>
\nCape Mongo follows the stories of five characters as they journey through the city of Cape Town. Each Mongo character is made from the city\u2019s discarded waste \u2013 mythical \u2018trash creatures\u2019 which have emerged from the growing dumps of consumer culture. In five short films, the creatures revisit the spaces of their imagined pasts \u2013 the locations associated with their material existence and the constitution of their social relations \u2013 as if walking against the consumer-driven currents of city. From postmodern shopping malls to the bustling streets of the Bo Kaap to leafy suburbia and desolate shipping-container yards, these characters\u2019 journeys conjure up imagery that touches on some of the historical trajectories that have lead up to the endemic inequality and social alienation which characterises present day Cape Town.
\n
\n<\/b>13.\u00a0 Jeremy Newman: <\/b>The Girl Who Dreamed of the Moon (New Jersey) 1:00<\/i>
\nThe solar system has fascinated humankind for countless generations. In this video, a girl embarks on an imaginary journey to the moon. She unexpectedly encounters a familiar life form.
\n
\n<\/b>14.\u00a0 Rui Hu: <\/b>Metropolitan Triangle Garden (China\/USA) 3:53<\/i>
\nIn this experimental animation, statues in the museum participate in a destructive performance triggered by software glitches and misused simulation, turning the space into a madhouse theater with classical beauty and digital chaos, attempting to provoke the sense of history, turmoil, and technological sublime.
\n
\n<\/b>15.\u00a0 Kuesti Fraun-Mobtik: <\/b>Kaputtccino (Germany) 0:21<\/i>
\non getting more than enough but not being comfortable with it<\/p>\n

16.\u00a0 Pawel Stasiewicz: <\/b>NO SIGNAL (Poland) 1:00<\/i>
\nThe film is a stop-motion recording (shot straight from above) of me climbing up the stairs inside the building I live in. Thus I have made a TV noise.
\nThe text accompanying animation (about sky and stars) is the first paragraph from introduction of a book by Bror Zachrisson “Studies in the legibility of printed text”.<\/p>\n

17.\u00a0 Emiliano Zucchini: <\/b>Capturing Memories (Italy) 2:25<\/i>
\nTry to reconstruct a memory of not lived places through photographs of abandoned houses. Try to communicate this operation through a graphic digital studio, starting from the \u201czero level\u201d by interacting with computer graphics software.<\/p>\n

18.\u00a0 Miatta Kawinzi: <\/b>Clay (Brooklyn) 3:24<\/i>
\nThrough movement, poetics, sound, and color, this video is a reflection on some of the forms we fill with language, be they verbal, rhythmic, digital, or spatial. Created during my visiting artist residency at Greatmore Studios in Cape Town, South Africa.<\/p>\n

19.\u00a0 Elijah Kennedy: <\/b>My Mind\u2019s a Map (Richmond, VA) 1:33<\/i>
\nAn animated, visual interpretation of Stephen Benet’s poem, “Difference”.<\/p>\n

20.\u00a0 William Oliwa: <\/b>Space Dog (NJ) 2:50<\/i><\/p>\n

21.\u00a0 William Oliwa: <\/b>Suburban Dreams (NJ) 0:40<\/i><\/p>\n

22.\u00a0 Henriette Hellstern: <\/b>Straight White (Denmark) 1:08<\/i><\/p>\n

INTERMISSION<\/b><\/big><\/big><\/p>\n

1.\u00a0 S\/N: <\/b>RVA\/Remix:6 (USA) 0:58<\/i>
\nIn The Dreams of Others is a meta-fiction created by S\/N, and is the first in a series of location responsive performances. The first location explored is a rural setting on the eastern banks of Lake Michigan. The performance seeks to question the sway of cognitive and relational impact that location implicates. The narrative is loosely based on creating a narrative within imagined rituals specific to environment, and operates as a fragmented representation of a rural family. The artists begin to inhabit a reality not their own, in the interest of pinpointing the reflection of space on identity. The investigation exists in two versions: as a four-channel installation, which seeks to include and envelop spectators into these mediated reflections as well as a single channel split frame screening version.<\/p>\n

2.\u00a0 Linda Chen: <\/b>Solitude (Newark, NJ) 2:32<\/i><\/p>\n

3.\u00a0 Kelli McGuire: <\/b>Wind, Wind (Newark, NJ) 0:09<\/i><\/p>\n

4.\u00a0 John C. Kelley: <\/b>This Video Is Harmless (Arizona) 2:50<\/i>
\nThis Video is HARMLESS is a short video about vulnerability and the suggestion of a moment that we never see.\u00a0 The contextual relationship between scenes implies a larger narrative that is never presented.\u00a0 It is in these narrative holes that we are able to speculate. By omitting the main action of the story, all other pieces inevitably point toward it, and provide an open-ended experience of what is distinctly cinematic without being explanatory.<\/p>\n

5.\u00a0 Leona Strassberg Steiner:\u00a0 <\/b>To Sleep in a Room and Dream (New Orleans) 2:51<\/i>
\nTo Sleep in a Room and Dream is about memories, land, and displacement. Having lived half my life in Israel and half in the United States, I have accumulated a multitude of memories that are nestled on two separate continents.
\n
\n<\/b>6.\u00a0 DuBois Nii-Armaah Ashong:\u00a0<\/b>NO BONI (Newark, NJ) 12:28<\/i>
\nNO BONI tells the story of the first test patient involved in the United States\u2019 Pharmaceutical Reparation Experiment also known as the (ADRMA experiment). The film follows this patient as he is administered the highly classified NO BONI (dnatraline) pill which takes him on a mind bending journey to regain the history of his Diasporian ancestors, during, after and prior to the slave trade.
\nShot in Accra Ghana \/ Newark NJ
\n7.\u00a0 Jeremy Newman: <\/b>A Cosmos of Patterns (NJ) 4:40<\/i>
\nFiber artist Rachel Blythe Udell combines elements inspired by the natural world in strange and fascinating arrangements. Her soft sculptures and embroideries are enlivened through bold juxtapositions of color, shape and texture. Yet, their whimsical appearance is deceptive. Having lost her mother to cancer, Udell\u2019s artwork is a personal meditation on biological connectedness.<\/p>\n

8.\u00a0 Jeremy Newman: <\/b>Fixed (New Jersey) 1:00<\/i><\/p>\n

9.\u00a0 And\/Or:<\/b> MILLENNIAL (Newark, NJ) 22:54<\/i>
\nMillennial is an ultra-camp retelling of the New Millennium. On the eve of the year 2000, a boy named Zip hacks his way into the Millennial celebration. During the security breach, the Y2K bug breaks in and drains all of the cool, Millennial energy from the world. It’s up to Zip and his friends to restore the New Millennium before everything becomes permanently boring.<\/p>\n

10.\u00a0 Hearty White: <\/b>The Joy of Art (Kentucky) 4:41<\/i>
\n
\n<\/b>11.\u00a0 Linda Everswick & Eric Durkin: <\/b>Let\u2019s Kill the Weatherman (Newark, NJ) 3:16<\/i><\/p>\n

12.\u00a0 Rebecca Major: <\/b>Exorcise (NYC) 3:25<\/i>
\nA female protagonist acts out a set of physical movements relating to notions of constriction and catharsis as related to the body.
\n
\n<\/b>13.\u00a0 Jordan Marty: <\/b>Twenty Six Truck Stops (Richmond, VA) 2:20 <\/i>
\n26 attempts at perfecting an immediate stop via the artist\u2019s vehicle.<\/p>\n

14.\u00a0 <\/b>Steven Dressler and Sarah Granett: <\/b>Introducing (NJ \/ California) 0:31<\/i><\/p>\n

15.\u00a0 Steven Dressler and Sarah Granett: <\/b>Spring any Day Now (NJ \/ California) 0:32<\/i><\/p>\n

16.\u00a0 Steven Dressler and Sarah Granett: <\/b>I want to Beeline (NJ \/ California) 0:17<\/i><\/p>\n

17.\u00a0 Mauricio Sanhueza: <\/b>Do You Smell That (Peru) 2:15<\/i><\/p>\n

INTERMISSION<\/b><\/big><\/big><\/p>\n

1.\u00a0 Michael DiFeo:<\/b> Ocean of Pixels (JC, NJ) 3:39<\/i>
\nOcean of pixels is an impressionistic journey into the possibilities of the mundane.\u00a0 Specifically, I use my “Camera Painting” technique to create motion blur and texture from a road work sign.<\/p>\n

2.\u00a0 Siro: <\/b>Eros, Epithymia (Spain) 0:48<\/i>
\n\u201cWhat is a statesman? What is a politician? What should be the characteristics of a true leader? Should be an administrator who runs certain commands, or something else? This video reflects on the Platonic idea of how it should be a true statesman. Based on dialogue \u201cStatesman\u201d by Plato.\u201d<\/p>\n

3.\u00a0 Robert Waluszko: <\/b>Creative Paradiso (Newark, NJ) 1:57<\/i>
\nCreativo Paradiso, is an animated short tale. The story asks the audience what they cherish most in life. The account is a reflection into our daily routine, which can be daunting and unpleasant. John, who is the main character, works in a factory. His daily environment is a mechanical dystopia where everything operates in an identical regimen. Emotionally exhausted, John decides to change his life by finding something, which will make him more satisfied. Consciously he makes a crucial mistake at his work that gets him fired. He ends up jobless in a big city where he stumbles upon an opportunity, which takes him on a trippy adventure. During his hallucination John visits Creativo Paradiso Hotel and encounters various characters in an elevator. The narrative ends with an open question to the audience: \u201cHow do you live a full happy life and not fall prey to the daily rat syndrome?\u201d<\/p>\n

4.\u00a0 Violet Overn: <\/b>Body of Text (New York) 3:48<\/i>
\nI stood outside the CNN building in Columbus Circle for three hours, tattooed head to toe in political & world news articles from their website. I wanted to literally and visually demonstrate how sexualized the media has become, turn my body into the paper. How we must get through this “surface layer” before being able to read the news. I made a video documenting the reactions of the people walking by my objectified body.<\/p>\n

5.\u00a0 Julia Kurek: <\/b>Message (Poland) 9:56<\/i>
\nI began to wonder about the limitations associated with communication, lack of agreement and understanding. On how different, various perception, reasoning, and consequently action can be understood and perceived by the public. It was a difficult time for me in my life, and problems, which decided by this action verify that she was close to me then.<\/p>\n

6.\u00a0 Olivia Accardo: <\/b>Horsefish (New Jersey) 1:36<\/i>
\na short mixed medium stop motion animation about an electrical storm and how it effects a horse<\/p>\n

7.\u00a0 Soojin Chang & Sophie Merrison-Thieme: <\/b>Noonday Demon (USA \/ Germany) 27:06<\/i>
\nIn the 4th century A.D., Saint John Cassian coined sadness induced by boredom as the Eighth Capital Sin. Now, in our technologically saturated times, boredom is avoided more than ever. Boredom exists only in short spurts, as an illusory afterthought in between past and forthcoming distractions. In Noonday Demon, a monk discovers boredom for her first time.<\/p>\n

8.\u00a0 Tushar Waghela: <\/b>The Home (India) 5:46<\/i>
\nThe home where we live is also a home to billions of living beings. They might remain out of our vision, their sounds and signs continuously register their presence before us. We believe ourselves to be the owner of our apartments and push them away from our kitchen and courtyard. Barely do we realise that much before we came into existence this planet has been their domicile for billions of years —- our apartments are just a tiny corner of their vast habitat.<\/p>\n

9.\u00a0 Leona Strassberg Steiner: <\/b>Transitions (New Orleans) 2:33<\/i><\/p>\n

10.\u00a0 Maryam Tafakory: <\/i><\/b>I was Five when I became a Woman (Iran) 4:28<\/i>
\nAn emotional tapestry that invites you to briefly share the life long torment of genital mutilation still forced upon many young girls around the world.<\/p>\n

11.\u00a0 Mauricio Rivera: <\/b>Aquietamiento (Colombia) 2:51<\/i>
\nStilling: The real stillness is to keep still When the time arrived to keep still, and move forward When the Time eats. Stillness and motion are just thus in Accordance With The Requirements of time, and just thus there is light in life. (Wilhelm, I Ching, 266).<\/p>\n

12.\u00a0 Sinasi Gunes: <\/b>Anatolia (Istanbul) 2:21<\/i>
\nIn the video-work Anatolia,\u00a0 acts\u00a0 of\u00a0 covering and\u00a0 wrapping\u00a0 are\u00a0 not\u00a0 personalised.\u00a0 Cultural\u00a0 layers of\u00a0 the\u00a0 past do not reach\u00a0 as\u00a0 far\u00a0 as\u00a0 the\u00a0 cultural\u00a0 diversity\u00a0 of\u00a0 the\u00a0 region\u00a0 of\u00a0 Anatolia.\u00a0 The\u00a0 covering of\u00a0 the\u00a0 model\u00a0 here\u00a0 is\u00a0 gestural.\u00a0 However,\u00a0 different\u00a0 social\u00a0 roles\u00a0 are\u00a0 questioned\u00a0 to\u00a0 point\u00a0 to\u00a0 the feminine\u00a0 in\u00a0 this\u00a0 work.\u00a0 The concept\u00a0 for\u00a0 the\u00a0 video-work\u00a0 refers\u00a0 to\u00a0 the\u00a0 issues\u00a0 of\u00a0 taboo\u00a0 and privacy\u00a0 in\u00a0 addition\u00a0 to\u00a0 the\u00a0 cultural\u00a0 diversity\u00a0 of\u00a0 Anatolia\u00a0 itself.
\nThe\u00a0 feminine role which appears\u00a0 in social performances\u00a0 in society\u00a0 is overlapping\u00a0 with\u00a0 the\u00a0 covering of\u00a0 the\u00a0 model in the film. For example:\u00a0 employed\u00a0 woman,\u00a0 woman\u00a0 in\u00a0 the\u00a0 home,\u00a0 the\u00a0 woman\u00a0 next to\u00a0 her\u00a0 husband\u00a0 etc.
\nThey\u00a0 show\u00a0 the psychology of regional wrapping. The film emphasis\u00a0 notonly\u00a0 social strangulation but also that women\u00a0 have\u00a0 been\u00a0 converted\u00a0 into cultural objects. Especially, woman\u2019s\u00a0 freedom\u2026
\nIn addition to being related to the region of Anatolia, it is a visual feast on on the diversity of traditions.<\/p>\n

13.\u00a0 Olivia Accardo: <\/b>Golf Sur Neige (NJ) 3:08<\/i>
\nshort film about a dude who won’t let anything, or anyone interrupt his game of snow golf<\/p>\n

14.\u00a0 Patrick Moser: <\/b>Little Curry tests (USA) 1:13<\/i><\/p>\n

15.\u00a0 Sandra Arujo: <\/b>Rio me porque es da aldeia e vieste de burro ao baile (Portugal) 2:52<\/i>
\n<\/i><\/p>\n","protected":false},"excerpt":{"rendered":"

Program order and artist selections have been posted for April 18 and 25! (click here for DAY 2) Going on it’s ten year anniversary – FILMIDEO\u00a0 film and video screenings is a yearly event that celebrates the great diversity and work of independent filmmakers and video artists both nationally and from around the globe. For … Continue reading FILMIDEO 2015 Day 1<\/span> →<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-62","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"http:\/\/www.indexartcenter.org\/index.php?rest_route=\/wp\/v2\/pages\/62","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/www.indexartcenter.org\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"http:\/\/www.indexartcenter.org\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"http:\/\/www.indexartcenter.org\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/www.indexartcenter.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=62"}],"version-history":[{"count":35,"href":"http:\/\/www.indexartcenter.org\/index.php?rest_route=\/wp\/v2\/pages\/62\/revisions"}],"predecessor-version":[{"id":333,"href":"http:\/\/www.indexartcenter.org\/index.php?rest_route=\/wp\/v2\/pages\/62\/revisions\/333"}],"wp:attachment":[{"href":"http:\/\/www.indexartcenter.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=62"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}