Sonic

Video/Multimedia Projects:

- Rome Alaeff, “The trouble with being right” & “Crybaby”.
Romeo Alaeff's work varies in execution, but as a whole "explores the experience of inhabiting liminal zones, those architectural spaces, psychological and physical states in which contradictions collide. In these unlikely spaces and fleeting situations, dissonant perspectives, beliefs, emotions, sounds and rhythms briefly coexist. For Alaeff, such unsettling ‘in-between’ states, where synthesis and separation are only infinitesimally differentiated, contain the potential for both terror and beauty. In practices that include documentary, video/ film installation, photography, drawing and music, Alaeff pirouettes on the thin line between fusion and confusion, gently pulling at the seams that hold the fictional fabric of reality in check." (From "Mobilizing Difference" by Nuit Banai)

- Natalie Bewernitz / Marek Goldowski, “Life at the witch trails“.
The project „Life at the witch trails“ is based on the idea of creating „living“ structures through sound. Video material from x/y-stereo displays will be used. These displays visualize the phase changing from 2 channel audio signals. As the sound source a especially visual composed composition will be used, which cannot
be made without its direct visualization. It contains the full on sound dependent motion dynamics. Complex „cathode ray objects“ will be formed, which are allowing a direct (not delayed) visual access to smallest details of the composition. The conversion of an electrical current in deflection of the stereo displays cathode ray happens on an analogue way consequently without a perceptible delay. The representation is not limited by a pictures-persecond time frame usually used in the TV and computer technology. The interconnection of the aural and visual senses arises in an immediate way and the visualization of sound obtains a new meaning. Three at a time successively tuned sound compositions and their visualizations will be produced in full HD resolution video warranting the highest possible detail richness.

- DennyDaniel. Artist uses art, history and literature as inspiration for his work. His film style emulates the consistency and flow of oil paint by using the video medium as his canvas. His images are less documentary and more energetic and  expressive. The influence of dance and music add rhythm and emotion to his videos. Instead of simple dialogue to convey a tale, he employs music, body movements and color to tell the story.  His current work is inspired by the tale of Anastasia and Russia during the Czars. By drawing on strong personal influences (he was born in New York City and is of  Russian descent) and by creatively using antique Asian marionettes, he is able to uniquely convey this classic story of the last Czar of Russia.                 

- Hasan Elahi, "Tracking Transience”. Artist is creating a multi-layered, multimedia art work with an unusual “collaborator:” the Federal Bureau of Investigation. The impetus for Elahi’s complex Creative Capital project, Tracking Transience: The Orwell Project, was an incident in 2002—just months after the September 11, 2001 attacks on the United States. After FBI authorities were falsely tipped that Elahi, who is of South Asian descent, could possibly be a terrorist, he was subjected to a lengthy investigation and repeated interrogation between June and November 2002. After nine consecutive polygraph tests, he was deemed unthreatening. Now that he’s no longer under immediate suspicion, Elahi is willingly documenting his every move, via digital photographs and related textual archives, posted on his website, http://www.trackingtransience.net. “I share everything with the FBI—and everyone,” he says. “Their currency is secrecy and access to information. Making information public devalues their currency.”

- Andrea Juan, “Antarctica III”. Upon receiving the John Simon Guggenheim Memorial Foundation Fellowship in 2005, Andrea Juan traveled to Antarctica four times to create the Antarctica Project. This multi-media work consists of photography, video and performance art produced from her recordings of images and sounds of the terrain, projections onto glacial walls and performances on ice shelves during storms.  Antarctica III, Methane created by Juan during her third trip, to the snow-covered plateau of Marambio gives the artist's perception of the fog, inaccessibility and loneliness of the frozen geography where toxic gases slowly invade its surface. Juan studied scientists' research on the effects of climate change on ice shelves and the appearance of methane gas, which increases the greenhouse effect.

- Katka Konecna,  Jarret Egan & Jarek Zajac “One Dance on Earth (Un Baile, Una Tierra)”  - Dance as Global Language, 2008. This video piece explores parallels among graceful moves of ballet dancers, ritual jumpers of African tribes and wild flamingos in constant motion on water surface. It is a travel journey between two continents and different species, yet there is no language barrier at all. We chose to celebrate the beauty of this planet through overlay of these three groups representing entirely different milieus and uniting them with one musical score.

- Eugene Rodriguez, FLOOD SERIES, Fallout, 2006. Eugene Rodriguez has a way with words: cutting to the chase, revealing what has been hidden, and interrupting conventional practices and belief systems. From the start, his focus has been on the Latino family, but in a way that stands out from other Latino visual and media artists, whose work often locates political resistance within cultural traditions. In Straight, No Chaser (1995), for example, Rodriguez combines the American avant-garde film (and Warhol in particular) with the Mexican telenovela in order to produce a stylistic hybrid suitable to his subject: redefining the traditional notion of the Latino family in order to account for gay desire, sexuality, and relationships.

- Amy Cohen Banker/Amy Kool and Nigel Dickie. The video work will demonstrate this universal will to create musical and visual beauty out of chaos and optimistically directs us to rejoice in the downtown artistic revival.  Amy Kool and Amy Banker direct you to look at their visual art and Nigel accompanies with sounds of NYC and a new composition. Cai Guo-Qiang says that forces of destruction are dialectically linked with creation and the only constant is change itself.  The wisdom that art can impart to those living in turbulent times may be this perspective.  Benign and terrifying eternity.  We all search for this deliberately and unconsciously. Cai Guo-Qiang says that forces of destruction are dialectically linked with creation and the only constant is change itself.  The wisdom that art can impart to those living in.

- Scotto Mycklebust Political Machine, 2008. New York artist Scotto Mycklebust, who has a reputation for severing up provocative artworks which challenges the senses of a political being in today's world delivers a thought provoking and dead-on point of view on contemporary American politics and the Iraq war with his new video work entitled Political Machine. Throughout the creative process, Mycklebust makes a conscious effort to exclude the "future viewer" in realizing his inspirations, preserving the novice of his original concept.  He brazenly admits that human beings are often incapable of interpreting anything but that which we perceive in our blind subjectivity, and, humbled before this realization, the artist believes that the true mystical allure of visual art is a joint experience, encompassing not only what an artist may give to a work, but also what the viewer will bring to it.

Miroslaw Rogala “NATURE IS LEAVING US” VIDEO.
VIDEO THEATRE OPERA, DVD.
 “Nature Is Leaving Us” Video Opera is an original work of experimental Video Theatre. 65 minutes, ©1989.
A live and pre-recorded video/multimedia presentation: 3 Videowalls (6’ x 8’ each), 48 monitors, 3 video
channels, 5 surround-sound audio channels, 15 slide projectors, dance, performance art, original electronic
score with live piano and vocal music, interactive remote-controlled devices (car/video camera, car/monitor
with video playback), 2 neon sculptures. Videotape adaptation; ©1989/1994, 26:40 minutes.
Designed, written, composed and directed by Miroslaw Rogala. Vocals, improvisation, and original songs by
Urszula Dudziak. Sound design and additional music by Lucien Vector and Richard Woodbury. Synchronized slide projections by John Boesche. Performers include: Urszula Dudziak (live vocals and improvisations); Amy Osgood with sons, Mary Ward, Brian Jeffery (dance); Werner Herterich, Lynn Book (performance); Frank Abbinanti (piano). Produced in cooperation with Swell Pictures, Inc., Chicago. Videowalls and supporting equipment provided by Electrosonic Systems.

And more video art by:

Christian Austin, Daria Marchek, Dmitri Bulnigin, Anna Frants, Frankie Hutton, Steve Jones, Kit Krash, Anna Kolosova, Olga M, Alexandra Lerman, Natalia Lyakh, Dmitri Shubin, Maria Sharafutdinova, Kirill Shuvalov, Srinivasan and Pawel Wojtasik, Jan Zajicek, Eva Kozanecka.