inthemeta
Friday, December 2, 2022
7:00 PM
Woodland Pattern Book Center
720 E Locust St | Milwaukee, WI 53212
Capacity is still limited to minimize the risk of exposure to Covid-19. Please reserve your seat by visiting Woodland Pattern’s website, or by calling in.
If you are unable to make the screening, you can still support Woodland Pattern and all that they do by browsing and making a purchase off their online bookstore!
Birdsaver Report Volume 2
Heehyun Choi • 11 min 29 sec
Synopsis
Wild birds continue to collide onto glass walls, and humans collect, measure, and analyze to prevent it. Various attempts to observe, perceive and represent the reality are prevalent in the history of art, film, and media. Do human vision and bird vision lie in the same world? Are we able to see the same image as the other?
Artist Bio
Heehyun Choi is a moving image artist based in Los Angeles, CA, and Seoul, South Korea. Choi’s recent works are grounded on the interest in discussing cinema from a structuralist viewpoint and exploring the materiality and virtuality of image. Her films have been screened at festivals including 25 FPS Festival, Vienna Shorts, Onion City Experimental Film+Video Festival, Seoul Independent Film Festival, and Ann Arbor Film Festival where she received Mariam Ghani Juror Award.
IFSR
George Jasper Stone & Suzannah Pettigrew • 3 min 50 sec
Synopsis
IFSR (I feel so relaxed) is a testimonial of a user’s experience in a speculative virtual reality spa of the future. A recollection of personal memory and fantasy treatments inform the digital code that creates the 3D visuals illustrating the user's energetic response. The voiceover script describes simulated spa treatments with a soundscape by musician cktrl that guides the viewer. IFSR is a wellness forecast of how we could embrace and experience relaxation, rejuvenation and restoration in the future.
Artist Bio
Suzannah Pettigrew is a multidisciplinary artist living and working in London. Pettigrew's practice explores the collective / singular experience and exchange between online / offline realities in post-human society, examining our socio-dependant relationship with technology and our evolution with it. Adapting a multitude of mediums including video, photography, performance, text, installation to interrogate the systems, imagery and language we use to communicate and receive information in our contemporary landscape. Pettigrew's practice consists of autonomous and collaborative works, including ongoing posthumous projects.
George Jasper Stone is a digital artist based in London, UK. Their practice is often collaboratively based, working with musicians, artists, live performance, contemporary dance, set design, photography, installation, fashion print and graphic design. They propose alternative virtual spaces which often call on participation into worlds that interlink fantasy and reality. Their work is often characterised by constructing digital scenes which transcode data from physical environments to digital experiences. They aim to create a dialogue to accessible, detailed and fantastical semiotics.
My Mulholland
Jessica McGoff • 15 min 18 sec
Synopsis
A desktop documentary investigation of what it means to watch David Lynch films as a pre-teen and get lost in the image regime of the internet.
Artist Bio
McGoff is a video artist interested in exploring the connection between cinephilia, online culture and digital aesthetics. Her video work has been shown at the International Film Festival Rotterdam, Las Palma de Gran Canaria Film Festival and the Glasgow Short Film Festival. Her critical writing has been published in Sight & Sound, Cinemascope and Another Gaze.
Geothermal
Brit Bunkley • 9 min 5 sec
Synopsis
This video presents various geothermal-like events from vape clouds to instances of geothermal hot spots rendered as geothermal activity. Some are real sites, others are fictional.
“Used for energy production Geothermal fields produce only about one-sixth of the carbon dioxide that a relatively clean natural-gas-fueled power plant produces. Binary plants release essentially no emissions.”
The music, by Brendan Bonsack, “Tension and Discord” courtesy of Soundsnap, is mixed into the audio soundtrack
Artist Bio
Brit Bunkley is a New Zealand-based artist and videographer whose practice includes the construction of large-scale outdoor sculpture and installations as well as the creation of ‘impossible’ moving and still images and architecture designed using 3D modeling, video editing, and image editing programs.
Bunkley, an NZ/USA citizen, has also been a recipient of a National Endowment for the Arts fellowship and the Rome Prize Fellowship in the USA.
International screenings include the White Box gallery in NYC and the Rencontres Internationales Paris/Berlin. In 2012 Bunkley was an award winner at the Moscow Museum of Modern Art for the «Now&After» Festival. He took part in the Athens Digital Arts Festival and File Sao Paolo 2017, 2018, and 2019 and Kasseler Dokfest also in 2019. Bunkley screened his video, Ghost Shelter/6 at The Federation Square Big Screen, Channels Festival 2017, Melbourne, and at the Oberhausen Short Film Festival, Oberhausen, Germany in 2018, Docfest Kassel 2019 and Jihlava IDFF 2021 and 2022, Czech Republic.
Recent group exhibitions include the “Stories of Rust”, Tauranga Art Gallery, Tauranga, NZ, and “Green Around'' in Taipei, Taiwan in 2019, the Auckland Botanic Gardens 2022 and “Sculpture on the Gulf” 2022, Auckland, NZ, the “2021 National Contemporary Art Award”, Waikato Museum, Waikato, NZ and “Visions in the Nunnery”, Bows Art/Nunnery Gallery, London in 2022.
Recent solo exhibitions include Solo exhibitions include the Sarjeant Gallery, Whanganui, New Zealand in 2018, the Institut für Alles Mögliche/Stützpunkt Teufelsberg, Berlin 2019, The Rabbit Room, Napier, NZ 2022 and at Scott Lawrie Gallery, Auckland New Zealand 2022.
Monument
Işık Kaya • 11 min 29 sec
Synopsis
“The dictatorship of the automobile—the pilot product of the first stage of commodity abundance—has left its mark on the landscape with the dominance of freeways, which tear up the old urban centers and promote an ever-wider dispersal.”
Guy Debord, The Society of the Spectacle
Monuments show a world that seems alien, although they spring from the most common experience one can have in Southern California: driving a car. These infrastructures of speed and power form gigantic concrete layers that dominate the landscape. They are the “accidental” monuments of the economic system we live in: a system that ignores the environment and human needs in order to provide itself with maximum efficiency.
The fossil fuel era has been in crisis for a while now, and it seems like slowly but surely the system we’re living in is collapsing. Given this situation, the series takes on an ambivalent quality. On the one hand, they seem like the echoes of the promise of a better future, and on the other hand, like the concrete prison we have built for ourselves.
Artist Bio
Işık Kaya is a lens-based media artist whose practice explores the ways in which humans shape the landscape. She focuses on traces of economic infrastructures to examine politics in built environments and how humanity’s dominance over nature finds its manifestation in everyday architecture. In her work, she erases the physical distance between existing structures and creates dense compilations of industrial fragments to construct new landscapes that look both alien and familiar at the same time. By framing her subjects exclusively at night, she aims to accentuate the artificial and uncanny qualities of urban environments.
Işık Kaya holds an MFA degree in Visual Arts from the University of California, San Diego, and a BA degree in Photography & Videography from Istanbul Bilgi University, where she studied with a full scholarship. She has participated in exhibitions at Kunsthalle Basel (Switzerland), Kunsthalle Darmstadt (Germany), Royal Geographic Society (UK), CEAAC (France), Galerie de L’Escale (France), CICA Museum (Korea), and San Diego Art Institute – ICA San Diego (USA) among others.
Save Yourself
George Jasper Stone • 4 min 0 sec
Synopsis
Save Yourself (2022) is a 4 minute CGI film of a digital sculpture.
Referencing the 1882 marble sculpture, ‘The Kiss’ by Auguste Rodin. ‘Save Yourself’ is composed of two mannequin figures, without hands or facial features, overlayed in a textural pattern. The sculpted forms are placed on a white calcified rock. Ambient lights rotate around the sculpture, shadowing the figures as the point of view follows the slow movement.
Presenting forms that emulate the life-like to the uncannily digital, the work puts forward a humanistic response to sculpture in a virtual environment. The CGI film sidesteps a set narrative, aiming to create a dialogue that is based upon the viewer's experience. Traces of anecdotal references within the CGI film are present, setting a direction though these characteristics are obscured/veiled to enable an openness of interpretation.
Artist Bio
George Jasper Stone is a digital artist based in London, UK. Their practice is often collaboratively based, working with musicians, artists, live performance, contemporary dance, set design, photography, installation, fashion print and graphic design. They propose alternative virtual spaces which often call on participation into worlds that interlink fantasy and reality. Their work is often characterised by constructing digital scenes which transcode data from physical environments to digital experiences. They aim to create a dialogue to accessible, detailed and fantastical semiotics.