Film & Video (Film & Video)

Something Other Than What You Are by Camel Collective is formed by two works: a multi-channel video installation with controlled lighting, and a single-channel version with stereo sound. In both works, the 36 minute video depicts a narrative taking place outside of a live theater performance in the form of monologues that moves between the production and technical crew. There is a set of three different characters—a lighting technician, a lighting designer, and a professor all played by the same actress who share in their personal experiences and attitudes the precariousness of their work, the problems and myths of collaboration, and the obsolescence of theatrical technology.

Photography (Photography)

Capture is a photographic series by Paolo Cirio in which the artist sourced 1000 public images of police officers’ faces and processed them with facial recognition technology. The original photographs were taken during protests in France, Cirio collected these images and created an online platform containing a database of the 4000 police faces that the AI program isolated. The artist crowdsourced their identification by name and then publicly exposed the officers by printing their headshots and posting them throughout Paris.

Film & Video (Film & Video)

This still life falls apart, or rather floats apart as the composition is proved unstable and constantly morphing. An impossible attempt at achieving a fixed state, some objects remain buoyant and some objects sink, constantly tilting the overall scale and arrangement. Properties of weight, mass and shape have their own will but a hand appears in the scene, pushing back on these mysterious forces.

Film & Video (Film & Video)

“Ship of Fools” is a literary term derived from Sebastian Brant’s 1949 satirical allegory of the same name. The work tells the story of a wandering vessel with 111 fools aboard; each of whom represents a social issue. The Ship of Fools Mooring at the Train Station is a two-channel video work by artist Liu Yu, concerning the community of people residing on the fringes of society at Taipei Main Station.

Photography (Photography)

For the works KAKERA, Bullet Train and KAKERA, Loving God Tatsuki Masaru traveled throughout Japan to visit museums holding kakera (which translates to “fragments”) of Jomon Period potteries –Japan’s pre-history 2,300-15,000 years ago. Small and fragile, the kakera were donated by farmers who had found them in their fields, or by archeologists, and then wrapped in newspapers and stored away. Today they sit quietly on the shelves of museums, unknown to people.

Installation (Installation)

This work is meditative and fragile. These abstract forms are projected slides belonging to another lecture, Travelogue , where the images have been removed. What is left is the hole of the frame of the slide that light draws upon and projects on the wall.

Installation (Installation)

Adição por subtração 4 (Addition by Subtraction, 2010) is an intervention into the white cube with both beautiful and intimidating results. The installation is a large rectangular frame created out of shards of clear and colored glass that protrude from the wall. The use of glass fragments is reminiscent of Robert Smithson’s sculpture Map of Glass (Atlantis) (1969), yet the concerns here are very different.

Film & Video (Film & Video)

The video animation Falling Head 2 , hand-painted by Diego Marcon in 2015, consists of a close-up of a head caught on the threshold between sleep and wakefulness or maybe from wakefulness to sleep. The film is projected as a ten-second loop where the first and last frames coincide. Working mainly in video and film, Marcon is familiar with the consequences of eyestrain.

Film & Video (Film & Video)

Leonardogillesfleur describe Action 3:02 as their “first New York blizzard storm at about 5am. The photographic moment of a photo album which could have been taken by anybody in any familiar situation with the intention to immortalize that moment.”

Photography (Photography)

Lambri’s careful framing in Untitled (Miller House, #02) redefines our understanding of this iconic mid-century modernist building located in Palm Springs, California. Commissioned by industrialist J. Irwin Miller and his wife Xenia Simons Miller, and built by Richard Neutra in 1937, the Miller house’s open and flowing layout expands upon modernist architectural traditions. It features a flat roof, stone and glass walls, with rooms configured beneath a grid pattern of skylights and supporting cruciform steel columns.