We’ve sent the program booklet to the printers! It will come back in Black and White, but if you want a little color, here it is:
The Work of Fern Silva
Friday, Fine Arts Cinema, Mitchell Hall B91
Oddly enough, when watching the work of Fern Silva, I find myself hearing the opening lines of the television series Farscape. In the series, astronaut John Crichton finds himself flung across the universe through a wormhole. In the opening credits he muses over not knowing how to share the wonders he’s seen with those he’s left home. Silva, on Earth, finds the same dilemma and, being in possession of a Bolex, solves it.
In Silva’s work expect to find a tension between what was, and what is; between extinction and preservation. Forests burn, carpets fly and, always, there is an eagle. The vantage point here is one of a traveler. A person who is in a place long enough to record it, long enough to find boredom, but not free from a departure date and time. A traveler not quite free enough to leave the hotel room and the television behind to find their own adventure. As with Marker’s globe trotting time traveler in Sans Soleil, the television provides a deceptive window into the culture at large. For Silva’s traveler though, media invades the space of the travelogue. It bends and is bent along with it. It writes the soundtrack, and perhaps parts of the script as well. The traveler may, at times, lack a bit of cultural sensitivity. However, this traveler has only come long enough to find the need to return home, with a head full of strange television and strange landscapes.
Silva’s craft with celluloid is deft and easy to consume. Set shots, tv screens, soundtracks, field recordings, and verité are cut together with skill. In Silva’s traveler we might find ourselves and consider our own cultural tourism, for a moment.
Join us Friday, 3pm. Artist in attendance. For now.
Wayward Fronds 2014 13mins
Tender Feet 2013 16mm 10mins
Concrete Parlay 2012 16mm 18mins
Passage Upon the Plume 2011 16mm 7mins
Peril of the Antilles 2011 6mins
In the Absence of Light, Darkness Prevails 2010 13mins
Wow! Thanks so much for your help this year with our fundraising on Indiegogo.
There is so much more to do, of course. The programming, the parties, and the rock shows. And then, there’s
Please allow us to introduce
Marika Borgeson is a filmmaker and photographer currently based in Los Angeles, California. Fascinated by the fluidity and mythology of American histories, she uses film and video to explore the suspension of time and the creation of legends through historic sites, museums, landscapes, and archives. She also works with 16mm film using cameraless techniques and alternative processes.
Her work has screened in galleries and festivals, including the New York Film Festival in Views from the Avant Garde, the Ann Arbor Film Festival, the Void Gallery in Derry, Northern Ireland, and the Media City Film Festival in Windsor, Canada. Before receiving an MFA in Experimental and Documentary Arts from Duke University, Marika served as the Assistant Director of the Experiments in Cinema Film Festival in Albuquerque, NM.
Kelly Gallagher is an experimental animator and filmmaker currently based in Iowa City. She is the 2014 recipient of the Helen Hill Award for her political cutout animation, “Pen Up the Pigs,” which explores connections between the history of slavery and modern day racist policing.
Her films have screened in venues across the world including: the Ann Arbor Film Festival, Anthology Film Archives, Bryn Mawr Film Institute, ICA Artists’ Film Biennial, Winnipeg Underground Film Festival, London Hackney Picturehouse, Berlin Mobile Kino, and Alternative Film Video Festival Belgrade. She is interested in the history of handmade cinema and the radical possibilities of collage film and cutout animation. She is currently finishing an experimental documentary on abolitionist John Brown.
Ben Balcom is film and video maker currently living, working, and teaching in Milwaukee, WI. His work in film and digital (and digital-film hybrids) investigates ordinary objects and affects through the lens of speculative realism. In addition to making films and videos, Ben also is the curator and co-founder of a neighborhood cinema in Milwaukee called Microlights, which specializes in avant-garde film and video work (www.microlightscinema.com).
There you have it, three amazing makers. They are going to have a lot to show. So please join them this year. The Milwaukee Underground Film Festival runs from April 30 to May 3rd, 2015. See you then!
This is it friends, we’re bringing the house down. Fundraising for the 15th Annual Milwaukee Underground Film Fest is now open! Let’s work together to make this year 2015 the best year the festival’s ever seen. April 30 through May 3. Mark your calendars.
You can also just make a donation directly to the festival:
Yo yo, all you beautiful young hepcats who support all we do here at the Milwaukee Underground Film Festival, we are proud to present our festival staff for 2015! We’re building this festival from the ground up to bring you the best in film and artistic culture from around the world, so get ready for it. April 30 to May 3, 2015, will certainly be four days to remember.
This past Winter, Milwaukee Underground Film brought Mono No Aware to Microlights for a screening to compliment their two days of hands on filmmaking workshops. Just after this year’s call for entries posted, we were treated to the work of Josh Lewis.
From Lewis came two entries in a series of “Doubts.” Doubt #6 and Doubt #9 come from a collection of 9 films created in a laboratory, mad scientist fashion. Working under a red light, in the basement of a lab (which already existed nearly as a basement itself to begin with), Josh scattered various chemicals onto outstretched canvases of 16mm black and white film. In his own words, “the struggle to maintain control quickly gives way to a kind of desperate religion.”
A documentary of his exploits in that basement, an exploration of his doubts about the outcome of his filmmaking process manifests itself in these artifact reels. Unknown combinations of chemicals applied to the celluloid surface expose the emulsion’s thickness. Exposures along the line of the strip make its vertical run clear. Meanwhile, chemicals continually shout out their acidic force or lack of it, their ability to make permanent or erase, and a general frenzy of applicative hits and misses.
One of my favorite moments in handmade film is the very thing that digital exhibition of them is completely incapable of– the refraction of light along the edge of exposure. Where the emulsion is removed by chemical or physical action, the projection of light to a distant screen renders the bevel of the exposure visible. Like bright sunlight grazing a window blind, there is that small bend of the lamp’s rays. It’s a bend that spreads over the distance from emulsion to screen that results in a display of an edge’s depth. Without the distance from the bulb, through gel, to screen, this is lost in the transfer to digital.
The Doubt series then becomes something of a meta-document. A document of its own making, one which, once described, I find entertaining and unforgettable. Mad scientist, in the basement of the lab, trying to come up with something but coming up with something else entirely. Beyond that beginning image, this series manages to document the space in which it is projected and develops, for a brief moment, an on-screen record of room, lamp, equipment and distance. It is in the nature of a no camera projection, that one can find that the bending of light past thin boundaries, into patterned refractions, renders form and depth, light, darkness, and color. And it can only be found in that room, at that time.
Find it here.
A Review of the Friday 7pm Program of 2014’s Milwaukee Underground Film Festival
by Connor Martin
(Matt Rossoni & the set-up for his performance piece Lunar Phases)
On Friday, May 2nd the audience of the 14th Milwaukee Underground Film Festival was able to glean why this annual event has shown continued success and growth since its genesis. Each piece in this 80 minute program managed to flourish on their own merits, but what speaks to the quality of the festival as a whole is how well each film in this program functioned as components of a larger machine. This program was my vote for the most successful of the competition and since three of our nine juror awards came from that evening it would seem the sentiment was shared.
(Peacock by Alexander Stewart)
Appropriately chosen as the piece to kickstart this program, Peacock by Alexander Stewart deconstructs cinema into a few of its core components through its dazzling manipulation of light, shape, and movement. A feast for both eyes and ears, Stewart’s 16mm film seemingly adopts a referential approach, intentional or not, towards the musical genres of classical and jazz as it muses on the concepts of repetition, pattern, and eventual variation. For an audience with a clean palette, Peacock serves as an effective usher into the world of the senses as it offers itself up as unadulterated graphical and aural pleasure.
(Short by Robert Todd)
On the heels of Peacock, Robert Todd’s 16mm short, Short (winner of this year’s best experimental film), continued to mine deeper into the concept of using light and shape to create a series of evocative, emerging imagery. As the variable shutter on his camera “sleeps and rises” light floods the frame momentarily only to slowly recede, contour, and then reveal a loose narrative through masterful composition and editing. Through the collision of silent, high-contrast imagery, Todd’s piece began to the bring the audience into the realm of storytelling segueing effectively into the films that followed.
(Nile Perch by Josh Gibson)
Nile Perch (taking second place in the category of documentary), tracks the migration of a fish caught in Uganda’s Lake Victoria from market to export commodity. Josh Gibson’s 35mm hand-made film fashions a “modern-day parable of the effects of globalization on Africa” through a striking exaggeration of the play between light and dark that accentuates the skin of his subjects as well as amplifying the sun’s impact on a their environment. The results are uniquely effective in wrapping this minimalistic approach to the genre with a truly alluring set of aesthetics that typically rest in the hands of experimental directors such as the aforementioned Robert Todd.
(Lunar Phases by Matt Rossoni)
Lunar Phases, a 16mm performance piece by Matt Rossoni interrupted the form of the evening’s content. Rossoni’s empty-projector offers the audience a chance to experience the phases of the moon in a new context. By experimenting with the artifice of cinema and its many facets, Matt’s performance captured the movements and magnitude of celestial bodies and placed them within the confines of a theater. This manipulation of the mechanics of film and the spaces they typically occupy offered Rossoni’s audience a different perspective on the opportunities of the medium.
(A Study in Natural Magic by Charlotte Pryce)
(Light Year by Paul Clipson)
(45 7 Broadway by Tomonari Nishikawa)
The next three pieces continued the theme of exploring the realms of space, shape, and light. Charlotte Pryce’s A Study in Natural Magic, was a gleaning of “an alchemist’s spell; the transmutation of light into substance; a glimpse of gold.” Light Year, a film from director Paul Clipson and commissioned by the San Francisco Exploratorium, manifests itself as a collage of images that study the water systems and architecture of the bay area’s waterfront both through abstract and formal approaches. An impressive demonstration of composition and the layered image that paint a portrait of the area. The second to last film of the evening, 45 7 Broadway by Tomonari Nishikawa delves intro the bustle of Times Square. Described as showcasing “noises in visual and sound”, Nishikawa’s color splitting technique that effectively created three layers of imagery that both complimented the tone of the space as well as distorted the onslaught of digital advertisements, transcending the intersection and its inhabitants into new realities.
(Let Us Persevere In What We Have Resolved Before We Forget by Ben Russell)
The last piece in the program , Let Us Persevere In What We Have Resolved Before We Forget, by Ben Russell (winner of this year’s best documentary) rapped up the evening with a beautifully shot and realized attempt at highlighting forms of happiness outside of the economic, career driven success of modern capitalism. Through wonderfully patient and visually stimulating shots, Russell muses on a slice of life who’s simplicity feels foreign and uncomfortable. We are convinced of this existence’s legitimacy and ultimately its allure, by a Samuel Beckett quoting wise man clad in an Arsenal soccer jersey.
What defines a successful program? This amalgamation of works stands as an prime example of that definition. Interwoven pieces that, devoid of their creator’s intent, inform and enhance both the visual attraction and thematic strength of the works surrounding. This is a testament not only to the overall quality of the submissions that M.U.F.F. receives, but points to an innate understanding of the medium and its intricacies that allow the organizers of the festival continued success.
Great thanks to our 2014 M.U.F.F. Jurors: Scott Stark, Diane Kitchen & David Witzling for being a part of the Milwaukee Underground Film Festival this year.
2014 Milwaukee Underground Film Festival Juror Awards
Second Place Documentary – NILE PERCH by Josh Gibson ($40)
Best Experimental Film – SHORT by Robert Todd ($40)
Best Essay – WILL O’ THE WISP by Andrew Kim ($40)
Best Personal Doc – HISTORIA CALAMITATUM (THE STORY OF MY MISFORTUNES), PART ll: THE CRYING GAME by Roger Beebe ($40)
Friday May 2nd – Fine Arts Cinema MIT B91 – 2PM (Films in Competition Program #1)
In Effluence accord; Emulsion – Karissa Hahn – 2m37s / 16mm on Video / 2013 / USA
Musings of leeway – an illusive figure emerges from the emulsion.
One strip of super 8 film is reconstructed, taped onto 16mm, and then re-filmed on the Optical Printer. The effluence according to its new emulsion – becoming a reflection of its own action.
Microbiologist – Travis Rademacher – 2m37s / Video / 2014 / USA
A focus on intermittent textures viewed up close.
Elsewhere, The Survivors – Ali Aschman – 3m30s / / 2014 / USA
Two connected figures wander endlessly through a desolate landscape, haunted by anxiety and doubt.
Synthesis (yugen pt. 1) – Paul Rabe – 2m28s / Video / 2013 / USA
Yugen – “An awareness of the universe that triggers emotional responses too deep and mysterious for words.” Synthesis is a voyage into the unknown. A fantastical look into what makes up all matter in existence. A glance upon the beginnings of life in the cold, dark void.
Stille Dag (Silent Day) – Aleksander Johan Andreassen – 8m22s / Video / 2012 / Sweden
The video follows the artist’s mother for 24 hours from a fixed position using time-lapse photography. The audio consists of two edited conversations between the artist and his mother about her passive lifestyle.
Current 1-3 – Sean Kafer – 6m / Video / 2011 / USA
CURRENT 1-3 is the introduction of an ongoing film series of patterns of direction on earth. The terrain, its inhabitants and their fabrications in a state of flow.
Waxing and Milking – Alee Peoples – 9m / Super 8 on Video / 2014 / USA
A companion piece to Boys of Summer (2009), Waxing and Milking mimics music video tropes and equates Los Angeles’ favorite food snack, the taco, to a lady’s special parts.
Ghost Poem – Lindsay Greer – 2m38s / Film on Video / 2013 / USA
This film mixes original Super 8, found and original 16mm, and hand painted film to create a visual poem about my Grandmother losing her memory.
LIVING FOSSIL – Sean Hanley – 2m18s / 16mm on Video / 2014 / USA
Springtime along the Mid-Atlantic seaboard, thousands of horseshoe crabs spawn on beaches under the glow of the full moon. LIVING FOSSIL is a brief glimpse of a 450 million year old ritual.
A Million Miles Away – Jennifer Reeder – 20m / Video/ 2014 / USA
Melancholy as a survival strategy in the American Mid-West: An adult woman (the conductor) on the edge of failing and a pack of teenage girls (the choir) simultaneously experience a supernatural version of coming-of-age. The transformation is equal parts tense and tender. It unravels patiently to the infectious beat of an 80s era heavy metal anthem rearranged as a lamentation.
Friday May 2nd – UWM Union Theatre – 7PM (Films in Competition Program #2)
Peacock – Alexander Stewart – 5m / 16mm on Video/ 2014 / USA
An exploration of pattern, repetition and visual overload. A small particle unfolds into a mesmerizing display of color and movement.
Short – Robert Todd – 5m30s / 16mm / 2013 / USA
Light sleeps and rises, and sleeps again along the shoreline of day.
Nile Perch – Josh Gibson – 16m47s / 35mm / 2014 / USA
In flickering black and white, Nile Perch tracks a fish from a fisherman’s line on Lake Victoria in Uganda to export commodity. This hand-made film is a modern-day parable of the effects of globalization on Africa as well as meditation on the economic and ecological impact of an invasive species.
Lunar Phases – Matt Rossoni – 12m / 16mm Performance / 2014 / CANADA
An empty-projector performance: moon events conjured with concrete film materials: light and shadow, sound as Space.
A Study in Natural Magic – Charlotte Pryce – 3m / 16mm / 2013 / USA
Witness an alchemist’s spell; the transmutation of light into substance; a glimpse of gold.
Light Year – Paul Clipson – (music by Tashi Wada, performed by cellists Charles Curtis and Judith Hamann) – 10m / 16mm / 2013 / USA
A commission for the San Francisco Exploratorium as part of a Cinema Artist residency, this film-collage studies the water systems and architecture of the San Francisco waterfront, in abstract and formal contexts.
45 7 Broadway – Tomonari Nishikawa – 5m / 16mm / 2013 / USA
This is about Times Square, noises in visual and sound at this most
well-known intersection. The layered images of shots by handheld
camera through a color separation technique would agitate the scenes,
and advertisements on the digital billboards try to pull ahead of
Let Us Persevere In What We Have Resolved Before We Forget – Ben Russell – 20m / S16mm on Video / 2013 / USA
“We are happy. (Silence.) What do we do now, now that we are happy?” – Samuel Beckett, Waiting for Godot
Saturday May 3rd – Microlights Cinema – 4PM (Films in Competition Program #3)
Story of The Very Busy and Important Man – Neil Gravander – 8m43s / Video / 2013 / USA
…tells the tale of a busy man who must defend his job from a confused, threatened, and rash boss.
In Light, In! – Ken Paul Rosenthal – 12m / Video / 2013 / USA
A haunting, visual essay about the awkward and angry junctures where our culture struggles to manage its emotional distress. Images recycled from 1950’s-era educational films are accompanied by original compositions by cellist, Zoe Keating.
Jellybeans – Scott Fitzpatrick – 6m / 16mm on Video / 2012 / Canada
A non-photographic study in rhythm and colour, an expanded cinema performance dissected and shown in two parts.
[deterritorialization] – Ben Balcom – 2m15s / Video / 2013 / USA
The body is strata. The strata need to be rent apart and then slipt between. The landscape and the mechanism shatter, and the data from both conjoin in spiral formations. Look, the sun is shining overhead.
[Phrases] – Ben Balcom – 4m40s / Video / 2013 / USA
Voices heard during sleep tell the story of this body struggling to form. This body syncopates with the pulsing network of insects. This archive of night is inscribed on the blank page of the body.
Red Luck – Mike Olenick – 25m52s / Video / 2014 / USA
As a sunny day comes to an end, a handful of seemingly disparate characters converge in this experimental psychosexual thriller. Something bad in blowing in the wind and it’s not a good day to go out looking for love. Weeds are growing, the sun is setting . . . Red Luck is coming. You had better do the things that you dream.
Scattered in the Wind – Lori Felker – 5m30s / Video / 2013 / USA – (Music/lyrics by Implodes)
Chicago, 2009 — A cemetery as a crime scene. Hundreds of graves in a historic cemetery had been ripped up in order to resell the plots. Human remains were displaced, disorganized, scattered throughout the grounds, moved to unmarked mass graves.
STANDARDS OF PERFECTION – Andrew Kim – 9m / 16mm / 2012 / USA
This is not a film about miniature horses… Rather, this documentary explores the idea of perfection as understood by The American Miniature Horse Association Standard of Perfection. The film questions the nature of such ideals as they are applied to the miniature horses of The Quicksilver Ranch in Solvang, CA.
Difficult Loves – Paul Clipson – (music by Jefre Cantu-Ledesma) – 3m30s / Super 8 / 2013 / USA
A love poem of intimate immensities, featuring a theatre of waters, lights and flowers. Filmed in San Francisco’s Botanical Gardens and my backyard.
Saturday May 3rd – Microlights Cinema – 8PM (Films in Competition Program #4)
Massachusetts Farm – Josh Baum – 6m / Super 8 on Video/ 2013 / USA
An experience of the shapes, rhythms, and textures of agriculture in the Pioneer Valley of Western Massachusetts. The film revels in the beauty of the harvest in this vibrant community; one that has proven that local farms can be a viable alternative to conventional industrial agriculture.
Waveland – Cade Bursell – 21m / S8 & 16mm on Video / 2014 / USA
A deeply personal elegiac tone poem that speaks to the sensual and polyphonous relationship connecting humans, sea life and waves.
Doubt #2 – Josh Lewis – 5m30s / 16mm / 2013 / USA
The second installment of an ongoing series of investigations that attempt to penetrate film’s enigmatic materiality in tandem with the vagaries of my own emotional and psychological states.
Sleeping District – Tinne Zenner – 11m / 16mm / 2014 / USA
Combining inside and outside views of residential areas built during the Soviet Era with disjointed conversations translated from Russian into a broken English, the film explores notions of home shaped by memory, history, relations and objects. While related to tangible experiences, it suggests how these inform our imagination.
Resistfilm – Pablo Marin – 14m / 2014 / Super 8 to 16mm / Argentina
Super 8 film as super film. Rustic in-camera investigations of (filmic) nature. Homages to early avant-garde landmarks and wild landscapes of the 21st Century.
With Pluses and Minuses – Mike Stoltz – 5m / 16mm / 2013 / USA
“This morning the window blew its glass onto my face. Real morning with pluses and minuses (my symbols for truth)” A groundless and boundless film in which a wall becomes a window to a swirling landscape.
Will o’ the Wisp – Andrew Kim – 23m30s / 16mm / 2013 / USA
WILL O’ THE WISP or The Wandering Light Illuminating the Dark of Night, Taken Therefore for the Souls of the Departed. AN EXAMINATION whereunto is joined a discourse of the causes, continuance, and qualities of such phenomena in nature; occasioned as a matter in contest with the very terrified people who have deemed these lights to be manifestations of the paranormal…
Sunday May 4th – Kenilworth Building – 3PM (Films in Competition Program #5)
The Present Compendium: a Comprehensive Inventory of 24 Items, in 5 Volumes, in the Instance of the Present Print, on the Occasion of its Present Screening – Chris Hoag – 15m / 16mm / 2014 / USA
An ontological wunderkammer consolidates otherwise incommensurable taxa of thingness, their diversity accommodated by the hermetic logic of tautology. Within this non-space of reference and index, Mary-Kate Olsen preforms various feats of horsemanship to a particular degree of precision.
Ice Survey : Tenney Park (Madison, Wisconsin) – Renato Umali – 5m / Video / 2014 / USA
This video is part of an on-going investigation and rumination into skate-able ice surfaces across Wisconsin. The process is simple: lace up the blades, skate, and dream. This video in particular evokes scratch films: the ice surface as celluloid.
The Whale Story – Tess Martin – 3m36s / Video / 2012 / The Netherlands
A fisherman experiences a moment of connection with a female humpback whale in the waters off of San Francisco. Is this an example of inter-species communication or a mysterious fluke? This true story is retold in paint on a 16 foot high wall with the help of the passing public in Seattle’s Cal Anderson Park.
Crux Film – Alexander Stewart – 5m / Video / 2013 / USA
Precarious and fluid arrangements constantly interrupt one another in a montage of waiting, anticipating, and transitioning forms. Arrangements of marks and geometric forms are faced with unresolved states. Objects struggle to maintain their stay upright, or avoid disappearing.
Uncertain Ground – Ian Nesbitt – 12m / Video / 2014 / UK
An idiosyncratic and intuitive portrait of a floating village in East Malaysia that technically doesn’t exist.
Snowglobe – Anthony Porter – 6m / Video / 2013 / USA
A colorblind handyman born inside a melting snow globe tries to escape after finding schematics for a prototype rocket.
Hermeneutic – Alexei Dmitriev – 3m15s / Video / 2012 / Russia
This piece is a visual illustration of what hermeneutics is. With the cunning use of WWII footage it makes you believe that you are watching a proper war ﬁlm. When you already expect the usual archive movie routine — everything changes. And you ﬁnd yourself watching a completely different ﬁlm.
Historia Calamitatum (The Story of My Misfortunes), Part II: The Crying Game – Roger Beebe – 21m / Video / 2014 / USA
It’s all right to cry. Sometimes it’s better than all right.
Fall 1 & 2 – Aaron Zeghers – 51s / 16mm / 2013 / USA
An ode to the absurd, and homage to Bas Jan Ader, and an affirmation of Camus’ notion that the absurdity of existence (and not gravity) links mankind to the world.
The Thief – Ali Aschman – 7m14s / Video / 2014 / USA
In an isolated house, a girl suffers a painful lack. She journeys into the forest in search of fulfillment, in this allegorical fable about guilt, desire and retribution.
Sunday May 4th – Kenilworth Building – 7PM (Films in Competition Program #6)
Une Terre Familiere – Marianna Milhorat – 18m40s / Video / 2013 / USA
Structured as a series of long-take vignettes, each centered around a site purposing a collision of nature and artifice. Within highly manicured environments, these sites attempt to imitate natural processes and un-peopled ecosystems and to preserve and manage elements of nature. The figures struggle to do their best with what they have- to find their own sun at the tanning salon, their own clouds in the steam room- to improve, to connect, to find “home” in the world.
Osmoverse – Daniel Larson – 5m / Video / 2014 / USA
An exploration of common gestures in an alien environment.
Tacoma – Courtney Krantz – 6m36s / 16mm / 2013 / USA
A reflection on home and memory. Old love letters. A card game. Music gone by. Filmed in the verdant environment of the Pacific Northwest at Mrs. Smart’s residence where she has lived for over 40 years.
Conjuror’s Box – Kerry Laitala – 6m / 35mm / 2011 / USA
The latest work in the “Muse of Cinema series”, was made using several D.I.Y. collage techniques including: CINEGRAMMING, hand-painting, and the re-animation of magic lantern slides. “Conjuror’s Box” takes the viewer through the looking glass, to immerse them in a fiery pane of hand-painted wonders. “Conjuror’s Box” summons forth primordial images of beauty from the hand painted imagery to images of transformation, metamorphosis, and chimera to literary and even ancient, biblical references. The fiery hole becomes a mirror fusion of past and future deaths.
Death Songs and Car Bombs – Brendan & Jeremy Smyth – 6m24s / 16mm / 2013 / USA
Guided by a ceremonial death song, an attempt to reach the unholy sea transforms into a place study of Bali’s tourism district- car-bombed one year after 9/11. Now, a memorial stands amidst a sea of Western signage, and by fate, an identical Mitsubishi L300 passes ground zero as the roll flares out.
Sjave Danu, Los Angeles County, California, 2013 – Silvia Las Fadas – 8m48s / 16mm / 2013 / USA
“The people are what is not there yet, never in the right place, never ascribable to the place and time where anxieties and dreams await.” (Jacques Rancière)
Gente Perra (Dog People) – Anja Dornieden & Juan David Gonzalez Monroy – 25m / 16mm / 2014 / Germany
A film based on fragments of the story “La Gente Perra” by the Colombian writer Gomati D. Wahn (1923-1993). The story, which takes place 3000 years in the future, tells the character of The Admiral as he searches for the land of the Dog People and the riches that it hides. However, as is typical of Wahn’s style, the story is assembled out of altered existing texts, in this case, historic accounts of the discovery and conquest of America or, as it was known then, The New World.
Second Hermeneutic – Michael A. Morris – 8m / Performance w/ 2x16mm projection, analog video signal as audio / 2013 / USA
The second in a series of works that explore the nature of interpretation. In this case, a pair of 16mm projections are overlapped while being captured by an HD video camera. The analog component signal is fed into an audio mixer without any further filtering. All audio in the piece is produced by the camera’s output. The video waveform is manipulated by the film projection to produce a real-time, synaesthetic cinematic experience using the artifacts of one medium interpreting another as raw material.