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
The Twilight Girls is the creative collaboration between Jane Polkinghorne and Helen Hyatt-Johnston that began in 1990 and exists concurrently with their individual art practices. The works are realised in various medias including photography, sculpture, installation and video with a focus on a feminist, humorous interpretation of their bodies passed through the lens of popular culture and media representations.
Their fixation on the ridiculousness, the horror and the pathos of their own experiences of the female body is a touchstone across many works. Through enactments of various politically incorrect and bad taste films and styles The Twilight Girls critique while mimicking, parodying while glorifying popular culture as well as its dirty underbelly in the B-Grade genres of horror, soft porn cinema and trash magazines. As a pair of fabulous nobodies we are attempting both literally and metaphorically to live in a fantasy-realising cinematic world. The work is produced with elements of humour and disgust, as well as love. These elements are pervasive as The Twilight Girls integrate and counter, critique and adore representations of themselves, gender and representation itself.
Love Oscillation exposes the different layers of meaning present in a seemingly innocuous original. Pornography was used as source footage, and its utilitarian focus becomes overshadowed by a play of tension, between what is shown and what is revealed. The work functions as a game of hide and seek between abstraction and figuration. The viewer possesses a sense that the images before them are erotic, but they are never able to grasp the explicit detail as it becomes lost in painterly abstraction.
Devil Mixture (sound by Ekoplekz). Montage of effected footage from 70s Hammer Horror films ‘Blood Orgy of the She-Devils’ and ‘The Devil’s Own’ (aka ‘The Witches’), passing through several layers of processes and effects, being digitised and uploaded to the internet, downloaded, refilmed from the screen with in-camera effects, digitally edited and in parts datamoshed and databent.
Scratch Video/ Cabaret Voltaire-inspired video created by Jade Boyd for Uncanny Riddim by Ekoplekz, originally for his live set at The Outer Church in March. Various sections of films recorded from the TV screen, using video feedback, cross modulation of VHS signals, and real-time controls.