Day 1 > Isabel Pérez del Pulgar

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

“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 …

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

Why Why Always – TRT 2:53 mins

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.

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

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

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.

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, He currently teaches at the Massachusetts College of Art & Design and the Museum of Fine Arts, Boston.

Day 4 > Colleen Keough

iLook – TRT 21:43 mins

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.

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

Flight Simulator – TRT 4:18 mins

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.

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

Visible From Space – TRT 2:30 mins

“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.

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,, 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 and, 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

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

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.

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.

Day 8 > Marc Neys

River of Light – TRT 4:19 mins
Concept, camera, editing & Music: Swoon

Film by Swoon for the poem ‘River of Light’ by Paul Perry

Poem & Voice: Paul Perry
 ‘River of Light’ appears in Paul’s first book, The Drowning of the Saints, (2003), and which will also appear in Gunpowder Valentine: New and Selected, the Dedalus Press, 2014. The poem is also a poem on the Leaving Certificate in Ireland from 2015. This poem creeps up to you. It’s almost like a dry recapitulation of a daily newspaper article. 
And then it hits you, full force, in the stomach.

It needed very simple images to juxtapose with the content of the poem; fragile, yet powerful. Light, yet disturbed. 
The same goes for the soundtrack; dark undertones, ominous breathing against high fleeting notes. The production itself was very much like the carcrash in the poem; fast, dirty and cheap. 
Shot in less than an hour with a cheap DSLR. You get a voyeuristic feeling through the movement.

Videopoetry is a genre of poetry displayed on a screen, distinguished by its time-based, poetic juxtaposition of images with text and sound. In the measured blending of these three elements, it produces in the viewer the realization of a poetic experience. Presented as a multimedia object of a fixed duration, the principal function of a videopoem is to demonstrate the process of thought and the simultaneity of experience, expressed in words – visible and/or audible – whose meaning is blended with, but not illustrated by, the images and the soundtrack. (Tom Konyves)

Swoon (AKA Marc Neys) (°1968, Essen, Belgium) is a video-artist / soundscape-constructor.
“His work is provocative, beautiful and disturbing. Using words as guidelines, Marc Neys creates video and soundscapes using a blend of layered images.

His work is instantly recognizable for the skill with which he extracts new meaning from the words he illuminates. Image, sound, voice combine seamlessly to create something fresh, and often startling in Swoon’s work. His works have been featured at film festivals all over the world.” (Erica Goss)

“The work of Swoon transports us to a state of attention and reverie at the same time, and then sends us each on our own inner investigations. Meditations on Nature, Time, Art, the human condition, and the spiritual cost of modernity – these are some of the dizzy heights that Swoon’s audiovisual essays explore.” (Yahia Lababidi)

Poet Paul Perry was born in Dublin in 1972. He has won the Hennessy New Irish Writer of the Year Award and The Listowel Prize for Poetry and has been a James Michener Fellow of Creative Writing at The University of Miami, and a Cambor Fellow of Poetry at The University of Houston.

Paul Perry’s poems often possess a confessional delicacy and apparent simplicity that is rare among Irish male poets. From the publication of his first collection The Drowning of the Saints in 2003 his work has been noted for its dream-like magic and its ‘sense of longing, searching, and questioning’. Of that acclaimed début Fred D’Aguiar writes: ‘Each poem bristles with life and longing, intelligence and wit.’

Day 9 > Justin Lincoln

Data Delays – TRT 5:50 mins

Data Delays. “I always read the internet with a scissor.” A mix of materials pulled from the archive of “likes” on my tumblr blog. This mix is manipulated in MaxMSP/Jitter. Soundtrack made with the LittleBits Synth kit. 2014. Featured in FILE Electronic Language International Festival 2015 and Outer Gallery. Montana State University.

Justin Lincoln is an experimental artist and educator. He teaches New Genres & Digital Art at Whitman College in Walla Walla, WA. His work involves creative computer programming, the online community of tumblr, video montage, and the history of experimental film. He is a prolific presence online and his work shows extensively in international exhibitions and screenings. Recent screenings include The Chicago Underground Film Festival, FILE Digital Languages Festival in Sao Paulo, Brazil, and the exhibition Across Voices: New Media Art 2015 at CICA Museum in Gimpo, Korea.

Day 10 > Theo Putzu

Paper Memories – TRT 7:25 mins

Written and Directed: Theo Putzu
Photography: Theo Putzu
Editing Theo: Putzu
Sound Design: Martin Ortega Granella
Soundtrack: Miguel Marin
Stop-Motion technique, approximately 4000 photos.

An Old man search for happiness in old photos…
Two worlds divided by the inability to dream…
With COME FOGLIE… composes “Memories Duology”.

Theo Putzu was born in 1978 in a small village of Sardinia, Italy. He graduated from Accademia di Belle Arti ofFlorence on 2006, as a Production Designer. During 2005/2007 he studied Film Directing and Screenplay at Florence’s School of Cinema, and after that he attended for two years, 2008/2010, the Master in Film Directing at the CECC (Centro de Estudios Cinematograficos de Catalunya) of Barcelona, Spain. The last two short films, PAPER MEMORIES and COME FOGLIE…, have participated in more than 200 festivals and won 65 international awards.

Day 11 > Jillian McDonald

The Rock and the True Believers – TRT 23:49 mins

The Rock and the True Believers was shot in Newfoundland – known as “The Rock” to Newfoundlanders, and features endless barren rock, water, icebergs, and fog, all shimmering with the supernatural. Fishing boats, lighthouses, nets, and worn graveyards overlooking the North Atlantic share the screen with local actors, some dressed as mummers, along with peculiar flora and fauna – carniverous pitcher plants, dandelions, moose, sea lions, polar bears, whales, squid, caribou, whales, puffins, and sea urchins. A soundtrack by Keri Latimer features modified sea shanties in a “call and response” style, traditionally sung on the voyage towards shore.

Jillian McDonald is a Canadian artist who lives in Brooklyn. She is an Associate Professor of Art at Pace University, and is hopelessly in love with the North.

Solo shows and projects include the Esker Foundation in Calgary, Air Circulation and Moti Hasson in New York, The San Francisco Arts Commission Gallery, Centre Clark in Montréal, and Hallwalls in Buffalo. Her work has been included in group exhibitions and festivals at The Chelsea Museum and The Whitney Museum’s Artport in New York, The Edith Russ Haus for Media Art in Germany, The International Biennial of Contemporary Art in Venezuela, The Sundance Film Festival in Utah, La Biennale de Montréal, and the Centre d’Art Contemporain de Basse-Normandie in France.

She was featured in a 2013 radio documentary by Paul Kennedy on CBC’s IDEAS, and reviewed in The New York Times, Art Papers, The Globe and Mail, The Toronto Star, Border Crossings, and Canadian Art. Critical discussion appears in several books including The Transatlantic Zombie (2015), by Sarah Juliet Lauro and Deconstructing Brad Pitt (2014), edited by Christopher Schaberg.

McDonald has received grants and commissions from The New York Foundation for the Arts, The Canada Council for the Arts, Turbulence, The Verizon Foundation, The New York State Council on the Arts, The Experimental Television Center, and Pace University. In 2012 she received the Glenfiddich Canadian Art Prize, and she has attended residencies including The Headlands Center for the Arts in California, Lilith Performance Studio in Sweden, The Lower Manhattan Cultural Council’s Workspace in New York, and Banff Centre for the Arts in Alberta. She will be in residence at the Lower Manhattan Cultural Council’s Process Space in 2016.

Day 12 > Michael Betancourt

The Dogs of Space – TRT 3:00 mins

The Dogs of Space is an exploration of glitch and realism where the two are held in tension against each other: a balance between the abstracting and representing functions of digital imaging. This trajectory between realism and the geometric, formal dimensions of digitally encoded motion transforms the familiar imagery of dogs, rocket ships, zeppelins and workers into a fluid, continuous series of transformations that shift between a surface flatness of pixels and their organization into particular, recognizable imagery.

This engagement is distinctly semiotic: recognizable imagery as signifier (earlier, quoted work) in an arrangement and context that changes the meaning of concepts such as “Heavens and Earth” that provide a visionary subtext to scientific exploration. The immanent identification provided by archival material is essential. By using nineteenth century imagery, scientific footage, and public domain footage, these explicit quotations enable a synthesis, drawing attention to my reuse. Glitching functions syntactically in this fusion, linking shot-quotations while at the same time providing inflection that changes the imagery’s meaning separately from issues of montage or sequence.

The continuous flow of imagery is precisely the point to this process: there is only a limited distinction between one “shot” and the next, eschewing montage for the continuity of the long take—datastream of the digital file. The results are neither edited nor animated, but the hybrid recognizable as the “morph” where one image becomes the next seamlessly by degrees of change over time. These technically-generated transformations give rise to both the abstracting and representing dimensions of the imagery equally.

Michael Betancourt is an artist, historian, theorist, and curator. He is the author of The ____________ Manifesto, and has exhibited internationally since 1993. His writing has been translated into Chinese, French, Greek, Italian, Japanese, Persian, Portuguese, and Spanish. His book, The History of Motion Graphics: From Avant-Garde to Industry in the United States was published in 2013. His work with critical theory, published in The Critique of Digital Capitalism by Punctum Books in 2015, identifies how digital technology has captured contemporary society in a reification of capitalist priorities. Beyond Spatial Montage: Windowing, or, the Cinematic Displacement of Time, Motion, and Space, concerned with juxtaposed and composited screen imagery will be published by Focal Press in 2016.

Day 13 > Tahir Ün

Facial Perception – TRT 2:11 mins

The “Facial Perception” is an art of self-portrait that I recorded when I had an ischemic stroke, which resulted in a loss of my physical sensibility, particularly on my face. In some sense, it is a reactive enacment fictionalized out of my body in the state of unconsciousness. This deep psychological mood includes a vicious cycle that, at the same time, is a search for regaining one’s physical identity in a chaotic situation. This case is expressed by uncertainty in perception and rhythmic motions.

In Facial Perception, it is about “I”, the identity, who places himself as the subject of perception. Because here, the state of action that I experienced is reciprocal, is directly related to the endeavor of perception of self-physical existence and heads for a performance. In the background, one could observe a young girl’s movements continuously transforming into a vicious circle. This transcendental-like position is my soul and an expression of hopeless lingering in my inner world. In other words, I can hereby state that objective and subjective perception continuum coexist in my video.

In my video work, one could talk about many psychological reflections. Loss of sight that ignites hopelessness, clostrofobia, exteroceptive losses and similar traumas are elements strengthening this reflection. This video is in a sense a reflectory performance unconsciously fictionized over my body. This mental state contains a psychological vicious cycle that I defined previously and is a search for regaining my physical identity in a chaotical situation.

Tahir Ün was born in Turkey. He holds a BA degree from Language and History-Geography Faculty of Ankara University, where he studied History of European Arts.

He worked in advertising and public relations between 1985–1995 and gave lectures of photography at the Center of Contemporary Arts in Ankara and at Vocational College in Kara Elmas University in Safranbolu between 1995-1999. He is a co-founder of Institution of Photography Art (FSK) since 1994. His photographs are published in many magazines such as “Foto” Magazine by Revista Foto S. L. , Madrid, Spain, “Zoom Inter_national” Magazine by Progreso Fotografico Editrice, Italy and “Foto Kino Magazine tillaeg International Photography” by Konkordia Kvissel, Denmark since 1983 and accepted to some collections such as Polaroid Collection, Ransom Center Photography, State Museum of Majdenek and Rhizome Artbase.

Tahir Ün published three books titled “Imagined Views/Moments of Revulsion” Photographs (1990) and “The Poetic Introduction of Representation of the Hidden Photograph” Poems (1995), “Xinjiang : My Ancestral Land” photographs (2012) and “Ali” photographs (2014). In addition, his articles about image theory are published in various Turkish art magazines since 2000. His works have been displayed in numerous worldwide events including 26 one-man exhibitions. He has been working periodically at Xinjiang (Uighur) Autonomous Region of China, Balkans, Caucasia and Turkey as a freelance photographer and videographer. Tahir Ün is currently active also in new media arts and an instructor in the Radio, Cinema & Television Department of Communication Faculty at Yasar University.

Day 14 > Heather Stratton

The Gift – TRT 2:05 mins

“The Gift” is part of a larger body of work called “Comorbidity,” which thematically explores the simultaneous experience of diametrically opposed emotions through a familial landscape. Stratton’s archive of family films combine with her own video footage to present us with a dialogue between the past and present, making connections between the two.

In “The Gift,” Stratton juxtaposes family films as they were recorded, with altered footage that slowly pulls the image apart from itself, mimicking the experience of recalling only bits and pieces of a memory. Over time, memory morphs, losing parts of itself and often times reassembling in an inaccurate order when finally recalled. Stratton visually portrays this experience as the images switch back and forth from one place in time to another.

The Rumi quote, “What you seek is seeking you” is visually presented through the layered and repeated image of Stratton herself as the intention of recalling and holding onto familial memories is not only to reminisce, but also to find oneself in the context of others. The gift is thankfulness of what is and is not. It is finding a comforting place in time between personal histories and the present.

Heather Stratton is a lens-based artist/educator from Battle Creek, Michigan. Her visual and sound works have been exhibited throughout the nation, garnering her a visiting artist appointment at the EWHA Women’s College in Seoul, South Korea in 2013 and a successful sound art album release in 2014. She has participated in numerous film festivals and has been an invited guest speaker for several panels addressing time based media across the United States. Stratton has been teaching lens based and electronic media for several years; she currently teaches at the Gwen Frostic School of Art at Western Michigan University in Kalamazoo, Michigan and Kellogg Community College in Battle Creek, MI. Stratton’s work addresses confessional themes of feminism, the supernatural, the memory ghost and familial landscapes.

Day 15 > Timothy Orme

Afterlight – TRT 2:56 mins

Afterlight is a short hand made film that explores both one’s inherent darkness and one’s inherent lightness. Every frame was made with charcoal on paper (sometimes each frame was drawn up to eight times) and then composited digitally.

Timothy David Orme is a writer, filmmaker, and animator. His two books of poems, Catalogue of Burnt Text, and his second book, Oponearth, are available through BlazeVOX Books. His films have won international awards and shown at film festivals all over the world.

Day 16 > John C. Kelley

this video is harmless. – TRT 2:51 mins

This Video Is HARMLESS is a linear edit from a larger gallery installation of 10 looping videos. In this linear format, three interwoven scenes explore the moments that surround an event. We see a family dog exploring recently abandoned cars, a child dressing up in a golden cape, and an adult figure spinning in and out of himself in a wood-paneled room. The causes and consequences shown point to a specific but still unknowable occurrence. In this way, the work is like cutting a specific narrative hole; creating an image or moment with negative shapes. I hope the work provides an experience that is perhaps more felt than understood. In all projects, my general goal is that the work be experienced like an encounter with a wild animal – beautiful but somehow threatening.

John C. Kelley is a media artist living and working in Fayetteville, AR. His work is primarily in video, including linear shorts and multi-channel gallery installations, and is heavily influenced by classic science fiction and other cinematic structures that explore the balance of known and unknown elements. Kelley’s videos aim to make new negotiations across the media lines of film, music and time-based art to create moments and environments untied to strict narratives that are nevertheless explored using cinematic logic. Utilizing experience in traditional 2D media and music production, Kelley creates moody, lyrical shorts that have screened and exhibited domestically and internationally. He currently collaborates with the creative collective Gray Picture in St. Louis, MO and teaches in the Department of Art at the University of Arkansas.

Recent group exhibitions include Filmideo 2015 (Index Art Center, Newark, NJ), Digital Native (The Front, New Orleans, LA), The Print Screen Festival: Everyday Emotional Computing (Holon Cinemathecque, Israel), and festivals/screenings in Sao Paulo, London, Moscow, Berlin, Vienna, Prague, Amsterdam, and more. Past exhibitions, screenings and venues include the Arizona International Film Festival, The Mid-America Arts Alliance (Kansas City, MO), The Crystal Bridges Museum of American Art, Purdue University, Living Arts of Tulsa (Tulsa, OK) and others.

Day 17 > Scott Wenner

Karl – TRT 2:03 mins

KARL was created for the second season of Motion Poems. The original poem was written in Norwegian by Dag Straumsvåg and later translated by Robert Hedlin. I loved this short poem from the first read and was really pleased to have had the opportunity to use it The film was an early foray into photorealistic CG filmmaking for me. I tried to really break down the core themes of the poem and then devise a parallel visual story that would complement the read instead of simply illustrating it. Ultimately, I’m always looking for a new and maybe untraditional way to tell a story. Unfolding a competing predator/prey scenario felt like a good way to honor and amplify the tension and general strangeness of the poem.

Scott Wenner is an artist and animator from St. Paul, MN. He has been animating for television and film for over ten years and has been featured in several international film festivals. His commercial clients have included National Geographic, The Discovery Channel, NBC Universal, PBS, Greenpeace, and many others. His 2014 film, ALFOAT, premiered at The Stuttgart International Festival of Animation. Also in 2014, Wenner partnered with the New York Times to create “Together We Stand,” an animated film for their Modern Love series.