CROSSROADS 2020 – program 8
Echoing CROSSROADS 2020 program 2, this program opens with contemplations of vacated “non-places”—liminal sites of failed ambition and ruin—and contrasting landscapes, from desert to arctic. Scenes of uprootedness and displacement give way to considerations of political upheaval, insurrection and, finally, an ironic critique of mediated violence.
SCREENING: Interior (2019) by Zack Parrinella; //\///\////\ (2019) by Phillip Andrew Lewis & Michael Robinson; Fabricated in the Actual Arctic (After Nanook) (2018) by Matthew Lax; Rio Grande Sun (2020) by Courtney Fellion & Linda Scobie; Eviction, Demolition (2019) by Karissa Hahn; Amuletos (2019) by Colectivo los ingrávidos; Mas Paritaria Menos Yuta (2018) by Moira Lacowicz & Leonardo Zito; We Love Me (2017) by Naween Noppakun
TRT: 60 minutes
A fast paced dissection of the space in between two bodies of water. Landscape, buildings, sky and ground rise, fall and merge on a voyage across the country… (Zack Parrinella)
//\///\////\ contemplates the same-day deaths of Aldous Huxley, C.S. Lewis, and John F. Kennedy (all deceased on 11/22/1963) through the voices of the their respective wives (Laura Huxley, Joy Davidman and Jacqueline Kennedy Onassis). This meditation on visionary states of being unfolds across three sites of radical ambition: a failed desert commune, the ruins of a secret fascist compound and an empty glass cathedral. Part of the ongoing collaborative project by Phillip Andrew Lewis and Michael Robinson, Our Hyddeous Strenkth. (Phillip Andrew Lewis and Michael Robinson)
A silent essay considers the legacy of Robert Flaherty’s 1922 documentary, Nanook of the North (also known as, A Story Of Life and Love In the Actual Arctic). An image by an Inuk artist is discovered “missing” from the Museum of Modern Art collection. (Matthew Lax)
Filmed in the desert near El Rito, New Mexico, Rio Grande Sun explores the tension between what is observed and what is described. By recreating local police blotter reports, surveillance becomes a performance between neighbors. Domestic abuse, addiction and acts of solitary revolt refuse to fit neatly within the margins of the newspaper. The interplay between dream-like images and ominous words reminds the viewer that neither account is more real than the other. Filmed in 35mm b&w with a 1920s Devry hank crank “Lunch Box” camera. (Courtney Fellion & Linda Scobie)
and suddenly the last time in a home. (Karissa Hahn)
The magic life of the objects reanimate the ancestrality of the aesthetic of dream. (Colectivo los ingrávidos)
Movie recorded during July/2018 in Buenos Aires, Argentina. This work reports several situations crossed during a turbulent social context. Filmed entirely in Super-8mm and hand developed by its own filmmakers. (Moira Lacowicz and Leonardo Zito)
The heavily compressed time and space where all survival images from my memory live in. After the journey, what will remain could be something we cannot talk to, but perceive. (Naween Noppakun)
Zack Parrinella (US) is a filmmaker, musician and traveling notary living in Oakland CA. His work has screened at a number of microcinemas and film festivals around North America. He is a member of Black Hole Collective Film Lab, and a past intern at Canyon Cinema.
Phillip Andrew Lewis (US) is an interdisciplinary artist who lives and works in Pittsburgh. His creative research often responds to historical events, psychology and phenomenology. This work consistently examines duration, perceptual limits and attentive observation. Lewis is actively involved in collaboration with artists and groups and has exhibited his work both nationally and internationally. In 2012 he received a Creative Capital Grant for his ongoing long-term project SYNONYM. He has received support for his research from Headlands Center for the Arts, BlackCube, Sabrina Merage Foundation, Culture and Animals Foundation, Center for Creative Photography, Foundation for Contemporary Art in New York, Fathomers, Bemis Center for Contemporary Art, Midway Contemporary Arts Fund, Tennessee Arts Commission and The Pittsburgh Foundation.
Michael Robinson is a film, video and collage artist whose work explores the emotional mechanics of popular media, the nature of heartache and the instability of the reality we inhabit. His work has shown internationally at venues including London’s National Portrait Gallery, The 2012 Whitney Biennial, REDCAT Los Angeles, RHA Dublin, the Walker Art Center, The Austrian Film Museum, MoMA P.S.1 and MMCA Seoul and has been regularly included in major festivals including International Film Festival Rotterdam, the New York Film Festival and more. Robinson has received support from FIDLab Marseille, The MacDowell Colony, Creative Capital, The Kazuko Trust, The Wexner Center for the Arts and The Headlands Center for the Arts and his work has been discussed in publications including Art in America, Frieze, Cinema Scope, and The Brooklyn Rail.
Matthew Lax is an artist, filmmaker and writer currently based in Los Angeles.
Karissa Hahn is a visual artist based in Los Angeles. Her work articulates the nature of contemporary image reproduction and dissemination through the use of analogue and digital technologies.
Colectivo los ingrávidos (Mexico) is a film collective based in Tehuacán founded in 2012 to dismantle commercial and corporate audiovisual grammar and its embedded ideology. The collective is inspired by the historical avant-gardes and their commitment to using both form and content against alienating realities. Their methods combine digital and analog mediums, interventions on archival materials, mythology, social protests and documentary poetry. Their radical experimentations on documentary and cinematographic devices produce images, both visual and auditory, that are political possibilities in their own right. Their work has played at various film festivals including International Film Festival Rotterdam, RIDM Montreal International Documentary Festival, Images Festival, Punto de Vista, CROSSROADS, BFI London, Ji.hlava International Documentary Film Festival, Media City Film Festival, International Short Film Festival Oberhausen and Ann Arbor Film Festival. Their work was a part of the 2019 Whitney Biennial, and the Bienal de la Imagen Movimiento in Buenos Aires.
Moira Lacowicz (Brazil) was born in 1992 in Fraiburgo, Santa Catarina, Brazil. Lives and works in Buenos Aires, Argentina, after studying Social Communication at the Positivo University (Curitiba) and Cinema at the Universidad del Cine Foundation (Buenos Aires). Since 2018, she explores possibilities of analog cinema through alternative processes. Her films have been screened worldwide including at venues in the United States, Canada, India, Romania, Scotland, Japan and Peru among others.
Leonardo Zito’s (Argentina) works have been projected in local and international exhibitions. Zito explores sound and vision through the film medium/device, cameraless film and alternative processing.
Naween Noppakun (Thailand) is a Bangkok-based moving image artist and filmmaker. He had experience in music and sound design before moving to the visual art field. Growing up amidst rapid urbanisation of Bangkok, Naween recognizes himself through the modulated rhythm of the city. His first two short films—When Her Light is Extinguished (2012) and We Love Me (2017)—have won multiple international awards and screened at film and video art festivals around the world. His third short film project—Crazy Lotus—has been selected for development in the Berlinale Short Form Station 2020 and expected to finish in the same year.