17 Days Video Series

Day 1 > Alice Dunseath
September 15, 2016, 12:17 am
Filed under: 17 Days (vol.9)

To escape from the realities of bereavement, two friends travel across Yorkshire to look for David Hockney. Grief heightens their senses and their need for adventure.

Hunting for Hockney, 3:14 TRT
Music: Tom Rosenthal

Alice is a London based filmmaker and animator. She often works with materials, liquids, chemicals, crystals or elements that have a life of their own. Choreographing them around the screen to music or sounds to make visual poetry that encourages viewers to contemplate the bigger picture. She is a Lecturer in Animation at Goldsmiths, University of London.


Day 2 > Simone Doing and Max Puchalsky
September 15, 2016, 12:16 am
Filed under: 17 Days (vol.9)

Kindred is a visual response to Carol B. Adams’ The Sexual Politics of Meat: A Feminist-Vegetarian Critical Theory, which links meat consumption with patriarchal systems of oppression. Female-bodied animals across species are subjected to parallel forms of violence, through ongoing cycles of objectification, fragmentation, and consumption; rendered “being-less” through technology and cultural representation. Kindred presents a reversal of this process, using liminal and meditative audiovisual elements to generate a ritualistic cycle of being. On the surface, the resting nude situated within a womb-like aesthetic seduces the viewer, specifically, the male gaze. Yet, the form’s severed angularity shares a disturbing resemblance to animal bodies on the butcher’s block. The gaze is further interrupted by another, nonhuman “nude,” whose presence raises questions about anthropocentric frameworks of reproductive oppression.

Kindred, 7:35 TRT

Simone Doing (b. 1990 Hoofddorp, the Netherlands) and Max Puchalsky (b. 1990 Madison, WI, USA) have worked in collaboration since 2013. Their work investigates the potential of the public screen as a mobilizing force to build empathy, action, and long-term responsibility. From audiovisual installations to objects and software, their practice leverages a hybridity of forms reflective of the degree to which contemporary life is mediated by screens.

The duo are currently artists-in-residence at 100arts, and have presented original work at the İstanbul Modern (Istanbul, TR) Espacio Gallery (London, UK), Shakespeare Theatre (Gdańsk, PL), The Wright Museum of Art (Beloit, USA), Ewing Gallery (Knoxville, USA), Herron Gallery (Indianapolis, USA), and throughout institutions in Madison, WI including Gallery 1308, The Bubbler, Arts + Literature Laboratory, and Level 6 Gallery.


Day 3 > Evelin Stermitz
September 15, 2016, 12:15 am
Filed under: 17 Days (vol.9)

A woman positions herself at a rooftop space within a ghostlike paradox situation. The open functional architecture provides a surface for experiments with a person in a usually abandoned area. As a platform, it is theatre space for uncanny moments in an urban context.

Rooftop Short, 2:56 TRT
Rooftop Sound Collage composed by Elise Kermani.
Concept, Performance, Video by Evelin Stermitz. S
pecial credits to Maria João Salema.

Working on media and new media art projects by using different media like photography, video and net, including installations and conceptual works.

The focus of art work is on gender based female and socio-cultural topics. The issues of projects are about gender, role models and the gap between man and woman referring to the theory of Jacques Lacan in terms of “the Other” and the performativity of the body by Judith Butler. An important task is the female body and the outgoing connection to created symbolic meanings of gender in history and nowadays. A main emphasis is on performative works. In media theory the main interest is on the representation and approach of the female body in everyday media and media art encouraged by Barbara Kruger’s work “Your body is a battleground.”

Study of Pedagogics and Media Communication (1996 – 1999) at the University Klagenfurt, Austria, completed with a master’s degree in Philosophy on the thesis “Imagoes of Dancing Women in Film” in the year 1999. Received a scholarship for the postgraduate study of Visual Communication at the Academy of Fine Arts and Design, University of Ljubljana, Slovenia, (Prof. Milan Pajk – photography, Prof. Srečo Dragan – video and new media) in the year 2004. Graduated with a Master of Arts degree on the thesis “The Female Body in Context of Media Art” in the year 2007.


Day 4 > Eduardo Yagüe
September 15, 2016, 12:14 am
Filed under: 17 Days (vol.9)

For this video, I teamed up with the American poet and electronic literature expert Matt Mullins who provided the poem, voice and music. The poem is dedicated to the Soviet artist Eva Levina Rozengolts (1898-1975), a drawing of whose appears in the credits.

Usually in my videos I try not to illustrate the poem, but for this one I made an “exception” and I wanted to recreate some of the images from the poem, her terrible solitude and the influence that the dry branches had in Rozengolts.

Este vídeo surgió como una colaboración con el poeta, videoartista y músico estadounidense Matt Mullins, que me sugirió el poema y puso la voz y la música. El poema habla de la dura vida de la artista soviética Eva Levina Rozengolts (1898-1975), uno de cuyos dibujos aparece en los créditos.

Normalmente en mis vídeos me alejo de la simple ilustración del poema, pero para este hice una “excepción” e intenté recrear algunas de sus imágenes, su terrible soledad y la influencia que las ramas secas pudieron tener en Rozengolts.

The Hero is Light, 4:23 TRT


I studied Dramatic Arts and Spanish Language and Literature. In Madrid I worked as an actor in theater and film. Parallel I have been writing poetry and stories since I was fifteen. Currently I live in Stockholm (Sweden) where I have been developing my last video projects.

I am interested in mixing genres, searching the limits of poetic and cinematographic languages. I love working with the actors in my videos, leaving them exposed and questioning with their gaze, giving pure emotions, I love suggested stories with an open reading, all with the base of touching and intense poems.

My works and collaborations have been screened at videoart and videopoetry festivals in Spain, Holland, Belgium, USA, Germany, Australia, Canada, Greece and Portugal.

Busco conexiones entre el lenguaje poético y cinematográfico, experimento mezclando géneros artísticos, juego con la fotografía, los textos, la música, la actuación, los sonidos. Mis vídeos se caracterizan por el protagonismo de los actores y el uso de poemas generalmente breves y de intenso contenido emocional.

Mis trabajos y colaboraciones se han proyectado en festivales y muestras de videopoesía y videoarte en España, Holanda, Bélgica, Estados Unidos, Alemania, Australia, Canadá, Grecia y Portugal.


Day 5 > Ellen Wetmore
September 15, 2016, 12:13 am
Filed under: 17 Days (vol.9)

I perform on video things I am bad at, things that scare me, imagined and real fears. I perform all the characters and I have a level of performance anxiety that once was marked by crippling migraines and nausea. This image was shot over a year. Grotesques is named after the cave that once was Nero’s palace in Rome, where this quilt like style of image arrangement was discovered by the Renaissance Italians. I like this name as it has come to mean “ugly” and “inappropriate” where once it described images cataloging order, beauty, color, property and possessions. This particular image describes many things: the least recognizable might be Rapunzel’s wandering in the wastelands with her children in search of her missing prince. There is also a Venus Anadyomene shot on the coast in Haifa, an inappropriate déjeuner sur l’herbe, coupling bugs, Magritte nesting dolls, a semi-naked Victory, and very clumsy yoga. I like to create improbable elisions of space within the image and in relation to other images. My process of piecing together an image is like a cut paper collage in which all the bits of paper contain moving images.

Grotesques, 3:05 TRT, 2014, single channel video HD, 16:9, color

Ellen Wetmore’s artworks inspire a blend of humor and horror. Her work focuses on lived experience blended with well-honed paranoia, using her body as the primary vehicle. Wetmore’s video projects have been featured in screenings at the Sandwell Arts Trust in the West Midlands, UK, Ciné Lumière in London, the Dorsky Gallery in Long Island, NY, Currents, Santa Fe, New Mexico, CologneOff, Cologne, Germany, Videoholica in Bulgaria, and the MIA screen in Cairo. Her most recent work is on the 80-foot tall 7-screen marquee at the Boston Convention and Exhibition Center. She is a 2012 School of the Museum of Fine Arts Traveling Fellow and a finalist for the Museum of Fine Arts Boston solo show award. In 2014 she was the subject of an exhibition at the Sarah Doyle Gallery of Brown University and in 2015 she had a solo show at Living Arts of Tulsa. She was a summer 2015 visiting artist at the American Academy of Rome and served as a juror for the video dance festival InShadow of Lisbon. In 2016 she will be a resident at Signal Culture in Owego, New York. “Art is the mitigation of an atrocious world.” She lives in Groton, Massachusetts and is an Associate Professor of Art at the University of Massachusetts, Lowell.


Day 6 > Roland Quelven
September 15, 2016, 12:12 am
Filed under: 17 Days (vol.9)

“When you can measure what you are speaking about, and express it in numbers, you know something about it” Lord Kelvin

To Measure is to Know, 1:46 TRT

Born in 1967. Lives in Brittany. Graduated in mathematics, painter, video artist and sound collagist. He collaborates with various artists, is involved in several collaborative projects, and his works are screened in many international videoart festivals. In 2009 he created the multimedia project «Napolecitta or the fractals virtues of Detail»: digital and sound collages, flash animations in a website devoted to a description of an ancient imaginary city named Napolecitta (fusing Napoli and Cinecitta). Since 2010 the ancient city has become an encyclopedic and imaginary world also named Napolecitta. Most of the videoworks are numbered, gathered as a register, an imaginary official record, a combination of numbers, maps, writings, paintings, masterpieces of Art history, video footage, video materials recorded digitally assembled as palimpsests. All this seen through the prism of the Detail. The reality concentrates as the fragment stands out… seeing through the prism of the Detail, whether iconic or pictorial, produces always the same effect: an « invitation to travel inside ».

A W A R D S : 2012 / The video entitled ΙΚΑΡΟΣ The Fall has obtained a Mention in the second edition of FIVA – Festival Internacional de VideoArte in Buenos Aires. Argentina. 2013 / The video entitled La Chambre de William Seward B. won the first prize in the third edition of FIVA – Festival international de VideoArte in Buenos Aires – Argentina. 2016 / The video entitled Kryptos Graphein won the second prize in the 9th edition of the Festival Premio de Videoarte Ayto de Astillero – El Almacén de las Artes in Astillero. Spain.


Day 7 > Michele Manzini
September 15, 2016, 12:11 am
Filed under: 17 Days (vol.9)

First scene: Symmetries
The Pythagorean concept that supreme beauty is «consonance and harmony» is a recurring theme in Plato’s Philebus, presented as the order of the world and featured in the portions of the work that discuss the world. Aristotle also affirms that «the greatest ideas of beauty are order and symmetry» when writing about Metamorphosis. The tragic and unconquered thought of Heraclitus moves within Plato’s splendour like an underground river and we hear the strained sound of his voice calling man to love and to dispute opposites. A thin line is traced throughout history all the way to the modern era when beauty is more concealed and mysterious. Perhaps it is for this very reason that it expresses its loftiest sense. In the modern era, when tensions and contradictions become so bitter and extreme as to threaten the destiny of humankind, the concept of beauty reappears as an idea that makes differences visible without destroying them. It is at this point that the enigma of beauty is unveiled, revealing its complex, paradoxical and contradictory nature

Second scene: Domestic spaces
When Valéry wrote his Faust, his concern was about introducing a bit of «truth, an absence of life, flesh…» to the story. If life is missing from the text, the object is subtracted from the truth: it has no place. The thought must be brought close to the pathos from which it originates so as to return to the questions that have faded due to the excess light in which it soars, sublimated. It has forgotten the shadow that resides in the subject – the ring of all things and of every space we inhabit. The thought that removes the body is the thought that forgoes love and, with that, denies it of the capital questions of suffering, death and happiness. This is the thought which has lost every ethical dimension, every connection to good and evil. Its knowledge is obtuse because it knows no wounds

Third scene: Allegories
It appears that the only thing granted to allegorical pretence is the relationship which Aristotle classifies in the category of «likelihood function» in his Poetics. However, a certain quantity of truth is always and indissolubly linked to the fallacy of a tale – much like a mask whose purpose is not limited to hiding a face. The intrinsic truth of the face behind the mask is always met with. In an allegorical narration, truth and deceit are resolved in a relationship that is infallibly dual. The allegory is a process of metamorphosis. It always tells of change, the transformation of the figures that are modified, deleting their boundaries and freeing the images so that they can become accessible to new configurations. The allegory is a «transfiguration» that leads us to losing track of any connection with the apparent image of the things of this world by enlightening and recovering a plane of reality elsewhere that until then had been left invisible.

Fourth scene: Thresholds
There is a substantial difference between boundary and threshold. A boundary is a line, a limit upon which different realities or identities are ascertained. On the other hand, a threshold is a space through which we can pass to get beyond a certain point. The territory of a threshold is not exclusive, but inclusive. It includes everything that could call it into question. Mixtures and conflicts take place here as well as changes and rites of passage.

Fifth scene: Measurements
The Neo-Platonic rationality that guided Renaissance artists in their quest for harmony dictated that they leave everything related to deceit and falsehoods behind: myths, tales, and poetry. But when Rimbaud speaks of «a reasoned regulation of all senses» that can only make us seers, capable of responding to the necessity of «being modern», he reveals the necessity of another thought. A thought that Musil would later define as something that combines precision of reason with the myth’s ability to illuminate the manifold, the contradictory and the plural. This is why Hölderlin said that the wise aspire towards beauty but that this beauty is not achieved through the subtraction of individuality and passions but through pathos. Thoughts that will be developed along secondary paths throughout the 19thcentury, breaking down the metaphysics of light that tried (in vain) to conceal that cone of shadow which every single thing projects as its irrevocable and inalienable truth.

Snags in Palladio, 6:03 TRT
Direction: Michele Manzini
Concept: Michele Manzini
Choreography: Barbara Canal & Michele Manzini
Performers: Barbara Canal and Denise Brigo, Giulia Eberle, Claudia Mantese, Valentina Mantese,
Eleonora Pasin, Elisa Zanetti.
Director of photography: Luciano Perbellini
Films and Editing: Valeria Lo Meo

Michele Manzini was born in Verona in 1967. For many years his art has been concentrated on the definition of figures that can suggest instability and conflict as unresolved elements. His work develops through the use of a wide variety of media, among which video, photography, installations, writing, and performances. He has exhibited his works in numerous shows and venues in Italy and abroad, among them the Italian Institute of Culture, Prague, 2009; MAXXI, Rome, 2009; SUPEC, Shanghai during the 2010 Expo; and the Venice Biennale in 2011 and 2013. His videos have been selected for important international festivals and have been screened at the Saitama Arts Theater in 2015; the Perez Art Museum Miami, 2016; and at the Lincoln Center for the Performing Arts in New York, 2016. He has published various essays and texts, among which “Il paesaggio e il suo mito” Editions de la Villette, Paris, 2002, and “Mescolanze” Edizioni Kn-Studio, 2011. In 2009 he was awarded the Terna prize for contemporary art.