17 Days Video Series

Day 1 > Isabel Pérez del Pulgar
September 22, 2015, 12:17 am
Filed under: 17 Days (vol.8)

“Hay tiempos adversos, en los que la vida queda reducida a la subsistencia material y emocional. En donde la apatía, el desánimo, la frustración dan paso al miedo y a la desesperanza. La avaricia, la codicia, de la mano con la mediocridad, tejen una tela transparente con los hilos de la manipulación, disfrazando la realidad bajo una apariencia sofisticada. Exigir y demandar desde la postura de la superación, asumir y enfrentar la realidad para su cambio, expandir la energía creativa para impedir una nueva esclavitud ”.

The Will to Power as a driving, creative, affirmative force. Applicant development, to perfection, to the creation of new values ….. denying the imposition, domination, submission and slavery …

The Will to Power – TRT 8:31 mins
video-performance: Isabel Pérez del Pulgar
sound: Roland Quelven

Isabel Pérez del Pulgar graduated in Geography and in Art Art History at the University of Granada. Studied color theory, painting, drawing, printmaking, digital art and design at the School of Arts of Granada. In 2007, starting to work with the video media, a way to combine movements, sounds and pictorial visions. Video works are conceived as a continuous fresh, divided into series and stand-alone projects. However, conceptually, it is an introspective look at human beings and the feminine nature. Pictorial moving visions as new realities, mirrors which reflect a subjective image. Subjectivity dependent of the individual perception, the fragile and ephemeral nature of the organizational structure that builds the body and establishes communication directly with consciousness. The body subjected to contradictory and conflicting tensions between a constructed reality that as a productive and consumptive and conscience and belief which is as a human being is related to the environment. The idea of identity, the idea of the mirror as a metaphor for the duality and eternal question. Awareness and knowledge, both consciously and unconsciously, the finitude, the decay ….


Day 2 > Shaun Irons & Lauren Petty
September 22, 2015, 12:16 am
Filed under: 17 Days (vol.8)

Throughout our careers, we have been striving to expand the understanding of media arts and technology, seeking a provocative synthesis of video, film, audio and sculptural objects to create multidisciplinary performances, multichannel installations, single-channel pieces, as well as interactive video scores to accompany live performance. We work intuitively, embracing a wide range of disciplines to embrace ambiguities and multiple meanings, continually searching for new and unexpected ways to connect with mystery, beauty, chaos and the process of transformation.

Our work frequently engages connections and confrontations between human beings, technology and the natural world, seeking a dialogue between the spiritual, ecological, and physical realms. We have continually embraced digital media and performance as a means to converge the miraculous and the mundane, where reality can be infused with sudden eruptions of the supernatural, suggesting alternate, mysterious possibilities. Drawing inspiration from a wide range of disciplines including avant-garde theater, dance, music, painting, animation, poetry, and cinema, we have continually embraced a cross pollination of genres, which challenge and influence each other, pushing the work into new and unforeseen directions.

Why Why Always is a multimedia, live performance that combines video, sound, sculptural objects, theatrical performance and dance. The project is a new hybrid work which re-envisions Jean-Luc Godard’s seminal 1965 film Alphaville. Godard’s film is a philosophical treatise on politics, alienation and cinema set in a future overrun by technology, where feelings (and the words that describe them) are not only against the law but considered obsolete. Using the film as a foundation and jumping off point, Why Why Always searches for the human, irrational and emotional amidst a world of mechanization, repression and control. The work also draws on the internet phenomena of ASMR videos, which reveal simple, intimate and often domestic actions, such as whispering, tapping, and towel folding, purported to simultaneously calm, stimulate and entrance viewers.

Why Why Always – TRT 2:53 mins

Shaun Irons and Lauren Petty are Brooklyn based multi-platform artists who make multidisciplinary performances, multimedia installations, single-channel works, documentaries and interactive video scores for live performance. Recently, they created a multidisciplinary performance called Keep Your Electric Eye On Me, which was commissioned by HERE in NYC. In addition, they recently completed Standing By: Gatz Backstage a feature-length, atmospheric documentary portrait of Elevator Repair Service’s acclaimed theatrical event Gatz, and developed a self-generating, video/sound installation called Atmospheres & Accidental Ghosts. Their new live cine-performance Why Why Always will be seen at Abrons Art Center in NYC in 2016.

Shaun and Lauren’s work has been exhibited in diverse locations in New York and internationally including BAM’s Next Wave Festival, The Brooklyn Museum, Abrons Arts Center, The Chocolate Factory, BEAT Festival, Anthology Film Archives, REDCAT, the Center for Contemporary Art, Santa Fe, Rencontres Paris/Berlin, Tokyo Wonder Site and the Museo Nacional de Bellas Artes, Havana. They have received numerous awards in support of their including two NYFA Fellowships, multiple grants from the NEA, NYSCA, Jerome Foundation, Greenwall Foundation, Experimental Television Center, and the Asian Cultural Council, and residencies from MacDowell, Yaddo, Harvestworks, BAX, LMCC, and The Bogliasco Foundation. Their video design work has been seen at St. Ann’s Warehouse, The Public Theater, The Kitchen, HERE, PS 122, EMPAC, the Pompidou Center, Prototype Festival, Holland Dance Festival, the Venice Biennale, and BAM.


Day 3 > Jake Fried
September 22, 2015, 12:15 am
Filed under: 17 Days (vol.8)

Fried works with ink and correction fluid, adding gouache, collage and even coffee to the mix to generate hallucinatory vistas, modifying and shooting the images over and over to create mind-bending graffiti-like animations that evolve at a frenzied pace. The subjects change shape and mutate, forming a chain of images and associations that span historical periods and cultural spheres, some reminiscent of plants, animals, and ancient civilizations, others familiar parts of contemporary life. Amid this profusion are human figures that metamorphose as well, as if inspired by the chaos surrounding them. The maelstrom of imagery assaults the viewer and startles his or her senses to life.

Brain Lapse – TRT 1:00 min
Hand-drawn animation with ink, white-out, coffee and collage.

Jake Fried (1984) began his artistic career as a painter, but as he went through the process of layering and modifying images, he realized that what truly interested him was the way the images metamorphosed in the course of making a painting, and he changed tracks to become an animator. In recent years his short animated films have been widely shown internationally, primarily at film festivals and in art spaces, and can also be viewed on his website, inkwood.net. He currently teaches at the Massachusetts College of Art & Design and the Museum of Fine Arts, Boston.


Day 4 > Colleen Keough
September 22, 2015, 12:14 am
Filed under: 17 Days (vol.8)

My work explores the many facets of identity, technology, communication, and language. Through time based media, performances, and installations; I investigate the intersection of identity, technology and pop culture. In my work I fuse fictional and autobiographical narratives to evoke the fluid interchange of perception and imagination. Video and sound are important drivers in my creations. As a performer I use video as a shape shifting vehicle for creating personas and characters. Humor is also a recurring element in my work, as is gender play and feminism. I use language and poetry to explore signification in communication, and it’s relationship to the voice. Creative writing fuels my work in both process and content, and often plays a major role in the conceptualization of my projects.

“iLook” explores notions of looking and psycho-feedback through a series of digital collages. In his book “Understanding Media: The Extensions of Man”, Marshall McLuhan suggests, like the mythic Narcissus, we’ve become numbed by our technology. The replicated image takes on its own signification reminding us of the fabrication of identity and our ability to digitally alter our
appearance and personal narrative. We live in the age of the repeated and fragmented. We gaze at our Other selves with the same starry eyed hypnosis Narcissus experienced when consumed by his own reflection. This Other has a life of its own. Its own identity, function and destiny.

“iLook” moves slowly allowing the viewer to look, linger and watch. The image of the artist distorts and multiplies creating an imaginative space where copies of copies mingle and coexist. Image fragments multiply and join creating new forms and curiosities. Imagery shifts from sensual to abject, evoking the scopophilic, and allowing the viewer to luxuriate in the act of looking with the added dimension of being conscious of their voyeurism.

iLook – TRT 21:43 mins

Colleen Keough is an Intermedia / Trans-Disciplinary artist working in lens and time based media, performance, installation, and hybrid art forms. Keough’s research explores the intersection of pop culture, identity, myth and technology. Her works investigate the voice, and fragmentation of identity and language, through electronic modes of imaging, communication, and identification. Her works have examined subject matter such as bioelectric communication, archetypal embodiments of the female voice, media as a vehicle of vocal disembodiment, classical mythos and technological phenomena, and natural and sonic phenomena. Her works have been included in national and international exhibitions and festivals including the Athens Video Art Festival, Athens, Greece / Galway International Arts Festival, Galway Ireland / Everson Museum of Art, Syracuse, NY / Prague Quadrennial of Performance Design and Space Prague, Czech Republic / Yan Gerber International Arts Festival Weichang County, China / Athens International Film and Video Festival, Athens, OH / Glitch Festival, Dublin, Ireland / Loop Video Art Festival, Barcelona, Spain / Museum of Fine Arts, Boston, MA / Institute for Humanities Research, Arizona State University, and the E-Poetry Festival, London / Kingston Upon the Thames, UK. Keough earned a Studio Art Diploma & Fifth Year Certificate from the School of the Museum of Fine Arts, Boston, MA, a BA in Interdisciplinary Arts form DePaul University, Chicago, IL, and an MFA in Electronic Integrated Arts from NYSCC Alfred University.


Day 5 > Mauricio Sáenz
September 22, 2015, 12:13 am
Filed under: 17 Days (vol.8)

Based on the concept of impossibility and the relativity it can be subject to, my current work is situated at the line between the inviability of an occurrence and a contradictory element that would make it possible, questioning the absoluteness of the condition of impossibility. Thus, I strive to generate a tension between factors of possibility and impossibility, making evident a process of transformation in which reference to the latter reverts and finds a catalyst in the symbolism of opposing forces. This process acts as a self-defense strategy that rejects belief in the complete adverse. These contrapositions between impossibility and that which proves it false come to life by means of elements of confinement interlaced with the idea of the nonexistent, of void as the reversible factor. The concept of impossibility is strengthened by resignified space, which plays a key role by suggesting limits while simultaneously experimenting with new dimensionality.

Flight Simulator – TRT 4:18 mins

Mauricio Saenz (Matamoros, Mexico 1977) pursued a BA in Studio Art from the University of Texas and a MA in Artistic Production from the Polytechnic University of Valencia in Spain. In 2011 he received the purchase award from the Yucatan Biennial in the videoart category and has participated in solo and group shows in the United States, Mexico, Spain, Germany, France, Colombia, Ecuador, Cuba, Venezuela and Argentina. His work focuses on the concept of impossibility and its relativity by means of elements that emphasize abandonment and confinement interlaced to a paradoxical factor that would revert it through disciplines as videoart, installation, and performance art.


Day 6 > Paul Catanese
September 22, 2015, 12:12 am
Filed under: 17 Days (vol.8)

“visible from space is a thought experiment. It is an open series that exists in multiple materials: video, prints, installation, projection, handmade paper, artist’s books, found objects, notes, interviews, essays and site-specific events. I am conducting a thought experiment about the phrase visible from space, which erupted from a fanciful supposition to create drawings on the Earth so large they would be visible from the moon. For such a feat, the stroke width of the line would need to be close to 60 miles wide in order for barely a hairline to be visible from that distance. It is charming to think that the Great Wall of China is visible from space—but this is merely a popular mythology. It is difficult to resolve an image of the Great Wall even from the International Space Station with the naked eye (which orbits about 250 miles above the Earth), let alone from outer space or nearby celestial bodies. Of course, with military and even civilian imaging technologies, much greater resolution can be achieved as evidenced by what are now commonplace tools such as Google Earth…” Continue reading the remained of this 2014 essay regarding the Visible from Space project at Arid: A Journal of Desert Art, Design & Ecology; or learn more about the most current developments on the artists website.

Visible From Space – TRT 2:30 mins

Paul Catanese (b. 1975; Huntington, NY) is a hybrid media artist whose diverse range of works include installation, printmaking, video, sculptural objects, handmade paper, artists’ books, code, net.art, and projections which have been exhibited internationally, notably at the Whitney Museum of American Art (New York), the New Museum of Contemporary Art (New York), SFMOMA Artist’s Gallery (San Francisco), La Villette (Paris) and the China Academy of Art (Hangzhou); with screenings at the Bangkok Experimental Film Festival (Bangkok), Stuttgart Filmwinter (Stuttgart), FILE (Sao Paulo), ANIMAC (Barcelona), ExUrban Screens (Melbourne), New Forms Festival (Vancouver) and ISEA2014 (Dubai). He has received commissions from Rhizome.org and Turbulence.org, and most recently, he was awarded a 2014 Efroymson Contemporary Arts Fellowship. Catanese is an Associate Professor and Director of the Interdisciplinary Arts & Media MFA Program at Columbia College Chicago, where he is also Associate Chair of the Art & Art History Department.


Day 7 > Luana Di Pasquale
September 22, 2015, 12:11 am
Filed under: 17 Days (vol.8)

My latest work is an adapted version of ‘A Passer-By’, a Charles Baudelaire’s poem from ‘The Flowers of Evil’ collection – a French Classic which was first published in 1857.’ A Passer-By’ describes the moment when Charles Baudelaire meets the fugitive eyes of a mourning woman in Paris’s Flea Market. What I love about this poem is its dark/noir atmosphere, its decadent romanticism and witty bohemian spirit – all elements I wanted to portray visually…

Inspired by Bunuel’s film ‘Belle de Jour’ (1967) and the avant-garde composer Edgard Varèse – my adapted version of ‘A Passer-By’ depicts the brief moment when the Poet meets the fugitive eyes of a Sex-Worker in London’s Soho, played by actress Lidja Zovkic .

Throughout this brief depiction, we are the Poet as we perceive ‘the meeting’ through his point of view as he is experiencing it – in colours and as he reminiscing it – in B&W and so we… and it is through the poet’s glimpses of consciousness and poetic and fragmented recollections of the event that we observe the woman – ours object of desire.

A Passer-By – TRT 1:31 mins

Actress: Lidja Zovkic
Produced/Directed: Luana Di Pasquale
Editor/VFX by Massi Guelfi
Music by Matthias Kispert

My name is Luana Di Pasquale, I am an Italian independent filmmaker based in London, UK. I have a deep interest in storytelling, in multi-dimensional characters and psychological dramas. My background is in Fine Art and Architecture but it was right after my BA Honours Degree in Film and Video at the University of Arts London when I started experimenting both linear and non/linear narrative, approaching different way of storytelling through fiction, factual documentation, abstract depiction, branded content productions, and lately by producing and directing my first TV Talk Show.



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