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Event
"VISIONS" | A Micro-Festival
Two nights of works selected from our open call theme of VISIONS:
From dreamscapes to hallucinations to images of pure perception, "Visions" seeks to encompass works that hold magic within the perceptual realm.
Striking and sensual, mythical and uncanny.
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Friday, June 27th
Program A:
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Julie Marie Wolterstorff
-Mono No Aware #1-
Daniel Abad
-Diary of Dreams: Flex-
Chompunutt Mayta
-Song for Every Ghost-
Lindsey Whitfield
-And It Was So-
Jeymer Gamboa
-Reunion-
Shambhavi Kaul
-Mount Song-
Anthony Svatek
-In Us, Roots-
Zachary Finkelstein
-How She Sees What She Sees-
Mariana Tschudi
-Two Sacred Plants-
Lena Ditte Nissen
-KORONA-
Mariana Tschudi
-Transcending Our Shadows- (live performance)
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Saturday, June 28th
Program B:
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Robert Todd
-Undergrowth-
Dan Browne
-Hand Processing-
Ben Skea
-Trace-
Ajon Srivardhana Kibreab
-Gorgonen-
Ryan Dight
-January Twenty Fourteen-
Christina Kolozsvary
-Nocturnes for Anatomers -
Richard Ashrowan
-Diagram-
Peter Lichter
-Look Inside the Ghost Machine-
Mike Morris
-I Can't Wait To Meet You There -
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Program Notes:
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Mono No Aware #1
Julie Marie Wolterstorff / 2014 / USA / 7 min
vimeo.com/user6401918
Distorted video images, forming a box of existence.
I am interested in becoming more intuitively aware of the way things can be felt and known. The blurring of the greater picture, the strange erasures of self. Memories that take up space and possess color. What else goes unremembered...look closer. The enlargement of small details which result in the loss of the whole. The mutation and manipulation of images that mirror the disintegration of psyche. My symbolic reality.
Diary of Dreams: Flex
Daniel Abad / 2012 / Spain / 4 min
www.diaryofdreams.org
Diary of Dreams is an ambitious project aiming to articulate at a visual level the contemplative state into which one might find himself whilst dreaming. Thus, this work is not about the generally admitted representation of a dream but rather about everything that is encapsulated in the imagery of the subconscious. In other words, It has no pretense of depicting a dream and its content for it concentrates on the process of representation. A piece of Diary of Dreams is by no means a premeditated scheme, it is an organic process which goal is to turn a work of visual arts into what is meant to be a dream. While finding out about processes in any situation might be the key to dream-making, there is no pre-established way of doing so.
Song for Every Ghost
Chompunutt Mayta / 2012 / USA / 4 min
www.chompunuttmayta.com
It was a late summer night in New York City. A blue crab escaped from a seafood store in Chinatown. He was forced to respond towards elements and situations in our world that had contributed to and sustained its harsh nature.
And It Was So
Lindsey Whitfield / 2014 / USA / 2 min
And It Was So is a study on experimental sound with animation. The sound is distorted until it is unrecognizable from the original source. The steady evolution of images is a direct result of what was envisioned from the final audio composition. The images are conceived off of a dreamlike narrative with no direct message, but a hint of resonating emotion.
Reunion
Jeymer Gamboa / 2013 / Argentina & Costa Rica / 2 min
www.jeymergamboa.com.ar
Fragments of a filmic diary, moving from flowers in the garden to residential fasades. The sensory is in the air, mixed with pollution and radio waves.
Mount Song
Shambhavi Kaul / 2013 / India-USA / 9 min
www.shambhavikaul.com
A current runs underneath. It creeps under the door, makes its way into the cracks, revealing, obfuscating or breaking as clouds in the sky. Mountain, cave, river, forest and trap door; martial gestures, reiterated, stripped and rendered. A storm blows through. Here, the surfaces of set-constructions are offered for our attachments. "As a wild, foreboding gust courses through the night, a subdued elegance is brought forth from past cinema spectacles, whose generic albeit highly suggestive set constructions remain lodged in our imaginary." (Andrea Picard)
Shambhavi Kaul's cinematic constructions conjure uncanny, science-fictive non-places. Described as creating "zones of compression and dispersion," her work utilizes strategies of montage and recirculation, inviting an affective response while simultaneously measuring our capacity to know what we encounter. She has exhibited her work worldwide at venues such as the Toronto International Film Festival, The New York Film Festival, the International Film Festival Rotterdam, The Edinburgh International Film Festival, Internationale Kurzfilmtage Oberhausen, the Ann Arbor Film Festival and Experimenta India among others. Shambhavi Kaul was born in Jodhpur, India and currently lives in India and the United States.
In Us, Roots
Anthony Svatek / 2011 / USA / 7 min
www.SvatekFilm.com
In Us, Roots traces a connection between a seemingly benign incident and its evolutionary origins. Because humans' cognitive skills have continuously developed, yielding inventions and thought that have helped us defy natural threats, our drive for survival has shifted away from a physical into a societal realm. There, our emotions still operate for the same reasons as they did millennia ago. Formally, I wanted to play with narrative structure and create tension. The camera explores a vague but "controlled" documentary environment, which is combined with the explicitness of a written voice-over.
How She Sees What She Sees
Zachary Finkelstein / 2012 / USA / 3 min
www.zacharyfinkelstein.com
How She Sees What She Sees is a perceptual film that explores the limitations of an infant's visual abilities interpreted through the Bolex camera onto high contrast black and white 16mm film. The film also tests the notion of shared perception, as the filmmaker experiences the world as his 1 month old daughter might see it. The footage was shot and edited in camera and then exposed to a unique light painting process before it was hand processed.
Two Sacred Plants
Mariana Tschudi / 2014 / Peru / ???
www.ademasarte.com
Nature provides everything we need: nutrition, materials, remedies for the body and also medicine for the soul. There are many sacred plants used by all ancient cultures to help us transcend the basic states of consciousness and elevate our vibration to a higher level. Along with the communication with sacred plants comes several teachings and experiences that have inspired my work. This video art piece called 'two sacred plants' is a collage of visions that channel the energy of two very different powerful master plants. The first plant is a cactus called wachuma (San Pedro), a plant full of light that works directly by opening people's heart in a very lovable way. The second plant is a liana from the Amazonian jungle called ayahuasca. Her spirit is like a warrior, very intense and aggressive in her power of healing, with the capacity of driving us to extremely dark spaces as well as giving us the most celestial experiences.
KORONA
Lena Ditte Nissen / 2013 / Germany & Denmark / 11 min
www.lenadittenissen.com
www.droblin.tumblr.com
KORONA poetically describes the subjective physical and psychological experience of a recurring subversion of the self-experience of a young woman. The whispered narration from the perspective of the speaker, and the reduced use of minimal black and white images leads the viewer further and further into the inner of a mythical state of being, that is neither an end nor a solution.
Transcending Our Shadows (live performance)
Performer: Mariana Tschudi
Musicians: Carmelo Cambareri, Fred Clarke
2014 / Peru / 12 min
www.ademasarte.com
This is a 12 minute long performance in which I illustrate through the interaction of my body movements, the music, and the video projections an awakening experience inherent to working with sacred plants. One can access other states of consciousness through the immense pleasure that comes along with the acceptance and transformation our own shadows.
Undergrowth
Robert Todd / 2011 / USA / 12 min
roberttoddfilms.com
A blind predator dreams through its prey's eyes. The obvious predator is a Barred owl, but the film uses this a vehicle to consider the active role of the camera in image "capture". The prey is undefined, but suggested as a compendium of natural figures that the camera "captures". The film establishes visual (textural) similes between the environment and the predator, and a kinetic dialogue between the camera and its objects/subjects: gliding through the underbelly of the world, tunneling under the natural flora of a semi-urban setting, the camera establishes a presence within the Ground of Nature, counterpoint to an examination of the Figure of the Owl, whose head turns in slow drifting arcs that mimic the dance of the nature-seeing/seeking camera. The owl's blindness is revealed in extreme close-ups of the creature's cataract-encrusted eyes. Its blind state creates a stumbling block to an easy decoding of the nature-seeking footage as a representation of its own outer-directed sight, calling into question the nature of this perspective, and consequently the nature of that which is "capturing" the owl.
Hand Processing
Dan Browne / 2010 / Canada / 3 min
www.danbrowne.ca
A campfire for warming eyes, akin to TV static. Produced by accident, chance and fate, all images in this film are achieved by tactile impact, the soundtrack acoustically interpreting the same abrasions.
Trace
Ben Skea / 2012 / Scotland, UK / 9 min
www.benskea.com
Trace is an experimental film by Ben Skea that explores the nature of long-term memory and it's susceptibility to external manipulation. He has sought out and recorded evidence of natural occurrences / varied memories of past events in both a city and in the countryside - memory traces that unless examined closely would go unnoticed. The intention was to document the aftermath of great change or unseen release of energy (survival, death, birth, growth). He has isolated elements of the scenes from its current location and recreated the perceived movement of the past event in the artificial environment of the computer - combining this with other media (paint, animation). These recreated traces, now with a different scale, have been virtually 'pinned' back into the original video environment as static forms. The visual nature of the work suggests further that, in evolutionary terms, it makes sense for us to update our memories as this allows us to adapt to future threats or uncertainties as well as learn from past mistakes. In the film, the reconstructive nature of the process, ultimately mirrors the fragile nature of memory our past continually being updated to fit our present context and knowledge.
Gorgonen
Ajon Srivardhana Kibreab / 2012 / Sweden & Thailand / 10 min
www.bungalowfilm.com
A young man searches for the Gorgon (a terrifying female creature in Greek mythology). The story takes place in modern day Sweden. Gorgonen is a film about cultural contrasts and the inter-connectedness of experiences reflecting these contrasts.
January Twenty Fourteen
Ryan Dight / 2014 / USA / 3 min
www.sevenhundredtwenty.com
www.ryandight.com
This piece is part of a year long project consisting of abstractions formed by overlaying the first seven hundred and twenty images generated from the most popular search term of each day on Google's search engine. In this piece the abstractions from each day in January were overlain and arranged in a methodical structure to achieve the visuals. These visuals were then taken through a waveform generator and further manipulated to create the sound. This piece will be one of twelve in an ongoing series that will be created through a similar process, naturally evolving with each work. These videos ultimately embody the recreation of our ephemeral relationship to the large vocabulary of "key words" we use to create connections in our own
Nocturnes for Anatomers
Christina Kolozsvary / 2012 / USA / 6 min
kolozsvary.com
Nocturnes for Anatomers is a surrealist trip to the doctor's office. A young woman suffers from mysterious illnesses caused by her neglect for her body and her hidden desires. Diagnoses of the patient follow the charts of the cosmos as anatomy and astrology combine. Christina Kolozsvary was raised on the exotic sands of South Florida, where she was fed a healthy diet of dolphin murals, neon signs, and tanning oil. An Indefatigable dreamer, she learned early that making films was a salubrious way to live in a world of pure fantasy. In moments of lucidity, she teaches film and digital media to the youth of tomorrow.
Diagram
Richard Ashrowan / 2011 / Scotland & Iceland / 7 min
www.ashrowan.com
Filmed in Iceland, this work explores the idea of the fixed and the volatile within the filmic image, as a diagrammatic space. Repetitive processes of 'fixing' the volatile and 'liberating' the volatile from the fixed are ideas not only central to historical alchemical discourse, but might also be considered central to the act of perception itself. Both the act of fixing, and of liberating, are most often accomplished through the transformative action of fire. The work interrogates the idea of the film as a diagram. Unlike our ideas of a conventional written diagram, the film is durational - the elements of fire, earth, air and water come and go, forming and breaking their own conjunctions, while also effecting certain kinds of transformation upon one another. One image has effect on another not only through the durational technique of temporal montage, but also through temporal coexistence. The film was designed in portrait orientation to mirror the vertical reading of alchemical diagrams, traditionally from bottom to top, as a kind of ascension through the processes of change and refinement.
Look Inside the Ghost Machine
Peter Lichter / 2012 / Hungary / 5 min
lichterpeter.blogspot.hu
The early avant-garde filmmakers believed that the cinema had the function of a machine, made to generate pure feelings. The main part of this "machine" was the celluloid, which has disappeared nowadays: as with the flickering ghosts of it. Péter Lichter was born in 1984, Budapest. He publicated two poetry books at the age of 16 and 20. He studied film history and film theory at the ELTE University, Budapest. He writes his PhD-thesis about the relationship of american avantgarde cinema and the science-fiction movies. Peter makes short, found-footage, abstract experimentals and lyrical documentaries since 2002. His films were screened at festivals and venues like: Tribeca Film Festival; Rotterdam IFF; Cinema 16 - New York; Exploding Cinema London; MisALT San Francisco; MIA - Los Angeles; Angers Premier Plans; Madrid Experimental Cinema Week; Klex Kuala Lumpur; Director Lounge Berlin; Oblo Film Festival Lausanne, Hungarian Film Week, etc. He is also one of the editors of the Prizma film-periodical. Peter frequently collaborates with visual artist Loránd Szécsényi-Nagy, and composer Ádám Márton Horváth.
I Can't Wait To Meet You There
Mike Morris / 2012 / USA / 12 min
www.michaelalexandermorris.com
A meditation on subjective experience of public mourning and the ways recorded media affect our understanding of mortality. An elegy and a prayer for Kurt Cobain.
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LocationThe Picture Show (View)
226 Green St.
Brooklyn, NY 11222
United States
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