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Along with a young budding artist, Meg Freyermuth paints the beautiful Organ Mountains as its first Artist-in-Residence. Photo by Daniella Barraza, Student Conservation Association Intern.
The national BLM Artist-in-Residence (AiR) Program creates a structure to share the scenic beauty and unique stories of the BLM’s landscapes with the public through the world of art. The BLM Artist-in-Residence Program provides artistic and educational opportunities that promote deeper understanding and dialogue about the natural, cultural, and historic resources on public lands managed by the Bureau of Land Management.
Learn more here: on.doi.gov/2dBrw5P
Camille Claudel -
Fernand de Massary (was the husband of Camille's sister Louise & therefore the brother-in-law of Camille) [1888]
auction
Method Furniture had their official debut collection launch on Saturday 19th June. I was invited along with a very talented tattoo artist Alex Rattray to collaborate with Method Furniture to create artwork for their "CUBE."A very simple yet versatile piece of furniture that can be hung on the wall, act as a bedside table or what ever else you can thing of using it for in your home.
This is my "CUBE" which is a run of 10. That's right there are ten of these available. not like me I know but there is a twist that will have sure that each one will be unique. The stencil work is combined with brush work mixed with splatters and drips, techniques that I continue to play and experiment with in my studio and really enjoy.
The cube itself is a large piece with each side scaling at 40 x 40.
The collaboration with myself, Alex and Method is a good combination as all of us have a passion for detail and the finish on the furniture is no exception. I highly recommend check out the Method Furniture Website.
Any enquiries regarding the "CUBE" should be made directly with Method Furniture.
This wonderful theatre opened in 1927, and was built by UA studio founders Charlie Chaplin, Douglas Fairbanks, and Mary Pickford.
It fell under disrepair for years, but was restored by Reverend Gene Scott's congregation. He has since passed away, but the theatre remains a chapel for his church, now run by his wife Melissa.
Various Artists
Wednesday 6 November, 7:00pm - 9:00pm
George Orwell
168 Perth Road
Dundee, DD1 4JS
Join us for a curated evening of Artist short films from around the globe. Based on this year’s festival theme REACT; NEoN has selected a series of films covering topics such as gender, environment and immigration.
Featuring work by BOM Fellow Emily Mulenga and other artists Georgie Roxby Smith, Jenny odell, Elaine Hoey, Chloé Galibert-Laîné, Shelley Lake, John Butler, Kevin B Lee, shawné michaelain holloway, Jennifer Chan, Shelly Lake and Greg Bath.
Full screening notes:
Max Almy, Perfect leader, (1983), 4 mins. 15 secs.
A satire of the political television spot, Perfect Leader shows that ideology is the product and power is the payoff. The process of political image making and the marketing of a candidate is revealed, as an omnipotent computer manufactures the perfect candidate, offering up three political types: Mr. Nice Guy, an evangelist, and an Orwellian Big Brother. Behind the candidates, symbols of political promises quickly degenerate into icons of oppression and nuclear war.
Greg Barth, Epic Fail, (2017), 5 mins. 32 secs.
Epic Fail is an avant-garde essay that questions what happens when political discourse fails to connect with voters, and truth is impacted by fake news. Based on the political events that shook 2016, the film imagines a reality that is both forged and blurred depending on how we perceive it; using existential currents inspired by Jean Paul Sartre’s Nausea.
The result is a surreal political satire that revolves around a vote for world peace that has dramatic consequences.
John Butler, Xerox’s Paradox, (2018), 2 mins.
A new workwear collection for the age of intelligent supertasking. Xerox’s fear of a paperless office led to the GUI, which, in turn, led to an explosion in the amount of printed matter. Xerox’s Paradox is about technology’s broken promises. The more we automate, the harder we must work.
Jennifer Chan, *A Total Jizzfest*, (2012), 3 mins. 22 secs.
A sample of the richest, sexiest men in computer and internet history.
Chloé Galibert-Laîné, My Crush was a Superstar, (2017), 12 mins. 30 secs.
This desktop documentary follows an ISIS fighter through a trail of messages, videos and postings to uncover his existence in both social media and reality. Part of Bottled Songs, a series of video letters investigating desire, power and terrorism in online and social media. The videos, recorded from the researchers’ desktops, depict and interrogate their subjects’ compulsive engagement in the production of everyday myths and fictions about themselves and others.
Elaine Hoey, Animated Positions, (2019), 9 mins. 47 secs.
This work draws reference from 19th century European nationalist paintings and explores the role of art in the portrayal of jingoistic patriotic ideals that have become culturally symbolic in the formation of the nation state. This piece re-animates the war like stances and positions of bodies found within these paintings, using character animation taken from the video game Call of Duty. The work challenges notions of nostalgia for the nation state, creating a contemporary critique of the underlying violence that underpins much of todays nationalistic ideologies.
Shawné Michaelain Holloway, GEAR-REVIEW(1)__BEGINNERS-VEST.MP4, (2016), 1 min. 55 secs.
GEAR-REVIEW(1)__BEGINNERS-VEST.MP4 is a response to internet’s “Gear Review” video genre. Using a video sourced from Youtube’s preparedness community alongside a video of the artist performing live for her leather community, this work asks questions about the ways we get to know, use, and care for our objects. Whether them for war, for sex, or both, we’re obsessed with function and feature, forcing fetish into the realm of the domestic and accessible.
Shelley Lake, Polly Gone, (1988), 3 min. 9 secs.
A day in the life of a robot.
Kevin B. Lee, The Spokesman, (2018), 12 mins. 30 secs.
The Spokesman investigates the online traces of John Cantlie, a British news reporter who was kidnapped in 2012 and later appeared in several Islamic State propaganda videos. Responding to Cantlie’s videos, Kevin analyzes Cantlie’s British accent and professional composure, constructed over many years of media appearances. Part of Bottled Songs, a series of video letters investigating desire, power and terrorism in online and social media. The videos, recorded from the researchers’ desktops, depict and interrogate their subjects’ compulsive engagement in the production of everyday myths and fictions about themselves and others.
Emily Mulenga, Now that we know the world is ending soon…what are you gonna wear?, (2019), 4 mins. 5 secs
Religious imagery and symbols of capitalist excess intertwine under the ever-watchful eye of CCTV cameras. Loneliness occurs even in the most crowded, noisy and colourful of rooms. Fractured identities span the online and offline worlds. Late-stage capitalism has left us with a disconnect from others and from a spiritual centre, and consumerism purports to fill the void; but never truly satisfies. There’s a condition of perpetual information overload in an oversaturated, neon, dystopian cityscape. There’s also a rabbit.
Jenny Odell, Polly Returns, (2017), 3 mins. 2 secs.
Polly Returns is based on Shelley Lake’s 1988 computer animation, Polly Gone, which features an isolated female robot doing everyday tasks inside a futuristic dome house. In my version, the robot has returned in 2017. The soundtrack is inspired by the original from Polly Gone, which itself was based on the soundtrack from The Day the Earth Stood Still.
Georgie Roxby Smith, Lara Croft Domestic Goddess I & II, (2013), 2 mins. 14 secs.
Georgie Roxby Smith’s hacked Lara Croft Tomb Raider video game shows the familiar icon for violent femme fatale bad-assery in the throes of orgasmic housekeeping, a scene that could be read as neo-Friedan, with her “domestic goddess” subject trapped between the banally physical and the extraordinarily virtual. The value judgments are unclear, the equation destabilized, as Croft joyfully irons shirts with a bow and arrow slung over her back, letting out cries that are undiscernibly battle grunts or orgiastic moans.
Photography Kathryn Rattray
Clive Barker can write a damn sexy novel. I know, he's gay but I've always been a bit of a fag hag. I adore this man. His writing gets into me. His imagery translates perfectly in my mind. So, here he is at 20 years old looking gorgeous. I wonder what he was like then. If you are interested Clive also makes the most moving and impactful art! It ranges from magical, sexy, disturbing and spiritual. Google him.
Biographie artistique
SORIN EMMANUEL
Professeur de danse et choregraphe
Directeur et fondateur L'Académie de Danse J.E.S.S -B.H.P(Ballet Haïtien de Paris).
Concepteur et créateur des Ballets, face a la mecque, l'illusion,haiti 200 ans
SORIN a créé plus d'une trantaine de choregraphies portant sur des themes varies.
Il a egalement mis sur point la technique Emmece, conçue pour faciliter la maitrice du corps et
l'appentissage rapide de la danse afro Haitien, afro Jazz, Hip-Hop jazz.
Né à Port -au -Prince Haïti, dès son plus jeune âge il se passionne pour la danse et la musique, Sa carrière a débuté à l'âge de 10 ans avec un petit troupe nommé AZAKA un peu de temps il a trouvé un bouse pour les plus connus d'école de danse en Haïti suivant assidûment les cours des Académies de danse de Port au Prince, dont :« Institut de danse Viviane GAUTHIER» « Haïti an American Academy » « R. M. T. Académie» Régine Mont-Rozier Trouillot.
Formé en danse folklorique Haitienne par Viviane GAUTHIER, en ballet jazz et la danse moderne par Nathalie Trouillot, il a également étudié avec Nicole LUMARQUE, fondatrice et directrice artistique du Ballet folklorique haïtien, (B.F.H.).
Compagnie de danse de L'institut français Haïti tchaka, avec Christine DUPUIS, joué et tournée avec la Compagnie, (Bahamas, Martinique, la France et l'Espagne).
Il a joué avec la R.T.M. et La Compagnie des Jeunes de la danse comprennant : Bal de graduation, Don Quichotte, la Petite Sirène.
SORIN Emmanuel, joué avec Eddy Toussaint qui a été le fondateur et directeur artistique de G.B.H. (Grand Ballet d'Haïti) et Les Grands Ballets du Canada.
IL a été comme danseur Invité par institut de dance lynn william Rouzier.
Remarqué lors de différentes manifestations de danse pour ses talents évidents de danseur mais aussi de chorégraphe, il obtient en 1988 une bourse d’étude.
Il perfectionne sa technique d’Afro jazz, Afro haïtienne, à différentes écoles de danse, à la Jamaïque puis à New York.
A la Jamaïque (Kingston), il se perfectionne dans les danses traditionnelles caraïbéennes à l'école des beaux arts Edna Manley (Edna Manley College of the Visual and performing Arts).
A New York, à l'école des beaux arts de l'Université de New York (Tisch School of the arts), SORIN se perfectionne dans la danse contemporaine post-moderne et, à ce titre, interprète les œuvres de célèbres chorégraphes tels David Dorfman, Ronald K.
Toujours à New York, à l'école de danse contemporaine Martha Graham, SORIN suit le programme indépendant dans lequel il se perfectionne dans la technique Graham. Dans le cadre de ce programme, il performe une de ses chorégraphies, Dèy (deuil), à Cape May (New Jersey) lors d'un spectacle de danse animé par les danseurs du Martha Graham Ensemble, la compagnie Martha Graham junior.
Ses études lui laissent le temps d’enseigner le Afro-jazz, Afro Haitien, Hip Hop jazz en France et en Haïti.
SORIN Emmanuel assure la chorégraphie et danse sur un thème moderne et AFRO. Les compagnies et les écoles de danse d’Haïti font souvent appel à lui pour enseigner, monter des chorégraphies et danser dans des spectacles dont le dernier « Roi Christophe » en décembre 1997 à Port au Prince avec le ballet Folklorique d’Haïti.(B.F.H) Au Ritz Kînam II il a dansé « Nég Marron » un extrait du ballet Toussaint Louverture en décembre 2000.
Sélectionné parmi les meilleurs danseurs en afro Haitien à Paris. On le remarque au Casino de Paris, en 2004 pour ses talents de danse afro Haitien dans : « let move the Haitian rate/rhythm » sur une chorégraphie de NAGO. Similaire à Arès dans la mythologie grecque, Ogou, dieu de la guerre, est puissant, fort et vaillant. Il confère le courage et la force à ceux qui luttent et est plus particulièrement reconnu pour avoir implanté l'idée de la révolte chez les esclaves d'Haïti et leur avoir transmis le pouvoir qui les a mené à la liberté.
Referans des Concept
Wutao Emmece Zoa (W.E.Z)
Eveillez l'âme du corps
Le Wutao Emmece Zoa ( W.E.Z ) est né au cours de l’année 2000 du métissage des expériences de SORIN EMMANUEL : Afro Haitien, Afro jazz, Hip-Hop, Qi Gong, Danse, et Bio-énergie occidentale, le tout revisité et réinventé à travers l’exploration du mouvement.
En chinois, Wutao s’écrit avec deux idéogrammes : « Wu » signifiant « danse » et « Tao » « voie, chemin ». Ainsi Wutao pourrait-il être traduit par « la Voie de la danse de la vie ».
La pratique se concentre sur le déploiement d’une onde déclenchée par le relâchement du bassin, à partir de laquelle se décline tout un ensemble de mouvements réalisés dans un profond respect de l’être et de sa corporalité. Les principes du Emmece Wutao Zoa restent au plus près de la sensibilité du sentiment pour insuffler de l’émotion à notre gestuelle. Car la douceur et la sensibilité sont les qualités que notre organisme accueille le plus efficacement.
Les différentes étapes de progression du Emmece Wutao Zoa:
These two local artists were singing and i could not ignore them. My brother and self stood and listened to them for a while. He had a voice with a very good earthly touch, difficult to find these days.
Ésta es una de esas fotos que hice en su día sin demasiada emoción pero que una vez guardada en la carpeta de "Pendientes" ha querido emerger y colocarse el vestido de luz que le ha dado la gana....( y es que hay fotos que bailan, que te llevan irremediablemente y que se editan solas sí o sí).
Quería huir del tópico pero al final me ha servido para hacer un pequeño homenaje a una gran película. O al menos, a una de las pocas películas que me han gustado y conseguido emocionarme últimamente.
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Artwork available at pinkghost.net
The System Group Art Show: A group of Latin American artists and illustrators represent social classes with metallic inks. Participating artists: PIAN, Alberto Garcia, Piktorama, Kelvin Osorio, and SOMA.
Various Artists
Wednesday 6 November, 7:00pm - 9:00pm
George Orwell
168 Perth Road
Dundee, DD1 4JS
Join us for a curated evening of Artist short films from around the globe. Based on this year’s festival theme REACT; NEoN has selected a series of films covering topics such as gender, environment and immigration.
Featuring work by BOM Fellow Emily Mulenga and other artists Georgie Roxby Smith, Jenny odell, Elaine Hoey, Chloé Galibert-Laîné, Shelley Lake, John Butler, Kevin B Lee, shawné michaelain holloway, Jennifer Chan, Shelly Lake and Greg Bath.
Full screening notes:
Max Almy, Perfect leader, (1983), 4 mins. 15 secs.
A satire of the political television spot, Perfect Leader shows that ideology is the product and power is the payoff. The process of political image making and the marketing of a candidate is revealed, as an omnipotent computer manufactures the perfect candidate, offering up three political types: Mr. Nice Guy, an evangelist, and an Orwellian Big Brother. Behind the candidates, symbols of political promises quickly degenerate into icons of oppression and nuclear war.
Greg Barth, Epic Fail, (2017), 5 mins. 32 secs.
Epic Fail is an avant-garde essay that questions what happens when political discourse fails to connect with voters, and truth is impacted by fake news. Based on the political events that shook 2016, the film imagines a reality that is both forged and blurred depending on how we perceive it; using existential currents inspired by Jean Paul Sartre’s Nausea.
The result is a surreal political satire that revolves around a vote for world peace that has dramatic consequences.
John Butler, Xerox’s Paradox, (2018), 2 mins.
A new workwear collection for the age of intelligent supertasking. Xerox’s fear of a paperless office led to the GUI, which, in turn, led to an explosion in the amount of printed matter. Xerox’s Paradox is about technology’s broken promises. The more we automate, the harder we must work.
Jennifer Chan, *A Total Jizzfest*, (2012), 3 mins. 22 secs.
A sample of the richest, sexiest men in computer and internet history.
Chloé Galibert-Laîné, My Crush was a Superstar, (2017), 12 mins. 30 secs.
This desktop documentary follows an ISIS fighter through a trail of messages, videos and postings to uncover his existence in both social media and reality. Part of Bottled Songs, a series of video letters investigating desire, power and terrorism in online and social media. The videos, recorded from the researchers’ desktops, depict and interrogate their subjects’ compulsive engagement in the production of everyday myths and fictions about themselves and others.
Elaine Hoey, Animated Positions, (2019), 9 mins. 47 secs.
This work draws reference from 19th century European nationalist paintings and explores the role of art in the portrayal of jingoistic patriotic ideals that have become culturally symbolic in the formation of the nation state. This piece re-animates the war like stances and positions of bodies found within these paintings, using character animation taken from the video game Call of Duty. The work challenges notions of nostalgia for the nation state, creating a contemporary critique of the underlying violence that underpins much of todays nationalistic ideologies.
Shawné Michaelain Holloway, GEAR-REVIEW(1)__BEGINNERS-VEST.MP4, (2016), 1 min. 55 secs.
GEAR-REVIEW(1)__BEGINNERS-VEST.MP4 is a response to internet’s “Gear Review” video genre. Using a video sourced from Youtube’s preparedness community alongside a video of the artist performing live for her leather community, this work asks questions about the ways we get to know, use, and care for our objects. Whether them for war, for sex, or both, we’re obsessed with function and feature, forcing fetish into the realm of the domestic and accessible.
Shelley Lake, Polly Gone, (1988), 3 min. 9 secs.
A day in the life of a robot.
Kevin B. Lee, The Spokesman, (2018), 12 mins. 30 secs.
The Spokesman investigates the online traces of John Cantlie, a British news reporter who was kidnapped in 2012 and later appeared in several Islamic State propaganda videos. Responding to Cantlie’s videos, Kevin analyzes Cantlie’s British accent and professional composure, constructed over many years of media appearances. Part of Bottled Songs, a series of video letters investigating desire, power and terrorism in online and social media. The videos, recorded from the researchers’ desktops, depict and interrogate their subjects’ compulsive engagement in the production of everyday myths and fictions about themselves and others.
Emily Mulenga, Now that we know the world is ending soon…what are you gonna wear?, (2019), 4 mins. 5 secs
Religious imagery and symbols of capitalist excess intertwine under the ever-watchful eye of CCTV cameras. Loneliness occurs even in the most crowded, noisy and colourful of rooms. Fractured identities span the online and offline worlds. Late-stage capitalism has left us with a disconnect from others and from a spiritual centre, and consumerism purports to fill the void; but never truly satisfies. There’s a condition of perpetual information overload in an oversaturated, neon, dystopian cityscape. There’s also a rabbit.
Jenny Odell, Polly Returns, (2017), 3 mins. 2 secs.
Polly Returns is based on Shelley Lake’s 1988 computer animation, Polly Gone, which features an isolated female robot doing everyday tasks inside a futuristic dome house. In my version, the robot has returned in 2017. The soundtrack is inspired by the original from Polly Gone, which itself was based on the soundtrack from The Day the Earth Stood Still.
Georgie Roxby Smith, Lara Croft Domestic Goddess I & II, (2013), 2 mins. 14 secs.
Georgie Roxby Smith’s hacked Lara Croft Tomb Raider video game shows the familiar icon for violent femme fatale bad-assery in the throes of orgasmic housekeeping, a scene that could be read as neo-Friedan, with her “domestic goddess” subject trapped between the banally physical and the extraordinarily virtual. The value judgments are unclear, the equation destabilized, as Croft joyfully irons shirts with a bow and arrow slung over her back, letting out cries that are undiscernibly battle grunts or orgiastic moans.
Photography Kathryn Rattray
Painter at a harbour. most likely in Dordrecht
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about the photos: Via, via I received from a 92 year old lady several photo albums. Photography by her uncle. Most of them are photos of the family vacationing in Holland, Germany and Belgium & England. Her family is originally from Wales, now she lives in Alberta, Canada. I will post the more interesting photos in this album.
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HIT THE 'L' KEY FOR A BETTER VIEW! Thanks for the favs and comments. Much Appreciated.
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All of my photographs are under copyright ©. None of these photographs may be reproduced and/or used in any way without my permission. Just ask!
© VanveenJF Photography
Various Artists
Wednesday 6 November, 7:00pm - 9:00pm
George Orwell
168 Perth Road
Dundee, DD1 4JS
Join us for a curated evening of Artist short films from around the globe. Based on this year’s festival theme REACT; NEoN has selected a series of films covering topics such as gender, environment and immigration.
Featuring work by BOM Fellow Emily Mulenga and other artists Georgie Roxby Smith, Jenny odell, Elaine Hoey, Chloé Galibert-Laîné, Shelley Lake, John Butler, Kevin B Lee, shawné michaelain holloway, Jennifer Chan, Shelly Lake and Greg Bath.
Full screening notes:
Max Almy, Perfect leader, (1983), 4 mins. 15 secs.
A satire of the political television spot, Perfect Leader shows that ideology is the product and power is the payoff. The process of political image making and the marketing of a candidate is revealed, as an omnipotent computer manufactures the perfect candidate, offering up three political types: Mr. Nice Guy, an evangelist, and an Orwellian Big Brother. Behind the candidates, symbols of political promises quickly degenerate into icons of oppression and nuclear war.
Greg Barth, Epic Fail, (2017), 5 mins. 32 secs.
Epic Fail is an avant-garde essay that questions what happens when political discourse fails to connect with voters, and truth is impacted by fake news. Based on the political events that shook 2016, the film imagines a reality that is both forged and blurred depending on how we perceive it; using existential currents inspired by Jean Paul Sartre’s Nausea.
The result is a surreal political satire that revolves around a vote for world peace that has dramatic consequences.
John Butler, Xerox’s Paradox, (2018), 2 mins.
A new workwear collection for the age of intelligent supertasking. Xerox’s fear of a paperless office led to the GUI, which, in turn, led to an explosion in the amount of printed matter. Xerox’s Paradox is about technology’s broken promises. The more we automate, the harder we must work.
Jennifer Chan, *A Total Jizzfest*, (2012), 3 mins. 22 secs.
A sample of the richest, sexiest men in computer and internet history.
Chloé Galibert-Laîné, My Crush was a Superstar, (2017), 12 mins. 30 secs.
This desktop documentary follows an ISIS fighter through a trail of messages, videos and postings to uncover his existence in both social media and reality. Part of Bottled Songs, a series of video letters investigating desire, power and terrorism in online and social media. The videos, recorded from the researchers’ desktops, depict and interrogate their subjects’ compulsive engagement in the production of everyday myths and fictions about themselves and others.
Elaine Hoey, Animated Positions, (2019), 9 mins. 47 secs.
This work draws reference from 19th century European nationalist paintings and explores the role of art in the portrayal of jingoistic patriotic ideals that have become culturally symbolic in the formation of the nation state. This piece re-animates the war like stances and positions of bodies found within these paintings, using character animation taken from the video game Call of Duty. The work challenges notions of nostalgia for the nation state, creating a contemporary critique of the underlying violence that underpins much of todays nationalistic ideologies.
Shawné Michaelain Holloway, GEAR-REVIEW(1)__BEGINNERS-VEST.MP4, (2016), 1 min. 55 secs.
GEAR-REVIEW(1)__BEGINNERS-VEST.MP4 is a response to internet’s “Gear Review” video genre. Using a video sourced from Youtube’s preparedness community alongside a video of the artist performing live for her leather community, this work asks questions about the ways we get to know, use, and care for our objects. Whether them for war, for sex, or both, we’re obsessed with function and feature, forcing fetish into the realm of the domestic and accessible.
Shelley Lake, Polly Gone, (1988), 3 min. 9 secs.
A day in the life of a robot.
Kevin B. Lee, The Spokesman, (2018), 12 mins. 30 secs.
The Spokesman investigates the online traces of John Cantlie, a British news reporter who was kidnapped in 2012 and later appeared in several Islamic State propaganda videos. Responding to Cantlie’s videos, Kevin analyzes Cantlie’s British accent and professional composure, constructed over many years of media appearances. Part of Bottled Songs, a series of video letters investigating desire, power and terrorism in online and social media. The videos, recorded from the researchers’ desktops, depict and interrogate their subjects’ compulsive engagement in the production of everyday myths and fictions about themselves and others.
Emily Mulenga, Now that we know the world is ending soon…what are you gonna wear?, (2019), 4 mins. 5 secs
Religious imagery and symbols of capitalist excess intertwine under the ever-watchful eye of CCTV cameras. Loneliness occurs even in the most crowded, noisy and colourful of rooms. Fractured identities span the online and offline worlds. Late-stage capitalism has left us with a disconnect from others and from a spiritual centre, and consumerism purports to fill the void; but never truly satisfies. There’s a condition of perpetual information overload in an oversaturated, neon, dystopian cityscape. There’s also a rabbit.
Jenny Odell, Polly Returns, (2017), 3 mins. 2 secs.
Polly Returns is based on Shelley Lake’s 1988 computer animation, Polly Gone, which features an isolated female robot doing everyday tasks inside a futuristic dome house. In my version, the robot has returned in 2017. The soundtrack is inspired by the original from Polly Gone, which itself was based on the soundtrack from The Day the Earth Stood Still.
Georgie Roxby Smith, Lara Croft Domestic Goddess I & II, (2013), 2 mins. 14 secs.
Georgie Roxby Smith’s hacked Lara Croft Tomb Raider video game shows the familiar icon for violent femme fatale bad-assery in the throes of orgasmic housekeeping, a scene that could be read as neo-Friedan, with her “domestic goddess” subject trapped between the banally physical and the extraordinarily virtual. The value judgments are unclear, the equation destabilized, as Croft joyfully irons shirts with a bow and arrow slung over her back, letting out cries that are undiscernibly battle grunts or orgiastic moans.
Photography Kathryn Rattray
Various Artists
Wednesday 6 November, 7:00pm - 9:00pm
George Orwell
168 Perth Road
Dundee, DD1 4JS
Join us for a curated evening of Artist short films from around the globe. Based on this year’s festival theme REACT; NEoN has selected a series of films covering topics such as gender, environment and immigration.
Featuring work by BOM Fellow Emily Mulenga and other artists Georgie Roxby Smith, Jenny odell, Elaine Hoey, Chloé Galibert-Laîné, Shelley Lake, John Butler, Kevin B Lee, shawné michaelain holloway, Jennifer Chan, Shelly Lake and Greg Bath.
Full screening notes:
Max Almy, Perfect leader, (1983), 4 mins. 15 secs.
A satire of the political television spot, Perfect Leader shows that ideology is the product and power is the payoff. The process of political image making and the marketing of a candidate is revealed, as an omnipotent computer manufactures the perfect candidate, offering up three political types: Mr. Nice Guy, an evangelist, and an Orwellian Big Brother. Behind the candidates, symbols of political promises quickly degenerate into icons of oppression and nuclear war.
Greg Barth, Epic Fail, (2017), 5 mins. 32 secs.
Epic Fail is an avant-garde essay that questions what happens when political discourse fails to connect with voters, and truth is impacted by fake news. Based on the political events that shook 2016, the film imagines a reality that is both forged and blurred depending on how we perceive it; using existential currents inspired by Jean Paul Sartre’s Nausea.
The result is a surreal political satire that revolves around a vote for world peace that has dramatic consequences.
John Butler, Xerox’s Paradox, (2018), 2 mins.
A new workwear collection for the age of intelligent supertasking. Xerox’s fear of a paperless office led to the GUI, which, in turn, led to an explosion in the amount of printed matter. Xerox’s Paradox is about technology’s broken promises. The more we automate, the harder we must work.
Jennifer Chan, *A Total Jizzfest*, (2012), 3 mins. 22 secs.
A sample of the richest, sexiest men in computer and internet history.
Chloé Galibert-Laîné, My Crush was a Superstar, (2017), 12 mins. 30 secs.
This desktop documentary follows an ISIS fighter through a trail of messages, videos and postings to uncover his existence in both social media and reality. Part of Bottled Songs, a series of video letters investigating desire, power and terrorism in online and social media. The videos, recorded from the researchers’ desktops, depict and interrogate their subjects’ compulsive engagement in the production of everyday myths and fictions about themselves and others.
Elaine Hoey, Animated Positions, (2019), 9 mins. 47 secs.
This work draws reference from 19th century European nationalist paintings and explores the role of art in the portrayal of jingoistic patriotic ideals that have become culturally symbolic in the formation of the nation state. This piece re-animates the war like stances and positions of bodies found within these paintings, using character animation taken from the video game Call of Duty. The work challenges notions of nostalgia for the nation state, creating a contemporary critique of the underlying violence that underpins much of todays nationalistic ideologies.
Shawné Michaelain Holloway, GEAR-REVIEW(1)__BEGINNERS-VEST.MP4, (2016), 1 min. 55 secs.
GEAR-REVIEW(1)__BEGINNERS-VEST.MP4 is a response to internet’s “Gear Review” video genre. Using a video sourced from Youtube’s preparedness community alongside a video of the artist performing live for her leather community, this work asks questions about the ways we get to know, use, and care for our objects. Whether them for war, for sex, or both, we’re obsessed with function and feature, forcing fetish into the realm of the domestic and accessible.
Shelley Lake, Polly Gone, (1988), 3 min. 9 secs.
A day in the life of a robot.
Kevin B. Lee, The Spokesman, (2018), 12 mins. 30 secs.
The Spokesman investigates the online traces of John Cantlie, a British news reporter who was kidnapped in 2012 and later appeared in several Islamic State propaganda videos. Responding to Cantlie’s videos, Kevin analyzes Cantlie’s British accent and professional composure, constructed over many years of media appearances. Part of Bottled Songs, a series of video letters investigating desire, power and terrorism in online and social media. The videos, recorded from the researchers’ desktops, depict and interrogate their subjects’ compulsive engagement in the production of everyday myths and fictions about themselves and others.
Emily Mulenga, Now that we know the world is ending soon…what are you gonna wear?, (2019), 4 mins. 5 secs
Religious imagery and symbols of capitalist excess intertwine under the ever-watchful eye of CCTV cameras. Loneliness occurs even in the most crowded, noisy and colourful of rooms. Fractured identities span the online and offline worlds. Late-stage capitalism has left us with a disconnect from others and from a spiritual centre, and consumerism purports to fill the void; but never truly satisfies. There’s a condition of perpetual information overload in an oversaturated, neon, dystopian cityscape. There’s also a rabbit.
Jenny Odell, Polly Returns, (2017), 3 mins. 2 secs.
Polly Returns is based on Shelley Lake’s 1988 computer animation, Polly Gone, which features an isolated female robot doing everyday tasks inside a futuristic dome house. In my version, the robot has returned in 2017. The soundtrack is inspired by the original from Polly Gone, which itself was based on the soundtrack from The Day the Earth Stood Still.
Georgie Roxby Smith, Lara Croft Domestic Goddess I & II, (2013), 2 mins. 14 secs.
Georgie Roxby Smith’s hacked Lara Croft Tomb Raider video game shows the familiar icon for violent femme fatale bad-assery in the throes of orgasmic housekeeping, a scene that could be read as neo-Friedan, with her “domestic goddess” subject trapped between the banally physical and the extraordinarily virtual. The value judgments are unclear, the equation destabilized, as Croft joyfully irons shirts with a bow and arrow slung over her back, letting out cries that are undiscernibly battle grunts or orgiastic moans.
Photography Kathryn Rattray
Various Artists
Wednesday 6 November, 7:00pm - 9:00pm
George Orwell
168 Perth Road
Dundee, DD1 4JS
Join us for a curated evening of Artist short films from around the globe. Based on this year’s festival theme REACT; NEoN has selected a series of films covering topics such as gender, environment and immigration.
Featuring work by BOM Fellow Emily Mulenga and other artists Georgie Roxby Smith, Jenny odell, Elaine Hoey, Chloé Galibert-Laîné, Shelley Lake, John Butler, Kevin B Lee, shawné michaelain holloway, Jennifer Chan, Shelly Lake and Greg Bath.
Full screening notes:
Max Almy, Perfect leader, (1983), 4 mins. 15 secs.
A satire of the political television spot, Perfect Leader shows that ideology is the product and power is the payoff. The process of political image making and the marketing of a candidate is revealed, as an omnipotent computer manufactures the perfect candidate, offering up three political types: Mr. Nice Guy, an evangelist, and an Orwellian Big Brother. Behind the candidates, symbols of political promises quickly degenerate into icons of oppression and nuclear war.
Greg Barth, Epic Fail, (2017), 5 mins. 32 secs.
Epic Fail is an avant-garde essay that questions what happens when political discourse fails to connect with voters, and truth is impacted by fake news. Based on the political events that shook 2016, the film imagines a reality that is both forged and blurred depending on how we perceive it; using existential currents inspired by Jean Paul Sartre’s Nausea.
The result is a surreal political satire that revolves around a vote for world peace that has dramatic consequences.
John Butler, Xerox’s Paradox, (2018), 2 mins.
A new workwear collection for the age of intelligent supertasking. Xerox’s fear of a paperless office led to the GUI, which, in turn, led to an explosion in the amount of printed matter. Xerox’s Paradox is about technology’s broken promises. The more we automate, the harder we must work.
Jennifer Chan, *A Total Jizzfest*, (2012), 3 mins. 22 secs.
A sample of the richest, sexiest men in computer and internet history.
Chloé Galibert-Laîné, My Crush was a Superstar, (2017), 12 mins. 30 secs.
This desktop documentary follows an ISIS fighter through a trail of messages, videos and postings to uncover his existence in both social media and reality. Part of Bottled Songs, a series of video letters investigating desire, power and terrorism in online and social media. The videos, recorded from the researchers’ desktops, depict and interrogate their subjects’ compulsive engagement in the production of everyday myths and fictions about themselves and others.
Elaine Hoey, Animated Positions, (2019), 9 mins. 47 secs.
This work draws reference from 19th century European nationalist paintings and explores the role of art in the portrayal of jingoistic patriotic ideals that have become culturally symbolic in the formation of the nation state. This piece re-animates the war like stances and positions of bodies found within these paintings, using character animation taken from the video game Call of Duty. The work challenges notions of nostalgia for the nation state, creating a contemporary critique of the underlying violence that underpins much of todays nationalistic ideologies.
Shawné Michaelain Holloway, GEAR-REVIEW(1)__BEGINNERS-VEST.MP4, (2016), 1 min. 55 secs.
GEAR-REVIEW(1)__BEGINNERS-VEST.MP4 is a response to internet’s “Gear Review” video genre. Using a video sourced from Youtube’s preparedness community alongside a video of the artist performing live for her leather community, this work asks questions about the ways we get to know, use, and care for our objects. Whether them for war, for sex, or both, we’re obsessed with function and feature, forcing fetish into the realm of the domestic and accessible.
Shelley Lake, Polly Gone, (1988), 3 min. 9 secs.
A day in the life of a robot.
Kevin B. Lee, The Spokesman, (2018), 12 mins. 30 secs.
The Spokesman investigates the online traces of John Cantlie, a British news reporter who was kidnapped in 2012 and later appeared in several Islamic State propaganda videos. Responding to Cantlie’s videos, Kevin analyzes Cantlie’s British accent and professional composure, constructed over many years of media appearances. Part of Bottled Songs, a series of video letters investigating desire, power and terrorism in online and social media. The videos, recorded from the researchers’ desktops, depict and interrogate their subjects’ compulsive engagement in the production of everyday myths and fictions about themselves and others.
Emily Mulenga, Now that we know the world is ending soon…what are you gonna wear?, (2019), 4 mins. 5 secs
Religious imagery and symbols of capitalist excess intertwine under the ever-watchful eye of CCTV cameras. Loneliness occurs even in the most crowded, noisy and colourful of rooms. Fractured identities span the online and offline worlds. Late-stage capitalism has left us with a disconnect from others and from a spiritual centre, and consumerism purports to fill the void; but never truly satisfies. There’s a condition of perpetual information overload in an oversaturated, neon, dystopian cityscape. There’s also a rabbit.
Jenny Odell, Polly Returns, (2017), 3 mins. 2 secs.
Polly Returns is based on Shelley Lake’s 1988 computer animation, Polly Gone, which features an isolated female robot doing everyday tasks inside a futuristic dome house. In my version, the robot has returned in 2017. The soundtrack is inspired by the original from Polly Gone, which itself was based on the soundtrack from The Day the Earth Stood Still.
Georgie Roxby Smith, Lara Croft Domestic Goddess I & II, (2013), 2 mins. 14 secs.
Georgie Roxby Smith’s hacked Lara Croft Tomb Raider video game shows the familiar icon for violent femme fatale bad-assery in the throes of orgasmic housekeeping, a scene that could be read as neo-Friedan, with her “domestic goddess” subject trapped between the banally physical and the extraordinarily virtual. The value judgments are unclear, the equation destabilized, as Croft joyfully irons shirts with a bow and arrow slung over her back, letting out cries that are undiscernibly battle grunts or orgiastic moans.
Photography Kathryn Rattray
He was part of the renovation of the cupola of the Duomo in Florence. Here he"s explaining his accomplishments.
Last week I took some pictures at the inspiring Portal Arts Gallery featuring the works of Janine Portal. A true artist doing some very unique work.
Featured Image from photobook, "Where does the body begin?
ARTIST STATEMENT
Identity is built upon a foundation of beliefs and concepts that are at a constant flux with reality. how the body is covered and arranged in space and time conveys our methods of communicating who we are. Taking that away in the context of art gives us mental clarity to think about ourselves without material. Through photographic study, this series abstracts
the nude human form.
This college series was inspired by the works of Imogen Cunningham, Edward Weston & Chloe Rosser. Art Culture has presented nudity through many mediums. As a result. Controversy continues to surround the subject matter as many still reject this art form on moral grounds. When we encounter art that makes us uncomfortable, we must ask ourselves why. Nkosi focuses on the naked frame in a completely unorthodox way presenting the body outside of the scope of any sexual nature to elicit true inquiry and reflection.
Support Project here,
chancenkosigomez.com/shop/where-does-the-body-begin
Nkosi.artiste@gmail.com
ABOUT THE ARTIST
Chance Nkosi Gomez known initiated by H.H Swami Jyotirmayanda as Sri Govinda walks an integral yogic path in which photography is the primary creative field of expression. The medium was introduced during sophomore year of high school by educator Dr. Devin Marsh of Robert Morgan Educational Center. Coming into alignment with light, its nature and articulating the camera was the focus during that time. Thereafter while completing a Photographic Technology Degree, the realization of what made an image “striking” came to the foreground of the inner dialogue. These college years brought forth major absorption and reflection as an apprentice to photographer and educator Tony A. Chirinos of Miami Dade College. The process of working towards a singular idea of interest and thus building a series became the heading from here on while the camera aided in cultivating an adherence to the present moment. The viewfinder resembles a doorway to the unified field of consciousness in which line, shape, form, color, value, texture all dissolve. It is here that the yogi is reminded of sat-chit-ananda (the supreme reality as all-pervading; pure consciousness). As of May 2024 Govinda has completed his 300hr yoga teacher training program at Sattva Yoga Academy studying from Master Yogi Anand Mehrotra in Rishikesh, India, Himalayas. This has strengthened his personal Sadhana and allows one to carry and share ancient Vedic Technology leading others in ultimately directing their intellect to bloom into intuition. As awareness and self-realization grows so does the imagery that is all at once divine in the mastery of capturing and controlling light. Over the last seven years he has self-published six photographic books, Follow me i’ll be right behind you (2017), Sonata - Minimal Study (2018), Birds Singing Lies (2018), Rwanda (2019), Where does the body begin? (2019) & Swayam Jyotis (2023). Currently, Govinda is employed at the Leica Store Miami as a camera specialist and starting his journey as a practitioner of yoga ॐ
WE PLAY music & art FESTIVAL
Il We Play music & art Festival non è un evento convenzionale per la città di Pisa.
Il Festival, presentato dall’Associazione culturale Uma Creative Project, nella sera di sabato 10 marzo trasformerà il Palazzo dei Congressi in un grande contenitore musicale e artistico dove musica elettronica, arte contemporanea, fotografia,visual art e divertimento si fonderanno in un unico evento, dando un nuovo impulso vitale alla città di Pisa.
Il divertimento come veicolo di conoscenza, di condivisione , crescita culturale, artistica e musicale.
La rassegna artistica convoglierà quasi quaranta giovani espositori provenienti dal mondo della fotografia, della pittura, della grafica digitale, della visual art e delle performance live.
We Play ospiterà delle vere e proprie “mini personali” , per lo più di opere mai esposte o preparate appositamente per il festival, sia di artisti emergenti che di nomi già noti al panorama artistico.
Avremo il piacere di ospitare artisti del calibro di Massimo Pasca, pittore e illustratore dall’inconfondibile stile. Pasca ci presenterà i suoi racconti per immagini, dalle trame singolari ed eccentriche, i cui protagonisti sono le icone della nostra cultura pop, rappresentati con una pungente vena d'ironia e sarcasmo; Francesco Barbieri e Etnik entrambi provenienti dal mondo della street art, il primo, uno dei più attivi e anziani autori di graffiti della città, ci restituisce su tela la sua peculiare e poetica visione di questo "fantastico mondo di reietti", mentre Etnik, con le sue metafore critiche sugli agglomerati urbani che caratterizzano le grigie periferie cittadine, elabora il concetto di "gabbia urbana" in cui l'uomo è intrappolato.
Inoltre vedremo le personalissime opere di Francesca Gargano, toscana di adozione ma cittadina del mondo quando si parla di esposizioni o vernissage la Gargano, attraverso le sue opere, ci invita ad osservare con più attenzione quegli attimi che ad occhio nudo ci sfuggono, perché così come le pieghe dei pacchi da spedizione nascondono una parte che non si nota, la vita, nelle sue “pieghe del tempo”, cela risvolti inimmaginabili.
Tra i nomi più risonanti anche la crew Elektro Domestik Force che presenterà una suggestiva performance video dal titolo RESTART, della quale ci dicono gli stessi ideatori -ha come principale obiettivo quello di risvegliare positive sensazioni nei confronti della vita oppressa da società capitalistiche e classificanti, attraverso messaggi di speranza e di convinta fantasia, con la consapevolezza che lottare per un mondo sempre migliore, che vede al suo centro la vita (e non i soldi), rimane l’ unica soluzione per garantire un futuro decente ai prossimi ospiti di questo splendido universo-
Stessa sensibilità ai temi di attualità, la troveremo nella performance live di GasArti Produzioni dal titolo GAScongressARTI.
L’associazione HeyArt di Firenze, realtà costituita da un gruppo di professionisti artisti, parteciperà all’evento con ben 4 dei suoi artisti, due fotografe Silvia Noferi e Alessandra Baldoni; e Nicola Formosa e Michele Moricci, entrambi pittori e designer.
Altri grandi ospiti del festival saranno i fotografi Demonrat e Imperfect Fleur, entrambi affermati rappresentanti della fotografia dark - artistica d’autore, i due espongono da anni in tutta Italia e non solo, ma,purtroppo come capita spesso, sono poco conosciuti nella loro provincia di origine.
Altri partecipanti, tutti fotografi, saranno i più emergenti, Sharon Micciola visual art, Alice Caracciolo, Luca Bettarini e Valentina Teleschi.
Michela Cimmino, invece, altra giovane promessa della fotografia, coinvolgerà i presenti in una performance di light graffiti, veri e propri disegni di luce impressi in una foto, per un risultato veramente suggestivo.
Avremo anche un live painting molto particolare del gruppo G.A.P. e altre opere pittoriche di Dedirè e Andrea Taddei e fotografiche del progetto Kaos Video Royale e Luca Zunino.
Nel frattempo, nei 3 stage si alterneranno più di trenta djs , mcs e musicisti per un evento senza limiti musicali.
I suoni si evolvono durante la serata accompagnandoci in un viaggio tra le mille sfaccettature della musica elettronica.
Quadri, installazioni artistiche , fotografie e spettacoli di Visual Art saranno lo scenario in cui il pubblico si muoverà all’interno del Festival.
Alla console potremo assistere all’esibizione di alcune tra le migliori realtà musicali Toscane.
Nell’ Underground Auditorium Stage ai giradischi i fiorentini, precursori in Italia della Dubstep, NUMA Crew, accompagnati dallo storico collettivo Jungle/Drum n Bass NuCombo (Fonx + Lookilla) ed i giovanissimi Offbeats ed Elb Experience che faranno scatenare il pubblico con il sound made in Uk, mentre a concludere il dj set Electro di Pumpyflex, dj e label manager dell'etichetta FreshPump Records che sta facendo sempre più parlare di se in Toscana ed in Italia, ed il giovane duo di dj e produttori pisani, The Pornorockerz, veramente da non perdere.
Nel Club Hall stage di rilievo la presenza di Fabio Neural, dj resident del Tinì Soundgarden, che quest'anno si è fatto notare per aver suonato, nell’arco di pochi mesi, con dj del calibro di Ralf, Magda, Carl Cox, Ilario Alicante ed Alex Neri, tanto per citarne alcuni. E poi Brunì e Danielle, talentuoso duo pisano, che ha da poco presentato la nuova label: la YUMA Recordings, e tra poco voleranno negli Stati Uniti a far conoscere il sound nostrano.
Ci saranno inoltre Fabio n’joy, l’eclettico Massbeat e Filippo De Maria, storico Dj toscano e conduttore del programma radiofonico Ausgang, in onda su Punto Radio.
Il finale sarà affidato all'inossidabile Tony Vallini del collettivo Offlabel e al suo set di pura PsyTrance.
La Street Gallery sarà invece animata all’apertura dall’elettronica Nudisco del giovane duo Blister Bros e da Stardusty.
Ci sarà spazio anche per la musica live al WE PLAY, le esibizioni dal vivo saranno tre: i viareggini Sashimi Breakfast, con un set Hip Hop dalle pure contaminazioni Dubstep e Glitch Hop; il live funky di alta classe del duo pisano che vede Fonx ai giradischi e Peewee Durante alle tastiere; e a chiudere Herrera, vincitore dell’ IDA 2010, che proporrà puro Hip Hop con il suo personalissimo MCP live set.
Media partner dell’evento saranno la web radio universitaria RadioEco e il programma Electrodust, il programma radiofonico Ausgang in onda su Puntoradio e Radio Insieme. Inoltre Bushido, anch’esso in onda su Puntoradio.
Tutto questo è We Play music & art Festival, sabato 10 marzo ore 21.30, Palazzo dei Congressi di Pisa.
Ingresso a pagamento: biglietto intero di soli 7€ e 5€ per il ridotto
Ufficio stampa Associazione culturale UMA Creative Project
Gianluca Filippi
weplayfestival@gmail.com
333 71 66 742
Palazzo dei Congressi
Via Giacomo Matteotti, 1
56124 Pisa
Sito web: www.palazzodeicongressi.pisa.it
Mail: info@palazzodeicongressi.pisa.it
Tel. 050 598212
Portrait of me (age 16) as the teenage aritst in his basement studio - taken by my brother David (see nkimadams on flickr). I value this picture because most of the paintings visible in this photograph no longer exist.
Various Artists
Wednesday 6 November, 7:00pm - 9:00pm
George Orwell
168 Perth Road
Dundee, DD1 4JS
Join us for a curated evening of Artist short films from around the globe. Based on this year’s festival theme REACT; NEoN has selected a series of films covering topics such as gender, environment and immigration.
Featuring work by BOM Fellow Emily Mulenga and other artists Georgie Roxby Smith, Jenny odell, Elaine Hoey, Chloé Galibert-Laîné, Shelley Lake, John Butler, Kevin B Lee, shawné michaelain holloway, Jennifer Chan, Shelly Lake and Greg Bath.
Full screening notes:
Max Almy, Perfect leader, (1983), 4 mins. 15 secs.
A satire of the political television spot, Perfect Leader shows that ideology is the product and power is the payoff. The process of political image making and the marketing of a candidate is revealed, as an omnipotent computer manufactures the perfect candidate, offering up three political types: Mr. Nice Guy, an evangelist, and an Orwellian Big Brother. Behind the candidates, symbols of political promises quickly degenerate into icons of oppression and nuclear war.
Greg Barth, Epic Fail, (2017), 5 mins. 32 secs.
Epic Fail is an avant-garde essay that questions what happens when political discourse fails to connect with voters, and truth is impacted by fake news. Based on the political events that shook 2016, the film imagines a reality that is both forged and blurred depending on how we perceive it; using existential currents inspired by Jean Paul Sartre’s Nausea.
The result is a surreal political satire that revolves around a vote for world peace that has dramatic consequences.
John Butler, Xerox’s Paradox, (2018), 2 mins.
A new workwear collection for the age of intelligent supertasking. Xerox’s fear of a paperless office led to the GUI, which, in turn, led to an explosion in the amount of printed matter. Xerox’s Paradox is about technology’s broken promises. The more we automate, the harder we must work.
Jennifer Chan, *A Total Jizzfest*, (2012), 3 mins. 22 secs.
A sample of the richest, sexiest men in computer and internet history.
Chloé Galibert-Laîné, My Crush was a Superstar, (2017), 12 mins. 30 secs.
This desktop documentary follows an ISIS fighter through a trail of messages, videos and postings to uncover his existence in both social media and reality. Part of Bottled Songs, a series of video letters investigating desire, power and terrorism in online and social media. The videos, recorded from the researchers’ desktops, depict and interrogate their subjects’ compulsive engagement in the production of everyday myths and fictions about themselves and others.
Elaine Hoey, Animated Positions, (2019), 9 mins. 47 secs.
This work draws reference from 19th century European nationalist paintings and explores the role of art in the portrayal of jingoistic patriotic ideals that have become culturally symbolic in the formation of the nation state. This piece re-animates the war like stances and positions of bodies found within these paintings, using character animation taken from the video game Call of Duty. The work challenges notions of nostalgia for the nation state, creating a contemporary critique of the underlying violence that underpins much of todays nationalistic ideologies.
Shawné Michaelain Holloway, GEAR-REVIEW(1)__BEGINNERS-VEST.MP4, (2016), 1 min. 55 secs.
GEAR-REVIEW(1)__BEGINNERS-VEST.MP4 is a response to internet’s “Gear Review” video genre. Using a video sourced from Youtube’s preparedness community alongside a video of the artist performing live for her leather community, this work asks questions about the ways we get to know, use, and care for our objects. Whether them for war, for sex, or both, we’re obsessed with function and feature, forcing fetish into the realm of the domestic and accessible.
Shelley Lake, Polly Gone, (1988), 3 min. 9 secs.
A day in the life of a robot.
Kevin B. Lee, The Spokesman, (2018), 12 mins. 30 secs.
The Spokesman investigates the online traces of John Cantlie, a British news reporter who was kidnapped in 2012 and later appeared in several Islamic State propaganda videos. Responding to Cantlie’s videos, Kevin analyzes Cantlie’s British accent and professional composure, constructed over many years of media appearances. Part of Bottled Songs, a series of video letters investigating desire, power and terrorism in online and social media. The videos, recorded from the researchers’ desktops, depict and interrogate their subjects’ compulsive engagement in the production of everyday myths and fictions about themselves and others.
Emily Mulenga, Now that we know the world is ending soon…what are you gonna wear?, (2019), 4 mins. 5 secs
Religious imagery and symbols of capitalist excess intertwine under the ever-watchful eye of CCTV cameras. Loneliness occurs even in the most crowded, noisy and colourful of rooms. Fractured identities span the online and offline worlds. Late-stage capitalism has left us with a disconnect from others and from a spiritual centre, and consumerism purports to fill the void; but never truly satisfies. There’s a condition of perpetual information overload in an oversaturated, neon, dystopian cityscape. There’s also a rabbit.
Jenny Odell, Polly Returns, (2017), 3 mins. 2 secs.
Polly Returns is based on Shelley Lake’s 1988 computer animation, Polly Gone, which features an isolated female robot doing everyday tasks inside a futuristic dome house. In my version, the robot has returned in 2017. The soundtrack is inspired by the original from Polly Gone, which itself was based on the soundtrack from The Day the Earth Stood Still.
Georgie Roxby Smith, Lara Croft Domestic Goddess I & II, (2013), 2 mins. 14 secs.
Georgie Roxby Smith’s hacked Lara Croft Tomb Raider video game shows the familiar icon for violent femme fatale bad-assery in the throes of orgasmic housekeeping, a scene that could be read as neo-Friedan, with her “domestic goddess” subject trapped between the banally physical and the extraordinarily virtual. The value judgments are unclear, the equation destabilized, as Croft joyfully irons shirts with a bow and arrow slung over her back, letting out cries that are undiscernibly battle grunts or orgiastic moans.
Photography Kathryn Rattray