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3:30pm – 3:45pm
Temporary Distortion/Kenneth Collins – Only the Hand That Erases (US, 2016)
14 minutes | Segal Theatre (70 seats)
English
Purely imagery and yet pure of image, moments previously captured on celluloidare erased and revisited as ideas inside the mind.
This film was created specifically for the Segal Center Film Festival on Theatre and Performance 2016.
Photo courtesy of the artist
Temporary Distortion explores the potential tensions and overlaps found between practices in visual art, theatre, cinema, and music. The group works across and between disciplines to create performances, installations, films, albums, and works for the stage. Temporary Distortion’s recent work has focused on long-duration, installation-based performance featuring live music, where spectators are encouraged to freely come and go throughout all‑night events. www.temporarydistortion.com
A toxic American cocktail of death, desire, technology, and television. Jesurun’s four screen mixdown of the original 2000 performance launches four “characters” and twenty-two shifting POVs through the unforgiving eye of one virtual actor. During the presentation of an original four screen live edit of the 2000 piece, that audience experienced this work similarly on four screens. The secluded live performance was transmitted and edited live to four screens in the audience area. There were four live actors and one “virtual actor”–a computerized camera POV with attached “character” voice.
Featuring Valerie Charles,Peter Crook, Mary Ewald, Peter Sorensen, and Jojo Abaoag. Music by Black Beetle And Rebecca Moore.
Photo courtesy of the artist
John Jesurun is a writer, director, and media artist. Since 1982, he has provided text, direction, and design for over thirty pieces including: the 61 episode Chang in a Void Moon, the media trilogy: Deep Sleep/White Water/Black Maria, Everything That Rises Must Converge, and Snow. Fellowships include: NEA, MacArthur, Rockefeller, Guggenheim, Asian Cultural Council, and Foundation for Contemporary Arts. He has been published by TCG, Sun & Moon Press, and NoPassport Press. His work Shatterhand Massacree and Other Media Texts has been published by Performing Arts Journal. Past projects include Faust~How I Rose/BAM, Philoktetes/Soho Rep, Firefall/DTW, Stopped Bridge Of Dreams/La Mama, Jeff Buckley video Last Goodbye, and Harry Partch’s opera Delusion of the Fury/Japan Society. His webserial, Shadowland was shown live at La Mama and streamed on Vimeo.
Photo courtesy of the artist
5:15pm – 5:30pm
AutomaticRelease/Shaun Irons & Lauren Petty – Why Why Always (US, work in progress)
15 minutes | Segal Theatre (70 seats)
English
Why Why Always is a live, multimedia performance installation that re-envisions Jean-Luc Godard’s seminal film Alphaville. This multi-platform project offers a dynamic interplay between theater, dance, installation art, technology, and media by integrating live performers, multi-screen projections, live-feed cameras, sculptural set elements, and a vibrant tapestry of sound. These short films, inspired by Alphaville, feature Jim Fletcher as the character Lemmy Caution. These sequences will be integrated into the live performance.
Shaun Irons. Photo courtesy of the artist
AutomaticRelease (Shaun Irons & Lauren Petty) is a Brooklyn based artist duo who make multidisciplinary performances, multimedia installations, experimental films, documentaries, and video scores for live performance. They recently presented a performance installation called Keep Your Electric Eye On Me at HERE, NYC and completed a documentary about ERS called Standing By. Their work has been seen in diverse locations in New York and internationally including BAM, Abrons Art Center, The Chocolate Factory, PS 122, and Anthology Film Archives. Shaun and Lauren have received numerous awards and residency fellowships such as NYSCA, NYFA, MacDowell, Yaddo, and The Bogliasco Foundation. www.automaticrelease.org
Photo courtesy of the artist
5:30pm – 6:00pm
Daniel Fish & Jim Findlay – The Source (US, 2014)
8 minutes 11 seconds | Segal Theatre (70 seats)
English
This video is based on the oratorio with four channel video, The Source with music by Ted Hearne and text by Mark Doten that had its World Premiere at BAM 2014 NEXT WAVE FESTIVAL. The Source concerns Chelsea Manning, the U.S. Army private responsible for leaking hundreds of thousands of classified documents to WikiLeaks. The text is an assemblage of Twitter feeds, chat log transcripts, court testimony, and Iraqi and Afghanistan war logs. For this piece, Jim Findlay and Daniel Fish filmed nearly one hundred people, one at a time, as they watched an eleven minute US military video of combat from the Iraqi War. For the original live performance, the footage of the people watching the video was projected on four large screens that surrounded the audience and the singers, placing them alone and together in one shared space.
Daniel Fish. Photo courtesy of the artist
Daniel Fish is a director who makes work across theater, film, and opera. Recent work: Who Left This Fork Here, Oklahoma and Eternal. His work has been seen at theaters and festivals throughout the U.S. and Europe including The Walker Arts Center, PuSH, Teatro Nacional D. Maria, Lisbon/Estoril Film Festival, Vooruit, Festival TransAmériques, Noorderzon Festival, The Public Theater’s Under The Radar, Opera Philadelphia/Curtis Opera Theater, A.R.T., Bard College, Yale Repertory Theater, McCarter Theater, Düsseldorfer Schauspielhaus, a.o., and commissions include MacDowell, Baryshnikov Arts Center, MassMOCA, LMCC/Governor’s Island.
Jim Findlay. Photo by Pavol Liska.
Jim Findlay works across boundaries as a theater and visual artist, and filmmaker. His recent work includes his original performances Vine of the Dead, Dream of the Red Chamber and the direction/design of David Lang’s Whisper Opera. His work has been seen at Lincoln Center and Arena Stage, a.o. , and over 50 cities internationally.
(Untitled)
NEW YORK: Temporary Distortion/Kenneth Collins | John Jesurun | Shaun Irons & Lauren Petty | Daniel Fish & Jim Findlay
« Back to Events3:30PM – NEW YORK
Photo courtesy of the artists
3:30pm – 3:45pm
Temporary Distortion/Kenneth Collins – Only the Hand That Erases (US, 2016)
14 minutes | Segal Theatre (70 seats)
English
Purely imagery and yet pure of image, moments previously captured on celluloidare erased and revisited as ideas inside the mind.
This film was created specifically for the Segal Center Film Festival on Theatre and Performance 2016.
Photo courtesy of the artist
Temporary Distortion explores the potential tensions and overlaps found between practices in visual art, theatre, cinema, and music. The group works across and between disciplines to create performances, installations, films, albums, and works for the stage. Temporary Distortion’s recent work has focused on long-duration, installation-based performance featuring live music, where spectators are encouraged to freely come and go throughout all‑night events. www.temporarydistortion.com
Photo courtesy of the artist
3:45pm – 5:15pm
John Jesurun – Snow (US, 2000)
77 minutes | Segal Theatre (70 seats)
English
sites.google.com/site/johnjesurun/snow
A toxic American cocktail of death, desire, technology, and television. Jesurun’s four screen mixdown of the original 2000 performance launches four “characters” and twenty-two shifting POVs through the unforgiving eye of one virtual actor. During the presentation of an original four screen live edit of the 2000 piece, that audience experienced this work similarly on four screens. The secluded live performance was transmitted and edited live to four screens in the audience area. There were four live actors and one “virtual actor”–a computerized camera POV with attached “character” voice.
Featuring Valerie Charles,Peter Crook, Mary Ewald, Peter Sorensen, and Jojo Abaoag. Music by Black Beetle And Rebecca Moore.
Photo courtesy of the artist
John Jesurun is a writer, director, and media artist. Since 1982, he has provided text, direction, and design for over thirty pieces including: the 61 episode Chang in a Void Moon, the media trilogy: Deep Sleep/White Water/Black Maria, Everything That Rises Must Converge, and Snow. Fellowships include: NEA, MacArthur, Rockefeller, Guggenheim, Asian Cultural Council, and Foundation for Contemporary Arts. He has been published by TCG, Sun & Moon Press, and NoPassport Press. His work Shatterhand Massacree and Other Media Texts has been published by Performing Arts Journal. Past projects include Faust~How I Rose/BAM, Philoktetes/Soho Rep, Firefall/DTW, Stopped Bridge Of Dreams/La Mama, Jeff Buckley video Last Goodbye, and Harry Partch’s opera Delusion of the Fury/Japan Society. His webserial, Shadowland was shown live at La Mama and streamed on Vimeo.
Photo courtesy of the artist
5:15pm – 5:30pm
AutomaticRelease/Shaun Irons & Lauren Petty – Why Why Always (US, work in progress)
15 minutes | Segal Theatre (70 seats)
English
Why Why Always is a live, multimedia performance installation that re-envisions Jean-Luc Godard’s seminal film Alphaville. This multi-platform project offers a dynamic interplay between theater, dance, installation art, technology, and media by integrating live performers, multi-screen projections, live-feed cameras, sculptural set elements, and a vibrant tapestry of sound. These short films, inspired by Alphaville, feature Jim Fletcher as the character Lemmy Caution. These sequences will be integrated into the live performance.
Shaun Irons. Photo courtesy of the artist
AutomaticRelease (Shaun Irons & Lauren Petty) is a Brooklyn based artist duo who make multidisciplinary performances, multimedia installations, experimental films, documentaries, and video scores for live performance. They recently presented a performance installation called Keep Your Electric Eye On Me at HERE, NYC and completed a documentary about ERS called Standing By. Their work has been seen in diverse locations in New York and internationally including BAM, Abrons Art Center, The Chocolate Factory, PS 122, and Anthology Film Archives. Shaun and Lauren have received numerous awards and residency fellowships such as NYSCA, NYFA, MacDowell, Yaddo, and The Bogliasco Foundation. www.automaticrelease.org
Photo courtesy of the artist
5:30pm – 6:00pm
Daniel Fish & Jim Findlay – The Source (US, 2014)
8 minutes 11 seconds | Segal Theatre (70 seats)
English
This video is based on the oratorio with four channel video, The Source with music by Ted Hearne and text by Mark Doten that had its World Premiere at BAM 2014 NEXT WAVE FESTIVAL. The Source concerns Chelsea Manning, the U.S. Army private responsible for leaking hundreds of thousands of classified documents to WikiLeaks. The text is an assemblage of Twitter feeds, chat log transcripts, court testimony, and Iraqi and Afghanistan war logs. For this piece, Jim Findlay and Daniel Fish filmed nearly one hundred people, one at a time, as they watched an eleven minute US military video of combat from the Iraqi War. For the original live performance, the footage of the people watching the video was projected on four large screens that surrounded the audience and the singers, placing them alone and together in one shared space.
Daniel Fish. Photo courtesy of the artist
Daniel Fish is a director who makes work across theater, film, and opera. Recent work: Who Left This Fork Here, Oklahoma and Eternal. His work has been seen at theaters and festivals throughout the U.S. and Europe including The Walker Arts Center, PuSH, Teatro Nacional D. Maria, Lisbon/Estoril Film Festival, Vooruit, Festival TransAmériques, Noorderzon Festival, The Public Theater’s Under The Radar, Opera Philadelphia/Curtis Opera Theater, A.R.T., Bard College, Yale Repertory Theater, McCarter Theater, Düsseldorfer Schauspielhaus, a.o., and commissions include MacDowell, Baryshnikov Arts Center, MassMOCA, LMCC/Governor’s Island.
Jim Findlay. Photo by Pavol Liska.
Jim Findlay works across boundaries as a theater and visual artist, and filmmaker. His recent work includes his original performances Vine of the Dead, Dream of the Red Chamber and the direction/design of David Lang’s Whisper Opera. His work has been seen at Lincoln Center and Arena Stage, a.o. , and over 50 cities internationally.