Media Arts Program

Saturday, January 28, 2006


Presented at:
Squeaky Wheel

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

AFTER PARTY: Saturday, January 28, 2006 @ 10pm
at Squeaky Wheel, 712 Main St.

Headless Baby + 3
Stephanie Walter Stefani Walter Stephanie
(or The Work of Art in the Age of Mechanical Reproduction)

(ongoing multimedia performance)
A multimedia performance in 15 acts adapted from Walter BenjaminÍs famous text. SWSWS features paintings, auras, magicians, films, trees, celebrities, spoons, flashing lights, propaganda and a plethora of artistic reproductions. Experience the social, psychological and physiological shifts mechanical reproduction has had on art and society!

Stephan Apicella-Hitchcock
DESIRE LINES (6:17 min., video loop, 2005)
Desire Lines is comprised of the scrolling end credits from films in the artistÍs collection. The title of this piece refers to the landscape architecture term "desire lines" where the placement of concrete sidewalks is established by the organic paths worn into the landscape by foot traffic.

Gregg Biermann
THE HILLS ARE ALIVE (7:18 min., video loop, 2005)
An iconic scene from the beloved Hollywood musical The Sound of Music is transformed through a contrapuntal progression of split screen effects. The resulting mosaic reveals haunting melodies and reverberating dissonance.

Brandon Blommaert
N/ or DIM SKITTLE (7 min., sound, 2005)
N/ or Dim Skittlecontains a series of short pieces created over the last year. For most of the pieces, the original sound source is simply a sine wave.

Jax Deluca
Sometimes two... is an electronically processed sound piece comprised of voice, piano, didgeridoo, and other various recordings. Close your eyes and let your ears pick out each layer of tone and texture just as your eyes would for a painting. Visualize each layer of sound as it stacks snugly into the other, building the structure of a multi-dimensional reality within an imaginary space.

Stephanie Maxwell in collaboration with Peter Byrne and Allan Schindler
SECOND SIGHT (5:30 min., video, 2005)
Second Sight presents a passage through a mist in which perception is ultimately clarified and sharpened rather than obscured. The computer-generated music features cyclical returns of a nucleus of core ideas, which alternate with a continuous progression of new ideas.

Mike Olenick
(5:57 min., video, 2005)
For a Blonde... is a karaoke style video that re-enacts a scene from HitchcockÍs film Vertigo. The artist plays the role of John Ferguson at the moment where he re-discovers his Madeleine. "Karaoke" subtitles allow the viewer to perform Kim NovakÍs part and complete the scene. There is much suspension of disbelief.

Julie Perini
IÍM TRYING TO LEARN THE WORDS (5 min., video, 2005)
The artist tries to memorize the lyrics to a song that was popularized by Martha CoolidgeÍs 1983 film Valley Girl. Subtitles allow viewers to begin to understand the lyrics as well.

Rozi Peters
DAVID DANCES (7 min., video, 2005)
Dance one: David dances around them and they ignore him. Dance two: This dance displays the complicated technique of movement without musical suggestion. Dance three: Rosalind is introduced to the floor where she prompts David in poorly timed footwork. Dance four: You will note that there can be dance without movement. Dance five: In a tour de force finale, David dances out of time without pause or hesitations for the entire song.

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.