Media Arts Program

Saturday, January 28, 2006


Presented at:

Hallwalls' annual two-day festival of new experimental films, videos, performances, web-based work, and sound art.

Elka Krajewska
(1:31 min. video, 2005)

Annie Langan & Monica Duncan
FEMALE COMMUNICATION (6 min. video, 2005)
A video-based work that revisits the contribution woman have made to the field of technology as telephone operators. Traditionally male-dominated, the telecommunications and electronics industries present histories that typically highlight the achievements and inventions of men to the neglect of womenÍs roles in shaping these fields. The artists pay homage to their female predecessors. Æ Maiza Hixson

Jesse McLean
JAWSWIPE (3:30 min. video, 2005)
A camera-less animation project composed entirely of over 5,000 default video transitions and computer generated color mattes. The variety of color fields combined with constant transitioning allows for creative play with abstract forms and produces strobing effects that ultimately lead the viewer towards anxiety.

Nick Golebiewski
GEARS FOR FEARS (5 min. video, 2005)
An animated history and explanation of one of the worldÍs largest and longest running peaceful rallies, Critical Mass. On the last Friday of every month in NYC, and throughout the world, hundreds of bicyclists gather in a central location to cycle as a group though the streets, as a symbol of what the streets could look like.

Eric Fleishauer
PERFECTION (2:30 min. video, 2004)
Video as a communication tool is very versatile. It can be adapted in many ways to suit oneÍs needs. Through editing, any number of techniques can be used to restructure time and manipulate reality allowing for more control over how something is seen, and interpreted, by others. Here video effects are used to enhance an individualÍs appearance in an attempt to become more attractive in the eyes of an unrequited love.

Derek Taylor
TRAVELOGUE #7 (2:45 min. video, 2005) is the second in a series of personal travelogues that contrasts the precise and the ambiguous, and explores ideas of dislocation, geographical space, and ways of looking through the repetition of sound and image.

Christopher Becks
Pan of the Landscape (10 min. 16mm, 2005)
"...uses gorgeous Brakhage-like painting on film to un-Brakhage like ends: spectacular skies combine with the slow, mechanical movement of a silhouetted form to produce a biting melancholy, as if Becks is mourning the filmÍs removal from the world it glimpses." - Fred Camper

Nicholas Economos
PANGEA (3:24 min. video, 2005)
This work reflects a life-long interest in the ways things work and the systems that seem to make sense of them. My practice arises from a reflection on physical forces, machines, and corporeality, and BatesonÍs notion of seeking the patterns that connect. I put myself in the position of being suspect of both magical thought and the authority of science while attempting to uncover something about the relationship of the named world and the real.

Seon Hyoung Kim
BLUE WATER (4:51 min. video, 2004)
Part documentation of a kind of ritual, this video deals with an emotional state involving the color blue and water. Raining, falling tears, dropping water, drinking, and floating in water relates to the emotional state of depression. Depression is a step towards healing pain. Likewise, the blue water ritual heals oneÍs emotional depression.

Roger Beebe
(rock/hard place) (6:15 min. 16mm, 2005)
Morro Bay, California, is a little coastal tourist town known mostly for the Morro Rock, a volcanic plug that sits at the mouth of the Bay. In all the postcards of Morro Bay, the image is framed so that you canÍt tell that just beyond the edge of the postcard, maybe a few hundred yards from the Rock, is a gargantuan power plant with 3 towering smoke stacks. This film tries to restore the power plant to the frame, so that we can start thinking about what the juxtaposition of these two massive objects might mean.

Pamela Ybanez
PROPER PRONUNCIATION (3 min. video, 2005)
begins to investigate the role of language in society, language not only as a means of communication but as a way of shaping individual identity. What does it mean to be called an American or to consider oneself as an American?


Elka Krajewska
70 SECONDS (1:10 min. video, 2005)

Adam Grossi
RANDOM HOUSE (2 min. video, 2004)
Live performance, instructional video footage, and a two-word excerpt from an audiocassette are intertwined to illustrate the maddening voyage of a happy young couple searching for a place to call home.

Stephanie Rothenberg
TODAY, TOMORROW, EVERYDAY (2 min. video, 2004)
reflects on useless technologies and the spectacle of the new by inserting ambiguous and absurd ïïdevicesÍÍ into the daily narratives of everyday people.

Luke Lamborn
Houses is a part of the S.M.O. series which seeks to emulate the possibility of extraordinary but overlooked occurrences as if captured by a passing videographer. This series is informed by the writings of anthropologist Carlos Castaneda, who described rare moments when our normal perceptions of daily life would shift dramatically and without warning.

Ben Russell
LAST DAYS (5 min. 16mm, 2004)
The Valley of Fire. æOficina Chacabuco. æThe Calumet Industrial Corridor. æFrom the outskirts of Vegas to the desert ghost towns of Chile„a pinhole travelogue for the worldÍs end, for what was left behind.

Wieslaw Michalak
THE MEANING OF WALKING IN THE PARK (2:30 min. video, 2005) (North American premiere)
The video image is produced digitally using computer and set to music through a formal algorithm controlling the amount of pixilation in the video stream. The algorithm replicates some of the canon composition principles developed by Johann Sebastian Bach and employed in his collection of variations on the theme (an anagram of his last name) collectively known as The Goldberg Variations.

Wago Kreider
VIENNA IN THE DESERT (5 min. video, 2005) (Premiere)
After the apocalypse, memories of a lost passion surface in a deserted landscape. A man and a woman argue: Is our love real? Did it actually happen? The vast oceanic sea of their desire responds, and catastrophe is redeemed.

Robert Mead
Every year my father and I go fly-fishing. Last year, on the way up North, he told me he had a tumor. We didnÍt fish as much as usual; instead we drove up White Face Mountain. Up top, following him around as if I was a little boy, I began to feel like I was dreaming. I couldnÍt stop taking pictures of him, even when we did fish. This video is made from those photographs and sounds recorded.

Russ Nordman
BOIL (4:13 min. video, 2005)
Boil explores, through poetic comparison, the phenomena of a fish boil and its similarity to human interaction.

Aaron Valdez (sound design by Jennifer Proctor)
(dis)placement (5:30 min. 8mm, 2005)
A meditation on lost memories through the tail end discards of old 8mm home movies.

Ann Steuernagel
SIGH (8 min. video, 2005)
Sigh is composed from found 16mm footage and a variety of audio sources including short wave radio signals, birdcalls, the hum of insects and white noise. SIGH presents a theme and variations on the general idea of communication and juxtaposes our often-futile utilization of advanced audio technology with the simple act of listening.

Liss Platt
YOU CANÍT GET THERE FROM HERE (8:10 min. video, 2005)
Using the bicycle and the bike ride as a central metaphor and motif, this short experimental film is a kinetic scrapbook of being sixteen. Cacophonous, contradictory, and constantly on the move, this personal narrative is rife with burgeoning queer desire, adolescent rebelliousness, and family crisis. Ultimately, the film is about the irreconcilability of striving for and running from, of growing up and shutting down, of pursuit and flight.

Some publications related to this event:
January, 2006 - 2006

t: 716-854-1694
f: 716-854-1696

Tues.—Fri. 11-6
Sat. 11-2
Sun. & Mon. closed

from Jan. 10, 2020
through Feb. 28, 2020

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.