anticipated artists in person: Emily Chao, Jon-Sesrie Goff and Lydia Moyer
pictured above: This Climate (2017) by Jem Cohen
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Lydia Moyer’s masterful The Forcing caps a program of bracing, insistent views of turbulent times: glimpses of the shattered American landscape in the context of global climate change, political contraction, resistance, conflict, survival, and the strange immediacy of life experienced through screens. Suns beat our bones down while buzzard drones wing around. Confrontations with the infinite image bank stream through an abiding universe.
No Land (2018) by Emily Chao (US); 16mm, b&w, silent, 1 minute, print from the maker
no land / no song / nowhere / no now / no home
– Emily Chao
This Climate (2017) by Jem Cohen (US); digital video, sound, 3 minutes, exhibition file from Video Data Bank bay area premiere
Jem Cohen assembles images that demonstrate the economization of public space; the stock exchange on a LED display board, the company logo on cars, the mobile phone as tool of e-commerce. This Climate is not about the change of weather but the change of mental constitution. (Video Data Bank)
A Post Post-Racial Apolitical Ode (Colored Collage #3) (2018) by Jon-Sesrie Goff (US); digital video, color, sound, 10 minutes, exhibition file from the maker bay area premiere
Inspired by Anthony Mackey’s serial poem Song of the Andoumboulou, using audio primarily from the director’s old cell phone voice and memos from his family’s archival records, this long durational work systematically integrates a 1940 Negro Primary School Reader, computer-generated mixed media, video outtakes and personal iPhone videos. Colored Collage is a living organism that follows specific guidelines as it continues to grow and change over time. (Jon-Sesrie Goff)
The Forcing (2018) by Lydia Moyer (US); digital video, color, sound, 46 minutes, exhibition file from the maker bay area premiere
An insistent collage of images and sound that muddles the quiet detail of flora and fauna with the chaotic noise of mass upheaval, building tension through the offset of sound and image. Boundaries between climate change and the struggle for social justice dissolve, placing them side-by-side on the cosmic continuum. Made in response to the turbulence of contemporary American life and the strange immediacy of events experienced only through screens, this work asks viewers to ride the waves of the capitalocene, moving between original and existing materials toward an unheroic encounter with the beautiful and the terrifying. (Lydia Moyer)
CROSSROADS 10 is generously supported by the George Lucas Family Foundation, the National Endowment for the Arts, the Fleishhacker Foundation, San Francisco Hotel Tax Fund/Grants for the Arts, the Willow Foundation, the Andy Warhol Foundation for the Visual Arts and Cinematheque’s Members and Donors.