Malena Szlam: Lunar Almanac
In Person: Karissa Hahn; OJOBOCA and Malena Szlam
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Meanwhile at the Moon Hotel(2014) by Jessie Stead; digital video, color, sound, 16 minutes, from the maker bay area premiere
A reverie in 10 overlapping Meanwhiles in a downloaded lunar hotel. (Jessie Stead)
Frozen Giants (2013) by Christine Negus; digital video, color, sound, 3 minutes, from the maker u.s. premiere
Frozen Giants proposes there are traumatic events going on (in the Disney song) “Under the Sea.” Influenced by the ancient magical belief that fossils were simply spirits trapped in rocks, the work suggests the sea is a giant graveyard. Shot on a Nova Scotia beach that boasts the oldest recorded fossil tracks, the narrator states “the sea is a haunted house” as she uses the rocks she walks on to discuss history and loss. The video uses the stratification of the ocean floor (dead bodies piling up on top of each other that decompose and create a foundation) as a model for critiquing various social and political institutions while breaking them down like the fossils they are made to represent. In general, the work posits that no matter where we turn for stability or solace (our memories, our homes, or family) we are always haunted. (Christine Negus)
Simmer (2013) by Karissa Hahn; digital video, color, sound, 2 minutes, from the maker world premiere
A Home Inside (2013) by OJOBOCA; 16mm triple projection, color, sound, 21 minutes, from the makers bay area premiere
Now you can protect precious lives with this blast resistant home installed permanently inside your body. Here is a home with all the advantages of any concrete home plus protection from the outer agents of disorder, imbalance and instability.
You know no disorder can be cured without being brought to a crisis. Together with the action of the dream fluid, we will create a representation of the crisis that will dissolve the obstructions that prevent proper circulation and re-establish harmony and equilibrium in every part of your inner home.
A live audiovisual presentation with three 16mm projectors. (OJOBOCA)
vis à vis (2013) by Abigail Child; digital video, b&w, sound, 24 minutes, from the maker bay area premiere
Inspired by Vertov’s Lullaby (1937) as well as by Warhol’s ‘60s Screen Test portraits and Frampton’s Manual of Arms from the same period, vis à vis is a homage to these divergent pasts: ironic, composed of outtakes, portraits ultimately of friends and colleagues. Also a testament to 16mm black-and-white celluloid and differing sexualities, seductions and (d)alliances. (Abigail Child)
Lunar Almanac (2013) by Malena Szlam; 16mm, color, silent, 4 minutes, from the maker bay area premiere
Moving through landscapes and inhabiting landscapes, the moon is on a journey through magnetic spheres, influencing the subtle energies on Earth. The moon becomes “moons” as it oscillates within its own margins of size and shape. As the act of introspection and recollection, I take what I see and remove it from the ordinary, translating it out of the physical and into the psyche, then back again into the physical. Through single-frame and long-exposure superimpositions, the film assembles in series of short sequences shot in 16mm Ektachrome and hand-processed. The unaltered, in-camera edited segments shot at various nights gather over 4000 stills of multi-layered field views of the moon. (Malena Szlam)
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