The Magick H8-Ball Daniel McKernan 2008, USA, video, color, sound An interactive video installation featuring Sophia Lamar, which is a dark comedic reinterpretation of the classic fortune-telling children’s toy, the Magic 8-Ball. After asking a yes-or-no question, the viewer presses the “H8” button of the piece; Sophia’s floating head appears and reads the fortune in her infamously hateful & insulting manner. Special thanks to Burle Avant, Ned Stresen-Reuter, Mikey Lamar and Evan Monster.

Mousa ‘a Muse Peter Cramer 2008, Mulitcolor multimedia audio/video, 35mm slides, film/ found objects. 30 minute loop An amuse bouche for the 21st anniversary of MIX. Mousa ‘a Muse’, perhaps ultimately from Greek, translates the Middle English mosaic from French mosaïque, based on Latin musi(v)um as a picture or pattern produced by arranging together small colored pieces of hard material in this case image, light and sound producing a combination of diverse elements forming a more or less coherent whole reproducing the arrangement of photosensitive elements in a television camera delivered as projection of an individual (esp. an animal) composed of cells of two genetically different types and in the case of mosaic disease, a viral disease. Also an adjective of or associated with Moses. Peter Cramer plumbs his 30-year NYC archive of people, places, politics and porn. Co-Founder of Petit Versailles and numerous other manifestations, he has been part of the MIX Festival since inception. Expect the parting of seas and the remains of a burning bush.

Pissfuck Chicks on Speed (Anat Ben-David/Kathi Glas/Melissa Logan/ Alex Murray-Leslie/A.L. Steiner) 2007, GER/AUS/US/UK, video, color, sound, 3 min. loop Chicks on Speed explore radically queerish activities and the fine points of collectivism vs. consumerism. From the Music Chicks on Speed album Cutting The Edge (2008). Featuring special guest Douglas Gordon, for your viewing pleasure to enjoy in the lavatory.

STODGY: Store/Story/Body/Orgy J. Dellecave A solo installation/masturbation. Stodgy is a multi-media performance installation experimenting with non-sexual movement, layered live-feed video, dressing-up identity, and an orgy with oneself. Performance times: Wed Oct. 15 7:00— 7:30 Sat Oct. 18 9:30—10:00 Fri Oct. 17 9:30—10:00 Sun Oct. 19 7:30—8:00

AxioMetrics Hector Canonge 2008, USA, video, color, sound, monitors, speakers, loop. Multimedia installation explores issues of displacement, gender and identity. Using personal narratives and fragmented messages, the artist reveals the inner and outer societal constructions through various convergences of images, sounds and narrative text. The measurements and connections used by Canonge, establish an ongoing dialogue where national origin, sexual orientation, and cultural attitudes come together and collide.

Closet #26 Kenny Scharf 2008, USA, blacklight, fabric, toys, garbage, tinsel, stuff, crap, paint, glue, mirror, glitter, jewels, video, color, sound c.15 min. loop A monitor playing the loop sits inside the room surrounded by “the closet” playing random snippets of videos from the early 80s starring Ann Magnuson, Keith Haring, John Sex, among other East Villiage 80s luminaries. Closet #26 is a place where the viewer can do whatever they want - dancing, laughing and oohing & ahhing.

*“Light Culture 3”* Larry Ackerman USA, 2008, silent, 35mm slides with dual projectors & dissolver, 40 minute continual loop This installation is a study of image fractionation utilizing photographic transparencies, slide projectors with controller and a unique projection surface created from 24-well plastic tissue culture plates. It is an investigation of the visual properties of nature, and human constructions, which are indirectly accessed with photons captured on film, reconstituted via projection and analyzed in a simultaneous array. It is also an investigation of a large lens array for dissecting an image, redirecting attention to individual components, and creating three distinct reformulations of the image.

Picture a Coalition Cyrus Saint Amand Poliakoff 2007, USA, video, B&W, silent, 3 min. This sculpture, incorporating video and the 1987 text by AIDS activist and artist Gregg Bordowitz, attempts to locate a relationship to the history of the AIDS crisis and the critical art/ activist responses it incited. The project presents the text as a locus of an intersection between the discursive and the visceral, the critical and the emotional. The viewer is instructed to sit beside someone and turn on a video. Fragments of Bordowitz’s text appear and vanish from a reflective black monitor. The two viewers watch themselves interrupted only by these fragments concerning AIDS activism and the self-representational power of video. This work developed out of questions such as “What is my relationship to the history of AIDS? How can I articulate a generational relationship to the AIDS crisis? How do I experience affect, history, and collectivity through text?

P.S.A. (Public Service Announcement) Effie Asili 2008, U.S., video, color, sound, Using five televisions, one digital projector, and several sculptures, P.S.A provides an opportunity for viewers to immerse themselves in a multi media environment. The installation grew out of an experience I had recently when I walked out of my apartment and found the word “Nigger” written on a wall facing my front door. This experience coupled with the rise of Barack Obama became a catalyst for me to reevaluate issues of race in Philadelphia, and the country in general. P.S.A is the “product” of some of my reevaluations. Each video channel runs in a loop ranging from 3 minutes up to 7 minutes, the entire installation requires about 20 minutes to cover the various loops. Viewers are also encouraged to read from the selection of magazines located within the installation. P.S.A. is a reflexive space and all are encouraged to spend extended periods of time with it.

Identical? Fraternal? Nicole Jaquis 2008, USA, video, color, sound, 5 min. World Premiere Using archival footage from their childhood and recorded conversations as adults, the filmmaker and her twin sister explore their fraternal gender identities as identical twins.

Menace Emile Devereaux 2008, USA, video, color, sound, Bodies that don’t fit anywhere threaten to contaminate the naturally occurring order.

Avalanche Clark Nikolai 2007, Canada, video, color, sound, 6 minute loop Ice cubes melting in a trough at a leather bar.

Everybody Run! That Bitch Has Got a Gun Chris Peterson 2008, USA, video, color, sound, 7 min, salvaged theater and film set and props, skin rags, photocopies, power tools, staple gun Rediscover the Old West with dangerous women hell-bent on doing whatever the fuck they want. Come explore the narrative of these violent women with two short comedies and a magical installation by Chris Peterson.

First Gay Wedding In The Empire Inbred Hybrid Collective & Simon Chung 2007, USA, color, video, silent 2 min. The story of Darth Vader and Jengo Fett’s illicit affair in a galaxy far, far away, and the happiness of their wedding day.

Don’t Mind Me... Niknaz Tavakolian 2007, single-channel interactive video, wood frame, LCD screen, small camera, MacMini computer. When you walk into the room, don’t mind Austin—he’s the guy with the sparkly pink tie. He’s just checkin’ you out. Perhaps flirting. Don’t mind me... is an interactive video designed to engage and challenge the act of spectatorship. It is a simple video display of a character (this preview is Austin, a young, Minneapolis trans-punk) that is looking out into the netherworld until someone walks in front of his gaze. When there is activity in front of him, he follows the activity. He will watch and follow passers-by as they move by him. I was inspired to make this by the lack of any queer or radical experience in a certain graduate program (not anywhere near NYC) I attended. I thought this was my vengeance: a permanent gaze reversal in a big white box. They thought it was creepy.

Window Stephen Kent Jusick 2008, USA, 35mm slide blow-ups, light boxes, silent. The view from a fire escape.

Jihad for Democracy Hima B. 2008, video, color, sound, 10 min. When Hillary Ride’m Clitoris loses the Democratic nomination for President, she sets her eyes on the Vice Presidency. Barack Hussein YoMama challenges her to a wrestling match where her defeat might result in serving on the frontlines of the Iraq war.

A Sense of Place or Après moi, le deluge Desireena Almoradie 2006, USA, video projection on baking soda, color, sound, variable duration. An interactive video installation that explores the connection between geography and collective memory. A hidden history of the American landscape. In the piece viewers experience “stories” by “visiting” different places on a map that is projected onto a mutable surface of baking soda. The map has eight specific points of interest where instead of place names, descriptive memory triggers are marked by red circles. By pressing on one of the red circles, the viewer activates a video vignette. There are two types of vignettes: the first set of vignettes connects a personal recollection within a larger political and historical framework. The second set of vignettes is meditative, meant to evoke a mood or feeling that is often in reality what most memories consist of—a set of images unencumbered by any order or logic typically imposed by a subsequent retelling of the memory.

The Children’s Hour is Over and Sister George Is Dead Kate Huh 2008, USA, color photocopies with B&W photocopy acetate overlay. aprox. 17” x 7’ 4” B&W acetate photocopied images of stills from traditionally tragic lesbian cinema (The Children’s Hour, 1961 & The Killing of Sister George, 1968) laid over color photocopied images of happy proud dykes with no sense of shame or need to live horrible lives and die of alcoholism or suicide. No longer submerged dark and hidden secrets, proud dykes are openly enjoying fun lives and strong, interesting communities, dispelling the myth that lesbians live grumpy depressing lives.

Peristerophobia: The Irrational Fear of Pigeons Ren-Yo Hwang 2008, USA, video, color, sound, 5 min. Pigeon: a flying rat, a urban creature with a reputation as “a carrier of diseases.” How do we recover honor for that which is most acceptably scorned? Through narrative storytelling and manipulated footage of pigeons in their everyday life, Peristerophobia is an experimental video that weaves together ideas of struggle, survival, alienation, visibility, resilience and the importance of reclaiming our own lives through imagination and self-identity.

Asbury Juke Joint Christine Callahan & Jeanne Mischo 2008, USA, Two digital promo stills from the film Ghost of lesbian leprechaun sea side past, and mixed media, dimensions variable. This installation conjures the dramatic riches to rags story of Asbury Park with muscle boys and B-girls and a mysterious dancing lesbian leprechaun evoking a ghostly seaside past, with a wallpaper of photographs, small 3-D objects and video.

Pas de deux Ves Pitts 2008, USA, video, color, sound, antique doll, skull, photos, knife and old drawings, 18 min. Pas de deux is a video installation within a doll’s room with a diabolical presence. In the center of the space is an antique doll. This same doll appears from the video screens being handled by a peculiar dancer. The doll is watching the screens in a room decorated with macabre objects like a knife and skull. Attached to the wall are photographs taken at the video shoot. Pas de deux is a bewitching interpretation of a dance performance between the doll and her stranger. It is a video playback of this distorted and crippling memory. Like family home movies Pas de deux presents us with a question. What part of us remains and is reluctant to leave a prior event and what part of us is sliced away and lost forever, gone with that experience. The doll is a metaphor of the emotions that linger after a tragedy, a love affair, a car wreck, and a moment of ecstasy. In this installation we are the objects projected through time over a video universe. The doll remains solid. Cracked and soiled the doll is ready to face a new partner with knife drawn to dance, love and destroy. This strange dance performance is reflective off the TV screens and mirror wall. The video images disintegrate to fragments of our imagination. These flashing fragments are sentimentalized, more real then the present and more comforting then the future. It is a dance from the cradle to the grave sucked up in the flicker of a doll’s eyelash.

Water, Water, Everywhere Larry Shea 2008, USA, video, color, sound, variable dimensions, 10 min. Water, water, everywhere, Nor any drop to drink. —Samuel Taylor Coleridge: The Rime of the Ancient Mariner Liquidity is in short supply these days. As we watch yet another “unexpected” economic crisis and marvel at the labyrinthine complexities of modern finance it is helpful to look back at the evolution of our banking system, a history deeply tied to these few blocks of Lower Manhattan. The first American paper currency was created in New York to fund a pre-revolutionary, subsequently abandoned waterworks. A later (also failed) attempt to supply fresh water was made by The Manhattan Company, founded in 1799, which over the years has morphed into JP Morgan Chase, the world’s fourth most profitable bank. Water, Water, Everywhere, is a site-specific outdoor video projection that explores the origins of modern Capital and the development of our political parties in the skillful exploitation of a basic need for fresh water.

Fear of High Heels Alexis Pace 2008, USA, Digital Photos and mixed media installation. What’s a girl in sensible shoes to do? In order to conquer her fear of high heels, she embarks on a mission to stalk women around the city with her camera and come face-to-face with her deep-rooted phobia. Can this feminist reconcile her disdain for hyperfemininity? Does she simply secretly covet it?

Submissions Atif Toor 2008, USA, video, color, sound, 5 min. World Premiere An Islamic prayer ritual is transformed into a choreographed meditation on the reconciliation of faith and desire through editing, repetition, Sufi poetry and music.