Media Arts Program

Wednesday, April 3, 1991


Presented at:

INFERMENTAL 9: VIENNA EDITION screening of Programs #1 and #2. Program #1: MODELS AND CONSTRUCTION including: 12 STUCKE/12 PIECES (Karl Kowanz, 1988, Austria, 17min excerpt from the performance TWO ROOMS by Pas Paravant); MUTTER VATER IST TOT/MOTHER FATHER IS DEAD (Raskin Stichting, 1987, West Germany, 6min); DANCE #6 (Rafael Montanez Ortiz, 1985-86, USA, 2:47min); SONATA PER GUIRARRA ELECTRONICA PREPARATA NO. 1, MOV. 3 (Muki, 1987-88, Austria, 5min); FANY + TUTE (Ute Meta Bauer and Susanne Muller, 1987, West Germany, 5:30min); EXPANDABLE LANGUAGE WITH David Moss (Thomas Draudt, 1988, USA, 6:10min); SIIRTYMIA/TRANSITIONING (Harri Larjosto, 1988, Finland, 8:48min); DER HERZSCHLAG DES ANUBIS/ANUBIS HEARTBEAT (Bettina Gruber and Maria Vedder, 1988, West Germany, 5min); PAS DE TANGO/TANGO STEP OR NO TANGO (Michael Langoth, 1988, Austria, 6min). Program #2: A COCKTAIL OF THE SENSES including: EXPOSED (Ilse Gassinger, 1988-89, Austria, 8min); CSABITAS/AURORA 41/TEMPTATION/AURORA 41 (Eirka Katalina Pasztor, 1988, Hungary, 7:18min); HOLIDAYS IN EUROPE (Didier Bay, 1992, France, 7:30min); DEKLICA Z ORANZO/THE GIRL WITH AN ORANGE (Marina Grzinic and Aina Smid, 1987, Yugoslavia, 9:35min); ATUDE (Helmut Stadlmann, 1988, Austria, 2min); DE APPEL-ETERS/THE APPLE-EATERS (Yvonne Oerlemans, 1988, Netherlands, 7min); FLAMINGO'S BLOW — NEUN VIDEOBILDER ZU ALLERLEI LUST/FLAMINGO'S BLOW — NINE VIDEO-SCENES ABOUT ALL KINDS OF LUST (Ernst Jurgens, 1988, West Germany, 6:45min); PERILS (Abigail Child, 1987, USA, 5min); ALICE AND LENA/A WORK IN PROGRESS (Mary Patierno, 1988, USA, 14min)

Some publications related to this event:
March and April, 1991 - 1991

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from Jan. 10, 2020
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Sarah Sutton
Knots and Pulses

This exhibition by Ithaca-area artist Sarah Sutton will feature a series of monochromatic oil paintings that combine representational imagery with distortions and abstractions that create scenarios in flux. They are essentially landscape paintings, but Sutton's treatment of the landscape toys with its sense of space and the notion of the built vs. the natural environment.

Katie Bell
Abstract Cabinet

Katie Bell’s exhibition is a site-specific installation conceived of as a one-act drama starring anonymous artifacts. Functioning like a theatrical set, the gallery holds static characters that reference the interior architecture of corporate and commercial spaces. Sculptural objects are often fractured or untethered to a contextual structure. Functioning as a whole, the individual artefacts are a nod to players on a stage, held captive in space and time.