17 Days Video Series

17 Days: Fall 2008 - 9/25 - 10/23/2008
Richmond Center Art Galleries - Western Michigan University
curated by Adriane Little

The artists included in 17 days for the Fall 2008 semester are: Barbara Agreste (London United Kingdom | Pescara Italy), Karen Bondarchuk (Kalamazoo Michigan), Dmitry Borisov (Los Angeles California), Blake Carrington (Syracuse New York), Felecia Chizuko Carlisle (Pensacola Florida), Adam Cruces (Kansas City Missouri), Michael Day (Sheffield United Kingdom), Andréa De Felice (New York New York), Carola Dreidemie (Dallas Texas | Buenos Aires Argentina), Monica Dreidemie (Buenos Aires Argentina | Brooklyn New York), A. Jacob Galle (Bowdoinham Maine), Peter HappelChristian (Youngstown Ohio), Krista Hoefle (South Bend Indiana), Zohar Kfir (Montréal Canada), Igor Krenz (Warsaw Poland), Toni Meštrović (Kaštel Gomilica [Split] Croatia), Joanna Raczynska (Baltimore Maryland) and Rick Silva (Athens Georgia).

17 Days: Installment 2 will also travel to:
University at Buffalo - tba Spring 2009

**best viewed on Safari or Opera.
Firefox and Netscape will put a red bounding box around all images, which is not intended but built into the wordpress blogs, apologies.

9/25/2008 - Western Michigan University
tba - University at Buffalo

My films are experimental, I work very much with animation, but I often mix two-dimensional successions of drawings and three-dimensional settings (animated using the “stop motion” technique) with real life shots. I like crossing over layers of different bits of film that were created with these different techniques. A lot of time based images in my films are abstract. I do not use narrative, action or talking, and the narration is for me what happens through the succession of images and places that appear on the screen one after the other with their elements moving into and out of the frame. Very often, I include figurative elements to the scenes that I construct: they could be objects created with clay carefully put in the right pace to signify a particular concept, real human beings moving and conveying particular emotions, or falling plants and water to give to the viewer the sense that a change is in progress. I think the most important thing in a movie is the shape of objects or their colors that alone can express a mood or send a message without the needs for words.

It is useful for me to stop for some time working with the camera, and start dealing with materials like paper, water, glue, canvas and clay: my video work is very much connected to the making of art. I think more like a sculptor or a photographer; I am much more a marker of shapes that when interlaced with time and sound make things happen, than a story teller.

The Tower Trilogy, 2005 - 10:00 mins

Barbara Agreste was born in Pescara in 1971. She first approaches art-making i the Art Lyceum of her town, and after completing the course she goes to Milan to attend a scenography course in the Academy of Arts. Not happy with the cultural atmosphere that surrounds her in Italy, at the age of 23 she moves to London where she begins working as a performer for “Rawhead Dance Theatre”. In 1996 Barbara enrolls in Kent Institute of Arts & Design taking as her subject of study “Film & Video Production”. After graduating in July 2000 she has access to the MA course in “Fine Art” at Central St. Martins College of Art & Design in London where she is awarded the “Master of Arts” in September 2004. Since then Barbara has continued producing films and paintings, exhibiting and attending film festivals in UK, Italy and in the rest of the world. Barbara lives and works in London although her visits to Italy are very frequent.

Barbara Agreste - London United Kingdom | Pescara Italy

www.bambee.org

9/30/2008 - Western Michigan University
tba - University at Buffalo

It has been suggested that in dreams, every character represents the dreamer. In this short video loop the artist painstakingly chases himself, exuding much effort, with no reward. The sensation of struggle is in turn emphasized by the transformation of the landscape, audio distortion, as well as the continuous loop.

Dream,

My work’s strongest connection is through me and is fueled by my everyday experiences and an obsession with time. I feel the constant pressure to be productive/efficient, but have the desire for tranquility. The work goes back and forth between a sense of anxiety and a sense of peace, which is caused by an internal restlessness. I struggle to find balance.

My background in painting is very important to how I approach the content and execution of my art. In a painting, I find myself responding mostly to the physicality/manipulation of the medium, and the mysterious quality in the constancy of the image. I want to treat video in a manner that considers the physicality of the material, including pixels, camera handling, and movement. Simultaneously, I want to deconstruct the most integral aspect of video, the timeline. I hope to establish a connection with the viewer, in a metal space that is similar to the one I enter when experiencing a painting, which activates emotions and stimulates thoughts, but does not necessarily suggest a specific predetermined conclusion. My attraction to the loop and gestural editing is driven by repetition, and its inherently compelling nature. When rhythm is established, a viewer can connect, and the details become accessible. A Key interest in my work is transitional state. I speculate that when I am in transit, that is where I find calmness. The stresses of point A and point B disappear in the space/time in between the two. It is in those moments and places I find myself free to think about any and every thing, or nothing at all, while becoming a purely sensory being.

There are other things that really inspire me; my concerns and interests on a broader scale such as spirituality, quantum physics, interconnectivity, philosophy, history and the future. The reason these topics are important is because I think this is how my work becomes accessible to others. These are the same topics I wonder about when pressured to produce or while in the serene transitional state. Everyone deals with peace and anxiety on a personal level, I think this is where the connection between myself and the viewer exists.

Adam Cruces - Kansas City Missouri

www.adamcruces.com

10/1/2008 - Western Michigan University
tba - University at Buffalo

Sky and Wires: At Home and Homeless is a response to a contemporary life of engaging with places not as a space to be, but as a space to chart a trajectory through. In two movements, still imagery from locations in New York, San Francisco, San Diego, Arizona, Indiana, Louisville, Austin, and Las Vegas is introduced and then destroyed in a hyper-rhythm of image and always-progressing serial sound. The aggressive pattern and flow of image and sound become predominant, as the importance of individual scenes and notes is blurred. One of the work’s central questions is in thinking about how we construct identity through the places we inhabit. Do we lose a bit of this core identity as we move from place to place, or are we at home wherever we are?

Sky and Wires: At Home and Homeless, 2007 - 9:30 mins

Blake Carrington is an artist exploring the intersection between geography, signal/noise theory and phenomenology. He has recently completed a residency at Atlantic Center for the Arts under Carsten Nicolai, and is currently an MFA candidate in the Department of Transmedia at Syracuse University. He has received grants from the Ewing Marion Kaufman Foundation and the Chancellor’s Office of Engagement Initiatives at Syracuse University for co-founding Urban Video Project, a public arts initiative that uses the post-industrial landscape of Syracuse as context for multimedia projections. He is also one-third of the artist group Avalanche Collective.

Blake Carrington - Syracuse New York

www.blakecarrington.com

10/2/2008 - Western Michigan University
tba - University at Buffalo

Mountains, lakes, rivers an deserts become instruments of the DJ in this glitchy and poetic work about searching surfaces and touching sounds.

A Rough Mix, 2007 - 8:00 mins

Rick Silva (Brazil, 1977): Rick Silva’s artwork has been exhibited in festivals and museums in five continents including Transmediale (Germany), Sonar (Spain), Futuresonic (England), VideoBrasil, DOTMOV (Japan) and The Whitney Museum of American Art’s Artport. Silva has performed his work live in London, Tokyo, the Scottsdale Museum of Contemporary Art, and Houston’s Software Cinema Festival. His artwork has been written about in the New York Times, The Guardian UK, Liberation, El Pais, and featured on the CBS Evening News. He is currently a visiting professor of digital media at the University of Georgia (Athens).

Rick Silva - Athens Georgia

www.ricksilva.net

10/6/2008 - Western Michigan University
tba - University at Buffalo

Individual sets of subtitles (shown in parenthesis) textually descriptive of specific sounds from everyday life are displayed subsequently throughout the full runtime of the installation. The video continues to run the subtitles entirely without accompanying imagery and/or audio. The piece prompts anticipation, puzzlement, and an imaginative automatic act of association through visual legibility. There is an additional sense of memory and vulnerability in relationship to cohesive experiences throughout day-to-day happenings; however, a consequential abstract narrative can be (variably) derived from the word-sound associations resulting in a contextual ambiguity.

Subtitles, 2007 - 5:32 mins, silent

American born, Andréa DeFelice, is an interdisciplinary artist who works in drawing, video installation, sound, and sculptural cinematic devices.

I am fascinated by the physical senses, behavioral psychology, and how things are affected by surrounding environments and forces. In many ways, my work focuses on human physicality and sometimes, by implication, mortality. The outcomes are seductive, intimate, narrative, and communicative. Through my work I attempt to conceptually reflect upon actual experiences in day-to-day life. My process is about experimenting with various media in order to create environments, objects, and images that may ultimately alter the utilization and/or feeling of the senses. Among my most important concerns in my artistic process is to inspire perceptiveness and bring about controversy over why and how surrounding influences affect our behavior and experiences in everyday life—primarily the experiences related to our bodies, emotions, communication, and our personal (mis)conceptions.

Andréa De Felice - New York New York

www.andreadefelice.com

10/9/2008 - Western Michigan University
tba - University at Buffalo

My work tends to investigate visual representations that evolve over time, using the metaphor of the journey. In a way, I see my video work as short experimental stories that represent emotion or a place, where pictures are rhythmically constructed upon several shapes and forms instead of words.

I am attracted to the brevity and exactitude of image compositions over sound; the flow and musical tonality of visual impressions. I enjoy the challenge posed by the creation of short video works; to me, precision of thought is a necessary motive for my art making process— the reduction of meaning to it purest and most beautiful form.

Pushpe, 2003 - 6:30 mins
Sound by Doron Ben Avraham
Created during a residency at the Experimental TV Center, Owego NY

Zohar Kfir is a video artist from Tel Aviv, currently based in Montréal. She is active in many fields ranging from experimental video, interactive art to poetry writing and net.art. Zohar has shown her video works in galleries and video festivals in Israel, Europe and USA, such as the Transmediale [2003-2004], Vad Festival, NYUFF, FACT Liverpool, ICA Center for the arts in Boston, Makor Gallery in NYC and most recently the Jerusalem Film Festival. She hold a BFA in Digital Media from Camera Obscura School of Arts in Tel Aviv, and a MPS Degree from NYU’s Interactive Telecommunications Program [ITP].

Zohar Kfir - Montréal Canada | Tel Aviv Israel

http://zzee.net

Doron Ben Avraham - New York New York

www.transorma.com

10/15/2008 - Western Michigan University
tba - University at Buffalo

While walking through a park after filming a dry riverbed in Tucson, Arizona I happened upon a single tumbleweed stranded on grass. This ubiquitous desert icon, shifting in the wind, seemed desperate to move from the idyllic environment of manicured lawn and return to the wilds of cottonwood, ocotillo, cactus and chaparral. The footage I captured documents the short journey of this tumbleweed back to the desert. My movement through the park is tempered by the movement of the tumbleweed, the wind and scrub - phenomena of nature - guide my footsteps.

Follow, footage captured 2005, footage edited 2007, 2:06 mins, silent

In much of my work I liken my creative habits to that of an early cartographer - looking, measuring, collecting, calculating and displaying the intersections of quotidian life and the natural world. As much as I am inspired by phenomena of the natural world and find great value in being outside, I focus on the observation that our everyday relationship with nature is predominantly one of mediation, physical distance and cognizant remove. In my work, which begins with photography and expands into performance, drawing, sculpture, video and installation, I am interested in qualifying my varied experiences in the natural environment as a set of relations between disparate cognitive and sensory events – where perception eclipses the ground underfoot.

In my work I make a habit of literally setting my camera aside and reaching into the world to physically interact with my subject matter. It is at that point beyond the mediation of the camera, when I place my body between the image and its referent that the photograph is porous and reveals its subjectivity. By working within that symbolic space I am able to better investigate a unique quality of the photographic image; that it can present fiction while representing truth. It is this synchronized mutation drifting between a descriptive reality and a constructed reality that resonates within my work.

Peter HappelChristian - Youngstown Ohio

www.peterhappelchristian.com

10/16/2008 - Western Michigan University
tba - University at Buffalo

An exploration of rhythmic repetitions to access a state of freedom and primal potentiality. The work deals with the creation of memory and of recollection, time and sometimes language. We are interested in exploring the shape of our perception, the congruence of sensory experience and emotion, and its rational orders and disorders.

This work traveled back and forth between Super 8 film, analogue video, and digital video multiple times and was manipulated by hand and digitally repeatedly. Originally shot in 1998, it was completed in 2004.

Un-Rest: The Run, 2004 - 3 mins

Carola Dreidemie - Dallas Texas | Buenos Aires Argentina

www.caroladreidemie.com

Mónica Dreidemie, a dancer / choreographer, actress and instructor of Fedora Aberastury Movement Technique was born in Buenos Aires, Argentina in 1970. She has been a member of the Argentinean theater company “La noche en Vela” since 1991 to the present. Creating collectively and directed by Paco Gimenez, the company participated in many international festivals and was awarded several times by Argentinean national and private institutions and foundations. Interested in video as another medium for expression, M. Dreidemie has created video works that interacted with the action onstage in the last two productions.

Mónica Dreidemie has worked as a solo improvisational dancer, performing since 1995 in Buenos Aires and New York, always collaborating with musicians such as Sami Abadi (electronic violins), Todd Reinolds (Steve Reich’s Ensemble) and members of the Argentine company, De La Guarda among many others. In New York, she has performed with Meredith Monk and Zendora Dance Company. Over the past 27 years, Dreidemie has studies various dance techniques including Ballet, Contempirary Dance (Graham, Cunningham, Folkwang technique), Contact Improvisation, Release Technique, Butoh Dance and Fedora Aberastury Movement Technique, a ground breaking, non traditional approach to the body, which he has taught since 1997.

Mónica Dreidemie - Buenos Aires Argentina | Brooklyn New York

www.aberastury.info

10/20/2008 - Western Michigan University
tba - University at Buffalo

Superstructures (2006) was initially a twin-screen DVD piece that presented the input and output of a bespoke computer program which had been programmed to respond to levels of ambient light. The input footage, that of a neon tube nearing the end of its life, controls glimpses of a metal superstructure similar to that which underpinned the concrete walls of its original exhibition space. This version presents the output of the system in single screen format.

Superstructures, 2006 - 60:00 mins

Michael Day is an artist and curator based in Sheffield, UK. His artistic practice is interdisciplinary and improvisational in nature, using a wide range of media and technologies, including digital media, sound, installation and video. His work is characterised by a visual economy and sense of displaced distance from the viewer, often exploring the impact of new technologies on authorship, on art consumption, and on visual culture as a whole. Previously based in Cardiff, South Wales, he has exhibited work in venues in across the UK, most recently on the BBC Big Screen in Leeds, and has had his work screened at events in the Netherlands, France and China.

Until recently, he has focused his curatorial practice on his participation in the Sheffield-based HAG (Host Artist’s Group), co-developing and producing HAG exhibitions and screening programmes for four years until February 2008. During this time, he worked on HAG projects including Host 4: Cinema, a screening and DVD of short video works, Host 6: Beauty, a print project for the Sheffield Pavilion 2007, premiered at the Venice Biennale and Documenta XII, and Host 8: Observatory for the Art Sheffield 08: Yes / No / Other Options* citywide event. Since leaving HAG, he has been developing a curated publication project to be launched in Spring 2009.

Michael Day - Sheffield United Kingdom

www.michaelday.org.uk

10/21/2008 - Western Michigan University
tba - University at Buffalo

I am a conceptual artist. My work ranges in form from straight photography to interactive media, sound, video installation and public works. I utilize place, time, the body and context as materials.

My process is like mixing and sampling. I take bits and pieces from life and rearrange or re-contextualize them in a personal way. I am decidedly attracted by newness. My work appropriates from fashion, commercial advertising, design and the Internet and most often incorporates digital technology. I look at all of these things as sources for ideas and theories of aesthetics.

I collaborate with other artists on a regular basis and consider it a way to challenge my own practice. It requires letting go of proprietorship and in an ideal situation, allows the work to become its own machine, driving toward fresh ideas. Collaboration always causes unforeseen problems to solve which is one of the aspects of artistic production that draws my interest in general. It is also very political in the sense that it sets up a community that relies on social, organizational models such as democracy, socialism, and even anarchy. It is a type of social sculpture.

I place the highest value on experimentation, scientific and philosophical research and trans-disciplinary practice as means toward the new renaissance.

FUTURISM IS BACK.

Rhythm March, 2007 - 3:00 mins, silent

Felecia Chizuko Carlisle - Pensacola Florida

http://feleciacarlisle.com

17 Days: Spring 2008 - January 10 - April 18, 2008
Richmond Center Art Galleries - Western Michigan University
curated by Adriane Little

The artists included in 17 days for the Spring 2008 semester are: Sylvie Bélanger (Toronto Canada), Tammy Renée Brackett (Hornell New York), Christopher Coleman (Denver Colorado), Roderick Coover (Philadelphia Pennsylvania), Johnathan Franco (Lisbon Portugal), Courtney Grim (Buffalo New York), Deborah Jack (Jersey City New Jersey), Dietmar Krumrey (Mt. Pleasant Michigan), Anna Chiaretta Lavatelli (New York New York), Stephanie Lempert (New York New York), Laleh Mehran (Denver Colorado), Lydia Moyer (Covesville Virginia), Joe Nanashe (Brooklyn New York), David Poolman (Toronto Canada), Myriam Thyes (Düsseldorf Germany) Ling-Wen Tsai (Portland Maine) and Vagner Whitehead (Detroit Michigan)

17 Days: Spring 2008 will also travel to:
University at Buffalo - tba
Alfred State College - tba fall 2008

**best viewed on Safari or Opera.
Firefox and Netscape will put a red bounding box around all images, which is not intended but built into the wordpress blogs, apologies.

1/10/2008 - Western Michigan University (artist in attendance)
tba - University at Buffalo
tba - Alfred State College

It is clear that ethics cannot be put into words.
Ethics is transcendental.
(Ethics and aesthetics are one and the same.) Wittgenstein

My creative practice is driven by a radically skeptical relationship to language. I am not simply skeptical of certain concepts, discourses, or perspectives, but of the very means whereby we articulate all of our certainties and doubts, about ourselves and about our world.

Stemming from this ambivalent fascination with language, my work deals with different aspects of communication, from the simple, personal articulation of ideas and beliefs through action and utterance, to the more complex communal communication expressed through media and technology. I am also interested in the communication of the social, as in the ways we are conditioned by the laws, traditions and behavioral norms of state and cultural institutions. I am especially interested in the communication of power as it is exercised both symbolically and physically, from the soft power of a government’s theatrical authority, information controls and economic policies, to the hard power of its policing, punishment, and legitimate violence.

My artwork aims for a high degree of legibility but also emphasizes the many ambiguities and contradictions that assertive, didactic language can so readily obscure. Thus with my installations and sculptures I am creating something that is simultaneously intelligible and questionable. I want the terms of my aesthetic inquiry to be clear, but I deliberately make no assumptions about potential answers to either the questions raised or the implications suggested. These are the quandaries that I hope my viewers will be willing to take up and weigh between their own two hands. Much as my objects express ideas of absurdity, my video and performance work represents my struggle to make sense of my feelings of absurdity. By forcing myself to enact and endure difficult and repetitive metaphors for the mundane routines imposed upon all of us by the everyday requirements of living, I am able to make physically manifest my commitment to life and work despite their appearances of vanity and absurdity. I hope that the performances’ good-natured ridiculousness and earnest durations impart to viewers a tireless affirmation of living, even in the face of its sometimes-apparent meaninglessness and often-justifiable despair.

My evolving body of work is essentially a work of philosophy, but due to a deep-seated mistrust of language, rhetoric, and the ends to which they may lead us, it is an inquiry I can only maintain via the sculptural, the physical, and the performative. In all, my work seeks to create a dialogue where the questions posed must be posed as objects and the answers derived must be proven not in words, but by action.

Give and Take, 2007 - 57:49 mins

Dietmar Krumrey - Mt. Pleasant Michigan

artist website coming soon

1/14/2008 - Western Michigan University
tba - University at Buffalo
tba - Alfred State College

The garden that is a mere scenario in five old black and white anonymous photographs, attempts to capture moments of leisure between a father(?) and his three children(?), becomes the core of all attentions, dominant in splendour and life. Space seems to expand freely releasing beauty and poetry contained within all the natural forms. The human issue reveals to be secondary, almost a background but strangely haunting and mysterious. Each individual photograph was scanned and several copies were printed out with a common printer, using four separate colour cartridges. The pages were than imbibed in water and ethylic alcohol to create reactions such as colour separation, blending and an oxidation effect. The altered copied images were rescanned and edited. The footage closing the film was shot in a garden I believe to be the same one where the photographs were taken decades ago.

The Beautiful Garden, 2007 - 4:15 mins

Johnathan Franco - Lisbon Portugal

1/17/2008 - Western Michigan University
tba - University at Buffalo
tba - Alfred State College

Congo - Belgium: 1′05″, stereo
Myriam Thyes, DE/CH, 2005

Flag Metamorphoses, 2005 - ongoing
Running Time: 26 animations, 40 mins

Flag Metamorphoses is a participatory art project - a continuously growing series of animations with many authors: The flags of every nation in the world will transform into each other through flash animations. Between each two flags, scenes appear to show an aspect of the relations between the two countries - an exploration into the meaning of imagery on flags, aiming to create interrelated associations through questioning, reassessing, fluidizing and re-mixing of diverse national iconography.

Flag Metamorphoses lays stress on the relations between nations as changing ones: Only in the permanent re-creation of values, symbols and ways of life, in mixing with others and differing from others, identities, cultures and societies stay alive. Each artist who creates a flag animation expresses such a relation in his/her own way.

With animations by the following artists (so far):

Norbert Attard (MT), Babel (CA), Peter Chanthanakone (CA), Christoph Frei (CH), Rona Innes (UK), Anke Landschreiber (DE), Jorge Lara + Israel R. Tello (MX), Monika Oechsler (UK), Ajdin Pajevic (DE/BiH), Irena Paskali (MK), Max Pohlenz (DE), Joanna Priestley (USA), Barry L. Roshto (DE/USA), Amir Scheulen + Frank Köhnen (DE), Nicola Tauscher (DE/KR), Myriam Thyes (DE/CH), Slobodan Tomic (HR)

Congo - Belgium: 1′05″, stereo
Myriam Thyes, DE/CH, 2005

Malawi - Mozambique: 1′24″, stereo
Rona Innes, UK, 2005

Caribbean Carnivals: 5′, stereo
Myriam Thyes, DE/CH, 2006

Red and Yellow - a historical view of the Vietnamese Flag: 3′31″, stereo
Barry L. Roshto, USA/DE, 2005

Myriam Thyes - Düsseldorf Germany

www.flag-metamorphoses.net

1/23/2008 - Western Michigan University
tba - University at Buffalo
tba - Alfred State College

Bloodrain: When tornados manifest in places with red clay soil, water sometimes mixes with the rusty dirt resulting in a phenomenon called “blood rain”. The iron oxide that makes the soil red is the same element that colors our blood. The inside/out of that strange weather inspired this video in which birds take on the appearance of blood cells and lightning looks like veins.

Bloodrain, 2005 - 2:00 mins

Poor Audrey: A short, editorial biography of Hank Williams, using his life to explore perceptions of addiction and its impact on the people closest to it. This is an experimental take on the Ken Burns style documentary, which uses archival images and voice over to analyze and reconstruct history.

Poor Audrey, 2007 - 2:37 mins

Paradise: In September of 2006, a man walked into a one room school house full of young Amish children in rural Pensylvania, sent all the boys and teachers out of the building, barricaded the doors and eventually shot the little girls, seven of whom died. In the aftermath of the shooting, the Amish community responded with extraordinary forgiveness and grace. This video attempts, through secular eyes, to make sense of their ability to react with such generosity.

Paradise, 2007 - 5:00 mins

Lydia Moyer - Covesville Virginia

Lydia Moyer on You Tube

1/31/2008 - Western Michigan University
tba - University at Buffalo
tba - Alfred State College

Las Llamas and Costa Verde are two Structural Landscapes shot on-location in South America. Both serve as visual evidence of the links that exists between photography, film and video while documenting the various ways in which technology and historical processes work together playing with both space and time.

In Las Llamas the screen has been divided in two with digital video on the left and the hand-processed 8mm chrome film on the right. Both videos are arranged so, from a distance, they serve as pictorial landscapes. During Las Llamas a typical scene in the highlands unfolds as a family pulls their cart across the land towards a market. A boy on his bicycle disappears into a field of nothingness as if he has gone back in time only to reappear as he bikes back into the modern day digital side - a sort of virtual time machine, moving back and forth between film and video.

Las Llamas, 2007 - 5:11 mins

Costa Verde is a structural landscape of a life-sized metal bolt found off the coast of Lima, Peru. This video superimposes a full screen digital video and a 8mm black and white, hand-processed film that’s been toned and scratched with objects found from the surrounding area. The film starts with straight video and fades in and out of the various processes, culminating in a structural echo of the bolt itself that occurred during solarization.

Costa Verde, 2007 - 7:59 mins

Courtney Grim - Buffalo New York

2/4/2008 - Western Michigan University
tba - University at Buffalo
tba - Alfred State College

Floodwater (bio)graphy: The last 473 pages of the base pair sequence of the X chromosome animated with an algorithm that creates turbulence. The piece was made in response to Hurricane Katrina, which displaced part of my family. They were a few of the many people who were deciding if they should return to the area. If they did not it would mean that my family and genetic information would be removed from a specific location and I was aware that the movement of the genetic information of these people would ultimately change the genetics of future generations of my family. Genetic information faces turbulence as the body is pulled and submerged by the flow of floodwater.

Floodwater (bio)graphy, 2007 - 3:11, digital video animation

Tammy Renée Brackett - Hornell New York

www.whitedogrecords.com

2/7/2008 - Western Michigan University
tba - University at Buffalo
tba - Alfred State College

joe • noun informal 1 an ordinary man

That which defines me, defines me as ordinary. This series (currently comprised of 75 videos and counting) is an examination of the ways in which the image of “Joe” is portrayed on celluloid. How is the identity of the character built by the activity and impetus of the other characters surrounding him? How do these representation reflect back onto me, both as the viewer of the original film, and the creator of this new condensed version? And finally, how can I reclaim my individuality and save my good name?

Study for a Self-Portrait (Airplane!), 2006-2007

Study for a Self-Portrait (A Bullet for Joey), 2006-2007

Study for a Self-Portrait (Shane), 2006-2007

Study for a Self-Portrait (Stay Away Joe), 2006-2007

Study for a Self-Portrait on You Tube

Visions of a camera’s last seconds before impact with the street are slowed down; each image becomes a painting. The impact breaks the tape, creating a second, abstract, physical recording on the tape before the moment that creates it. The future effects the past.

Drop, 2006

A figure leaps into the air and crashes down before the camera. Through the repetition of action, the figure smashes through the floor and kills the camera. What was illusion is rendered physical.

Jump, 2005

A figure moves into frame, raises a gun and fires at the camera. In a twist on Chris Burden’s Shoot, the figure fires at the medium in which the action is documented. The viewer becomes active (or captive) in this murder suicide pact between artist and audience, where successful completion means mutual annihilation.

Shoot, 2004

Joe Nanashe - Brooklyn New York

www.joenanashe.com

2/12/2008 - Western Michigan University
tba - University at Buffalo
tba - Alfred State College

Collusion consists of a full wall projection of industrial expulsions that have been time-manipulated so that the vents seem to be sucking in the smoke in rhythmic breaths. Large amounts of smoke are drawn from the sky followed by a pause and small release before another inhalation begins. The sounds of machinery quickly take on a natural cadence that compels the viewer to breath with the factory. Just when all the smoke seems to have been withdrawn, more materializes from the blue sky in a never-ending deluge. As an enveloping installation, a connection is quickly made between the breathing of the viewer and the piece. It speaks not only of hope and hopelessness but control and our own complicity in what is happening to the world around us.

Collusion, 2003 - 20 mins
with sound design by George Cicci

Christopher Coleman - Denver Colorado

www.digitalcoleman.com