SEASON I

Program 01 15.10.05
Program 02 22.10.05
Program 03 29.10.05
Program 04 05.11.05
Program 05 12.11.05
Program 06 19.11.05
Program 07 26.11.05
Program 08 03.12.05
Program 09 10.12.05
Program 10 17.12.05
Program 11 25.12.05
Program 12 07.01.06
Program 13 14.01.06
Program 14 21.01.06
Program 15 28.01.06
Program 16 04.02.06
Program 17 11.02.06
Program 18 18.02.06
Program 19 25.02.06
Program 20 04.03.06
Program 21 11.03.06
Program 22 18.03.06
Program 23 25.03.06
Program 24 01.04.06
Program 25
08.04.06
Program 26 15.04.06
Program 27 22.04.06
Program 28 29.04.06


SEASON II

Program 01 14.10.06
Program 02 21.10.06
Program 03 28.11.06
Program 04 04.11.06
Program 05 11.11.06
Program 06 18.11.06
Program 07 25.11.06
Program 08 02.12.06
Program 09 09.12.06
Program 10 16.12.06
Program 11 23.12.06
Program 12 30.12.06
Program 13 06.01.07
Program 14 13.01.07
Program 15 20.01.07
Program 16 27.01.07
Program 17 03.02.07
Program 18 10.02.07
Program 19 17.02.07
Program 20 24.02.07
Program 21 03.03.07
Program 22 10.03.07
Program 23 17.03.07
Program 24 24.03.07
Program 25 31.03.07
Program 26 07.04.07
Program 27 14.04.07
Program 28 21.04.07
Program 29 28.04.07

Vincenzo Mistretta
Che Noia
2007, 2:00 min. (video, color, sound)

Jen Denike
Dumbells

2002, 15:53 min., (video, volor, sound)

Marcella Vanzo
Ama

(2005) 4:00 min. (video, color, sound)


Opie Boero-Imwinkelried
Amante Marine

2006, 15 min. (video, color, sound)


Arzu Özkal Telhan
Eating Disorder
2006, 1:57 min. (video, color, sound)


Rosalind Peters
Dress Film

2004, 3:00 min (video,color, sound)


goldiechiari
Objet du désir, #8
2006, 1:30 min. (video, color, sound)


Marcella Vanzo
Lovesong
2001, 4:00 min. (video, color, sound)


Arzu Özkal Telhan
Nothingness
2005, 3:06 min., (video, color, sound)


Tara Mateik
PYT
4:04 min., 2004 (video, color, sound)


Kristen Lorello
ITERVAL (5 minute interval)
2007, 5:00 min. (video, color, sound)

 

 

Program 24 March 24, 2007

Kristen Lorello presents
Una Serata Di Gender / What's sex got to do with it?

Although the political discourses that mobilize identity categories tend to cultivate the identifications in the service of a political goal, it may be that the persistente of disidentifications is equally crucial to the rearticulation of democratic contestation (Butler, Judith, Bodies that Matter, London, UK: Routledge, 1993, p. 1-11)

This evening's presentation utilizes video to mobilize the theories of feminist writer Judith Butler.  Subversive performances reconfigure the seemingly inseparable connection between gender, sex, and the social institutions upheld by the heterosexual norm. Through works that cite this norm and then deconstruct it, this screening attempts to open a space in which possibilities of social change may be discussed.

ACT 1:  Patriarchal Constructions
The regulatory norms of 'sex' work in a performative fashion to constitute the materialities of bodies and, more specifically, to materialize the body's sex, to materialize sexual difference in the service of the consolidation of the heterosexual imperative, (Butler, Judith, Bodies that Matter, London, UK: Routledge, 1993, p. 2).

Vincenzo Mistretta
Che Noia
2 min, 2007
"A pornographic film with no pornography," set to a soundtrack of hip-hop beats mixed with parole in liberta of Italian futurist Giacomo Balla, architectural elements of Saint Peter's Square replace elements of the human body in the act of sex.  Evoking notions of repression and violence, Mistretta reveals and parodies the Vatican as a specifically gendered global institution.

Jen DeNike
Dumb-bells
15:53 min, 2002
Two adolescent boys compete to see who can do the most arm-curls with a single dumb-bell.  The act itself is a performative test of masculinity that ritualizes strength, perseverance, and competition.  Ironically, these values are tested by the humor generated by the performers themselves.

Marcella Vanzo
Ama
4 min., 2005
First act of The World of Interiors, a video trilogy that focuses on the house as the incubator of human relations and desires.  Ama is a race that proceeds in space throughout the video, from nature to culture, between two generations. From the lawn outside, the camera races into the house, where the perpetual rite of procreation takes place between two women, mother and daughter, and a rag doll.  This work reveals the dichotomy between action and thought. The video made of a sequence of details stands for action; the photo instead freezes a moment in its totality, giving a chance for reflection. (Francesca Pasini The infinite race of generation, Castello di Ama)

ACT 2: "Other" Productions
What are the constraints by which bodies are materialized as 'sexed,' and how are we to understand the 'matter' of sex, and of bodies more generally, as the repeated and violent circumscription of cultural intelligibility?" (Butler, Judith, Bodies that Matter, London, UK: Routledge, 1993, p. xi - xii)

Opie Boero-Imwinkelried
Amante Marine
15 min., 2006
An exploration of male fears and anxieties, and the hidden structures that hold the patriarchal edifice erect, based on the homonymous book by Luce Irigaray, Amante Marine surveys male rejection to enter into a true relationship with another subject.  Very comfortable with airy relations between themselves, men are most afraid of the depths and the ever-changing masses of the seas. In her book Amante Marine (Marine Lover), French philosopher Luce Irigaray summons man to put his fear aside and adventure into the sea to experience a true encounter with woman.  "The other has yet to enlighten him. To tell him something. Even to appear to him in her irreducibility... Did he ever open himself to that other world? For him it doesn't even exist. So who speaks of love, to the other, without having even begun to say "yes"?" (courtesy of artist)

Arzu Özkal Telhan
Eating Disorder
1:57 min., 2006
Set to the song "Lay Lady Lay" (Magnet with Gemma Hayes), the camera lens assumes the position of a mirror allowing the viewer to witness a woman's quotidian ritual of lipstick application.  However, rather than remaining on the surface, the red gloss enters into the mouth, as Telhan chews and swallows the inorganic substance.  Telhan posits the make-up and its ritual of application as both a means of achieving physical beauty (in the social context) and a cause of physical sickness on the individual level.
(Kristen Lorello)

Rosalind Peters
Dress Film
2004
3 min
Dress Film stitches together various attempts to put on a dress.  Prolonging the point of composure, the edit becomes a form of stitch-up, withholding the arrival of a person 'dressed'. (courtesy of artist)

ACT 3:  Subversive performances
What would it mean to 'cite' the law to produce it differently, to 'cite' the law in order to reiterate and coopt its power, to expose the heterosexual matrix and to displace the effect of its necessity?" (Butler, Judith, Bodies that Matter, London, UK: Routledge, 1993, p. 15)

goldiechiari
Objet du désir, #8
2006
1 min. 30 sec.
In the original 9-channel installation, Objets du désir, male masturbation takes the form of an assortment of playful quotidian objects simultaneously caressed by the female hand.  Extracted from this installation, in Objet du désir, #8, a specifically female hand enters into this act with a plastic red Pan Am blow-up jet.  The viewer must complete the picture in order to realize that the phallic toy may also function as an extension of the female body that performs the action or as that of the viewer's own body positioned in front of the screen.  The idea of the art object as a fetish and how this comes to play between the artist/gallerist or art object/collector are also evoked. (Kristen Lorello)

Marcella Vanzo
Lovesong
4:00 min., 2001
A reflection on time and the effect of its manipulation.  Depending on its speed, the same gesture completely shifts meaning.  "Marcella Vanzo creates videos in which the unexpected editing of images and music subverts platitudes and social customs. In Lovesong, through the slowed-down editing of brief greco-roman wrestling bouts and the sweet tone of a love song, an ancient brutal and aggressive sport is transformed into a prolonged love embrace, ironically evoking macho stereotypes" (Ilaria Bonacossa)

Arzu Özkal Telhan
Nothingness
3:06 min., 2005
Occupying the space between action and passivity, a flaccid body enters onto the screen as the cleansing ritual of a Turkish burial rite is performed onto the body's surface by a secondary performer.  Uncertain whether the body is alive or dead, the viewer's access to the female nude is denied by the formal structure of the visual space and by the eventual recognition that the body is in fact a corpse.  In this seeming passivity, Telhan activates an attitude of disobedience, refusing to participate according to the dictations prescribed by the outside realm. (Kristen Lorello)

Tara Mateik
PYT
4:04 min., 2004
In Never Never Land identities collide and adult imperatives of binary gender have not yet taken hold. We suspend our disbelief and salute a constant state of preadolescent gender. In the tradition of the pantomime, the lead roll of Peter (the principal boy) is played by a woman. Michael Jackson plays the modern day Peter Pan in a state of arrested development. PYT throws social codes of masculinity into crisis and suggest Michael Jackson, Peter Pan, and Mateik are theoretical and cultural transvestites. (summary courtesy of the artist)