anticipated artist in person: Anton Ginzburg
Is it you? This program of works explores strange and liminal spaces, uncanny and unworldly. Fragments of surveilled narratives. Imaginary filmic outtakes. Cinematic renderings or ghosts, phantoms and spirits. Machine eye vision. Hesitating human forms in dematerialized spaces. Physical and narrative gestures lead to more questions as the tape continues to roll. Are our thoughts our own?
Traces (2014) by Erin Weisgerber; 16mm, black and white, sound, 5 minutes, print from the maker
1. a. A visible mark, such as a footprint, made or left by the passage of a person, animal, or thing. b. Evidence or an indication of the former presence or existence of something; a vestige.
2. A barely perceivable indication.
Orpheus (Outtakes) (2012) by Mary Helena Clark; 16mm, black and white, sound, 5 minutes, print from the maker
“Using footage from Cocteau’s Orphée (1950), Mary Helena Clark optically prints an interstitial space where the ghosts of cinema lurk beyond and within the frames.” (Andrea Picard, Toronto International Film Festival)
Palms (2015) by Mary Helena Clark; digital video, color, sound, 10 minutes, exhibition file from the maker
Alluding to a state of disembodiment, the film’s images arrive like thoughts, encountering them as both agents of and extractions from the real world. Here our vision is monocular. (Mary Helena Clark)
A Rendering (2016) by LIMITS; digital video, color, sound, 15 minutes, exhibition file from the makers bay area premiere
A Rendering, produced in association with filmmaker Adam Diller, is a two-part iterative dance film. Sound, space and movement emerge as characters in a hypnotic, parallel universe that yields unusual psychological and physical states. (LIMITS)
LIMITS is the Seattle-based performance/film hybrid formed by dancer Corrie Befort and sound artist Jason E Anderson in 2014. The duo draw upon their extensive involvement with improvisation, film, video art, installation and experimental performance to investigate psychological experiences of time, memory and perception. LIMITS live performances disorient, disrupt and reorganize space/context, as a means to engage a fully sensate experience. These ultra-physical, often volatile performances generate scenarios that lead to new, iterative works of film, installation, audio recordings and large-scale performances.
Chipping Off, too (2015) by Karissa Hahn; digital video, color, sound, 3 minutes, exhibition file from maker
My nail polish is chipping off—
and I’m scared that my nails—and then fingers, will start chipping off too… (Karissa Hahn)
Cyclical Refractions (2016) by J.M. Martínez; digital video, color, sound, 3 minutes, exhibition file from maker world premiere
Spheres of reality in conflict. Nature being structured in the mode of logic and science, human affairs in the mode of story and narrative. Branching out through the forking canopy a chorus of groaning trees beckons and the light refracts illuminating portals for one to enter.
Imagery was achieved in camera and in real-time with a homemade lens made from Dichroic prisms and shards. Sound was recorded on site with contact microphones attached directly to the trees or placed inside existing holes within the trunk. (J.M. Martínez)
Displacements (2015) by Anton Ginzburg; digital video, color, silent, 5 minutes, exhibition file from maker bay area premiere
Displacements is an homage to American artists Robert Smithson and Nancy Holt, documenting visits to the locations of Spiral Jetty and Sun Tunnels and engaging with their 1971 film Swamp, which viscerally confronts issues of perception and process. (Anton Ginzburg)
Delphi Falls (2016) by Mary Helena Clark; digital video, color, sound, 20 minutes, exhibition file from maker bay area premiere
In Delphi Falls, two youths wander through the woods, looking for a missing person. A tree falls without cause, a voice is thrown, the weather defies the season, unsettling the rational and linear trajectory of the feint of a story. Evoking the sci-fi genre, the film constantly shifts its point-of-view, blurring the distinctions between environment and self, grafting an interior space to the landscape. (Mary Helena Clark)
Pictured above: Displacements (2015) by Anton Ginzburg
CROSSROADS 2017 is generously supported by: National Endowment for the Arts, Fleishhacker Foundation, Grants for the Arts, Zellerbach Family Foundation, George Lucas Family Foundation, Owsley Brown III Philanthropic Foundation and the Willow Foundation.
With thanks to our festival sponsors: