Polycephaly in D (2021) by Michael Robinson
CROSSROADS 2022 — program 1
beauty can fool you
Friday, August 26, 7pm at Gray Area
CROSSROADS 2022 opens with a fit of pop delirium, lucidly polymorphous studies of precarious emotions, candied poisons, anomalous states of mind and matter and the alluring mephiticities of the capitalist spectacle. Percussive psychogeographic wanders and prismatic nature studies rub against coded love letters and mediations of disaster—always promised; never arriving—while past and present tenses blend and promises of sublime erotics flicker tantalizingly beyond our grasp.
This program is dedicated to the memory of video artist Dale Hoyt (1961–2022).
Advance tickets here. $12 General/$10 Cinematheque Members and members of Gray Area.
Festival Pass here. $110 General/$90 Cinematheque Members and members of Gray Area.
COVID-19 SAFETY REQUIREMENTS: Proof of COVID-19 vaccine is required for entry to Gray Area. The use of masks is highly encouraged.
facebook event here
program community partner: Canyon Cinema
SCREENING: Squish! (2021) by Tulapop Saenjaroen (Thailand/Singapore); digital video, color, sound, 18 minutes. Color Prism Suite #2: Withering Ends (2021) by Zack Parrinella (US); 16mm, color, sound, 4 minutes. Up Close (2021) by Sam Gurry (US); digital video, color, sound, 3 minutes. Skinship (2022) by Mike Hoolboom (Canada); digital video, color, sound, 6 minutes. Sea of Sighs (2022) by J.M. Martínez (US); digital video, color, sound, 5 minutes. young, (2009) by Dale Hoyt (US); digital video, color, sound, 8 minutes. Polycephaly in D (2021) by Michael Robinson (US); digital video, color, sound, 23 minutes. TRT: 67 minutes
Squish! (2021) by Tulapop Saenjaroen
Squish! is a meditation on the self through lurid and liquid forms; filtered through both old and foreseeable technology informed by Thai animation history and contemporary culture, and a constant process of constructing and deforming new selves to simulate “movements.” By extrapolating and redefining the terms of “movement,” be it through psychological, physical or political understandings, the work interweaves the medium of animation with a state of depression. (Tulapop Saenjaroen)
bay area premiere
Color Prism Suite #2: Withering Ends (2021) by Zack Parrinella
The simultaneity of beauty and decay are axes of an exploration of colors and tones. (Zack Parrinella) world premiere
Up Close (2021) by Sam Gurry
Hold me like an amphitheater, I need space to stretch my longing. Touch starved and hell-bent, an animated exhale of earthly hungers. (Sam Gurry) bay area premiere
Skinship (2022) by Mike Hoolboom
Over a sea of bodies, ruminations float by on markets, class and precarity. The problem of work. How do we survive our own death? Text gleanings from Ayad Akhtar, Melissa Broder, Noam Chomsky and others. (Mike Hoolboom) world premiere
Sea of Sighs (2022) by J.M. Martínez
Oceanic patterns come in waves of chroma blurs and ultraviolet light, illuminating marine life in states of change. (J.M. Martínez) north american premiere
young, (2009) by Dale Hoyt
…an experimental music video that I did with jazz/rock pioneer Annette Peacock. It explores lost innocence and a lifetime of pain that morphs slowly in hallucinatory opiated bliss. Childhood trauma is not just for kids anymore. Starring Rena Salomon and Beau Takahara. (Dale Hoyt)
Polycephaly in D (2021) by Michael Robinson (US)
Polycephaly in D is a densely collaged exploration of the existential drift, collective trauma and psychological free-fall of the contemporary moment. Leaping, falling and meeting your new self in an earthquake; we lose one head so as to grow another. (Michael Robinson)
Tulapop Saenjaroen (Thailand/Singapore) is an artist and filmmaker currently lives in Bangkok, Thailand. His recent works interrogate the correlations between image production and production of subjectivity as well as the paradoxes intertwining control and freedom in late capitalism. In combining narrative and the essay film genre, he investigates on subjects such as tourism, self-care and free labor through re-making and re-interpreting the produced images and their networks. Saenjaroen received his MFA in Fine Art Media from The Slade School of Fine Art and MA in Aesthetics and Politics from CalArts.
Zack Parrinella (US) is a filmmaker currently based in Oakland, California.
Sam Gurry (US) is an interdisciplinary filmmaker living in Los Angeles. They view animation as a seductive series of images. By utilizing domestic objects and heightened ephemera, their work showcases tactility at its core, both of the matter and of the spirit. Their films untether the liminal restrictions between documentary, animation and imagined realities. Their films have been in the official selection at the Toronto International Film Festival, SXSW, Slamdance, Ann Arbor and the Ottawa International Animation Festival amongst others. Sam holds an MFA in Experimental Animation from the California Institute of the Arts. They are currently adjunct faculty at California State University, Los Angeles, New York University and the University of Southern California. They perform as one half of expanded cinema duo Saint Victoria’s Incorruptible Body providing guitar and vocals. (Sam Gurry)
Mike Hoolboom (Canada) began making movies in 1980, making them as practice, a daily application. Ongoing remixology. 100+ movies. Since 2000 a steady drip of bio docs. The animating question of community: How can I help you? Interviews with media artists for 3 decades. 30+ books, written, edited, co-edited. Local ecologies. Volunteerism. Opening the door. (Photo Credit: Amy Halpern)
J.M. Martínez (US) is an artist based in the Santa Cruz Mountains of California working with photography, film, video and sculpture. His work utilizes the properties of light with the intention of abstracted visions and biomorphic forms that reveal the evolving landscape. (J.M. Martínez)
Dale Hoyt (US) was involved in making, curating, teaching and criticizing independent media for almost forty-five years. In his life he curated at the Western Front Music Festival; The Kitchen, New York and the San Francisco Arts Commission Gallery among other spaces. His writing was published in the Syracuse New Times, Send, Video ’80 and Stretcher and he taught courses at the New School, the California College of the Arts and the San Francisco Art Institute. His work was shown internationally since he was nineteen. His work is in the collection of The Long Beach of Contemporary Art, MoMA and the Getty Museum in Los Angeles.
Michael Robinson’s (US) collaged films explore 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, MoMA, the Walker Art Center, the Austrian Film Museum, Whitechapel Gallery and MMCA Seoul and has been regularly included in major festivals including the International Film Festival Rotterdam, the New York Film Festival and the Toronto International Film Festival, a,ong others. Michael resides in Los Angeles and has received support from FIDLab Marseille, Creative Capital, MacDowell, the Kazuko Trust, the Wexner Center for the Arts, Teton ArtLab and Headlands Center for the Arts.