SCREENINGS

Wednesday March 6, 8pm
Artists’ Television Access
San Francisco

Moss Index newsletterGulp / Alyssa Lempesis

Stop-motion animation inspired by what cannot be seen with the naked eye

KU / Tomáš Roček

Short film KU is based on a story about unusual fruit which looks like a fish, flies like a bird and can be found only in Khazaria, nation incorporated into Russia around 10th century. Ku comes from Dictionary of Khazars, fictitious book, written by Serbian writer Milorad Pavic. Film is based on a dialog of two creatures, which are imagining how is this fruit like, how does it taste and where it can be found. Dialogue opens questions about identity, mystery of life and environment where we live.

Die Brucke / Meike Redeker

The film introduces an adult’s look through a toy camera as a whimsical performative act, doomed to failure. Starting off with a „Hello Kitty“-camera, the film presents the innocent perspective of a child, as well as the environment, through a variety of cheap consumer products.

The filmmaker extracts her story from her direct surroundings: Relentlessly and naively, she approaches random people in the inner city, asking for help on her quest to save the animal world. The narrative unfolds through these spontaneous encounters.

The protagonist’s absurd attempts to save the animals prove to be as irrational as the way in which the world of adults handles environmental issues. Consuming amounts of plastic-packed ice cream seems the best solution to obtain the natural resource of wood, hidden inside each treat, and necessary to build the bridge which is so urgently needed.

It is so difficult to built a bridge when no one has time to help. And the ice keeps melting and melting.

Gradual / Jerónimo Veroa

_the landscape as a container

of limits and dichotomies

_a world that intends to return to its origin

sheltering in geometry

censoring the anthropic

trying gradually

regain their naivety

The Toby Tatum Guide to Grottoes & Groves / Toby Tatum

Enter a landscape of curious subtle enchantment, where sentient shadows brood and magic shines resplendent in streams of illuminated water. The Toby Tatum Guide to Grottoes & Groves was filmed over several months during repeated visits to the woodlands near the artist’s Hastings home. The film represents his deepest engagement with nature and its hidden mysteries.

Lighthouse / Alican Durbaş

The single channel video “Lighthouse” is composed of stock videos divided into 441 grid screens where each grid reveals a different motion on a loop of 30 secs. The work invites its audience to ponder on the relationship between looking into a landscape and watching a video in a constant loop.

Debug Landscape / Jerónimo Veroa

A reality / virtual like a videogame without a command

An interrupted visual / textual narrative,

that tries to debug the landscape of the historical

Machinima made with screenshots of the video game Dear Esther (The Chinese room,

2012) and The indiegame Memory of a broken dimension (Prince of Arcade, 2012).

Confound Acts / Katina Bitsicas

Confound Acts is a three-channel video that features anonymous yet beautiful nature footage based on the murder and dismemberment committed by a childhood friend. The metaphorical symbols of a red sheet and white plastic bag serve as reminders for the violent act that occurred, while the woods stand as a witness to this violent crime. The audio for this piece is an interview of a family member and courtroom audio. Through the analysis of childhood memories as well as court evidence, I aim to gain clarity in these acts as well as relay the effects this type of event can have on the families involved, who in turn become victims themselves.

Topography of the Unseen / Volker Kuchelmeister

Topography of the Unseen is an experimental visualisation created from a high fidelity Point-Cloud model of the historical significant convict-era Parramatta Female Factory Precinct in Western Sydney. This former child welfare institution and its unsettling myth and memories are depicted as a series of deconstructed scenes, unique in their representational aesthetic that supports the intangible and mutable nature of memory.

Methane Ghosts / William Randall

Experimental documentary. Quiet landscape falls into an ecological fever dream as past and future go up in smoke.

Glacies / Pierre Villemin

As old paintings, landscapes are reflected in frozen ponds.

 

 


Thursday June 28, 8pm
Artists’ Television Access
San Francisco

Moss Index transp banner image

vibrations / Camila Ausente

Vibrations is an exploration of the relationship between technology and nature, using light. This piece starts as a positioning before some biological engineering experiments, and aims to plant two questions: – What if technology allowed us to not dominate nor “enhance” nature and instead offered itself as a tool to make it visible? – If our relation of division (power) with nature is born from language, would not it be a way of subverting this by giving a space to everything that escapes from it, to the unspeakable?

Pink / Gili Avissar

In static frames seen from above, you can watch my body immersed in thick paint. In different stages of the endless cycles I attempt to fornicate “insects” of my own image, as though in a wild nature film.  As the body undergoes some sort of Kafkaesque metamorphosis in attempts to transform it into art, I strives to unite with the wild and the unexpected.

Forest / Peter Barnard

A moving image work depicting a montage of forest environments created in CGI contrasted with found footage appropriated from the world wide web showing the the physical process of deforestation in various stages. The film presents a lyrical interweaving of 3D imagery created by collective memory intercut with videos showing actions that have a direct impact on the real world.

Orange Band / Sarah Bliss

A contemporary landscape that explores the posthuman and post-industrial, searching out new ways to engage the body on the land. By engaging the camera apparatus as a literal extension of my body, I bridge interior and exterior worlds, blurring the edge of what is “me” and what is “outside me.” Psychogeography made palpable.

Spinneret / Natasha Cantwell

Spinneret is part of a series of film works that lift the veneer of civilized humanity and social conventions, to reflect on the animal instincts we pretend we can control. In particular, this piece looks at displays of bravado and intimidation.

Mandres / Cassandra Celestin

Traces of a body draw a camera across a landscape of stone and walls.

behavior /in the/ vector / DROUGHT SPA (alex cruse & Kevin CK Lo)

The number of neurons within a typical honey bee or ant colony is within the same order of magnitude as neurons within the typical human brain.

Anthropological noise pollution disturbs electromagnetic fields.

Physicists suggest that virtual photons–the constituent units of an EMF–are the essential carrier units of consciousness.

Mycelium has been called the ‘earth’s natural internet.’

DROUGHT SPA’s ‘behavior /in the/ vector’ looks at these claims around the communications, structures, chemicals, sounds, and complex interactions between self-organizing, intelligent units.

Decomposition #1 / Adrianne Finelli & Bryan Boyce

A decomposing homage to fungi, the king of kingdoms, fueled by trash, pollution, death and disaster.

The multi-sensory Impossibility of a Worm / Jean Sadao

The work is composed in the first part by 9 images projected simultaneously in one of the 9 frames in which is divided the screen. The work seems to raise some questions about communication, the role of the senses and their possible effects: What would happen or how would develop or not the individual and the society if we can communicate differently or if we use other senses opposite to those already codified and adopted? In this perspective, the artist tries to call into question the conventional system of communication which stands at the base of our social structure and consequently affects the world around us. Therefore, the title ironically emphasizes the restricted use of other forms of alternative contact by man.

AST*RISK / Kotaro Tanaka

We live under various regulations.

Procedures to defend rights of another occur strange phenomena.

The more we hide something, the more we want to see it.

Another meaning occurs by hiding something but it doesn’t occur from something hidden, it occurs from the activity to hide something.

sloping suburbia / Jenna Anne Turner

“Paranoia about nature, of course, distracts from the obvious fact that Los Angeles has deliberately put itself in harm’s way” (Ecology of Fear: Los Angeles And The Imagination Of Disaster by Mike Davis, 2014)

Floods, fire, fast food. As this stop-motion suburbia encroaches upon nature, disaster strikes again and again.

As we face the consequences of global climate change and overpopulation, the catastrophic effects of natural disasters upon the human environment have become an almost constant reality. Suburban communities are often the most vulnerable to disaster, installing a tight density of rapidly-built, flammable homes and businesses which sprawl towards floodplains, hurricane paths and fire-prone areas. This stop-motion animation is a moving collage, a time-lapse of suburbia as it is continually affected by “acts of God” and then rebuilt.

Animal Cinema / Emilio Vavarella

Animal Cinema is a film composed of fragments of videos of animals operating cameras. All cameras were stolen by animals who acted autonomously. These video materials, downloaded from YouTube between 2012 and 2017, have been reorganized in Animal Cinema as a constant unfolding of non-human modes of being.

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