Installations Wednesday Nov 14-Sunday Nov18

The Nightingale Inbred Hybrid Collective An ambient experimental film installation using found material and the technique of elliptical obfuscation to tell the story by Hans Christian Anderson. Infinite Delay Kadet Kuhne, 2007, USA, video, color, sound, 9:30 Infinite Delay explores the subtleties of tension that exist between surrender and resistance through an unconventional, experiential narrative. The captivating underwater images of a restrained subject present a dialectic — possibly depicting someone who is being forced to wait, or alternatively representing a subject actively engaged in the erotics of waiting. The voiceless figure in this mysterious subterranean atmosphere investigates how renunciation could be an affirmation of power and a means of absolute embodiment. The sensing body in its inaction surrenders itself, and all questions of identity and placement are dissolved into a virtual suspension of absolute definition. The result is a blurring of lines - between the inner and outer world, self and other, and past and present.The subterranean blend of interrelated sounds was co-composed by Kadet and mem1, a collaborative venture between Laura Thomas- Merino and M.Cera in which sounds generated by extended cello technique are manipulated using custom software. The immersive soundscape in Infinite Delay is what defines the experience on a subconscious level. With the absence of dialogue or a single spoken word, the music composition carries much of the film’s content. The visual information is translated into submerged frequency patterns, often depicted by undulating sine waves, grating cello hits and high-pitched static. The sounds were deliberately chosen to complement the narrative arc with the intention of representing the evolving psychological states of the subject. Girls, Girls, Girls Alice O’Malley 2000/2007 Originally presented as part of Anne D’Adesky’s “Night of 100 Girls” (2000), this turn- of-thecentury viewing machine is made of found objects - including but not limited to a zither, a light box, a lens, a table, a chair, and a spool of thread. Viewers pay 25 cents to look through the lens and peek at the “Girls”… b&w images from the Clit Club and Club Casanova, two legendary dyke parties from 1990s New York. Tableaux Vivant Lee Krist, 2003, 1,000 square feet. 200 ft of 35mm color reversal, 400 ft of 35mm black leader, three 16mm film projectors and three 16mm film loops. A 3-dimensional film installation, Tableau Vivant redeploys virtually every aspect of the filmmaking process. In this film installation strips of 35mm film are positioned four feet from a white gallery wall. The filmstrips are illuminated with a white flickering light produced from a trio of film projectors loaded with film loops of alternating black and white frames. As viewers walk through the corridors between the projectors, filmstrips and projections on the wall, they are able to come in contact with the interaction of light, film and image. How we were impressed when we were impressionable and 18 Niknaz Tavakolian 2007, 16mm film hand-transferred to DVD, plywood box, peep hole, power switch, 10 minute loop. How we were impressed when we were impressionable and 18 is an interactive video sculpture. It is a romantic memory of my days in the early 90s growing up and coming out in the queer community in Philadelphia. Lucky-7 was a drag king, a DJ and a promoter. She would throw parties where all the punk dykes could be around their own version of the riot grrl phenomenon—with an east-coast, Philly flare— a little rough around the edges, ready to drop and run if there was trouble. The resulting transfer is the most appropriate to the time and place: a peep show. Jittery, flickery and raw.

The Motion of Light on… Tim Blue, 2006, Germany, video, color, sound The Image defined the 20th century. An image that first moved on a screen, later becoming static in some sort of Postmodern Pantheon. Elvis. Marilyn Monroe, Michael Jackson. It ceased to move, and in doing so began a sort of dominance of social life. Do we remember the stars ever moving? Perhaps what has been called Spectacle in some circles is the simply elimination of all motion. This brings me to these boxes, as I shall call them. A moving image contained, or kept in a box. Because the Image haunts me with its poetry, potential and power I am dazzled, and to learn what such a thing is I put it under a microscope, cram the frame with everything possible, enjoy time like driving a car. Soon there is one square built. The beauty of learning and indeed playing with the Image was intoxicating. Because I have no background in schooling of any special kind, the making of these took on a very personal importance, like friends that could keep me company, or like messages to people long gone who have helped me make sense of the world. Francis Bacon, Jean Genet, Derek Jarman. In a tradition of folk art (which I see myself both a part of and standing outside of), the weaving together of personal histories has one manifestation of Quilt-making. If this could be seen as a quilt then each square is linked to one part of me or another, and each part of me then linked to those who have gone before me and made me who I am. But every look at a quilt, a sum of images as personal histories, we are left even more than before wondering what an Image is. What it does, whom it speaks to, and what it describes. The question is unanswerable, which is beautiful. Thus the need for experimental film, for expanded cinema, for strange sounds and new configurations of reality. Queerness, indeed. An even larger question. Orifi 3minuntesinheaven collective, 2007, USA, video, color, sound An interactive video installation in which the viewer pinches “nipples” to trigger pornographic video clips. The nipples are arranged around the periphery of a surface covered in an acrylic emulsion (meant to evoke lube.) The video clips are projected on top of the emulsion. 3minutesinheaven (3MIH) is a sex-positive project that aims to give you pleasure. We have a queer aesthetic that is not just about blondes, fake breasts, and shaved pussies (though we might dally in featuring all or some of those, too). Our audiences run the gamut and so do our performers. Our work appeals to queers of all shades, shapes, and persuasions. Being all-inclusive is imperative for us. Still, we won’t sacrifice visual pleasure for the physical one; after all, fine fucking can be fabulous and we aim to please! Blind Trust Juan Carlos Zaldívar Blind Trust is an interactive Polaroid exhibit that exposes the creative process and makes it fully participatory by fostering a sense of collaboration between the participants and the artist. As more and more talk of terrorism surrounds us, we find ourselves at war with an amorphous enemy. We live each day with an unspoken fear of betrayal and of being attacked. Blind Trust seeks to propagate small circles of trust in the most basic level. The piece seeks to create a safe environment, which encourages individuals to be brave and to do something they would not normally do. It aims to replace vulnerability with confidence and with the ability to trust. Participants are asked to pose for nude, abstract Polaroid photographs in a private studio on the premises and become part of a temporary photography exhibit. Participants of Blind Trust own the original photographs and can take them at the end of the exhibit (the photos can also be returned by mail). All individuals appearing in the limited-edition catalogues have graciously given the artist a license to re-print their photographs.