Posted by | George William Price | Posted on | April 15, 2015
Tomorrow Marisa Olson will be joining us at the Gene Siskel Film Center to present a selection of her works from the past decade. Olivia Junell, dual degree graduate student in art history and arts administration, blogs for us about Olson’s exploration of technology–it’s precariousness and codependency–within our contemporary culture. Marisa Olson: In Praise of Garbage takes place April 16, 6.00pm.
From the telegraph to television, new technologies always bring new concerns, with the onset of the internet being the most dramatic example of our generation. We’re concerned with it weakening human relations, with the very real feeling of being buried in information, with the possibility of losing our own original voice. Communication often becomes a collage of other people’s (or machine’s?) content. With the amount of information we take in, its easy fall into a dialogue of recycled and rearranged quotations, images, and sound bites from the internet. Last night my best friend sent me a text string of Beyonce dancing, two gifs of an anonymous kid dancing, and a photo of her cat. Is that a real communication between us, or an impulsive gesture that essentially says nothing?
Marisa Olson takes what often feels like a saturated, impersonal world mediated by new releases of endless content and technology, and makes it personal. In part this is due to her skill at sorting through the vast fog of information resources, deploying a careful selection of references from pop culture, media culture, and her own life. However, instead of imparting personal information, opinions, and personality through collaged content and various technologies the way most of us do, Olson often reverses the formula, looking at technology, the internet, and popular culture through her personality. In Monitor Tracings, Olson extracts images of outdated technology that she personally chooses to recall from their archived place on the internet. O.Yeah.I.Love.You.Baby shows us the popularity of certain words in pop music through the lens of Olson’s own mp3 collection. And her most recent work (according to her website), Star Trek TNG/TLG looks at narratives around searching for information, defunct technology, and science fiction, through the recreation of a gift given to her by her mother.
Posted by | Conversations at the Edge | Posted on | April 12, 2015
Thursday, April 16th | Marisa Olson in person!
For more than a decade, new media artist, curator, and theorist Marisa Olson has staged on- and offline interventions that shrewdly and often hilariously shed light on the politics of pop culture, histories of technology, and aesthetics of failure. Her projects take shape through an array of forms—YouTube responses to iconic feminist videos and “women’s” television genres, blogs charting elaborate autobiographical performances, music videos, slide lectures, Internet searches, and physical installations of media’s detritus (cassette tapes, boomboxes, laptops). In addition to these projects, her writing has served as a beacon for a generation of new media practitioners and thinkers. Olson presents an overview of her work, including a selection of videos made over the last ten years, and discusses her thoughts on new media and the post-Internet today. 2003–14, US, multiple formats, ca 60 min + discussion
Marisa Olson (1977, Augsburg, Germany) is an artist, writer, and media theorist. Her work has been exhibited at the Venice Biennale; Centre Pompidou; Tate Modern, London; Tate Liverpool; Whitney Museum of American Art, New York; New Museum, New York; Nam June Paik Art Center, Korea; British Film Institute; Sundance Film Festival; PERFORMA Biennial; and P.S. 122, New York. She has also written for numerous publications, served as longtime Editor and Curator at Rhizome, and curated programs at the Guggenheim Museum, New York; New Museum, New York; San Francisco Museum of Modern Art; White Columns, New York; and Artists Space, New York.
Posted by | George William Price | Posted on | April 8, 2015
I’m delighted to welcome SAIC art history graduate student Elizabeth Metcalfe to our blog for the second time. Elizabeth speaks to Sousa’s unique ability to address the intrinsic human condition through his delicate animation work. Keep your eyes peeled for Elizabeth’s upcoming interview with the artist himself!
Painting springs to life in Daniel Sousa’s award-winning animated short films. The delicate, hand-drawn animations are deceptively simple. Silhouettes dance and tumble across the frame, a creative force that appears effortless despite the meticulous and time-consuming labor of the artist’s hand. The muted, monochromatic, landscapes of Sousa’s films, which sometimes morph into full-blown abstraction, mirror the themes that unite the artist’s many projects—boundaries, liminal space, and the nature of duality. Within a stark, animated world of black and white, Sousa explores what separates animals from humans, questioning the stability of these categories by highlighting the gray space that lies between.
Feral, the short film that won Sousa an Academy Award nomination, tells the tale of a wild child—like Romulus and Remus, Tarzan, or the protagonist in Rudyard Kipling’s The Jungle Book—who is abruptly thrust into civilized society. With only animalistic instincts to rely upon in a foreign and terrifying schoolyard, the boy is tragically caught between two worlds that can never fully accept him. This film, along with other equally compelling short animations by Sousa, will be featured in an upcoming screening at the Gene Siskel Film Center this Thursday.
Perhaps what makes Sousa’s animations so universally appealing, besides their hauntingly beautiful craftsmanship, is their ability to address the intrinsically human condition of being stuck between two ends of a spectrum. In a world that seeks order and categorization, humanity exists and evolves within the messy, ambiguous, gray space that lies between good & evil, success & failure, courage & fear, and memory & imagination. The fact that Sousa’s films, all under fifteen minutes long and without dialogue, so succinctly and beautifully convey this reality of human existence is nothing short of magic. Don’t miss this unique opportunity to see Sousa’s exquisite hand-drawn animations on the large cinema screen.
Posted by | Conversations at the Edge | Posted on | April 5, 2015
Thursday, April 9th | Daniel Sousa in person!
The lush, painterly films of Cape Verde–born, Providence-based animator Daniel Sousa employ puppets, collage, and hand-drawn characters in tales of memory, perception, and the struggle between the intellect, unconscious, and unknown. A young boy raised in the wild attempts to make his way in civilized society, a man and woman are doomed to repeatedly and passionately destroy each other, and a young minotaur struggles to understand those who are not like him. The Academy Award–nominated director presents a selection of his works and discusses the events and artists that have inspired him. Presented in collaboration with SAIC’s Visiting Artists Program. 1999–2014, USA, multiple formats, ca 60 min + discussion
Daniel Sousa (1974) was born in Cape Verde and raised in Portugal. He was a founding member of Handcranked Film Projects, a group of New England filmmakers actively engaged in the production of independent experimental films. His films, which include the 2014 Academy Award–nominated Feral (2012), The Windmill (2007), Fable (2005), and Minotaur (1999) have been screened around the world at the Sundance Film Festival, Ottawa International Film Festival, Annecy International Animated Film Festival, and the Hiroshima International Animation Festival. In addition to his independent projects, Sousa has worked as a director and animator with Cartoon Network, Olive Jar Studios, Global Mechanic, and DUCK.
Posted by | George William Price | Posted on | April 1, 2015
This week for our SAIC student writing series Natalia De Orellana grapples with the compassionate yet self-serving work of Massimo Sarchielli and Alberto Grifi Anna. How she as a viewer is challenged to come to terms with the ethics of this film by the directors, whilst the camera prevents her from doing so. “We preferred,” explained Grifi, “a movie about reality rather than undertaking the struggle to create a slightly less revolting reality.”
Anna | Thursday, April 2nd | Introduced by Dennis Lim, Director of Programming at the Film Society of Lincoln Center
Anna is a wanderer; a sixteen-year-old, eight month pregnant, and homeless adolescent. In February 1972 her childish stare attracted professional actor Massimo Sarchielli in the midst of the noisy and lively Piazza Navona, Rome. Anna’s gruesome reality inspired Sarchielli to reach out to underground cinema director Alberto Grifi to make a documentary about her.
The film chronicles Anna’s pregnancy from her first encounter with Sarchielli—who took her to his house to take care of her—in alternation with various interviews with a number of people in the Piazza Navona. Grifi and Sarchelli’s work is both a restaging of this encounter and an incentive to disseminate the voices of an Italian population on the heels of anti-fascist upheaval. Anna is thus at the crossroads between documentation and creation; the script was forged more as a guide than as act of creative fantasy.”We preferred,” explained Grifi, “a movie about reality rather than undertaking the struggle to create a slightly less revolting reality.”
Posted by | Conversations at the Edge | Posted on | March 29, 2015
Thursday, April 2nd | Introduced by Dennis Lim, Director of Programming at the Film Society of Lincoln Center
Recently restored by the Cineteca di Bologna, this astonishing 1975 documentary centers on the titular pregnant, homeless 16-year-old girl whom filmmakers Alberto Grifi and Massimo Sarchielli encountered in Rome’s Piazza Navona. Mainly shot on then-newfangled video, it documents the interactions between the enigmatic Anna and its directors, whose interest in her is at once compassionate and self-serving. Far from straightforward vérité, this complex, self-implicating chronicle includes Grifi and Sarchielli’s explicit attempts to direct their subject, reenactments of off-screen events, and intrusions from behind the camera (not least the emergence of the film’s electrician as a love interest). In Italian with English subtitles. 1972-75, Alberto Grifi and Massimo Sarchielli, Italy, DCP, 225 minutes + discussion
Massimo Sarchielli (1931–2010, Florence, Italy) was an Italian actor, filmmaker, and mime. As an actor, he worked with Federico Fellini, Bernardo Bertolucci, Dario Argento, Terence Stamp, and Spike Lee.
Alberto Grifi (1938–2007, Rome, Italy) was an Italian painter, filmmaker, and inventor. His experimental works range from incisive montage films to a 12-hour event composed of magnetic tape distributed among and reassembled by the audience.
Posted by | George William Price | Posted on | March 25, 2015
An acrobat flies through the darkened hall, followed by two circles of light and a haunting soprano voice. The acrobat seemingly divides into two bodies that intertwine with each other as the music builds to a crescendo. Suddenly, one of the acrobats falls, we hear a startled gasp from the camerawoman, and the footage switches. We are presented with the image of a military rocket standing on a launch pad—silent and imposing—a symbol of national technological and military prowess.
Is North Korea the loneliest place on Earth? A country without friends, without history. Only myths, repeated endlessly from morning to night.
Soon-Mi Yoo investigates the mythology of state propaganda in her first feature length film, Songs from the North. The South Korean-born, US-based filmmaker poetically juxtaposes contemporary footage shot during her three visits to North Korea with archival material from governmentally supported movies and theater performances. The contrast between the emotionally manipulative archive material—intended for use as propaganda—and the documentary footage of 21st century North Korea is stark and intensified by Yoo’s lingering camera work.
Posted by | Conversations at the Edge | Posted on | March 16, 2015
Thursday, March 26th | Soon Mi-Yoo in person!
South Korea–born and Cambridge-based artist Soon-Mi Yoo’s debut feature is a nuanced look at political ideology and everyday life in North Korea. Winner of the prestigious Golden Leopard for Best First Feature at the 2014 Locarno Film Festival, the film interweaves biography (Yoo’s father fought in the war and many of his left-leaning friends abandoned South Korea for the North[AB1] ), footage shot on three visits to the country, popular television spectacles, cinema, and song. Curator Andrea Picard writes, “Yoo ventures into uncharted territory as she attempts to understand the psychology and popular imagery of the North Korean people on their own terms, the fissures between daily life and its propagandistic representation, and the ideology of absolute devotion to the ruler who continues to drive the nation towards its uncertain future.” In English and Korean with English subtitles. 2014, US/South Korea/Portugal, DCP, 72 min + discussion
Soon-Mi Yoo (1962, Seoul, South Korea) works with photography, film, and text to explore marginalized histories. Her films have been exhibited at festivals internationally, including Oberhausen, Pompidou Center, New York Film Festival, Rotterdam International Film Festival, and Seattle International Film Festival, and her photography has shown across the US, including the International Center of Photography, New York and Boston Center for the Arts. Yoo is a recipient of the Rockefeller Foundation’s Media Arts Fellowship, a fellowship from the American Photography Institute, and the National Asian American Telecommunications Association Grant. She received her MFA in Photography from the Massachusetts College of Arts, where she is currently on faculty.
Posted by | George William Price | Posted on | March 11, 2015
Alexander Stewart takes a moment to write about the upcoming program Encounters: Experimental Film and Animation from Croatia for the CATE blog. Encounters, screening Thursday (12th) and Saturday (14th) of this week, explores the rich history of Croatian film and animation. This intensively researched program reveals the unique history of Croatian avant-garde cinema–a history that runs in parallel to the canonical works of America and Western Europe.
In June 2014, I went to Zagreb, Croatia to make a short film, and to research two types of cinema I am very interested in, experimental film and animation. Zagreb has an animation heritage that is fairly well known to students of animation, and includes the first Oscar for an animated short awarded to a film not made in the US. It was also very active as a place for artists making avant-garde film and video work in the 60’s, 70’s and 80’s. I was interested in learning as much as I could about the history of experimental cinema and animation in Zagreb during my trip, and I was especially curious about areas of overlap between the two.
Zagreb was the main hub of animation production in Yugoslavia, and also was associated with a particular formal approach to avant-garde cinema. In comparison to the film work from Belgrade, which can be characterized as somewhat more in the mode of the first-wave European avant-garde of the 20’s and 30’s, and perhaps owes more to surrealism and Dadaism, the work from Zagreb has a distinctly more formal flavor. An excellent example is the “film of fixation,” a style of avant-garde film related to structural film that takes its name from the way that the director “fixates” on a particular aspect of filmmaking (frames, light, the figure) to the exclusion of other aspects.
Posted by | Conversations at the Edge | Posted on | March 8, 2015
Thursday, March 12th & Saturday, March 14th | Introduced by Alexander Stewart, filmmaker, curator, and Assistant Professor at DePaul University
Zagreb, Croatia has long been an important hub for animation, experimental film, and avant-garde culture. Informed by unique cultural, intellectual, and political legacies, filmmakers there have produced decades of strong, challenging, and fascinating experimental work. Filmmaker Alexander Stewart (MFA 2005) presents a selection of films and videos produced in Croatia from the 1960s through today–much of it rarely screened in the US. Drawing upon research undertaken as part of a series of visits to the country over the past year, the program features gems by such notables as Vlado Kristl, Ivan Ladislav Galeta, and Dalibor Martinis, and encompasses animation, performative video art, and structural film. 1961–2011, multiple directors, Croatia/Yugoslavia, 35mm, 16mm and digital video, ca 70 min + discussion
Vladimir Petek, Encounters, 1963
Ante Verzotti, Twist, 1962
Vlado Kristl, Don Kihot, 1961
Nicole Hewitt, In/Dividu, 1999
Sanja Iveković, Personal Cuts, 1982
Ivan Ladislav Galeta, TV Ping Pong, 1976-78
Goran Trbuljak, No Title, 1976
Dalibor Martinis, Manual, 1978
Ivan Ladislav Galeta, Water Pulu 1869 1896, 1988
Ana Hušman, Market, 2006
Mladen Stilinović, Walls, Coats, Shadows, 1975