// aDifferent festival // Program 1 //
// An Eye for the Golden Way //
Friday, February 2nd, 2018
Woodland Pattern Book Center
720 E Locust St. Milwaukee, WI
Blessing 1 (2017), Erika Suderburg
1 minute 5 seconds, video
A portable blessing, which can be given to anyone anywhere as needed.
One in a series of ten.
Erika Suderburg is a filmmaker and writer. Her work has been exhibited in festivals, museums, on television, on the sides of big walls, on a hot air balloon, in festivals and in galleries including: the Pacific Film Archives-Berkeley, the Millennium Film Workshop-New York, Capp Street Projects-San Francisco, the Museum of Modern Art-New York, The American Film Institute-Los Angeles, the Museum of Contemporary Art-Los Angeles, Kunstlerhaus-Stuttgart, Grazer Kunstverein-Austria, the Collective for Living Cinema-New York, Fukai International Video Biennale-Japan, New Langton Arts-San Francisco, International Video Festival-Bonn, Mix Mexico-Mexico City, FilmForum-Los Angeles, and The Getty Museum-Los Angeles. She has written art, performance, television and film criticism over the past thirty years for many publications including Xtra, AfterImage, ArtWeek, Art Issues and The New Art Examiner. She is co-editor with Michael Renov of Resolutions: Contemporary Video Practices, co-editor with Ming-Yuen S. Ma of Resolution 3: Global Networks of Video and editor of Space Site Intervention: Situating Installation Art, all published by the University of Minnesota Press.. She has worked as a curator for The American Film Institute, KCET PBS, Los Angeles, OutFest, Filmex International Film Festival, Los Angeles Contemporary Exhibitions (L.A.C.E.), and The Women’s Building. Her work is distributed and published by System Yellow in Los Angeles and V-Tape in Toronto. She has been on the faculties of the California Institute of the Arts, Art Center-Pasadena, the Milton Avery Graduate School of the Arts at Bard College, New York and the Otis-Parsons School of Art & Design in Los Angeles. She is currently a faculty member at the University of California, Riverside located in the Department of Media and Cultural Studies.
The Sky Isn’t Far Away For One Who Has Wings (2015), Anna Kipervaser
5 minutes 40 seconds, video
“She was waiting for that pure-white bird to return. The one her father saw in all his dreams from the day Zahwa learned to crawl, circling in the sky above the old she-falcon that had her wings trussed up her back.”
Anna Kipervaser is a Ukrainian-born multimedia artist. Her work spans multiple disciplines including experimental and documentary moving image works in both 16mm film and video. Anna's work has screened at festivals, in classrooms, galleries, microcinemas, basements, and school houses! She has received a number of awards for her moving image work and was recently an artist-in-residence at LIFT in Toronto where she completed a new 16mm film. Anna is also painter, printmaker, curator of exhibitions, programmer of screenings. She currently teaches moving image courses at Duke University and lives in Durham, North Carolina.
A night, stars (2017), Muriel Montini
5 minutes 50 seconds, video
There would be the time of the dead and the time of the living. Sometimes the dead would come back to tell their story and remind Men that they too are mortal. And the two worlds would brush against each other.
Muriel Montini studied cinema. She lives and works in Paris. Since 2000, she has made several movies screened in different international important institutions (Musée du Jeu de Paume, Anthology Film Archives New York, ImagesPassages...) and festivals (Hamburg International Short Film Festival, FID de Marseille, Rencontres Paris–Berlin, European Media Art Festival Osnabrueck...). She currently works on different projects.
Distance (2017), Sharon Whooley
13 minutes 30 seconds, 16mm to video
Distance is a meditative film about time and co-existing temporalities in relation to a specific place, Glenbride in Wicklow in Ireland. The film is told from three different perspectives, that of a woman, a house and a mountain. “Thirty years in the lifetime of a mountain is nothing, the flicker of an eyelid.” Nan Shepard
Sharon Whooley is a filmmaker based in Ireland. Her films are short experimental works concerning ideas of time, place and memory.
Katagami (2017), Michael Lyons
3 minutes 15 seconds, Super8
This stop-motion animation was made by photographing and re-photographing antique kimono resist-dyeing stencils in positive and negative. A joyful play with optical illusions, small variations in the repeating pattern elements generate apparent motion. Photographed on Super 8 and hand-developed using matcha (powdered green tea).
Michael Lyons (Canada/U.K.) is a researcher and artist based in Kyoto, Japan.
The Stream VII (2016), Hiroya Sakurai
5 minutes 56 seconds, video
In the man-made waterways of rice paddies, the water in nature must follow artificial rules. In that way, nature is made abstract, giving rise to a new form of beauty distinct from the natural state. The theme of this work is the liveliness of the water as it follows the man-made course.
This work is a ballet using the sound and the movement of the algae and water. With the waterway as the theater, I filmed the choreography of the algae that flows in the water.
I shot this with a waterproof camera on a slider dolly . Using this device I created a simulated experience of walking through the waterway for the viewer. This time I focused on the expression of the movement of the sand in the waterway and the reflection of the surface ripples on the waterway's inside walls.
Sakurai was born in Yokohama,Japan in 1958 and graduated from University of Tsukuba [ M.F.A.] in 1985. Sakurai has taught at Seian University of Art and Design since 2012 as professor. Exhibitions include The 4th Sydney Biennale (1982), Postwar Art in Japan, The Getty Center, Los Angeles (2007), 62nd Melbourne International Film Festival (2013), 58th San Francisco International Film Festival, 13th International Festival Signes de Nuit, Paris (all 2015). Sakurai’s work can be found in the collections of the National Gallery of Canada and J.Paul Getty Trust. Grand Prix of Locarno City at 4th International Video & Electronic Art Festival, Locarno,Switzerland(1993), Asolo Award the Best Videoart Work at 35th Asolo Art Film Festival,Italy, The Best International Experimental Short Film - Eisenstein Award at 12th Blow-Up Arthouse International Film Festival,Chicago.(all 2016)
Grand Prize at 39th Tokyo Video Festival 2017 in Tokyo.
2nd Prize of FILE Video Art Award at the 18th FILE 2017 in São Paulo.
Special.Jury Prize at 7th International Videoart Festival of Camaguey in Cuba.(all 2017)
Miss Park Project #1 (2017), Yongchu Suh
7 minutes 35 seconds, animation
Miss Park Project #1 is the first in a series of works that conjure the women from modern Korean history through the medium of animation.
The term “animation” originates from the Latin word anima, which means “breath,” or animatus, which means “breathing,” suggesting that animation is a magical medium that breathes life into that which is lifeless or dead. Miss Park Project #1 uses the medium of animation to inject life energy into old, faded photographs of women from the past and summon them to the present day.
The project utilizes a method of collage and décollage with archival photographs. First, the images of women in the photographs are cut out by hand and re-photographed. White paint is swept across the cut-out image, and it is photographed once more. Then the next archival image is added, and this process of collaging, painting and shooting is repeated. The images of the women are gradually built up as if re-echoing their manifestation over time. Finally, the built-up image undergoes a process of décollage. The pieces are removed in an intuitive way, becoming torn and frayed in the process, and a wholly new image is uncovered. Each step of the process is captured as an individual frame and combined in an animation. Here, the dualistic division of life and death and the linear sense of time disappear. These animated footages of the deconstruction and reassembly are montaged on a multi-screen installation in the final exhibition stage.
Miss Park Project #1 was created through the handling, ripping, painting, and tearing of old photographs in an analog process that recalls a performative ritual. It is at once a tribute to my mom, who lived through tumultuous times as a daughter, sister, wife, and mother, and a kind of carnivalistic act of sympathy for the myriad lives of women that cannot be singularly symbolized and defined. I hope that the visual and auditory imagery with its many layers and textures create an involuntary and indefinable sensory experience which transports the viewer to a surreal (or unreal) space and time.
Yongchu Suh creates essay films using animation techniques as a basis. Her work, which is both rough and intricate like a tangled and quilted tapestry, gives voice to the human experiences of a nondeterministic and often contradictory life, being conscious of the socio-political ethics that exist at individual and collective levels. She moves freely between 16mm film, video, and digital media to create moving images and utilizes a variety of animation techniques including paint on glass, sand art, scratch boards, charcoal, collage and décollage. In the exhibition stage, she creates multi-screen film installations, interactive media art, live performances with mobile transmissions, and theatrical media projections that depart from conventional modes of production and presentation. Suh's recent interests lie in the performativity and sensory experiences of animators who are the creators (and laborers) in the production of animated films. Within this context, she explores the manner in which animations are produced and ultimately displayed to unearth the trace of the animator's performative practice and creative process.
Her works have been internationally invited in over 50 festivals and art shows, such as Hammer Museum, Seoul Museum of Art, Platform-L Contemporary Art Center, Korean Film Archive, Hiroshima International Animation Festival, Fantoche International Animation Film Festival, Seoul International Cartoon and Animation Festival and Seoul International New Media Festival, etc.
Suh has received her PhD degree in Animation Theory from Chung-Ang University, MFA degree in Experimental Animation & Integrated Media from California Institute of the Arts, and BFA degree (Graduated with Honors) in Animation from School of Visual Arts in New York. She is currently teaching at Korea National University of Arts.