John Davis: Demolished Every Second
In Person: John Davis; Ryan Ferko; Karissa Hahn; Mike Stoltz and Zachary Epcar
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7285 (2015) by Sarah J. Christman; 16mm, color, sound, 6 minutes, from the maker bay area premiere
Over the course of one year, the filmmaker shoots her last twelve rolls of a film stock, now discontinued. A cresting wave, a pregnancy in the third trimester, a tennis match in the fourth set, the cicadas’ song—a stream of precarious moments of falling action, caught before their end. (Sarah J. Christman)
Photooxidation (2013) by Pablo Mazzolo; digital video, color, sound, 13 minutes, from the maker
De-electronation of a molecular entity as a result of photoexcitation. Light increases its oxidation state, at the same time it releases free radical electrons. (Pablo Mazzolo)
Sunspots and Solar Flares (2013) by Maria Magnusson; digital video, color, sound, 2 minutes, from the maker u.s. premiere
The starting point for this work is the astrologer Robin Armstrong’s recording, Nuclear War 1984? from 1976 and a free unused residual material from the musician James Pants which are combined with 16mm found footage material from a Teaching Aid Dep-film about a school in Toronto from 1968. Short edits of dancing children in slow motion are repeated. (Maria Magnusson)
Demolished Every Second (2014) by John Davis; digital video, color, sound, 4 minutes, from the maker
This work utilizes imprints from Soviet-era film leader culled from dozens of films viewed while working as an artist-in-residence in Dushanbe, Tajikistan in 2014. The material was largely 1980s-era educational and propaganda films that contained a broad range of content, but had only subtle variations on more or less the same leader. Foregrounding the often ignored hand-written or machine-printed artifacts found on leader, the imprints become the primary source material for this psychotronic audio/visual salvo set to an original score. (John Davis)
vindmøller (2014) by Margaret Rorison; 16mm, b&w, sound, 3 minutes, from the maker bay area premiere
Four generations of grain,
Choreographed turbulence finds form through
Static frequencies from the mouth.
This film is made from a BW internegative made from a color work print, all of which is hand processed.
Sound by Mario de Vega
Traces/Legacy (2015) by Scott Stark; 35mm, color, sound, 9 minutes, from the maker world premiere
Discarded Christmas trees, colorfully arranged flea market finds, a museum of animal kills, microscopic views of kitchenware, and other overlooked cultural artifacts are interwoven with flickering journeys through mysterious, shadowy realms.
As with my 2012 film Traces, the 35mm projector can only show a portion of the image at a time, so the viewer sees alterations between the top and bottom half of each frame. The images also overlap onto the optical sound area of the film, generating their own unique sounds. (Scott Stark)
Bunte Kuh (2015) by Faraz Anoushahpour, Parastoo Anoushahpour and Ryan Ferko; digital video, color, sound, 6 minutes, from the maker world premiere
Through a flood of images and impressions, a narrator attempts to recall a family holiday. Produced in Berlin and Toronto, Bunte Kuh is a collaboration between Parastoo Anoushahpour, Faraz Anoushahpour, & Ryan Ferko which combines a found postcard, family photo album and original footage to weave together the temporal realities of two separate vacations. (Faraz Anoushahpour, Parastoo Anoushahpour and Ryan Ferko)
Under the Atmosphere (2014) by Mike Stoltz; 16mm, color, sound, 15 minutes, from the maker bay area premiere
Filmed on the Central Florida “Space Coast”, site of NASA’s launch pads. Dormant spacecraft, arcane text, an out-of-tune rock band, activated landscape, and the surface of the image work towards a future-past shot reverse shot. (Mike Stoltz)
Under the Heat Lamp an Opening (2014) by Zachary Epcar; digital video, color, sound, 10 minutes, from the maker
Variations on a lunch crowd; the people, the place, and all the continuities and breaks between them. (Zachary Epcar)
Travelling with Maxim Gorkiy/Unterwegs mit Maxim Gorkiy (2014) by Kolja Kunt and Bernd Lützeler; digital video, color, sound, 11 minutes, from the makers north american premiere
As in many cases, also here it’s rather about allusion than description. This also applies to the persons represented. Flat silhouettes of people. Their heads depicted in profile. Faces with no expression, formal gestures. In the background, a little bit of everyday life: The hard, square, stone architecture arises from ocher-colored, brownish, blackish mush of color or mud. A demonstration of the function of the central perspective. An idealized representation of a tropical paradise. Strangely, there’s no absurdity in this. (Kolja Kunt and Bernd Lützeler)
CROSSROADS 2015 receives generous support from: the San Francisco Arts Commission, San Francisco Hotel Tax Fund/Grants for the Arts, Fleischhacker Foundation, Zellerbach Family Foundation, The Andy Warhol Foundation for the Visual Arts and The Willow Foundation