Greetings, Frameworkers! Last week we held our screening at a new space in Norman. The performancecollective Non Grata conducted a spectacular performance after the show inwhich several local artists participated. I am sending along the program andtexts resulting from my edit of statement provided by the artists. I had neverheard of any of these people, and it was remarkable work!
We HaveNever Been Modern DopeChapel, Norman, OK, USA December5, 2014 Works,in the order of screening: Part 1 1. IfYou Let Me In (2:40), by Antigoni Tsagkaropoyloy (Greece) Emotions that could becomeobsessions. Initially they expand. Consequently they eat you, and then youlive with them. Their effection moves from the individual person tothe social masses. It then returns back to us, our home, our habitat: avicious circle, if you let it in. 2. DeviantDream (1:00), by Paul Harrison (United Kingdom) Part 1 of a series ofsemi-autobiographical animations created over the course of my lifetime that willeventually create a short film. This particular animation focuses ona shadow that becomes separated and was made under the influence Descartes'separation of mind and body. 3. MeatFriends on the Internet (1:00), by Ian Haig (Australia) This newly imagined Facebook profileis grounded not in the non-body of a virtual place-marker but in theprofile conceived as corporeal materiality. The over-sharing of personalinformation is perversely represented as the skinned human body, our interiorsrevealed and on display in the network of social media. 4. Selfish(2:00), by Cindy Hindant (USA) Computer-generated grids are syncedto a Britney Spears song, corrupting minimalism's high-art purity with adance club hit. The song "Selfish"is about sexual satisfaction and couldbe a feminist anthem, but it is sung by a woman who does not write her ownmusic or have legal rights over her persona. 5. Fallout(4:30), by Paul Turano (USA) A futile gesture marking theone-year anniversary of the calamity at the Fukushima nuclear power facility. Scientific predictions of the residualeffects are undercut by the cheerfullybenign day-glow colors assigned to the graphics representing the threat. Gradual contamination of the image and wavesof fear give way to an irradiated bloom. 6. Archimeters(4:00), by Charlie Tweed (United Kingdom) The films I create are made up offound video footage that is reprocessed, re-animated, re-filmed, and effectedin a an attempt to move away from high- definition. I take on a range of identities, voicing theconcerns of various collectives and non-human entitiesin a machinic and anonymous call to action. 7. Genesiswith Title (3:00), by Janaye Brown (USA) Using video I record staged andfound situations that are in limbo. Onthe surface these scenes appear familiarand are easily overlooked. By hyper- focusing on seemingly banal occurrencesit is possible to become a conscious observer. I suspend visual moments, removing them fromthe accelerated pace of life so they can enter analternate reality. 8. DemolishedEvery Second (4:00), by John Davis (USA) Soviet-era film leader culled duringan artist's residency in Dushanbe, Tajikistan. Largely '80s era educational andpropaganda films, this work foregrounds the often ignored hand-written ormachine-printed artifacts of leader and sets them to an original score. 9. Lost(3:00), by Connally Baskett (USA) Home movie footage is used toexplore memories formed during childhood. Time gets warped and details getlost. Within this work I am alsoexploring nostalgia and the tension that comeswith feeling simultaneously happy and sad. 10. WhichLeft with the Wind (3:00), by Albert Negredo (Spain) This work could have been called Which Gone with the Wind. Itcompresses the Hollywood film Gone with the Wind into 3 minutes byusing fast-forward. Which is gone, which is left? Part2 11. PushPull (3:00), by Edward Morin (USA) Archival footage from scientificfilms is used to explore power and control. Clips are composed to implyfragmented and distorted physiologies and to create spatial and psychologicaltension. 12. Horizon(2:00), by Ewa and Jacek Doroszenko (Poland) The frame is divided into quadrantsin each of which the same person moves. The person's head determines thepitch of the tone on the soundtrack, which is also represented by a horizontal bargenerated from the position of the person's head as it moves. This aleatory quartet leaves a primaryelement of its composition to be determined by itsperformer. 13. CutOut (4:20), by Guli Silberstein (United Kingdom) A radiant and energetic girl shoutsand punches at something. Her figure is crudely cut from the space of thescreen. Her opponents and context arethus rubbed out of the picture. Is she real? Gradually fragments of the scene are revealed. 14. In-BetweenFrames (1:00), by Mariam Eqbal (USA) An exploration of the relationshipbetween movement in time and its digital equivalent. All images were createdusing a scanner as the primary tool for the transcription of motion. 15. Countdown(2:20), by Gus Hoffman (USA) I seek things that induce a type ofhappy anxiety within me. I care lessabout assigning specific meanings thanabout the space between the thing and the finger pointing at it. Re-framingcan be a valuable form of distortion, and associations last longer than than ourinitial impulses to control. 16. VaginalStressless (3:00), by Isabelle Lutz (Switzerland) The intimacy of bodies as a keyvalue of modernity. The phallus becomesan entity in its own right and reflectsthe values of reversal. Aninstrumentalisation of the masculine gender in order toenhance the feminine gender. 17. MarieAntoinette in America (Dry Bed) (6:00), by Julie Wills (USA) The performer's actions alternatebetween listlessness, longing, and reticence, presenting the shortcomings offemale sexuality as a traditional means of livelihood or survival. The video'slimited action suggests banality and the indefinite extension of time, precludingthe pleasure of narrative, change, or resolution. 18. Studyon Persistence (2:00), by Krefer Kre (Brazil) Through both explicit and suggestiveimages my work deals with counterpoints such as sex/violence, life/death,desire/absence, individual/society, private/public, male/female, light/dark, but from amodern perspective. 19. WhiteSpace (3:00), by Jym Davis (USA) This work is a variation on thetheme of the creation story. Man iscreated from dust, emerges and descends intoa chalky pool. There are also references to science-fiction. Like an alienbeing from another planet, the head takes on a ghostly, ethereal quality. - - - - - -
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