In 2012 Robert Hickerson collaborated with his parents on a series of performances and installations which reevaluated their relationship as a family. Hickerson’s parents had been divorced for several years prior and had not spoken to one another. Starting with These are My Parents, they came together to produce work which materialized how they each dealt with the dissolution and reconfiguration of their family. Debasement Triptych (which has These Are My Parents at its center) is the final product of this collaboration. Hickerson uses the cinematic to convey these performances, creating a dynamic portrait of his parents’ relationship. With its center panel, Debasement Triptych shows the first interaction between his parents, six years following their divorce. Hickerson asked his parents to complete a puzzle, having tied them to each other using a spandex harness. On each side sits a durational portrait, performed in public, materializing the experience his parents felt creating these collaborative works.
Debasement Triptych continues Hickerson’s development of materializing interpersonal relationships into physical tasks and restraints. By translating how one is connected to another into how one is physically attached to another, Hickerson’s work allows for the evaluation of these relationships from an objective point of view.
Debasement Triptych, video, 5 min 48secs. Robert Hickerson, 2012.
That which is logical and phenomenological derives one out of another in continuous flux. As the subject of an image shifts, the viewer is transferred to an altered mode of visuality and thinking. With a background in both painting and photography, my studio practice consists of a series of projects that investigate the dichotomy between the quantifiable and experiential through the perception of light. Light as a drawing medium, can be observed and interpreted at different material states as its physicality continually transforms to alter the context of the image. I utilize technology as a vehicle to manipulate light, color, and scale in order to obscure the dimensions of reality, and ultimately allow the viewer to experience the edge of sight.
Presented is a video titled Optical Fields (2 min. 4 sec.) accompanied by a series of photographs titled Newman Slide Series. Generated with micro-imaging equipment traditionally used for scientific research, I am able to capture invisible imagery that relates the boundaries of the unseen to the cosmos. By abstracting notions of macro and micro worlds, technology is used to shape light in such a way that it obscures the dimension of scale, and allows empty space to take on the illusion of material form. Experimental sound recordings are layered onto the video track to add a secondary sensorial experience to that of vision. Sonic, moving, and still image are combined in this selection to transport the viewer to an alternative psychological landscape into the vast or minute.
For this work I used Google Images search engine to collect images of monuments that are located in Israel. Israel’s landscape is covered with many different kinds of monuments. These monuments with either national or international significance all have a political and social stance. The main reason for their existence is to mold and create a unified collective memory by commemorating and revering the dead. However, monuments not only act as cultural agents by providing a place of mourning and reverence, but they also build and create a sense of unification and belonging.
In each consecutive image of this work the monument is cut out, resulting in an image with a white patch where the monument was situated. Projection is used in order to accentuate the light as a dominant factor, emanating from within the image. This emphasizes the empty space that creates a new structure within the image. The absence of the monument raises political and historical questions regarding the role of monuments in society. How they are used sustain and at the same time mold history. What role do they play in the formation of personal and collective identity. The absence also emphasizes the shape and form of the structures and by doing so reflects the relationship between shape and form and the process in which both collective and personal memory are formed.
The second frame provides information regarding the reason for and the location of the monument. My interest on the role of these monuments comes from my own personal experience growing up in a country that is filled with numerous monuments commemorating dead soldiers, international tragedies and personal ones.
My work is primarily concerned with negotiating the role of materiality in the moving image, particularly at a time when it is becoming more and more common and practical to work digitally. I am interested in finding ways in which the digital and the electronic can have surface and texture, not as an illusion of materiality, but on the terms of these media as they exist in their own uniqueness and with their own set of constraints. To this end, I often seek in-between spaces of cinema, where the filmic and the digital can become confounded and the desire to attach oneself to one mode of being or the other becomes irrelevant.
Matt Whitman is a New York-based film and video artist. He received an MA in Media Studies from The New School for Public Engagement in 2012 and an MFA candidate in the Department of Fine Arts at Parsons the New School for Design. Recently, Whitman’s work has been shown at Light Assembly (Verge Art Fair: Miami Beach), Arnold and Sheila Aronson Galleries, the Soho Gallery for Digital Art, and the Big Apple FilFestival at Tribeca Cinemas in New York.
“The bodies of the digital video camera and the film camera are attached to each other and simultaneously capture a monitor feed coming from the digital camera itself. The resulting seizure/supernova, induced for and by the digital apparatus is witnessed by the film camera. The final result is a perversion, a mutual cannibalization and a durative moment of montage between these two ontologies (the digital and the filmic).”
Magali Duzant is an artist based in New York exploring notions of transcendence, personal experiences made collective, and the language of the unknown. Utilizing projections, photographs, installations, and text her works plumb desire for otherworldly events, intimacy across distances, both digital and physical, whilst examining the act of looking as a matter of faith and belief. The philosopher Gilles Deleuze has said that “…the screen is where direct confrontations take place between the past and the future.” We cannot experience a physical space without the reflection of what we have seen, known, and felt. In A Clearing In The Woods, 1969/2012, the installation becomes both the image and the phenomenon of creating the image – the dust in the projected stream of light, the whirr of the machine’s fan, the glare of it’s bulb. The “truth” of a space is examined through the refraction of memory; as the slide begins to decay the image changes, becoming a ghost of what it once was.
Magali Duzant has exhibited internationally, most recently at Beijing Design Week and the Flash Forward Festival in Boston, MA. Recent shows include Emergent Systems at Harbor in Brooklyn, NY and MFA NOW at the Siskind Gallery at the Visual Studies Workshop. She was an artist-in-residence at the Kala Art Institute in Berkeley, CA from 2011-2012. She is currently an MFA candidate at Parsons The New School for Design.
This work looks at the image in contemporary culture. I am interested in the image’s context-driven potential to become something other than what it was intended to be, as in the souvenir or the meme, and in its heightened susceptibility to conceptual shifts through tagging. My recent work focuses on generic and heavily used imagery in relation to the objects that they find themselves on. I am interested in how the object-vehicle for the image affects the way in which we perceive that image. image01, its untitled counter parts, and Statue Mugs are examples of this image to object relationship.
Shot on location at The Bates Motel and Haunted Hayride, in Gradyville, Pennsylvania this single channel video piece is an example of Cherrin’s absurdist scenes. Cherrin’s video surveys an array of masked characters existing in and responding to the world. Within Cherrin’s works Symbolism is used to make illogical connections. His work often juxtaposes the imagined with documentary images to stimulate further associations within the viewer, who is confronted with new ways of seeing and understanding the world.
Daniel A. Cherrin is an international photographer and filmmaker who seeks to expand human rights for all people. Cherrin has documented a range of human and political struggles globally. The possibility that art may serve justice and humanism is an idea that motivates his work. As an artist Cherrin explores expressionistic ways of dealing with the various cycles of suffering and political themes in the world. He uses animal death and sacrifice as a metaphor for the human condition throughout much of his work. Dissonance, sacrifice, and ritual are frequent conceptual lenses in his work.
Relics is an installation that utilizes two video channels and two charcoal drawings. The videos depict surreal settings in Breezy Point NY; two weeks after Hurricane Sandy, along with scenes inside a sterile space displaying fragments from a windup clock. Within both spaces, a blindfolded character is present, and is forced to observe the cross sections of a clock and the debris of the Rockaway’s through an unfamiliar lens. He is then instructed to make blind drawings of the object and the space, resulting in two maps that reshape his perceptions of time and landscape.
Daniel Carrol – Statement
My work observes visual perceptions within institutional frameworks. I combine video and performance to simulate situations, where my performers are assigned a specific role, forcing them to step into a space that alters and forms and extension of their realities. I set the stage by utilizing blindfolds and literature to impose an unknown visual network, while observing instinctive reactions from my performers as they complete the given task. I am interested in the individual as a singular component, a factor that holds a voice and ultimately contributes to a larger picture, a collective. My work is driven by tensions within power structures and human experience, how specific contexts dictate perceptions and identities in relation to the social formation of people that shape an environment.
Quintet examines our senses and how they are activated through the loss of vision, how ones place and experience in a group alters. The artist leads four participants through a series of meditative sensory exercises, where they are simply told to interact with the space and each other. This piece begins as an attempt to train and condition the performers to communicate and work together, but results in an improvised dance. By exposing their individual vulnerabilities, the four begin a conversation concerning individual roles in the everyday outside life, when given the power of eyesight.
Adam Abel is a New York based artist working with photography, video and film. He has been making work about the relationship between narrative and Palestine for the last three years. He has spent significant time living and filming in the West Bank for his upcoming feature documentary film Qalqilya. Qalqilya tells the story of a group of Palestinian youth that skate, do parkour, and perform beatbox and hip-hop in Qalqilya, a city in the West Bank surrounded by the Israeli wall. Their dream, and the goal of the film, is to build the first skatepark in Palestine.
Interested in exploring the challenges of telling a Palestinian story to a western audience, Abel utilized footage from his time in the West Bank to create a nine-channel video installation called Palestine Interrupted. Each of the nine videos are looped independently and arranged on separate monitors mapped out in the shape of the circle.
There is no timing or story to follow. Abel uses narratives from Palestine to disrupt narratives about Palestine. Predictable images of military, checkpoints, walls and violence are absent in his videos. Through fragmented vignettes and sensorial experience, Abel weaves together moments that are melancholic, hopeful, mundane and anxious.
Report from the Front (2011, 4mins 30 secs) by Aziz+Cucher is a single-channel video that turns an archeological excavation site into a potential battlefield whereby viewers are confronted with themes of land ownership, history and digging, and searching for a trace of belonging and meaning. The piece uses documentary footage that presents the facts and labor behind an archeological excavation, from a distance and without emotion — ethnographically. The forceful voice-over narration of an “archeological despot” adds a layer of humor that reveals a tragic/comedic paradoxical effect.
We have been collaborating as a team since 1992, working with photography, video, sculpture, animation and motion graphics. During the nineties, our work was considered pioneering in the emergent field of digital photography and for the first ten years of our practice we attempted to represent the human body in the face of rapidly accelerating technological development. Subsequently, we began to use moving image as a vehicle for exploring a digital consciousness that allows for the simultaneous perception of multiple perspectives and scales, as well as for the blurring of distinctions between the body and its environment, the exterior and the interior, the organic and the artificial, the cells and the stars. More recently, our video work includes a faux-documentary aesthetic approach. www.azizcucher.net