Jeremy Moss: Chroma
In Person: Malic Amalya, Paul Clipson, Zach Iannazzi, Jeremy Moss and Christine Lucy Latimer
presented in association with the SF Dance Film Festival
CROSSROADS 2014 is sponsored by Ninkasi Brewing.
Thanks to our co-presenters, community partners and advertisers: 23Five, Artists’ Television Access, BAVC, Canyon Cinema Foundation, the Center for New Music, The Exploratorium, Fandor, Oddball Film + Video, the SF Dance Film Festival, Shapeshifters Cinema and Yerba Buena Center for the Arts
My Heart, Overreaches (2013) by Malic Amalya; digital video, color, sound, 2 minutes, from the maker
“In my work, I deploy landscape, objects found in my apartment and punk rock to explore heartache, family legacies and trans identity.
“My heart, overreaches; it swells; it falls.
“…part of an on-going video diary project titled Detours & Fences.” (Malic Amalya)
Difficult Loves (2013) by Paul Clipson; Super-8mm, color, sound, 4 minutes, from the maker
“A love poem to a nature of intimate immensities, featuring a theater of waters, lights and flowers. Filmed in San Francisco’s Botanical Gardens and my backyard.” (Paul Clipson)
With Pluses and Minuses (2013) by Mike Stoltz; 16mm, color, sound, 5 minutes, print from the maker bay area premiere
“This morning the window blew its glass onto my face. Real morning with pluses and minuses (my symbols for truth). A ground-less and boundless 16mm film in which a wall becomes a window to a swirling landscape.” (Mike Stoltz)
Chroma (2012) by Jeremy Moss; digital video, color, silent, 4 minutes, from the maker bay area premiere
“A wild and hypnotic ride that focuses, via manic perspective shifts, on the driving movement of a solo figure against a backdrop of frenetically flickering colors; these jolting chromatic and frame variations dance as much as the performer.” (Jeremy Moss)
PULL/DRIFT (2013) Margaret Rorison; digital video, color, sound, 10 minutes, from the maker world premiere
“Ritual takes form amid a late summer landscape. This film documents a unique choreographed performance that took place one late summer afternoon in Patapsco State Park in Baltimore, Maryland. Choreographed by Clarissa Stowell Gregory and performed by The Effervescent Collective. Soundtrack composed by Josh Millrod.” (Margaret Rorison)
Short (2013) by Robert Todd; 16mm, b&w, silent, 5 minutes, print from the maker bay area premiere
“Light sleeps and rises, and then rests again along the shoreline of day.” (Robert Todd)
California Picture Book (2013) by Zach Iannazzi; 16mm, color, sound, 14 minutes, print from the maker
Lezuo (2013) by Giuseppe Boccassini; digital video, color, sound, 17 minutes, from the maker north american premiere
“In 1843, Andrea Lezuo, a woodcarver born in Arabba, a town in the Dolomites, leaves for ‘la Merica’ onboard the ship Ehon. Through an anthological collage of heterogeneous audiovisual material, the film portrays the physicality of the voyage, as it traces an experience that is a sort of initiation.
“Compared to the contemporary world, the imagination of that era was less bound by the power of mechanical methods of reproduction, represented by photography, valorized exclusively in its objectifying deviation to the detriment of the other arts. Despite its precursors, cinema, in its path toward affirmation, had not yet achieved the final step for the perfect, realistic, mechanical imitation of man: movement. It would soon do so. In a certain sense, the film tries to relocate that visual dimension which is uncertain, shaky, and at the same time occult, mysterious, alive, and now lost, through a proposed aesthetic that comes about through the mixture of form and non-form, of the knowable and the unrecognizable, of reality and the imagination.” (Giuseppe Boccassini)
Jane’s Birthday (2013) by Christine Lucy Latimer; digital video, b&w, silent, 4 minutes, from the maker north american premiere
“A simultaneous low-definition/high-definition spastic depiction of an attempted journey to the beach on my sister’s birthday. Windshield wipers punctuate and jump-cut our rapid movement through white-knuckle moments of abstraction.” (Christine Lucy Latimer)
That Dizzying Crest (2013) by Jeremy Moss; 16mm, color, sound, 11 minutes, print from the maker world premiere
“Direct manipulation acts as inciting catalyst as a dancing figure becomes ingrained and lost in the celluloid, creating an immersive new realm for the moving figure. She repeats short phrases of choreography on ambient loop; each repetition alters our perception of movement and space.” (Jeremy Moss)