March 8th @7:00PM at Brooklyn Arts Exchange – BAX
BAX is located on 421 5th Ave, #3rd floor
Corner of 8th St. Park Slope, Brooklyn
Films listed in alphabetical order by Filmmaker
4′ 56″, 2012
Directed by – Susana Anágua
Using excerpts of Andrei Tarkovisky’s film Stalker (1979), and footage from a factory that produces clothing for men, Manipulação investigates the relationship between body and mind and their mutual process of manipulation. The power of mind in Tarkovisky’s film is juxtaposed against the artificial world of a a woman’s body performing mechanized gestures imposed her factory job.
Directed by – Cristina Ataíde
A warm dense fog envelops the sea shore as if creating a soft cocoon. It is only possible to see what is right in front of you, miragelike, and the sound of waves and their rhythm recalls the world breathing.
5′ , 2013
Directed by – Bahar Behbahani
Kneading Memories is part of an ongoing collection of interdisciplinary, collaborative works, which encompass a group of performative installations and participatory video installations. Each iteration explores the power of bread through people’s personal memories amid larger political and economic spheres of this universal sustenance. Single-channel video part of a performative video installation collaborated by Tamara Dean, Ghent, New York, 2013
Directed by – Negar Behbahani and Mehrnoush Aliaghaei
Collateral damage is an innocent life extinguished.
Just a Film
3′ 50″, 2014
Directed by – Roberta Bonisson
This video explores the relation between personal histories and film; the space between intimacy and virtuality; real time and memories.
3′ 04″, 2014
Directed by – chameckilerner
Commissioned, developed and produced with the support of the EMPAC artist-in-residence program, SAMBA #2 explores the iconic Brazilian cultural manifestation. Through the lenses of a typical brazilian TV camera, the video exposes this obsessively feminine body, full of Brazilian symbology to a dissection.This piece is an anthropological quest, a social and biological artistic research of this ingrained physicality. The result is as if our eyes could finally see what our minds always knew about the samba: its sexuality, violence, beauty, the animal.
4′ 10″, 2012
Directed by – Graça Pereira Coutinho
As part of the work I have been developing on the theme: WHAT IS DRAWING, I discovered there are many possible ways: embroidery, dancing with your hands in the air, to conceive a space with real or imaginary lines, etc. The power of drawing is immense, as a great conveyor of ideas. It is a door to our sub-conscious.
1′ 32″, 2013
Directed by – Ana Dantas
In a metaphorical way I tried to express the possibility of freedom.
Kicking Up Dust
2′ 37″, 2014
Directed by – Angela Ellsworth
Kicking Up Dust re-imagines a group of polygamist women as separatist lesbians exploring the mystical space between land, loving, and line dancing. Kicking Up Dust is part of Ellsworth’s ongoing efforts of putting the queer in pioneer. Ellsworth looks to her own Mormon cultural history and upbringing in Utah to investigate the underpinnings of utopian ideals and religion by re-imagining a community of women creating their own grid and having their own visionary and revelatory powers outside a patriarchal construct. She draws parallels between the communities established by her ancestors and contemporary discourse around queer relationships and family. Through her reappropriation of images of women in pastel prairie dresses, Ellsworth explores intimacy, resilience, and new possibilities for defining, building, and sustaining community.
A Partial History of the Natural World
6′ 45″, 2015
Directed by – Sasha Waters Freyer
A Partial History of the Natural World, 1965 meditates upon the violent struggle for independence in southeast Asia and butterfly metamorphosis. Framed by excerpts from Sylvia Plath’s poem “Tulips,” the film reminds us that comfort is a privilege and denial of the suffering of others is not an option. With a live 1965 performance of Bartok’s Solo for Violin 3.
My Claivoyant or How to Get Out of a Thorn Bush
Directed by – Meighan Gale
Encouraged by a vist to a clairvoyant counselor, I enacted and documented a ritual to extract me fron an emotional tangle. It included an evening gown, fishing waders, a body of water, a hill of brambles, a shovel, and an empty frame. Cinematography by Dexter Buell and Kirsten Johnson.
The Living Girdle
Directed by – Judith Henry
In the early Nineties I began to ask people to tell me stories about their childhood sexual experiences or as I call it “sexual awakenings”. I tape-recorded them as they recalled events of their pre-teen years.The Living Girdle is one of the stories told to me.
Eternity Starts Over
Directed by – Kay Hines
This video created for a site-specific double silo structure of a small Catskill town, compares metaphors of digital and analog concepts, opposing/comparing the continuum of the bowed violin vs. the fretted neck and plucked strings of the guitar, the slide of the trombone vs. digital fingered stops of the trumpet, the staircase and ladder vs. the spiral ramp or gradient. The animated graphics reference the famous Mobius single-sided, double-sided eternity strip, and Houdini, as well as Piranesi’s fantasy prisons, Muybridge’s framed motion studies, Duchamp’s“Nude Descending a Staircase”, Frank Lloyd Wright’s Guggenheim Museum, in addition to words and texts.
New Ghost Stories
1′ 27″, 2014
Directed by – Isabella Kross
New Ghost Stories alludes to the subconscious absorption of artistic symbols throughout our daily lives.
Birds and Bees
2′ 45″, 2010
Directed by – Yuliya Lanina
“Birds and Bees” is a stop motion animation featuring a whimsical cast of characters drawn from Lanina’s paintings. It is about the mystery of birth and the duality of existence. Life affirms itself through both merriment and suffering, as malformed and interbred creatures dance in celebration of Nature, sexuality, and fertility. The film was produced in 2010. Original music by Yevgeniy Sharlat.
2′ 31″, 2009
Directed by – Shannon Plumb
Working from footage originally shot on location in Madison Square Park on Super 8 and green-screening in her own silent-film and vaudeville-inspired performances, Plumb offers a playful yet piercing mirror onto ourselves, our actions, and our city.THE PARK premiered as the inaugural installation of the 2009 season of Mad. Sq. Art, the Madison Square Park Conservancy’s gallery without walls. The IFC Center screenings mark the first time the films will be screened in a theater. Sunbather is an excerpt of The Park.
Four Place Setting
3′ 35″, 2014
Directed by – Hildebrand + Magsamen
A family of four gathers, shatters dinner plates and rebuilds the pieces into something new while an unseen force vibrates the table making it a futile process.
Directed by – Gisela Milman
This video appropriates television images from the 2008 Olimpic Games. Athletes confront the limits of time.
Directed by – Amy Podmore
This continues my ongoing interest in animating sculpture. It features a sculptural costumes animated by the wearer. I use the inverted pockets to create a suggestive interior space that explores ideas about private/public, as well as vulnerability, in a hopefully poignant and humorous way.
5′ 03″, 2013
Directed by – Beth Portnoy
Backed into a corner, a woman tries to expand from her confined position. As she wades through her possibilities, new versions of herself are revealed; reflections that are recognized and powers that are yet to be discovered. Performer & Choreographer: Eleanor Hullihan
2′ 30″, 2012
Directed by – Fiona Post
The Bathroom is a stop-motion in which a girl makes herself “presentable” to the world. I wanted this piece to speak to our relationship with ourselves.
Directed by – Kathryn Ramey
From the tale of Icarus to Plato’s cave analogy and through the fragile materiality of hand processed 35mm film, Fall relates the pain of knowledge acquisition as a girl becomes a woman and one turns into two.
Directed by – Fátima Rodrigues
A silent video which reflects on the participation of women in the world.
Slides for Tula
3′ 31″, 2012
Directed by – Camila Sobral
Found slides, distorted, painted on, cut out. Slides for Tula is a play between a static and moving image. The sound is a reinterpretation of a John Cage composition in which a cactus is plucked to make sounds, reminiscent to water drops, like from a sink.
Directed by – Amelia Wilson
Ritual Still was shot using 16mm film on a Bolex. It is a portraiture piece and an experimental sensory ethnography following a punk rock music subculture in Boston, Providence, and New York City. It was advised by experimental filmmaker Peter Hutton.