past program: May 31 2007

THURSDAY • June 7 • 2007 • 7:30 PM
PROGRAM 02: NEW YORK CITY (part 2)

SPECIAL. A LEGENDARY ARTISTS FILM:
Der Lauf der Dinge (The Way Things Go) | Fischli/ Weiss | Switzerland 1987 | 30 min

A film about a precisely calculated chain reaction
Inside a warehouse, a precarious 70-100 feet long structure has been constructed using various items. When this is set in motion, a chain reaction ensues. Fire, water, law of gravity as well as chemistry determine the life-cycle of objects - of things. It brings about a story concerning cause and effect, mechanism and art, improbability and precision.

FISCHLI / WEISS (US/CH) is a world famous duo of conceptual artists

Black Pyramid | Bec Stupac | 2006 | 3:00 min.

Learning Stalls: Lesson Plans | Torsten Zenas Burns and Darrin Martin | 2005 | 6:00 min.

Lo-Fi Green Sigh | Kristin Lucas | 2004 | 2:20 min.Lo-Fi Green Sigh | Kristin Lucas | 2004 | 2:20 min.

Kristin Lucas investigates visions of future from previous decades, the physical and psychological effects of an accumulation of rapid spread, flash-in-the-pan technology, and the impact of the digital medium on perceptions of time and space. Her video, performance, installation and internet works are distributed by EAI and Postmasters in New York. Lucas received her BFA from The Cooper Union in 1994 and her MFA from Stanford University in 2006.

Science’s Ten Most Beautiful Experiments: [#2 ) Galileo’s Experiment on Falling Objects | Jeanne Liotta | 2006 | 2:00 min.

The first real experimentalist was Galileo, who supposedly dropped a feather and a hammer simultaneously from the Leaning Tower of Pisa in order to prove by demonstration that the two would hit the ground at the same time. Approx. 400 years later that trick still works. (courtesy & sincerity, NASA 1971.)

Jeanne Liotta lives and works in New York City where she makes films and other ephemera. She also teaches widely and variously, including The New School , Pratt , The San Francisco Art Institute, and The Museum School in Boston and the Bard MFA program .Her latest project, Observando el Cielo' consists largely of 16mm field recordings of the night sky, and spans a constellation of mediums in an Emersonian framework at the intersection of art, science, and natural philosophy.

Blew Line | Ken Solomon | 2006 | 5:00 min.

The Blew Line video presents the process of photographing all of the red horizontal lines that I encountered over the course of a year. This daily obsession to gather data results in images of every day, universal mundane visual details united together by the “same” horizontal red line. It creates a harmony and relationship with totally unrelated elements- such as a snickers bar, with a Sol Lewitt painting with a row of kitchy bar stools.

Read My Lips | Stephanie Lempert | 2:00 min.

Untitled (Three Revisited Fairytales) | Eileen Maxon | 2003 | 3:35 min.

Aurora picks more than berries, Lady gets a new reputation, and Cinderella meets 90210.

Eileen Maxson drowns in white walls and cable television, emerging on occasion to press record. Selected screenings and exhibitions include the New York Underground Film Festival, New York. Cinematheque Ontario, Toronto; Aurora Picture Show, Houston; Portland Documentary and Experimental Film Festival, Portland, Oregon; The Dallas Museum of Art, and Cinematexas International Film Festival. She is the recipient of grants from The Artadia Award, The Dallas Museum of Art, the Cultural Arts Council of Houston/Harris County, and the Austin Film Society.

Untitled (Rambo) | Rä die Martino | 2003 | 06:00 min.

Coin Toss connects a game of chance to ideas of fate and conflict by spinning silhouetted coins against a red background of archival war footage. The color red connects the imagery to violence and a state of emergency, while the choreographed coins represent players navigating a violent past. The game also draws attention to the polarization of conceptual and political issues within a system of heads or tails. The emotional cost of war is acknowledged in Coin Toss through wartime anonymity, intense color and the use of essential forms.

Matthew Garrison is a professor of Digital Art at Hunter College, NYC, and Albright College, Reading, PA. He received his MFA from Hunter College and a BFA from the Rhode Island School of Design. Selected exhibitions include the Roger Smith Lab Gallery in Manhattan, The University of Wisconsin’s Foster Gallery and the Waterfront Center for the Arts in Belfast, Ireland.

The Frequency Of The Sun | Jason Boughton | 2005 | 10:00 min.

Temper Tantrum | John Richey | 2006 | 1:00 min.

A temper tantrum is an unplanned, unintentional expression of anger, often with physical and verbal outbursts; it is not an act to get attention, as is commonly thought. During a temper tantrum, children typically cry, yell, and flail their arms and legs. Temper tantrums usually last 30 seconds to 2 minutes and are most intense at the onset.
In Richey's characters, the outburst carries everything and nothing - A universe of emotions and yet, nothing but a tiny glitch. (C.S.)

John Richey is a cross-disciplinary artist who creates intimate works about the paradoxical situations of fear and control. He received a BFA from The University of Arizona in 2001 and a MFA from the University of California, San Diego in 2004. His animations have been exhibited nationally and internationally and were mentioned in the “Best of 2004” issue of ARTFORUM International. Richey currently resides in Brooklyn, NY and is the Head Preparator at Greene Naftali Gallery.

Boxes, Jesus and Sandwiches | Jennifer Matotek | 2004 | 2:20

I found this bitchin’ doomsday cult recording from the 1980s, and thought about the 80s, and the whole weird conservative thing that was happening then, which is happening now… and then I thought, “fuck it – let's throw some stuff together.”
Jennifer Matotek is an emerging curator, interdisciplinary artist, and videomaker whose work has been shown across North America in galleries and film and video festivals such as the Chicago Underground Film Festival, the New York Underground Film Festival, and Cinematexas.

THURSDAY • June 14 2007 • 7:30 PM
PROGRAM 01: MEXICO CITY

Yepa Yepa Yepa | Miguel Calderón | 2002 | 4:23 min.

Andrea Robles (Mexico City 1976) obtained a bachelor degree on Visual Communication on 1999. In 2001 she formed the collaboration group dobleA (doubleA) together with Adriana Bravo. In 2002 Robles she created Mirada pérdida (Lost sight). The piece is an animation done with objects. She conceives the work Anatomy of a Moth on 2004. During the same year she received the stipendium Young Creators 2004-2005 from Arts and Culture National Fund. Within this period Robles produces Microftalmía (Microphthalmia), an experimental animation of oil drawings on glass.

Adriana Bravo. She was born on December 9th, 1972 in La Paz Bolivia. She obtained a bachelor in Fine Arts with a major in painting. In 2000 she moves to Mexico City to study an MFA at San Carlos Academy at the National University
of Mexico. In 2002 she ventures into the moving image area with the animation Lost Sight which marks the beginning of
her work in video and animation. In 2003 she creates the animation Anatomy of a Moth. This work was shown at Video Brasil, Interfilm Berlin, Mex Parismental Festival, Paris. It was also shown at the Antimatter festival 2005 in Victoria Canada. It was included in the section Foreign Matter: Mexican Experimental Videos Latest Trends. In 2005 she produces Microftalmía, an experimental animation of oil drawings on crystal.

Terence Gower is a Canadian artist living and working between New York City and Mexico City. He works primarily with strategies of representation in modernist architecture, with a special focus on Mexican Modernism. He has exhibited his installations and videos in museums, galleries and public sites in Europe, Latin America, the US and Canada. His most recent book, Appendices, Illustrations & Notes was published by Smart Art Press, Los Angeles in 1999.

This black & white animation depicts a group of little characters doing a strange and endless ritual in the middle of the mountains: one by one, they go up on a stage, where the shine of a strong spot light makes them pass over. After that, they recover among the audience, waiting for the next turn to climb back up to the stage.

Gabriel Acevedo Velarde (Lima, Perú, 1976) works mainly in animation and video. After studying Fine Arts and working in film production in Mexico City, his work has been shown in different art spaces as well as video festivals, like in Museo Carrillo Gil (Mexico), Sala de Arte Público Siqueiros (SAPS, Mexico), Festival de Arte Electronica VideoBrasil (Sao Paulo), Galerie Adler (Frankfurt), National Museum of Contemporary Art (Bucarest), Centre pour l’Image Contemporain (Geneve), among others. Currently he lives in Sao Paulo and Mexico City.

Crack, Line, Twig, Hole, Universe | Mauricio Alejo | 2002 - 2004 | 5:00

Gabriel Orozco was born in Jalapa, Veracruz, Mexico in 1962 and studied at the Escuela Nacional de Arte Plasticas in Mexico City, and at the Circulo de Bellas Artes in Madrid, Spain. An avid traveler, Gabriel Orozco uses the urban landscape and the everyday objects found within it to twist conventional notions of reality and engage the imagination of the viewer. Orozco’s interest in complex geometry and mapping find expression in works like the patterned human skull of "Black Kites", the curvilinear logic of "Oval Billiard Table", and the extended playing field of the chessboard in "Horses Running Endlessly". He considers philosophical problems, such as the concept of infinity, and evokes them in humble moments, as in the photograph "Pinched Ball", which depicts a deflated soccer ball filled with water. Matching his passion for political engagement with the poetry of chance encounters, Orozco’s photographs, sculptures, and installations propose a distinctive model for the ways in which artists can affect the world with their work. Orozco was featured at Documenta XI (2002), where his sensuous terra-cotta works explored the elegance and logic of traditional ceramics—a pointed commentary on Mexican craft and its place in a ‘high art’ gallery space. Orozco has shown his work at distinguished venues including the Whitney Museum of American Art, the Museum of Modern Art, the Solomon R. Guggenheim Museum, the Philadelphia Museum of Art, and the Venice Biennale. A major retrospective of Orozco’s work was assembled at the Museum of Contemporary Art, Los Angeles in 2000, and traveled to the Museo Internacional Rufino Tamayo, Mexico City, and the Museo de Arte Contemporaneo de Monterey, Mexico. Gabriel Orozco lives and works in New York, Paris, and Mexico City.