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JONNY NEGRON & MIMI BOWMAN
Digitalis, 2023
Digital video
3 min 39 sec
“It’s ironic that an overdose of digitalis induces the very arrhythmia it is used to counteract. At one point, while Fat lay on his back gazing up at the cathode-tube screen over his head, a straight line showed: his heart had stopped beating. He continued to watch, and finally the trace dot resume its wave-form. The mercies of God are infinite.”—Valis, Philip K. Dick, 1981
Daily screenings: 12:00 PM / 1:17 PM / 2:35 PM / 3:52 PM / 5:10 PM
ARIA DEAN
Suite!, 2021
Single-channel video
7 min 5 sec
“The total inconstancy of all reality is a terrible and overwhelming image. What it represents is analogous to the sensations of someone caught in an earthquake who loses their trust in solid ground. We fall in all directions.”
Daily screenings: 12:04 PM / 1:21 PM / 2:39 PM / 3:56 PM / 5:13 PM
DREW HEITZLER
California Medley (A Piano Concerto Performed by Gumby: Arnold Schoenberg, Piano Piece #1, Opus 23/ George Antheil, The Airplane/Hans Eisler, Klavierstucke, Opus 3/Ornette Coleman, Lonely Woman/Alice Coltrane, Altruvista/John Cage, Metamorphosis III/LaMonte Young, Study Number 2/Horace Tapscott, Piano Solo 1991/Brian Wilson, Surfs Up/Frank Zappa, The Little House I Used To Live In/Flying Burrito Brothers, Dark End of the Street/Captain Beefheart, Evening Bell/Neil Young, Cinnamon Girl/The Doors, Crystal Ship/Steely Dan, Babylon Sisters/Black Flag, Screw the Law/Easy-E, Boyz In Da Hood/Megadeth, Tornado of Souls/Slayer, Seasons in the Abyss/Elliott Smith, Lost ’n Found/Brian Jonestown Massacre, That Girl Suicide/G-Unit, G’d Up/Beck, MTV Makes Me Want to Smoke Crack/Earl Sweatshirt, Looper), 2014
Appropriated and re-edited 16mm film transferred to video transferred to digital video:
48 min 12 sec, color with sound
Original Gumby claymation by Art Clokey, all piano transposition by Jay Israelson
Daily screenings: 12:11 PM / 1:28 PM / 2:46 PM / 4:03 PM / 5:21 PM
NAOYUKI TSUJI
Children of Shadows, 2006
Charcoal drawing animation transferred to DVD
18 min
“This is a story of an elder brother and his younger sister. One day, they were nearly eaten by their father and they rushed out of the house. They drive their father’s black car, and came round a wilderness. Giant . . . Witch . . . A steam locomotive run carrying a huge cake . . . The children kept transforming their body shapes again and again . . . Based on Hänsel und Gretel by the Brothers Grimm.”
Daily screenings: 12:59 PM / 2:17 PM / 3:34 PM / 4:51 PM
For the first decade that motion pictures were being made, an agreed upon naming convention for sequenced moving images had not been unanimously settled. With little distinction, “photoplay,” “kinetoscope,” “cinematograph,” “nickelodeon,” and “theatorium” were all tendered as naming devices for this nascent entertainment technology. It was not until 1915, when Louella Parsons––the industry’s first authoritative gossip columnist––published her manual How to Write for the “Movies,” that “movie” was established as the dominant nomenclature for a theatrically released feature. In the Mandarin language, the term for “movie” is approximately translated to “electricity shadow” (電影; Diànyǐng). Breaking this meaning down further, we’re left with charged particles––electricity––and a form that comes between a projection of light and a surface––shadows––which form shape and therefore signs, meanings, and understanding. This invocation of “shadow” acknowledges the charged spacing of movies and the distance between what is projected and where it lands as a construct. Electricity · Shadow is a continuous screening program of four moving imae artworks, each projected electronically and playing with the manipulative potential in the space between what is projected and where it lands.