17 Days Video Series

Day 8 > Eden Mitsenmacher
September 15, 2016, 12:10 am
Filed under: 17 Days (vol.9)

Combining performance, video and installation to take a critical yet engaging view of social, political and cultural issues. Embracing the desire to do what you love and occasionally getting embarrassed by it. Finding a form for vulnerability and blurring the lines between sincerity and ambiguity. Using pop culture as a frame of reference for social and personal critique but also as a way to create familiarity and accessibility. Sharing and connecting experiences between an I and a You.

Personal experiences such as love, loneliness and longing are taken at face value but are immediately turned into points of systematic general inquiry. The banal becomes serious, and vice versa. Presenting hyper-worlds, built from cultural stereotypes and clichés, then pushed to the brink of emotional overload. Kitsch is a conscious strategy in my research and practice. My inspirations often come from the observation in daily life and especially the firsthand experiences. As one of the many individuals who are experiencing the confusion and struggles in the current macro environment I am interested in the doubts, curiosity and cognition for the potential new value orientations and its unpredictable future possibilities.

Nicky, 3:27 TRT

EDEN MITSENMACHER, Born 1987 in the USA; works in London and Tel Aviv. Combines performance, video and installation to take a critical yet engaging view of social, polit- ical and cultural issues. Holds a BFA from Goldsmiths College University of London and an MFA from the Dutch Art Institute. Her work has been exhibited in spaces such as Istanbul Biennial, the Van Abbe Museum in the Netherlands, Holon Design Museum, Liverpool Biennial, Arebyte Gallery London and ACRE TV.


Day 9 > Alysse Stepanian
September 15, 2016, 12:09 am
Filed under: 17 Days (vol.9)

As more humans and other animals are displaced due to climate change and drought, petropolitical wars will be overshadowed by urgent needs such as access to fresh water. “Syria Planum: For Water for Oil” is the first edition of #MemoryoftheUniverse, a work of speculative fiction combined with current real-life global events. It covers difficult and controversial intersectional social and political issues in a posthuman world. Some subjects explored are the Anthropocene, petropolitical and water wars, nationalism, colonialism, politics and ethics in science and technology, drones and “militainment”, terrorism, refugees, and exploitation of humans and other animals. Historically, the bodies and reproductive organs of women and cows have been subjugated in patriarchal societies. The protagonist in this work is half-human, half-cow. She wanders the desolate Martian landscape, including the Syria Planum, and bears witness to the destructive behavior of humans. As the world looks away from crimes that are unmet with restitution, their aftermaths resonate in the dark recesses of our minds and metaphorically, continue to live in the memory of the universe, eternally recurring, until we find ways to change our consciousness and current state of affairs.

#MemoryoftheUniverse | “Syria Planum: For Water for Oil”, 7:22 TRT

Alysse Stepanian is a Los Angeles-based transmedia artist and independent curator. Her creative work, research and writings are focused on the effects of nationalism and politics of fear, and the importance of intersectionality in fighting injustices such as racism, sexism and speciesism. She has lectured about interconnected oppressions at the Pori Art Museum in Finland (2015), Malmö Konsthall in Sweden (2014), and Museo Ex Teresa Arte Actual in Mexico City (2013). Her upcoming exhibitions include Now&After’16 at The State Darwin Museum (Moscow, 2016). Other exhibition venues include Museum London (Canada 2013), Freies Museum (Berlin 2012), Contemporary Museum (Baltimore, USA 2011), Arad Art Museum (Romania 2011), Anthology Film Archives (New York City 2011), and Center For Contemporary Arts (Santa Fe, New Mexico 2010). Stepanian is the creator and curator of Manipulated Image video art screenings and multimedia events, and URBAN RANCH PROJECT, an “animal” advocacy and social and environmental activism arts venue based on Facebook. Her collaborations include multimedia installations created with Philip Mantione under the name BOX 1035 in Kunsthaus Tacheles (Berlin), Imagine Gallery (Beijing), and the Islip Art Museum (New York). Their works are multi-sensorial, with social, political, psychological and philosophical references, and with an emphasis on post-911 color-coded politics of fear.


Day 10 > Andrew Kaufman
September 15, 2016, 12:08 am
Filed under: 17 Days (vol.9)


My artwork is a direct reflection of my own observations and experiences within society. Collecting these, I translate them into contemplative visual and experiential art. Since my work is driven by experience and idea, I am able to free myself from specific media concerns enabling the utilization of any medium that successfully develops my response. The multiplicity of forms I have created; which include painting, video, sculpture, and installation, are presented in such a way as to encourage the viewer to engage with them as an experience of space and form on a psychological, illusory and/or physical level.

Untitled (Fracture Series)

Andrew Kaufman received his Master of Fine Arts degree in 2002 from the University of South Florida in a studio art program that emphasized the coupling of concept and form. Kaufman considers himself a convergent artist, letting idea dictate medium, which has led to a multiplicity of mediums that include video, sound, sculpture, painting and digital print. He has exhibited in a range venues, including Hallways Contemporary Art Center (Buffalo, NY), Nudashank Gallery (Baltimore, MD), Eastern Michigan University (Ypsilanti, MI), Sushi Center for the Urban Arts (San Diego, CA), Primo Piano (Lecce, Italy), International Short Film Festival G-niale (Stralsund, Germany), and Taiwan’s National Experimental Theatre (Taipei). Andrew Kaufman is currently an Associate Professor of Art at Grinnell College.


Day 11 > Samuel Blain
September 15, 2016, 12:07 am
Filed under: 17 Days (vol.9)

In Dreams is an experimental documentary that visualises the dreams of ordinary individuals. I asked numerous people to describe their most vivid and memorable dream. These interviews were then used to create a caricature, visually representative of each interviewees dreams. Using object tracking, these were then mapped onto the participants faces leaving their identities a mystery.

In Dreams, 2:53 TRT
video: Samuel Blain
audio: Andrew Harvey

Samuel Blain is a London-based Motion Designer and an award winning film-maker, animator and designer from Cumbria. Currently based in London, he has over 4 years experience working for clients such as BBC, ITV, Channel 4, Discovery and BAFTA. He graduated from Northumbria’s School of Design in 2011, picking up a first class honours BA Honours degree in Motion Graphics & Animation.

His graduate film from Northumbria, In Dreams, picked up a string of awards, including a prestigious D&AD award, with critical acclaim from over 30 international film and animation Festivals worldwide. These include onedotzero_adventures in motion, Edinburgh International Film Festival, Ottawa International Animation Festival, London International Animation Festival, Melbourne International Animation Festival and Animation Block Party.

Vimeo has featured both In Dreams and Wastelands on its coveted Staff Picks page. D&AD selected him as one of the top 50 graduates of 2011, including Blain in the 2011 Graduate Academy Scheme, giving the years’ best students real world team briefs to tackle. He has since gone on to work at London based studios Moving Brands, Compost Creative, M-I-E and Earth London.


Day 12 > Barbara Matas
September 15, 2016, 12:06 am
Filed under: 17 Days (vol.9)

Flashback Nuclear, 2:38 TRT

Barbara Matas Moris, works with film and video to explore aeasthetics, narrative forms and issues around female identity. She writes, films, edits and performs her own works. She creates series of still images extracted from her videos to create a place for dialogue between moving and still images. Master of Fine Arts, Film & Video, University California Institute of the Arts(CalArts), she has exhibited internationally. She has worked as editor and collaborator for directors including Robert Gardner, Robert Fenz and Livia Corona. She has also worked at the Film Study Center at Harvard University (USA), UNIACC (Chile) and she was the director of the Film Center of the Universidad Católica de Chile.


Day 13 > A.H. Jerriod Avant
September 15, 2016, 12:05 am
Filed under: 17 Days (vol.9)

this dull chaos,” wants to track a very specific emotion, through at least a singular episode of social chaos, right down to the family function. an episode where the speaker wants to escape, if just for a moment, or from a cycle of these moments, even if that escape’s no larger than one’s own mind, if that be a measure. these moments, hell bent on frightening the psyche, remind me of the love we often run from, the love that we don’t always get to keep, conflict, peace and how this breaks down at the infamous and beautiful family gathering. the photographs seek out angles, similar to the way a spider web’s thread does. also in its construction, with a center, “like an ambition done sat up in you,” I once heard an elder Black deacon say. it explores this episode of social chaos while simultaneously commenting on episodes or cycles of social chaos we witness at large and outside the walls of the home. the photographs move chaotically, not caught by any one rhythm. their changes are responses to certain disruptions. the speaker is frantic and at times, seems to wish to get a signal outside this one house for help, even if that help is time, relief or any mode of meditation and or sense-making.

This Dull Chaos, 1:20 TRT

A. H. Jerriod Avant is from Longtown, MS. A graduate of Jackson State University, he’s earned M.F.A. degrees from Spalding University and New York University. A graduate of the Callaloo Creative Writing Workshop, his poems have appeared in the Mississippi Review, Boston Review, Pinwheel and Callaloo. He was a finalist for the 2015 Mississippi Review Prize and a recipient of a Vermont Studio Center residency. Jerriod is the 2nd-year poetry fellow at the FINE ARTS WORK CENTER in Provincetown.


Day 14 > Raquel Meyers
September 15, 2016, 12:04 am
Filed under: 17 Days (vol.9)

Nostalgic, retro, obsolete or limited are rhetoric qualities earn by constant repetition. This is the terrible fate of ‘Fingers Of Doom’, a Type In animation made on Commodore 64 and built character by character rather than frame by frame. Text is used unadorned and rought-cast, like concrete. A raw Imaginary in favor of a new understanding. A place for revealing instead of burying. Technology as knowledge of a skillful or artful use and not as zombies hiding in garages waiting to be reanimated or parasite.

KYBDslöjd means drawing by typing. The grid is the framework and the text characters are the Instructions. A complete method of craft stored in text using technologies from the late 70s and early 80s like the Commodore 64 personal computer, Teletext and Typewriters.

KYBDslöjd was born in the C64 Swedish demoscene (2011-2014), the software and BBS technique were developed in several demo parties. As result, every key press is recorded and save as an animation. What you type is what you get (including the mistakes, there is no Control-Z / undo). You cannot make corrections, so any unintended strikes force you to start all over again. The simplicity of the colors and the character set make the process of making PETSCII (ASCII for the Commodore 64) straightforward. Text-mode graphics have a lot similarities with the brutalist architecture. Text is used unadorned and rought-cast, like concrete. Brutalism has an unfortunate reputation of evoking a raw dystopia, and the C64 evokes an “object of nostalgia”. But nostalgic, retro or limited are rhetoric qualities earn by constant repetition.

Text-mode is technology (as knowledge of techniques) and knowledge of a skillful or artful use. Technologies like the Commodore 64 or Teletext are not zombies hiding in the garage waiting to be “reanimated”, archive for contemplation or sell as collector’s object. They are meant to be use and not parasite.

KYBDslöjd is the joy of text-mode. A brutalist storytelling about technology and keystrokes.

Fingers of Doom, 2:36 TRT
Text composition by Type In on the Commodore 64 by Raquel Meyers
Music by Dan Brännvall
Code by Johan Kotlinski

Raquel Meyers is a Spanish artist who defines her practice as KYBDslöjd (drawing by typing). The grid is the framework and the character set are the instructions. KYBDslöjd is the joy of text-mode. A brutalist storytelling about technology and keystrokes.

Since 2004 she has performed at festivals like Transmediale, Fylkingen, Piksel, Mapping, La Casa encendida and Cimatics, at 8bit events like Tokyo Blip Festival and the Playlist exhibition, as well at Liste Art Fair Basel, Ars Electronica Center, Alingsås Konsthall, Bonniers Konsthall, Xpo Gallery, Click New Media Arts Festival, Alt_Cph, BEK- Bergen Center for Electronic Arts, LABoral and iMAL.