Day 1 | Dietmar Krumrey

[vimeo 127999023]

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

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

Day 2 | Johnathan Franco


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

Day 3 | Myriam Thyes

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

Day 4 | Lydia Moyer

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

Day 5 | Courtney Grim


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

Day 6 | Tammy Renée Brackett


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

Day 7 | Joe Nanashe

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

Day 8 | Christopher Coleman

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

Day 9 | Stephanie Lempert

My work questions and examines different methods of communication and the various roles communication plays in our society. I concentrate on deconstructing conversations and analyzing different methods of recoding and depicting conversation. I explore communication through different systems and patterns allowing the viewer to see the underlying threads which create this form of human interaction.

I approach my subject matter through object making, video and installation. Recently, I have been using video as a means of studying and working with conversation. Video, sound and other elements are incorporated into my installations, creating an environment that the viewer can enter into and become immersed in. My work invites viewers to become active participants, challenging and questioning their role as “viewer.” Likewise, my work depends on the public’s participation, and I am particularly intrigued by the prospect of working with people who are not normally involved in the arts.

By concentrating on different existing systems of communication and inventing new ones I am able to reevaluate the collective understanding of communication processes within our culture.

Read My Lips, 2005 – 3:00 Minutes
courtesy of Claire Oliver Gallery

Read My Lips is a video piece that addresses the role of language as a method of communication through the anthropomorphization of the common goldfish. I worked with speech pathologist Beatrice Dulgarian to decipher the words being “spoken” by each fish, drawing attention to our use of language and its interpretation within our society.


Dog Tale is a video piece that addresses the idea that animals communicate by means unnoticed by humans. I sync footage of a dog’s tale with Morse code tones to create the illusion that the tail is communicating with the viewer through Morse code. This video draws attention to the possibility that animals are trying to communicate through many different methods.

Dog Tale, 2006 – 1:06 Minutes
courtesy of Claire Oliver Gallery



In this piece, I was playing with comparing human conversation with similar patterns found in nature. I found that the ebb and flow of the waves had a interesting connection to the pattern of conversation. The audio of humans talking at the beach was combined with the audio of the waves, matching the patterns through the changing audio levels. Ebb and Flow represents the one of many similarities humans and nature have through the ways we communicate.

Ebb and Flow, 2007 – 3:17 Minutes
courtesy of Claire Oliver Gallery


A Yellow-Breasted Scissor-Billed Duet is based on the common practice of antiphonal dueting in birds, a practice that often goes unnoticed and unappreciated in NYC. This video calls upon the tendency and necessity of all animals in the world to communicate, especially between the male and female of species. It also pokes fun at the assumptions of the audience, getting across the major point that communication is an integral part of our lives in a semi humorous way.

A Yellow-Breasted Scissor-Billed Duet, 2006 – :40 Seconds
courtesy of Claire Oliver Gallery


Stephanie Lempert – New York New York

Day 10 | Roderick Coover

It is TIME at a street corner in London… A collaboration between filmmaker Roderick Coover and writer Deb Unferth, this short marks the textual disintegration of the speaking clock in an unnerving portrait of technology, power, and the urban environment.

The Theory of Time Here is a formal work about the speaking clock and its proverbial voice. Its repetitive, calming tone distracts from the fact that it represents a marriage of the two most inescapable and oppressive authorities—-technology and time. Here familiar images and phrases become playfully disassembled and reassembled. Whatever choices the humans make are constrained by – and expressed within the conditions of — the powerful forces of technology. These forces are expressed through convention. They may approach total disintegration, yet, somehow, perhaps through convention, they right themselves, and begin again.

The Theory of Time Here, 2007 – 6:32 mins

Distributed by the Video Data Bank, Chicago


Roderick Coover – Philadelphia Pennsylvania

Day 11 | Vagner Whitehead


For the last ten years video has been a major component of my art practice. Since 1998 I have made over thirty-five videos that range from 15 seconds to 15 minutes each. These videos have been screened in film and video festivals nationally and internationally, exhibited as single and multi channel installations in galleries, museums and alternative spaces, and displayed online.

Each day I seem to have a new idea for a new video. What interests me so much in this medium is its relationship with the human psyche. I am interested in exploring the formation and visualization of (my) belief system and thought processes, which are as fluid and ephemeral as video itself. This liquid connection to self in relation to a context relates to my multicultural background and experiences as well.

As an artist, I negotiate, via a medium, my ideas and their manifestations, much like one translates one language onto another. The four videos shown here started an ongoing series called Motor, all of which are 55 seconds long (four more are in mid production right now). These short videos, about/around/despite/of Detroit, portray the figments of my imagination, the wanderings of my mind as I navigate in this paradoxically fascinating setting.

dead, 2006 – 55 seconds

in the city of ghost buildings, the body and architecture are compared. a first impression of a recent transplant citizen.


french, 2006 – 55 seconds

attempting to speak french in order to (re) define myself.


nadar(r), 2006 – 55 seconds

the immersion in water becomes a contemplation of a transcultural experience.


paradise(lost), 2006 – 55 seconds

personal history is fictionalized and (re) presented as a slide show.


Vagner Whitehead – Detroit Michigan

Day 12 | Sylvie Bélanger


My work stems from a nomadic aesthetic, immersing images, sounds and the visitor in a sort of collage. It’s a collage, which constantly redefines ambling spaces, through aimless video loops combined with sounds and silences that interrupt the flow of images. It’s a collage that deploys a resistance to fix defined positions, both in space and in time. The fluidity of the visual and sound spaces sets the stage for a view of the subject, which is in a state of constantly becoming. It is a vagrancy, where my motive force, is a visual and auditory movement, one that affectively rests in the viewer and never on the screen. It orients, disorients, links and ruptures sound and image in fluid variations, one that loops in the end, as discontinuously as any contemporary attempt at fixing in time or space our personal subjectivity.

The work originates in an investment of the subject as agent, meaning a multiplicity and multidimensionality of its positions in relation to art’s discourse, its investment and of its political powers to resist, to criticize and to contradict. It is a space evoked by but also remote from structures, language and articulated experience. It’s a dialectic space between presence and absence, which I like to call “ailleurs” (the elsewhere) – a space situated at the intersection between the real and its metaphor. In this context, I will say that Art is largely social for me because it resuscitates again and again, our fears or desires, our hopes and anxieties, recording through itself our struggles as people who are acting at once in relationships to each other and living in a world that has its own relationships.

Dé_Libération, 3:42 mins


Sylvie Bélanger – Toronto Canada

Day 13 | Deborah Jack

The resonance of traumatic historical events in my personal and cultural memory are at the very core of my work. I see the work as the result of my investigation of the tension that exists in spaces that are at once sites of trauma and sites of healing.
I am intrigued by Toni Morrison’s concept of the “re-memory”, a memory triggered by danger. A memory that is not necessarily my own. The images are meant to evoke renewal and the rebirth that occurs after tragedy, and the sacredness and vibrancy of that transformation. The monochromatic photo images are manifestations of blood-memories that are located in my imagined spaces.

This series deals with the construction of spaces out of memory and the ephemeral quality of memory when applied to a tangible object such as the landscape. For the land is a witness to all the atrocities and the triumphs. We all move on through history with our man made efforts which all decay but the land remains.

For this project I wanted to further dichotomize the sea as a conceptual space.Here the sea is the conduit for the trauma and the healing. The salt and the water are elements of both healing and purification.

I’m using the medium of video and it’s cultural connotation as documentation/ document and playing with the notion of fact and fiction and the blurring of those lines. The images were all taken on St. Martin and seek to illustrate a historical moment that is not fixed or documented. It is about the creation of my own historical data.My concerns are that of creating a mythology out of a ruptured historical space. It is a strategic effort to resist disassociation from history and heritage mainly due to the effects of first slavery and later colonialism past and present. The resulting crime of the institution of slavery is the dis-membering of the histories, cultures, traditions, families, and personal memories of a people: a trend that for me is mirrored today by the tourism industry. I am attempting in my own way, as a result of my own re-memories, to re-member.

Sea #2, 2006 – 2:50 mins


Deborah Jack – Jersey City New Jersey

Day 14 | David Poolman


Iceberg is an excerpt of a little bit of nothing – a collection of eight videos that grew out of a small but significant translation I stumbled across in Buster Keaton’s autobiography. “A little bit of nothing,” comes from the Spanish term pamplinas. It is a word that does not easily translate into English. Keaton and a friend were attending the bullfights one afternoon, when the crowd realizing the silent film star was in their presence swarmed and began yelling at him. Keaton believed they were ridiculing him, taunting his American presence. Sensing Keaton was worried, his friend, a native of Spain, set the actor at ease. He told him not to worry, that they were in fact praising him and that their cheers were honorary. Inquiring as to what they were saying, Keaton’s friend replied they were calling him “a little bit of nothing”, which in Spanish is equivalent to the “hole in a doughnut” or a “blank sheet of paper”. This video work grew out of that small but significant translation.

Iceberg, 1998


David Poolman – Toronto Canada

Day 15 | Laleh Mehran

As Sir Cropia enters into his seventh decade, he oscillates between manic aspirations for a diminishing future and melancholic reflections on a vexed and variable past. Consequently, the moving images that constitute Installment VII, visible through apertures that are at once windows and eyes, form a compelling analogue for Sir Cropia’s own psychological state. Placing the spectator in Sir Cropia’s restless shoes, the spectator does see, but only at the mercy of Sir Cropia’s mind’s eye. Thus, just as a tension exists within Sir Cropia’s self-assessment, so for the spectator a comparable tension develops between his/her point of view and that of our nefarious protagonist. As such, the romance of travel by train, as suggested by the parade of level images on the windows’ far side, quickly gives way to the realization that one has been kidnapped — perhaps by Sir Cropia’s own hand.

The Xerces Society, Installment VII: From London to Marrakech, 2006 – 11:15 mins


Issues of isolation and self-imposed exile are investigated in this video. Violent gestures are juxtaposed with references to domesticity and icons of “civilization” such as high-rise buildings.

Wild Horses, 2004 – 2:44 mins


Investigation of traditional and contemporary obligations and expectations of a first generation American is the central focus of this video. The main character reflects upon the compromises essential to assimilating to another culture, which often prohibit the realization of traditional practices.

deNatured, 2001 – 5:00 mins


Though grounded in the aesthetics and culture of ancient Persia, this video is best understood as an abstract meditation on the concepts of loss and longing. Centered on the repetitive, even compulsive behavior of a single, unidentified figure as she continuously rakes the sand with her fingers, Raheleh suggests the need of this kind of memorializing ritual, while at the same time pointing toward the inadequacy of any such gesture.

Raheleh, 2005 – 18:35 mins


Though many scientists and cultural theorists have come to critique the association of science with progress and depoliticized objectivity, scientific discourse and research nevertheless retain many of the privileges connected with these ideas. My own research, often modeled on and about the very idea of scientific research, assumes this privilege precisely for the purpose of calling it into question, even as I use it in order to articulate a set of ideas which require precisely this kind of protection from both political and religious intolerance. My relationship to these issues is necessarily complex, and is still more so now given a political climate in which certain views are increasingly suspect. Indeed, we live in an era in which some speech is increasingly censored – often with the most extreme consequences for the speaker, and as such my own work is of necessity as veiled as it is explicit, as personal as it is political and as critical as it is tolerant. In short, it has been the challenge of my work over time that it develop a language complex enough to accommodate my own highly complex relation to this contemporary tangle of science, politics and theology.

Laleh Mehran – Denver Colorado

Day 16 | Anna Chiaretta Lavatelli

I am searching for the moment of transition where when wearing red lipstick while walking down the street I suddenly become an object for viewing, and is this a changeable reality?

I make films and videos and perform within them. My engagement with the lens is an intimate performance as I control the entire shooting process, but as a result the lens is also distant and isolated as it is the only Other present. I work in this dynamic specifically to examine the portrayal of women and femininity in cinema—how the cinema has fragmented female identity, specifically my own. I perform multiple characters for my camera in order to manifest the multitude of facets cinema proposes as feminine. This multitude is represented as a set of three characters divined from psychoanalysis or a singular character that is visually multiplied on screen or composited from aesthetics referential to cinema’s idealized woman.

I also break down the habitual cinema structures that imprison femininity. I am interested in the gaze of the camera as objectifier and how the close-up disembodies and symbolically fragments the female star. The cut is my tool for opening up the interstitial and freeing the woman from the object gaze. Often I utilize time and motion (speed adjustments in editing or holding a still pose) to suspend the construct, the female star in the very unreality of cinema, in order to foreground the moments that evince objectification.

My work therefore is a gathering of cinematic fragments of myself, but by extension also the gathering up of the entire category of female identity, which continues to suffer from the codifying of the feminine image in popular culture. I find instability in women using sex and sexiness for empowerment, there is a conflict as women continue to become sex objects despite their “owning it” on the screen, in art, and in the streets. I am searching for the moment of transition (the cut) where when wearing red lipstick (close-up) while walking down the street I suddenly (freeze frame) become an object for viewing (the gaze), and is this a changeable reality?

andSHEwasn’t, 2007


untitled still film #10 & #27, 2007


the untitled still film, 2003


Anna Chiaretta Lavatelli – New York New York

Day 17 | Ling-Wen Tsai


This video is from the ongoing collaborative video series entitled Water & Wind that I have been working on with the classical guitarist/composer Nathan Kolosko. Interdependency between the visual and the auditory is fundamental in allowing these two means of expression to transcend themselves and converge. The work focuses on capturing water and/or wind in various manifestations, and draws attention to invisible elemental energies that are perceptible through ever-present phenomena. Our goal is to create “timelessness” within a short duration and “boundlessness” within the confines of a fixed frame.

The media has over-stimulated our globalized culture with a massive volume of visual and audio stimuli that often lacks any meaningful content. With this project, musician/composer Nathan Kolosko and I are embracing the medium of video, and hope to bring a new depth to this genre. The intent is to present an essential amount of visual and audio, allowing time-space for the viewer to enter the experience and to ultimately become more engaged in their own existence within the fragile environment we share.

Water & Wind: Window, 2007 – 3:49 mins


Ling-Wen Tsai – Portland Maine