1. poetry is [vol. I]

    01:20:55

    from George Quasha Added 4,161 14 4

    poetry is (Speaking Portraits) [Vol. I--v. 1.4]-- In his ongoing video art work of “speaking portraits,” poet/artist George Quasha puts an impossible, but unavoidable, question before poets of all kinds and in many places: what is poetry? In response poets let us in on their private space of poetry definition. This intimate view of speaking faces, each filling the screen, shows how different it is for poets/artists to say what poetry or art is than for others (critics, historians, philosophers, viewers). For a particular poet, poetry may not only be an object, a thing historically defined, but something close to the core of one's life, perhaps even a singular event. Here we gain unique access to its nature in the person speaking. 61 POETS IN VOL. I: Ammiel Alcalay, Hector Alves, David Antin, Arman, Coleman Barks, Caroline Bergvall, Charles Bernstein, Mei-Mei Berssenbrugge, Harvey Bialy, Blue, Lee Ann Brown, Tisa Bryant, Elizabeth Clark, Michael Coffey, Alan Davies, Michel Deguy, Timotha Doane, Lawrence Ferlinghetti, Allen Fisher, Joanna Fuhrman, Eric Gansworth, Steven Goodman, Carla Harryman, Kevin Hart, David Henderson, Mitch Highfill, Bob Holman, Anselm Hollo, Mikhail Horowitz, Fanny Howe, Susan Howe, Romana Huk, Franz Kamin, Robert Kelly, Richard Kostelanetz, Louise Landes Levi, Judith Malina, Chris Mann, Michael Meade, Joyce Carol Oates, Sharon Olds, Cheryl Pallant, Nick Piombino, Kristen Prevallet, India Radfar, Carter Ratcliff, Hanon Reznikov, Jerome Rothenberg, Sapphire, Leslie Scalapino, Ron Silliman, Charles Stein, David Levi Strauss, Kate Suddes, Chris Tysh, Cecilia Vicuña, Tenzin Wangyal, Barrett Watten, Henry Weinfield, Elizabeth Willis, Krzysztof Ziarek

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    • Purity

      01:20:00

      from Jay Wright Added

      A conceptual experimental film made within a 24 hour window, which: Must be about art ideas. Must be 'feature length'. Must do without all conventions. ...success... ?

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      • Median (September 8 - October 6, 2014) upload 001

        01:19:54

        from Adrian Abela Added 46 0 0

        adrian abela 2014- http://auto-median.tumblr.com/ MEDIAN documents all the routes traveled by car, between September 8 and October 6, 2014.The work is the first of a series. The car is a vehicle. The car is a capsule of journeys. it carries humans it is a bed with 4 wheels it is an office it is a discotheque it is a room with a view it The car is the LINE between A & B. The car is an auxiliary space outside of the immobile home. It provides a room with a view when none exist outside one’s own residence. It becomes a bedroom; one that offers seclusion. It is the room which lets you escape all other rooms. It is a capsule containing memories of all past routes. The time spent travelling might feel like time dedicated to the sole purpose of transit. I spent an average of one hour and forty-five minutes a day driving through non-spaces, and decided to make the line between departure and arrival a space, by changing his perception of the act of transit. -The windscreen becomes a monitor, and all the actions being performed within its frame become part of the moving image that starts with the ignition of the car’s engine and ends when it is switched off. The windscreen creates a cinematic effect, with the driver allowing Chance to direct what happens within his view. -The radio becomes the score of the moving image. The driver as a listener has as little control on what is being transmitted as much as he has on what occurs within the frame of the windscreen. The Radio / Music. The car as a time machine. Music is also a vehicle. We associate certain musical tracks with specific places, people and times. Since the radio acts independently to the listener, one is taken to unexpected spaces. This contrasts with the planned transportation of varying routes from A to B. The Island / Malta. The land between two lands. - Malta is an archipelago; hence, the car is limited by a physical boundary and the driver’s routes are finite. - This island lies between Southern Europe and Northern Africa. While driving around the island, the car receives radio signals from Maltese, Italian and North African stations. The strength of each signal varies according to the car’s location. -The act of driving through Malta while switching between radio stations evokes a testament to the sound and origin of the language spoken on the islands. The roots of the language, namely Romantic (echoed from Italian radio stations) and Semitic (from Arabic ones) are combined with and within Maltese as a result of the island’s geographical location. -The sounds from foreign radio stations are truthfully represented in Malta’s landscapes which could belong to both Southern Europe and Northern Africa. This may alter the perception of familiar sites viewed through the windscreen against a background of Italian or Arabic songs.

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        • I'm Nobody! Who Are You? New York Live Arts

          01:18:55

          from Maya Ciarrocchi Added 233 2 0

          Video installation Variable dimensions Total RT: 1:18:55 I’m Nobody! Who Are You? challenges the viewer to consider how they construct their appearance for others and respond to the same construction of others. The work allows the viewer to observe other people in lengths of time that are much longer than would exist in standard social conditions. By doing so, the viewer is given the opportunity to reflect both on the visual cueing of the subject as well as their own response to this cueing. Further, by pairing portraits, viewers create narratives between the participants despite the known conditions of the filming. The viewer consequently is forced to consider the artificiality of their narratives and the gestures, clothing, gendered constructions, and other social signifiers that are used to create these relationships. I’m Nobody! Who Are You? was presented by New York Live Arts, NY, NY in 2012.

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          • FACTUM BRADLEY

            01:18:10

            from Candice Breitz Added

            FACTUM BRADLEY, 2010 Left: David Ronald Bradley (born 30 July, 1965). Right: Richard Donald Bradley (born 30 July, 1965). FACTUM BRADLEY is usually shown as a dual-channel video installation on two vertically-mounted plasma displays hung alongside one another. For exhibition purposes, the footage loops endlessly without beginning or end. For more info on FACTUM and to view other portraits from this series, see http://vimeo.com/album/259786 To produce the series of works collectively titled FACTUM (2010), Candice Breitz conducted intensive interviews with seven pairs of identical twins and a single set of identical triplets in and around Toronto during the summer of 2009, footage from which she then edited seven dual-channel video installations (and one tri-channel video installation). Like Robert Rauschenberg’s near-identical paintings FACTUM I and FACTUM II (both 1957), from which the series borrows its title, each interviewee in FACTUM is an imperfect facsimile of their twin: their apparent identicality is soon disrupted by a host of subtle differences. Breitz chose to work with monozygotic twins (and triplets) who spent their formative lives together and who thus draw on shared memories and experience. Each pair of twins was filmed over the course of one long day in a domestic environment designated by the twins – most chose to shoot in the home of one twin, or in their shared home. In each case, Breitz interviewed Twin A for approximately 5–7 hours in the absence of his/her sibling and then directed the same set of questions separately to Twin B. Designed to give each individual the opportunity to narrate his/her own story as s/he chose, the questions covered intimate areas such as childhood, sibling rivalry and family matters, but also zoomed out to allow each subject to address his/her relationship to the world at large. Some questions were specifically slanted to shed light on the mysterious terrain of subject formation: the twins were asked to lend comment, for example, on the nature-nurture debate, or to offer their thoughts on evolution versus creation. Other questions invited the twins to share personal anecdotes or key memories. According to their level of comfort before the camera, some individuals were willing to enter into minute and graphic autobiographical detail, while others set distinct boundaries. Each pair of twins was asked to style themselves as identically as possible for the camera, and left to decide how diligently they wished to fulfill the request. For some the superficial sameness that resulted – almost immediately to be undermined by innumerable small differences that manifest themselves throughout the interview – became an apt metaphor for the projections of sameness that they had been subject to all their lives. Each pair of interviews was later woven together in the editing studio to create a somewhat stereoscopic dual-channel portrait. Breitz’s edits accentuate the push-and-pull relationship between the siblings. As the twins relate their stories, sharp distinctions in their voices, their attitudes, their body language, and their views on the world become apparent. At times they gravitate towards each other, offering almost the same syntax and gestures to describe memory, while at other moments they differ vastly in their conclusions on topics they both consider vital. Breitz’s presence is strongly tangible in each twin portrait – her jagged editing style distances the works from the truth claims of conventional documentary, suggesting that the intertwining forces of fact and fiction are always at play in auto/biography. FACTUM raises questions not only about twinship per se, but also about the struggle that each individual must negotiate in defining him or herself as distinct, while facing constant reminders of the relative role of others in the process of self-definition. The FACTUM series comprises FACTUM BRADLEY, FACTUM HAWKE, FACTUM JACOB, FACTUM KANG, FACTUM McNAMARA, FACTUM MISERICORDIA, FACTUM TANG and FACTUM TREMBLAY. Director + Editor: Candice Breitz Assistant Director: Bianca Semeniuk Camera: Sean Anicic Makeup: Allison Magpayo Production Assistants: Manuela Buechting, Sue Johnson, Eva Michon Post Production: Alex Fahl Commissioned by The Power Plant, Toronto; Commissioning Partner - Partners in Art, Toronto Additional information available upon request: www.candicebreitz.net

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            • FACTUM TREMBLAY

              01:18:08

              from Candice Breitz Added

              FACTUM TREMBLAY, 2009 Left: Natalyn Tremblay (born 3 April, 1980). Right: Jocelyn Tremblay (born 3 April, 1980). FACTUM TREMBLAY is usually shown as a dual-channel video installation on two vertically-mounted plasma displays hung alongside one another. For exhibition purposes, the footage loops endlessly without beginning or end. For more info on FACTUM and to view other portraits from this series, see http://vimeo.com/album/259786 To produce the series of works collectively titled FACTUM (2010), Candice Breitz conducted intensive interviews with seven pairs of identical twins and a single set of identical triplets in and around Toronto during the summer of 2009, footage from which she then edited seven dual-channel video installations (and one tri-channel video installation). Like Robert Rauschenberg’s near-identical paintings FACTUM I and FACTUM II (both 1957), from which the series borrows its title, each interviewee in FACTUM is an imperfect facsimile of their twin: their apparent identicality is soon disrupted by a host of subtle differences. Breitz chose to work with monozygotic twins (and triplets) who spent their formative lives together and who thus draw on shared memories and experience. Each pair of twins was filmed over the course of one long day in a domestic environment designated by the twins – most chose to shoot in the home of one twin, or in their shared home. In each case, Breitz interviewed Twin A for approximately 5–7 hours in the absence of his/her sibling and then directed the same set of questions separately to Twin B. Designed to give each individual the opportunity to narrate his/her own story as s/he chose, the questions covered intimate areas such as childhood, sibling rivalry and family matters, but also zoomed out to allow each subject to address his/her relationship to the world at large. Some questions were specifically slanted to shed light on the mysterious terrain of subject formation: the twins were asked to lend comment, for example, on the nature-nurture debate, or to offer their thoughts on evolution versus creation. Other questions invited the twins to share personal anecdotes or key memories. According to their level of comfort before the camera, some individuals were willing to enter into minute and graphic autobiographical detail, while others set distinct boundaries. Each pair of twins was asked to style themselves as identically as possible for the camera, and left to decide how diligently they wished to fulfill the request. For some the superficial sameness that resulted – almost immediately to be undermined by innumerable small differences that manifest themselves throughout the interview – became an apt metaphor for the projections of sameness that they had been subject to all their lives. Each pair of interviews was later woven together in the editing studio to create a somewhat stereoscopic dual-channel portrait. Breitz’s edits accentuate the push-and-pull relationship between the siblings. As the twins relate their stories, sharp distinctions in their voices, their attitudes, their body language, and their views on the world become apparent. At times they gravitate towards each other, offering almost the same syntax and gestures to describe memory, while at other moments they differ vastly in their conclusions on topics they both consider vital. Breitz’s presence is strongly tangible in each twin portrait – her jagged editing style distances the works from the truth claims of conventional documentary, suggesting that the intertwining forces of fact and fiction are always at play in auto/biography. FACTUM raises questions not only about twinship per se, but also about the struggle that each individual must negotiate in defining him or herself as distinct, while facing constant reminders of the relative role of others in the process of self-definition. The FACTUM series comprises FACTUM BRADLEY, FACTUM HAWKE, FACTUM JACOB, FACTUM KANG, FACTUM McNAMARA, FACTUM MISERICORDIA, FACTUM TANG and FACTUM TREMBLAY. Director + Editor: Candice Breitz Assistant Director: Bianca Semeniuk Camera: Sean Anicic Makeup: Allison Magpayo Production Assistants: Manuela Buechting, Sue Johnson, Eva Michon Post Production: Alex Fahl Commissioned by The Power Plant, Toronto; Commissioning Partner - Partners in Art, Toronto Additional information available upon request: www.candicebreitz.net

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              • Spectacle & Resistance

                01:17:19

                from Martin Berthelot Added 72 0 0

                Spectacle and Resistance - A companion piece to the thesis Spectacle and Resistance in the Modern and Postmodern Eras. University of Ottawa - 2013 ABSTRACT: The advanced stage of capitalism that we now live in has brought many changes to the way that society consumes and produces. One of the biggest shifts to the modern economy was the use of visual culture to distract, pacify, and exert power over the masses; a cultural change French theorist Guy Debord named the Society of the Spectacle. As a result, Debord and the Situationist International developed a movement of resistance to reclaim the territories of everyday life being eroded by the spectacle through separation and alienation. Since the term was coined, the use of visual culture has accelerated and has become even more pervasive in the postmodern world which led Jean Baudrillard to claim that the real has been replaced by simulation and hyperreality. This thesis and video explores this cultural shift to determine whether the practices of resistance theorized by Debord and the Situationists are still relevant as the reach of postmodernism increases. Written Thesis: http://www.ruor.uottawa.ca/en/handle/10393/24272

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                • Et Cetera (2012)

                  01:17:18

                  from MWM ART FILM Added 32 0 0

                  "Et Cetera" (2012) 77' Filmed & edited by Mariusz Wirski Music by Piotr Zarzycki Produced by Wanda Dittrich, Mariusz Hybiak, Mariusz Wirski Starring Mariusz Wirski, Wanda Dittrich, Mariusz Hybiak, Alicja Wirska, Piotr Zarzycki and others A poetic documentary feature movie filmed entirely using a mobile phone. The whole work is impressionistic in nature – it presents the life of the director but the fact that the frame is divided into four separate channels provides “Et Cetera” with another dimension – the manner in which various elements and scenes are assembled is contra-punctual and symbolic, and the film takes on the characteristics of a philosophical discourse through presenting such elements of life as birth, adult life, friendship, entertainment, love, senility, death and an unbreakable bond with nature. The film was inspired by the fascination with American avant-garde classics - mainly Jonas Mekas, but it is a completely authorial and individual artistic project. The basis for the creation of "Et Cetera" was the interest in testing the limits of transferring a subjective film message through a project being realized by a one man. It is a kind of an attempt to create a filmed memoir documenting events in one's life. MWM ART FILM 2012 http://mwm-artfilm.pl/ https://www.facebook.com/pages/MWM-Art-Film/297418013719143

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                  • "ROBERT LOGGIA"

                    01:16:19

                    from tony arnold Added 295 2 1

                    an existential road movie. "ROBERT LOGGIA" by Tony Arnold 2012 76 minutes

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