Day 1 | Michaela Nettell

Sequential photographs of a city park projected and re-filmed through curved glass vessels and mirrors. Images are fragmented, shifting, kaleidoscopic – an everyday scene made magical.

“Michaela Nettell’s ‘Under Skies’ is an experiment in nature and control … The piece acts as a rescue – an archive of all the little moments and snapshots that would otherwise be lost in the black hole of the city.” ThePostRaum, Issue 2, 2009.

Sound by Tom Simmons | Funded by the Esmée Fairbairn Foundation and the Film and Video Workshop, London
Ratio: 4:3 | Running time: 03:30

My short films and installations describe experiences of memory and perception. I use time-lapse photography and high-speed video to observe patterns and rhythms of nature, drawing attention to phases of movement and small changes over time. Working frame-by-frame through intricate projection and re-capture processes, I manipulate film and video images into illusory sequences that flicker, pulse and swell.

I am fascinated by ways light and glass interact – by the optical effects created when one meets the other, and by our sensory and imaginative reactions to them. I am interested in ways images we receive in the present merge with those we recall from the past – that these are indeterminate and in a constant state of flux. By combining projected moving imagery with glass and mirrored surfaces I find ways to explore these complex and fleeting sensations.

Michaela Nettell graduated from the Royal College of Art in 2007. Her work has been exhibited in galleries throughout Europe and the US including The Tank, New York; Kunstzentrum Z33, Hasselt, Belgium; Gimpel Fils, London; and MyOwnGallery, Milan. She lives and works in London.

Michaela Nettell – London UK

Day 2 | Joe Small

The video White Boy Can’t Dream is part of a series of work called The Unbearable Whiteness of Being. This body of work the representations of whiteness in art and popular culture. Whites in western culture have been able to control their representation more than any other group. Through this ability, whites have been able to eliminate the markings of race by eliminating the labeling of whiteness in language, allowing whiteness to be a process, not a thing. This video uses smoke as a metaphor for whiteness. It consumes everything while also being nothing. This work allows for the creation of new myths while dissecting and disposing of the old myths. All of society in general has something to gain from the examination of whiteness through the good and the bad, the old and the new.

White Boys Can’t Dream – TRT 5:00 mins.

Joe Small is a visual artist that uses photography, video, sculpture, and text. He has a BS in Photography from Drexel University and is an MFA candidate in Photography and Video at the University of Notre Dame. His work is currently part of Catherine Edelman Gallery’s The Chicago Project and he received the Society for Photographic Education’s Freestyle Crystal Apple Award for Outstanding Achievement in Black and White Photography in 2009. His photographs are in The Museum of Fine Arts, Houston’s Permanent Collection, Center for Fine Art Photography’s Collection, and various private collections. His work has been exhibited at many institutions including Woodmere Art Museum, South Bend Museum of Art, and The Perkins Center for the Arts.

Joe Small – Alexandria VA

Day 3 | Jessica Westbrook

Product Placements (2009) takes the form of “spectacular” mashups of nature and product, with motivations lying in both mundane drive-by natural worlds (cultural landscapes) and empty sugar free food packaging (consumer habits). While attempting to communicate a sense of joy and optimism, this work cannot escape underlying struggles for orientation, power, and meaning.

Product Placements, 2009 – TRT 5:00 mins.

Jessica Westbrook’s projects explore desire, visual cues, cultural artifacts, systems, language, and contradictory sensations that vacillate between great fortune and impending catastrophe. Always semantic in nature and modular in form, she considers her productions a section of visual language culled from a complex matrix of assets, reconfigured and repurposed per space and time. She has exhibited work nationally and internationally including recent projects for: Chicago, The Kinsey Institute, Carnegie Museum, Hirshorn Museum of American Art, Axiom Center for New and Experimental Media, Eyedrum, Syracuse University, and Emily Carr University. She is an active collaborator with Basekamp (Philadelphia), and Channel TWo (Chicago), participating in projects that push the boundaries of curatorial and media practices. She is currently an Assistant Professor and the Director of Technology Initiatives in The Department of Contemporary Practices at the School of the Art Institute of Chicago, Chicago, IL. Westbrook received her MFA from Tyler School of Art, Temple University, Philadelphia, PA. Her networked based work in collaboration with Adam Trowbridge was awarded a Terminal Commission in 2010, and a Turbulence Commission in 2011.

Jessica Westbrook – Chicago Illinois

Day 4 | Aris Michalopoulos

Morphee (Morpheus): in Greek Mythology is the god of dreams, leader of the Oneiroi.

Morpheus sends images of humans in dreams or visions, and is responsible for shaping dreams, or giving shape to the beings that inhabit dreams. Visual poetry and a personal diary.

Filmed at Corfu island, Greece, summer 2010.

Morphee – TRT 10:00 mins.

Aris Michalopoulos was born in Athens, Greece. He studied Business Administration at the University of Pireaus. His essential relation to creative photography begun in 1995. He is the founder of several aritistic teams such as Foz, Contre/akt, AKPI. In the early 00s he taught photography and cinema theory in KETHEA schools in Greece for five years. He’s also a visual artist, professional videographer, photographer, videoeditor and graphic designer. Approximately for seven years now he uses digital video as a means of expression. His technique is called “moving paintings”. His work includes his collaborations with electronic musicians and groups such as Spyweirdos, Neon, and Murcof.

Aris Michalopoulos – Athens Greece

Day 5 | Marty McCutcheon

Making movies is, for me, both expressive and archival. Experimenting in digital processing, I take little movies of ordinary, everyday scenes and pair them with sampled sounds, sound-bites, and sometimes music. This gratifies an urge to play with and share some of what I see and hear, and at the same time, these little scenes serve as an esoteric chronology of my times and travels; a digital, audio-visual journal/sketchbook.

Transmission is a single-shot scene, shot from a west-facing window in my upstairs flat. Adjustments are being made to the transmission lines, the information pathways that connect my communication tools with the world. While the adjuster is atop the pole, Yale art professor David Joselit speaks about identity and the power (and potential power) of images in the digital age.

Transmission – TRT 1:42 mins.

Marty McCutcheon lives and works in Berkeley, California. He is a multi-discipline visual artist, and children’s art teacher. He is a founding contributor to Kika Nicolela’s Exquisite Corpse Video Project, and founder/operator of Berkeley Commonplace.

Marty McCutcheon – Berkeley California

Day 6 | Chris Loukes

My work explores themes of impermanence, interconnectedness and the cyclical nature of existence. It reflects and compliments my practice in Soto Zen Buddhism. The video footage focuses on the everyday moment and everyday objects that tend to be ignored in the way we live our busy lives. The editing and addition of animations point to a state of being, wider and deeper than that which is on the immediate surface, and it reflects the way we create patterns and rhythms in our lives.

This refers to the transmission of the essential teaching of Shakyamuni Buddha to the present day. The soundtrack contains a manipulation of the sound of monks at Throssel Hole Buddhist Abbey singing the Ancestral Line scripture, which lists the ancestors through whom this transmission has passed.

Bloodline of the Buddhas – TRT 36:04 mins.

Loukes studied sculpture at Liverpool Art College, 1967-71, and taught art in North Walsham. Inspired by Rothko, he began to paint in 1982 and retired from teaching in 2002 to work at it full-time. I became attached to digital video on the Fine Art MA at NUCA, 2005-07. Recent exhibitions include, “Particles, particles”, Surface Gallery, Nottingham – Japan Media Arts Festival, Tokyo – Cafe Gallery Projects, London – Abstracta Cinema, Rome – Norwich Arts Centre, ”Shorts” and Bangkok Experimental Film Festival.

Chris Loukes – Norfolk UK

Day 7 | Sian Amoy

I am interested in the intersection of everyday life and technology. What happens when what we often consider to be the mundane and monotonous details of daily life collide with the rapidly moving world of technology?

Life as we know it has evolved with the use of technology but do things remain the same, on a basic and visceral level? How have our perceptions changed with the introduction of technology into our everyday lives? Simple events such as traveling; the simple movement from ‘Point A’ to ‘Point B’ has taken on new meaning. Indeed, two people on the same train or in the same car will have unique, individual experiences. My films aim to explore these experiences.

Post Destruction Deconstruction, 2008 – TRT 3:54 mins.

As a filmmaker trained in the narrative arts, I have been educated in the craft of filmmaking and storytelling. However, my films directly contradict idea that narrative has to adhere to the formulaic in order to convey a powerful and moving story. My films do adhere to a formula of sorts, albeit in a most abstract way. I use specific elements to tell my stories but I also draw on elements of poetry and music to advance the story; rhythm, metaphor, alliteration, image and tone are all used in my films to advance the story. Traditional tools such as establishing and covering shots are incorporated to create an initial context to the space and to introduce ‘characters’ which are central to the storyline.

There is also a very distinct cadence to my films. Through editing and effects in post production, I create rhythmical patterns which are integral to the storyline and the overall unfolding of the narrative within the film. An originally composed ambient soundtrack accompanies most of my films as well. Through sound, I aim to immerse the viewer in a unique experience, one that completely envelops the viewer and is specific to what is happening on screen.

The gathering of footage is an important part of the process. The placement of the camera is integral to the process as this makes ‘characters’ of static and motionless objects. The hours of footage are then reduced to a short 3-4 minute clip, which is then edited, re-edited, and manipulated in post production to create the story and the distinct texture of what eventually will become the final short film.

Sian Amoy – San Francisco California

Day 8 | Ona Radu

“Schizophrenia” was made as a movie that is meant to express the feeling of loneliness, of solitude, the inner self that is trying to express itself through the idea of performance act and/or art itself. The vessel of solitude is struggling to resist, while the condition of the artist is trying to release itself from the cage of supressed feelings.

Schizophrenia – TRT 2:51 mins.

Ona Radu studied at the Photography and Video section, Arts and Design College, at the West University in Timisoara, Romania. Even though his work is mostly photography, he also creates short films, video art and animation. From photography to film, almost everything he does is conceptual. He creates an idea and then the work itself, sculpted around the concept.

Ona Radu – Timisoara Romania

Day 9 | Soyeon Jung

“the Eater” is a two-channel, interactive video installation. The version of the piece included in this screening is a single-channel video that presents a simulation of the physical installation. “the Eater” deals with the harvesting and consumption of experience, transforming it into personal memory. On opposing walls, a video of “the Eater” is coupled with a sequence of memory images that must literally be consumed in order to preserve them. The abstracted images resist referencing any particular event, but rather represent the lived-in time of the artist’s multiple journeys between Korea and America. Within this piece, the act of eating of one’s own memory exhibits a cannibalistic consumption that alludes to the destructive potential of memory when it becomes internalized. A sound-scape that becomes suddenly violent, as “the Eater” seizes a memory in her desire to consume it, augments this feeling of unease.

The self-destructive drive to internalize and preserve traumatic memory is the product of a fear of emptiness; a situation in which one finds oneself lacking memory, experience, and attachment. In “the Eater” the body is treated as a repository for a multitude of accumulated time, yet in this state it is also susceptible to the resurfacing of the embedded trauma. In visualizing this relationship, the piece acknowledges the need for memory to be recuperated and creates a space for the audience to engage in this performance. The scale of the installed piece, combined with the multiplicity of images, limits the vision of the audience, forcing them to make decisions as to how they will negotiate the flow of images, which subjects they will visually and psychologically engage with, and which they will let slip by and escape consciousness.

the Eater 2006 – revised 2010, TRT 7:48

Originally from South Korea, Soyeon Jung is a multi-disciplinary artist currently practicing in Milwaukee, Wisconsin. Her work interrogates the intimate subject of personal memory from a multicultural perspective that is rooted in her experience of being situated in between Korea and the United States.

Her installation and video work has been exhibited in solo and group exhibitions and screened in a variety of venues. Selected events include, International Simultan Festival in Timisoara, Romania, CologneOFF Videoart in Germany, Delhi International Arts Festival and Cec-Carnival of e- Creativity in India, Manipulated Image in Santa Fe, London OMSK, International Women’s Film Festival, Detroit Museum of New Art, Hallwalls Contemporary Art Center, Big Orbit Gallery, CEPA Gallery, and Olean Public Gallery.

Soyeon was a graphic and web designer at Samsung in Korea before relocating to the United States. She received her MFA from the Department of Media Study at the University at Buffalo. Currently, she teaches in the Peck School of the Arts at the University of Wisconsin-Milwaukee and in the fields of experimental video and digital art.

Soyeon Jung – Milwaukee Wisconsin

Day 10 | Tim Skinner

‘Enclosed’ spawned out of a period when my work had just changed from sound installation into video. The previous sound installations had centred around exploring the visual beauty formed when sonic vibrations distorting a body of water. Moving into video gave me the ability not only to document but also gave me the chance to deconstruct and play with the aesthetics, allowing me to regain self expression which I felt had been lost throughout my sound installation work. ‘Enclosed’ was the third video created, and came from documentation of my explorations into the visual signature of the sound of a human heartbeat.

My work has moved on since then. Currently I am obsessed with exploring beauty within repetition, tied in with understanding visual recycling. Over recent years I have always acknowledged my 2008 piece ’Far Away Rhythm’ (Exhibited in Copenhagen, ‘08) as the turning point where repetition started to emerge, but a recent student interview has changed my view, and made me draw the conclusion that rhythmic repetition has always existed. ’Enclosed’ certainly illustrates this with the use of the human heartbeat, which for most of us is a cyclical repetitious sound.

Enclosed, 2007 – TRT 2:56 mins.

‘Enclosed’ was first exhibited in New York City, USA 2007, and since then: Ipswich, England, ’07 – Reading, England, ’08 – Melbourne, Australia, ‘08 – Weston-super-Mare, England, ‘08 – The Hague, Netherlands, ‘08 – Bath, England, ‘09 – Rotterdam, Netherlands, ‘09 – London, England, ‘10 – Birmingham, England, ‘10 – Berlin, Germany, ‘10 As part of the ‘Enclosure’ video installation: Colchester, England, ‘07 – Mansfield, England, ‘08 – London, England, ‘09

Born England, 1980. Graduated from Colchester School of Art in 2003, BA (Hons) Fine Art. Won a one year graduate scholarship in 2003 at Cuckoo Farm Studios, where my current practice is still based. Currently undertaking a variety of major local based art projects, but also looking to secure a residency outside, be it national or international.

Tim Skinner – UK

Day 11 | Perry Bard

Recipe for handling alert codes in a post futurist society

8 helicopters
1 cup paprika
2 polar bears
1 mixmaster
U.S. Mexico border
no hammocks
no tacos
no tequila
Align ingredients neatly on surface.
Sprinkle with salt.
Apply pressure
Serve with opera.

Secure Dining – TRT 4:42 mins. Sound Design Steven Baun

Perry Bard is an artist living in New York. She works individually and collaboratively on interdisciplinary projects for public space. She has worked with community groups to address issues of media representation engineering site specific public video installations for the Staten Island Ferry Terminal Building in New York and for Market Square in Middlesbrough UK. Public interventions about the war in Iraq include a mobile truckside billboard traveling the streets of New York, magazine ads and coffee cup sleeves featuring artifacts missing from the Baghdad Museum. Her web and public space project Man With A Movie Camera: The Global Remake invites participation in a mashup of a 1929 film belonging to world cultural history. The award winning work has been presented in 50 venues to date including the Montreal Biennial ’09, the Guggenheim’s Youtube Play Biennial 2010, the Toronto Film Festival 2010. She has given workshops and lectured about the project worldwide; her article When Film and Database Collide is published in the Video Vortex Reader II: Moving Images Beyond Youtube.

Perry Bard – New York New York

Day 12 | Rémy Disch

“Telephone Line” is a music video directed by Rémy Disch for singer Jérémie Rose. The video depicts a 24 hour long trip across the world along with the feelings of loneliness and restlessness. Most parts of this video are taken from the “60 seconds (60 seconds)” project, 365 one minute long films showing details of everyday life. Footage was shot in several places such as Reunion Island, Paris and San Francisco.

jeremie Rose, telephone line, TRT 4:25 mins.

Rémy Disch is a film director, artistic director and painter. He is living and working in Paris. From the artist’s versatility come art works, which answer them, knock together, contradict or complement each other. The painter, director and composer are in permanent conversation. Remy Disch is an observer who grasped daily life in a sensitive and critical way. He gives it to us in a exaggerated and poetic form.

Rémy Disch – Paris France

Day 13 | Espacio Cuántico

“Ephialtes”, daimon or spirit of the nightmares, the greek equivalent of the incubus and succubus (Latin) spirits taking the form of men and women respectively to torment humans introduced in his dreams. Sale of the land as if it flows from his body a flowery garden, turn off the shadows and rests her disfigured face in the mirror. The creatures passing in the night the maze dreamed upsetting the fragile break their way. The silence stuns spectra caged floating in the air, buried fears.

Efialtes, daimon o espirítu de las pesadillas, equivalente griego de los íncubos y súcubos (latín), espíritus que adoptaban la forma de hombres o mujeres respectivamente para atormentar a los humanos introduciéndose en sus sueños. Sale de la tierra como si brotase de su cuerpo un jardín floreado, se apagan las sombras y reposa su rostro en el espejo desfigurado. Las criaturas transitan en la noche el laberinto soñado, alterando a su paso el frágil descanso – El silencio aturde a los espectros enjaulados, flotando en el aire los miedos enterrados.

Ephialtes – TRT 4:46 mins.

Juan Belmonte (Musician, Buenos Aires, Argentina 1983) and Beatriz Lozano Bárez (fashion designer, Salamanca, Spain 1986) come together in Barcelona in 2007 and create “Espacio Cuántico”, a place where imagination has endless possibilities to create small audiovisual works framed in a surreal landscape with an apparent innocence wrapped in a tenuous darkness.

Films Include: “Human Magnetoscopic” (2011) (comming soon), “Efialtes” (2009), “4/Dimension” (2009), “Engranajes oxidados destilan pensamientos de cartón” (2008), “Robotmotion” (2008) and “Introspective” (2008).

Espacio Cuántico – Barcelona Spain

Day 14 | Jennie Thwing

Brolo Hill is a short film loosely based on the daily lives of the Lenni Lenape tribe and early pioneers that lived in Upper Roxborough, Pennsylvania. The film was shot on location at the Schuylkill Nature Center in Roxborough. The film depicts the “living forest,” an idea based on the Lenape Indian belief that all animals and plants have spirits. The work combines historical re-enactment and personal experiences to create a response to the physicality and history of the land.

Brolo Hill – TRT 2:06 mins.

Jennie Thwing is a Philadelphia-based artist and educator who received her MFA from UMBC in Baltimore. She is currently an Assistant Professor at Rowan University in Glassboro, NJ. Thwing is a 2008 Fellowship member at Soho20 Chelsea Gallery and is a member artist with The Nexus Foundation for Today’s Art in Philadelphia. She has exhibited her work at The Museum of Contemporary Art in Seattle, The Institute for Contemporary Art in Philadelphia, The Creative Alliance in Baltimore, The Center for Art and Visual Culture in Baltimore, The Fondazione Mudima per l’Arte Contemporanea in Milan, The Independent Museum of Contemporary Art (IMCA) in Cyprus, Soho20 Chelsea Gallery in New York City and the New York Studio Gallery in New York City.

Jennie Thwing – Philadelphia Pennsylvania

Day 15 | Matías Montarcé

In this video, the main character is induced to a dream produced by super-information, literature and culture in wich is absorved by nature, not only becoming part of it but personifying it, steping into a world full of symbolism and spirituality, discovering the actual situation of human beings in relation to our natural environment and leaving the doors open for the hope that some technological advances will bring to this stormy relationship.

Bathroom Tale, 2009 – TRT 4:30 mins.

Matías Montarcé is a video artist based in Madrid, in his works he connects empirical processes with conceptually abstract elements using poetic and visual resources. The absence of dialogues, symbolism, spirituality or ethno-anthropological elements are common characteristics in his work. He finds inspiration through what he calls “Silencia”, a phenomenological state of perception by wich a person, as a sensory-perceptual receptor, finds logical coherence between visual and/or auditory stimuli apparently unrelated. This new concept is formed by the synthesis of the words silence and solitude, usually associated with moods of sadness, but in this case together, they serve somehow paradoxically, as a basis for discovering beauty in a pure/natural state. His work have been exhibited internationally at MADATAC 02. The Madrid Festival of Contemporary Audio-Visual Arts, dokumentART. European Documentary Film Festival, Souvenirs From Earth TV, Transfera TV, “PI”. Performance & Intermedia Festival, International Video Art Festival VIDET ́10, International Video Art Festival. Camagüey, International Modern and Contemporary Art Fair KUNSTART `08 and The Carrousel du Louvre. París.

Matías Montarcé – Madrid Spain

Day 16 | John Park

“Vent” is an experimental animation created by John Park and an original score by composer Jeremy Schropp. The piece was originally created and conceived within an interdisciplinary art collective called Harmonic Laboratory where it has been performed with the dance choreography of Brad Garner. Though the work is being presented here without the dance performance, the creators see great value in the work existing in unintended spaces. The theme and title “Vent” are a reference to the passive and pervasive forces of volcanology in the Pacific Northwest where the group is based.

Vent Animation v.3

John Park works at the intersection of creative pedagogy and technology as an faculty instructor at the University of Oregon Department of Art. His research centers around the creative re-appropriation of industry electronics, programming and how the concept of repurposing can stimulate excitement in his own practice and his course curricula. Park’s diverse background in photography, 3D modeling, experimental animation, computer programming and electronics hacking has led to a larger investigation of what the most appropriate uses of these technologies should be in the today’s cultural climate.

Day 17 | Mark Newport

These characters are childhood memories of the ultimate man – the Dad every boy wants, the man every boy wants to grow up to be. My hand knit acrylic re-creations of these heroes’ costumes combine their heroic, protective, ultra masculine, yet vulnerable personas with the protective gestures of my mother – hand knit acrylic sweaters meant to keep me safe from New England winters. The costumes are life-size, my size, wearable objects that hang limply on hangers challenging the standard muscular form of the hero and offering the space for someone to imagine themselves wearing the costume, becoming the hero. They become the uniforms I can wear to protect my family from the threats (bullies, murderers, terrorists, pedophiles, and fanatical messianic characters) we are told surround us.

The Sweatermen, Every-Any-No Man, and Bobbleman are heroes of my own invention. They push the image of the hero by highlighting knitting materials, textures, and traditions (cables and the use of “ends” to make a sweater) in the form of the costume. Some of the color and texture choices are based on the sweaters my mother made, her love of cables and her color choices. In these I work to forge the link between childhood experience and an adult understanding of protection, masculinity, and heroism.

Performances, prints, and photographs are my opportunity to expand the narratives the suits suggest to me. While earlier works in print and photography focused on the hero in the costume, where and how he functions, these pieces start to explore the alter ego within the costume and the connotations of knitting in relation to various roles and activities. Knitting remains the questionable activity for the protagonist while costumes change to more socially accepted garb. In each scenario the knitting seems out of place or defensive. Is the man in “Pick-Up” attracting or repelling the woman speaking to him with his knitting? How do these different stereotypes of men relate to an activity like knitting?

Heroic Efforts, 2009 – TRT 3:23 mins.
Sweaterman knits in an attempt to generate a force field and save those around him.

Mark Newport is an artist and educator living in Bloomfield Hills, Michigan. Newport’s work has been exhibited throughout the U.S., Canada, and Europe, including solo exhibitions at The Arizona State University Art Museum; The Cranbrook Art Museum; The Chicago Cultural Center; and Laumeier Sculpture Park, St. Louis, MO. His work has been recognized with grants from the Creative Capital Foundation, the Arizona Commission on the Arts, and the Herberger College of Arts at Arizona State University. It is included in the collections of The Whitney Museum of American Art; The Renwick Gallery of the Smithsonian American Art Museum; The Cranbrook Art Museum; The Racine Art Museum; 4Culture, Seattle; City of Phoenix Public Art, Microsoft, and Progressive Insurance. The Greg Kucera Gallery, and Lemberg Gallery, represent his work.

Newport is the Artist-in-Residence and Head of Fiber at the Cranbrook Academy of Art. He earned his BFA at the Kansas City Art Institute in 1986 and his MFA at the School of the Art Institute of Chicago in 1991.

Mark Newport – Bloomfield Hills Michigan