Lost Screams 8/1/2017
Trees that suffer through drought make sounds through their empty collapsed water columns caused by increased pressure within internal tubes called xylem. Xylem normally spread water through trees’ trunks, branches and leaves creating growth and producing oxygen for our world. The audio emitted from these cavitations is out of our range of hearing.
Through moving abstractions of manipulated forest reflections on water, a visual representation of the trees’ calls reveal themselves. Hints of soundwave imagery appear, and we can see their screams within the sustenance that they need to survive.
If we could hear them, would we tend to our planet’s environmental needs with greater urgency?
4 min 25 sec
Currents New Media 2017 5/22/2017
Opening Night – June 9th – 6pm to midnight
The Digital Body: The 3rd International Exhibition on New Media Art 5/19/2017
Part 1. May 12 – 28, 2017 (2017.05.12 – 28.)
Part 2. June 2 – 18, 2017 (2017.6.2 – 18.)
Part 1: Justyna Adamczyk, Whitney Bandel, Jessica Dolence, Ben Ehrmann, Kun Fang, Eona Jiawei Gao, Daniel Johnson, Kevin H. Jones, Inbar Hagai, Mary Hanlon, Peter Hriso, Wayne Madsen, Kushtrim Mehmeti, Tracy Miller-Robbins, John Mutter, Pat Reynolds, Christian Tablazon, Kamil Tatara, Jessica Tsang, Leah Uchitel, Liliya Zalevskaya
Part 2: Maryam Amirvaghefi, Alfredo Ardia, D S Chapman, Maggie Hazen, Norman Klein & Margo Bistis, Alyona Larionova, Gili Lavy, Vasilios Papaioannu, Mikey Peterson, Mike Richison, Elissavet Sfyri, Matt Sheridan, Jeffrey Yip, Taylor Yocom
A Tear In The Fabric 1/20/2017
Humans develop systems and structures to feel in control of nature’s constant flux. We create symbols and timeless myths to embellish the mundane and to cope with our mortality. “A Tear in the Fabric” depicts how we see and interpret natural anomalies as miracles, omens, and answers. Through the camera’s angle of vision and sound manipulation, a portion of the ordinary is hidden amidst a background that alludes to the extraordinary. The subject appears alien to this world but, like a philosophy of most video and film, is a lie that reveals greater truths about what we see and what we want to believe.
2 min 57 sec
Visions in the Nunnery 9/15/2016
Slip Away will be exhibited at Visions in the Nunnery – a renowned showcase of contemporary moving image and performance work, returning to the Nunnery Gallery, London for a special celebratory tenth edition this October. Selected from over 1500 world-wide submissions, combined with a star-studded list of invited artists and previous exhibitors, the show will present a unique and exciting platform for cutting edge digital and performance art.
Established in 1999, Visions offers an informed overview of the provocative and quick-changing mediums of moving image and performance. The 2016 exhibition will showcase over 100 artists’ work through an innovative six-part programme, punctuated by 12 events featuring live performances in the gallery and its unique Victorian enclosed courtyard. Exhibition partners include Artsadmin, who are lending Steve Lambert’s iconic and interactive installation Capitalism Works For Me! True/False, LIMA, an international platform for media art, who will lend a variety of work including Marina Abramović’s The Scream and the Rotterdam-based Unnoticed Art Festival.
The first London showing of Dryden Goodwin’s work Poised, originally commissioned by Film and Video Umbrella, will open the exhibition during Frieze week – Visions is one of Frieze’s recommended not-for-profit shows – with works alongside focusing on the body and close observation (5-20 Oct). A special event for Frieze’s East End Night will close the first week, featuring Patrick Simkins’ live and interactive performance Dance and Draw.
Following the Nunnery Gallery’s winning of the Connect Competition to work with Susan Hiller, Visions will take part in the Museums at Night festival at the end of October, premiering a new installation from film duo Webb-Ellis, whose work follows a community pilgrimage inspired by Hiller’s Homage to Joseph Beuys series (25-30 Oct). Three of Ori Gersht’s works will follow in November, with accompanying screenings exploring setting in motion processes that disrupt in unexpected ways (1-16 Nov).
Three mixed programmes will follow: Programme 1 will launch with live performances including Gur Arie Piepskovitz’s A Passion for Passion, just returning from touring at Edinburgh Fringe, including works from Ruth Novaczek and Tanya Syed, who are just about to show at Tate Modern in From Reel to Real and Uriel Orlow (17-23 Nov). Programme 2 includes a set of networked performances, including Natalia Skobeeva who just won the Red Mansion prize, and an event from BEEF (Bristol Experimental and Expanded Film) presenting immersive photochemical and sonic experimental performances, including a live performance from Louisa Fairclough (24-30 Nov). The final Programme 3 will open with a new and live performance from Richard Layzell, feature Nina Danino who is shortlisted for the Jury Award at this year’s Venice Film Festival, and close with a re-enactment of the emblematic video work Döppelganger from Prof Elaine Shemilt, part of a series started in 1974, three of which were exhibited at the Video Show at the Serpentine Gallery in May 1975 (1-18 Dec).
The show is selected and curated by Visions curators Cinzia Cremona and Tessa Garland.
First Thursday Public PV: Thurs 6 Oct, 6-9pm RSVP
Frieze East End Night, with performance: Sat 8 October, 6-10pm
Day’s End 7/26/2016
A romantic urban landscape becomes a place of anxiety, relaying the tension of our young century. This single-shot video, reinforced by the manipulated sound from the source footage, merges nature’s beauty with fear. A menacing sun follows us through the city – alluding to disruptions of peace, visions of our end, and a reminder that no matter how far our culture and infrastructure evolve, we will never be in full control of the future.
3 min 28 sec
BNL Media Art Festival at Rome’s MAXXI Museum 4/7/2016
Online exhibition at Google Cultural Institute.
Slip Away at Niza Knoll Gallery 2/23/2016
Give Up The Ghost 1/4/2016
This expressionistic single shot video captures one moment of natural movement and patterns. Manipulated audio from the source footage adds the suggestion of horror as nature reacts to itself. The sum of its parts contribute to a larger whole – alluding to the idea that death is necessary for evolution to take place.
Without Words Film Festival 11/25/2015
Slip Away will be a part of the Without Words Film Festival on December 5th 2015 in Marseille, France. Stop by if you’re in the area.
LandEscape Art Review 8/20/2015
Interview/Feature in the new issue of LandEscape Art Review.
Read it here:
ACM Siggraph Presents: Enhanced Vision – Digital Video 5/14/2015
Slip Away is part of an online art exhibition presented by ACM Siggraph.
View the exhibition HERE
Read the curator’s statement below:
The first online video exhibition presented by the ACM SIGGRAPH Digital Arts Community, Enhanced Vision – Digital Video surveys a wide variety of ways video artists currently explore socially important issues using digital methods to enhance their practice. Video Art has experienced a long and celebrated history that has evolved technically alongside the development of the personal computer as well as concurrently with critical changes in social, political and cultural events. What began as an experimental analog technology, allowing real-time recording and viewing using physical material (tape) to record on, has transitioned into a completely digital format, from the first recorded images to the end result. Today, video and computer/digital technology have merged seamlessly: what once was considered pure video art and what was once simply known as “computer graphics” are now often combined. The significance of this realization was the basis for this online exhibition.
Since the early 1970s, when the first video artists used reel-to-reel Sony Portapaks to witness and distribute content, especially that which was not shown on TV (i.e.: not obvious to the general population at the time), content was key to the practice of video art. Analog technology allowed for some “video effects,” but these were limited and were often abstractions of the recorded material. When, in the early 1980s, digital video technology first became publicly available, many artists began to incorporate new digital effects in order to emphasize content. The works they created were both subtle and extravagant but divergent from earlier video because their results were not always based on what could be seen through their camera lens. The personal computer also became available to early adopters (including many artists) around the same time, but computer graphics (especially animation) and video art were quite distinct skills and technologies to master, and few artists claimed proficiency in both fields of practice. Slowly over the years, as digital technology has become the standard for video editing, graphic software and specialized hardware have also become areas of interest to video artists.
The “digital age” became widely recognized in the mid-90s, when Internet access exploded and became free for many, especially those artists who were active in new media arts at university programs and at subsidized media centers in Europe. Soon, communities of artists gathered around artist servers who supplied not only access, but training, new technology and an interested audience at media art festivals, and in special events which could be live, in real-time, and online. This paradigm shift changed the game for all artists working in media, but especially video artists. All of a sudden, their works theoretically could be widely presented online, without curatorial or institutional intervention, and the association with other artists working online in performance, sound, and interactivity, joined up thinking in many projects. But the reality was often disappointing, server space was limited, or bandwidth was too narrow for easy viewing. YouTube and other online portals have increased the audience for video material and rapidly built a new aesthetic of fast paced material. This resource remains a huge treasure of cultural diversity and even supports serialized programs made especially for the online audience. Video artists are included in this online and often chaotic digital world of multiplicity. It is only with organized topics, programs created by specialized groups, curated exhibitions, and online events that the best and most interesting work can be viewed with some reliability.
This very brief and over-simplified history, even if made longer and more detailed, still wouldn’t explain the longstanding disconnection that somehow continues to exist between artists who embrace the technical effects possible with video, artists who understand and master computer software, and traditional video artists who use the tools but reject any connection to technology. But, as the technology becomes more and more invisible in the video process, this certainly will become less of an ideological issue. Content is still considered the priority of video art, and a proficiency to develop ideas using digital programs, secondary. Looking at how video aesthetics and digital technology meet to bring a new understanding to content is the priority of Enhanced Vision – Digital Video. Selected from an open call, this international survey features 30 of today’s most exciting and innovative digitally-enhanced video artworks, confirming that digital tools and content can co-exist and grow intertwined aesthetically and visually.
Enhanced Vision – Digital Video focuses on showing the manner in which digital methodologies enhance the moving image, and how these effects can reveal specific meaning and content that would not be revealed otherwise. Each selected work brings its own unique and original artistic style to expose socially significant issues. These works may use open source, individually coded, proprietary and commercial software, off-the-shelf graphic programs, giving artists the capability to reveal what a camera alone cannot capture. Thus, the unique aspects of video as a time-based art form, when combined with digital effects and computer graphics are capable of expanding the understanding of critical issues. The resulting “enhanced vision” reveals inventive ways of conveying significant, socially relevant ideas to online audiences. The ability of contemporary video to integrate effects and content utilizing digital components adds a deeper level of understanding to the literal meaning of the work. The criteria used to evaluate the work included in Enhanced Vision – Digital Video were as follows:
It reveals a normally “invisible” aspect of the visual scene.
It creates a metaphoric interpretation from the natural world.
It is a visual interpretation of a socially engaged or politically charged event.
It observes that which is an otherwise obscured scene.
The works in the Enhanced Vision – Digital Video exhibition, in many cases, use found footage and off-air material, or snippets of downloads from the Internet, especially those from YouTube and other popular websites. These have all been reviewed and are considered to be fair use. Many are examples of the practice of mash-up, bringing together various sources, especially those found online, to form a new mix with a totally different, enhanced message. An online exhibition of video art would naturally attract artists who already use the Internet as a resource, and the resulting works confirm this. Extreme examples of mash-up in Enhanced Vision – Digital Video can be recognized in the work of Natalie Bookchin’s My Meds, from the series Testament, a YouTube collage of testimonials from people taking medications prescribed to them by their doctors, as well as Charlotte Eifler’s fast-paced OU TOPOS, which gives the impression of being a utopian construction from footage as found on the Internet. Likewise, Chonga Lee’s Raw Quinoa maps the collective imagination of networked culture through various demo videos and architectural visualizations.
The built environment is a major issue explored by Enhanced Vision artists. Observational works, such as Myriam Thyes work APOTHEOSIS OF GLASGOW HIGH-RISES reveal the overpowering growth of high-rise buildings, from a very unusual viewpoint (originally intended to be a projection on the ceiling); in Soft Pong Inari, Michael Lyons’ crowd-sourced photographs reveal a unique view of the Fushimi Inari Shrine; Nina Yankowitz creates an animation that uses a generic glass house as a metaphor for environmental and social decay in her work Shatter/Flood/Mud/Houses; the video City.Flow(), by Wobbe F. Konig, is an optical real-time journey through the urban environment; and Benjamin Forster, in A Written Perspective, takes his viewer through the Joondalup Shopping City using a text detection algorithm, giving a new view to the urban landscape.
The political environment presents a variety of visual topics to artists using video and digital effects to examine natural as well as man-made disasters. Kenji Kojima looks at the nuclear contamination of the ocean and soil in Composition Fukushima 2011, and creates a soundtrack from the news reports, using the RGB value of photographs to compose his audio score for the work; UBERMORGEN (Hans Bernhard and lizvlx) have created Deephorizon using data from the Deepwater Horizon oil spill in the Gulf of Mexico; digital effects have been used to recreate the disaster at Lampedusa, which resulted in the drowning of persons seeking asylum from Somalia and Eritrea, in Felice Hapetzeder’s 366; Szacsva y Pal has created a mash-up from ‘photos of the day’ images from Hungarian news sources in Horrible Pictu, the first in a series of works dedicated to correct misinformation given to the public; and the many human rights violations in the garment industry, especially the disasters of Bangladesh, are the topic of Lynn Estomin’s video Fashion to Die For.
The natural environment is a topic of concern, and has evoked many impressions, especially of water and the sea. Frederick Fisher and Don Rice’s Arcadia is a metaphorical response to the notion of Utopia and how human activity can alter our relationship to nature; in Slip Away, Mikey Peterson creates meditative images that merge with real-time footage to create a surreal impression of displacement; Harrison Banfield & Jack Rees’ video Water, uses found footage and generated imagery to explore water and the sea; Thomas Porett’s ambient video On China Sea, using digital tools, transforms the motion of ocean water churned by ship motion; and Ulu Braun creates a surreal metaphor by manipulating and compositing his footage to emphasize environmental ooze, in Mudland #1.
Several works merge abstract concepts together with real observation, often using symbolism. Joanna Bonder’s Digits shows how numbers are an abstract concept with hidden content; Bryne Rasmussen-Smith uses a science-fiction stance to bring meaning to the world of constant technological input and output, in Don’t Know Where To Point; Kaisu Koski explores the imagined female reproductive system from drawings made by medical students in Not to scale at all; Jason Bernagozzi’s simulated experience of people using media in his work, Simulacrum proves to be ghoulish; Ellen Wetmore tells stories with vignettes of feminist themes of death, rebirth and childbearing in Grotesques; Joon Sung examines the minute particles produced by a cup of buckwheat tea in Particle Daydream; and the personal tragedy of suicide is revealed through a series of twitter feeds, in necrolog of robin williams or the suicide of irony, by Alexander Repp.
The recreation of a new set of realities using digital processes is evidenced in the work of Damon Mohl, with his The Dust Machine Variation, produced over three years of examining local junk and recycling and salvage yards; David Krippendorff repurposes excerpts from the script of West Side Story (USA 1961) to present a dialog that echoes current political conflicts, in A Small Fee; the increased use of surveillance and digital tracking of individuals is the focus of Surveillance Siddhi, by Ellen Pearlman; while Grant Petrey plays with the temporal aspects of cinematic phenomena in Filament; Talia Link creates an impressive setting, broadcasting online from her bedroom to give DIY instructions in Printed Clothes, DIY (4 my catcaller).
Enhanced Vision – Digital Video is a project of the ACM SIGGRAPH Digital Arts Community Committee, which has the ongoing role, within the larger ACM SIGGRAPH organization, of promoting the evolution of a strong, year-round digital arts community within this international organization, also promoting a dialogue between visual artists and other members
ACM SIGGRAPH is a part of ACM, THE ASSOCIATION FOR COMPUTING MACHINERY(http://www.acm.org), the world’s largest educational and scientific society, uniting computing educators, researchers and professionals to inspire dialogue, share resources and address the field’s challenges. Part of ACM SIGGRAPH’s larger mission is to foster and celebrate innovation in Computer Graphics and Interactive Techniques. ACM strengthens the profession’s collective voice through strong leadership, promotion of the highest standards, and recognition of technical excellence. ACM supports the professional growth of its members by providing opportunities for life-long learning, career development, and professional networking.
Kathy Rae Huffman.
Guest Curator, Enhanced Vision – Digital Video.
ACM SIGGRAPH DIGITAL ARTS COMMUNITY.
Ekphest at The Museum of Contemporary Photography – Chicago, IL 4/7/2016
On April 23rd at the MoCP I’ll be collaborating with writer Eric Elshtain and photographer Adam Schreiber. I’ll be projecting video and performing live audio as my response to their work. Please come by if you’re in the area.
Thursday, April 23, 6pm – 8pm
Museum of Contemporary Photography (MoCP) with Eric Elshtain
Columbia College Chicago, 600 South Michigan, Ground fl, Chicago, IL 60605
Referencing “Presidential Moon, 1969 (from the Anachronic Series)” by photographer Adam Schreiber, Elshtain will present a short performance of poems centered around the image of the moon, the amplified sound of typewriter keys, and the human voice. The photograph by Schreiber is of a sculptural representation of the moon housed in the basement of the LBJ presidential library. In collaboration with Mikey Peterson, a Chicago-based video-audio artist, Elshtain’s presentation includes sound and film as the poem asks: What can a little moon do for you?
Born Again and Light Cycle 1/10/15
Two new videos, Born Again and Light Cycle, are now released.
Click the pics below to view:
Mute Sound 11/13/2014
1 minute autohypnosis sex war noise faith white truth light europe death seed red net Jung dollar neo time love-in city twenty new Cage zen self was released in October of 2014. You can listen to the sounds by clicking the arrow at left of each one, you also can download them by clicking HERE. Artwork HERE.
Stranger Leaves / First Kings Nineteen: Eleven – Twelve 4/3/2014
An alternate version of my video, Stranger Leaves, has been released and is currently featured in the April issue of The Conversant. This is a collaboration with poet/writer Eric Elshtain.
Watch it HERE !
Slip Away and Unrest 1/23/2014
I just finished two new videos, Unrest and Slip Away. Click the pics to view!
Memories diverge from the experiences they intend to mirror. They emerge as an alternate reality we create and revise over time. These visions skew, as our minds focus on fragments of the original experiences – sometimes these visions warp the event to the point where they no longer represent the event but create an alternative version, a dream-like new reality that can influence our present selves. Maybe our selves and our lives are built upon this process of useful mis-remembering.
In these one-shot videos, “Slip Away” and “Unrest,” buildings hide behind a natural impressionistic haze. The imagery is familiar, but it’s always at a distance, as movement, light, and sound reinforces its surrealism. What we see is in constant flux, and the same can be said of what we view as Truth and Self.
Facade Video Festival 2013 9/10/2013
Six Moments Of Clarity, along with many other international video works, will be featured at the Facade Video Festival in Plovidv, Bulgaria this Friday, September 13th.
More info below:
FACADE VIDEO FESTIVAL 12-15 | 09 | 2013, Plovdiv.
Program: http://www.facade.arttoday.org/en/2013/program and partecipants:
URBAN SPACE converts its solely function as a mere backdrop and is about to
be activated. Thus the neglected public space of the Old Town and other
neighbourhoods of Plovdiv is transformed into a vivid place of artistic
practice. Cineasts and random passer-bys form an audience in a unique
setting. The facades themselves start to act, to talk and to move.
VIDEO ART leaves its hermetic and privileged venues as art-house cinemas,
galleries and museums. The facade becomes a new medium of encounter between
artist and recipient, between art and urban environment. The festival would
become a platform where cultural institutions, curators, artists, critics
from all over the world can exchange ideas and experiences in the field of
the contemporary art.
Façade is a project of Art Today Association – Center for Contemporary Art
? Plovdiv, The Ancient Bath. E-mail: office at arttoday.org web:
Audiovisions digital / Scicli #1 5/30/2013
Six Moment Of Clarity will be shown amongst several other international video works at the Audiovisioni digitali festival in Sicily, Italy on May 31st and June 1st 2013. This event is curated by Le Momo Electronique an affiliate of C.A.R.M.A.
Scicli opens up to video with an International exhibition of audiovisual researches. From 31th may to 1th june “Audiovisioni Digitali/Scicli”, will bring, in the historical centre of the baroque town, a UNESCO site, works of twenty six artists from different countries, a sound art night, with meetings and special guests for the presentation of of the book “La Videoarte nel mondo del software”.
The initiative promoted by Tecnica Mista, embraces the project of C.A.R.M.A (Arts Centre for Multimedia Applied Researches) which represents one of the most critical/scientific and authoritative reality on the current scene of video art in Italy. C.A.R.M.A. also edited similar selection for MUBA in San Paolo and for White Box Museum of Art in Pechino, and recently it inaugurated at the MACRO in Rome the new touring project “Digital Audiovisions” in order to spread the latest trends of international video art.
The scientific care is committed to the group Le Momo Electronique , which selected works from the C.A.R.M.A archive and from the 8th edition of Magmart, the international festival of video art in Naples.
Audiovisioni Digitali/Scicli is an itinerary of projections along the heart of the city, an ambitious and innovative expository project, which has, among its various values, that of showing contemporary arts inside and outside expository places.
Scicli, historically linked to the painting, is a vibrant city thanks to many cultural activities, and for the first time it opens up to a historical comparison with video art, a mature artistic language now after half a century of history.
Friday, May 31 at 23.00 the first event: “Sound Art Night.” Saturday, June 1th at 23.00 the presentation of the book “Video Art in the software world,” with contributions by Marco Maria Gazzano and Lino Strangis. Friday 2nd June at 11:00 the last event: “Sound Art Brunch” with local products. Among artists on national and international significance, the exhibition will be the proud holder of Robert Cahen (with its exhibition at Quam gallery) one of the greatest masters of international video art. Historic buildings, monuments and churches will open until late at night, in a cultural tourist itinerary as only Scicli can do.
Artists: Rebecca Agnes (Italia/Germania), Alessandro Amaducci (Italia), Adriana Amodei (Italia), Mikhail Basov (Russia), Nicola Bettale (Italia/Francia), Robert Cahen (Francia), Piero Chiariello (Italia), Jean Detheux (Canada), Elisabetta Di Sopra (Italia), Ida Gerosa (Italia), Guglielmo Emmolo (Italia), Jessica Fenlon (U.S.A.), Francesca Fini (Italia), Igor Imhoff (Italia), Salvatore Insana (Italia), Igor Krasik (Germania), Artem Ludyankov (Russia), Antonello Matarazzo (Italia), Ouestbrouq (Francia), Mikey Peterson (U.S.A.), Mario Raoli (Italia), Jean-Michel Rolland (Francia), Rebecca Ruige Xu (U.S.A.), José Manuel Silvestre (Spagna), Lino Strangis (Italia), Hideyuki Tanaka (Giappone).
Homage To Catalonia 5/6/2013
I just finished a music video for the band Thanatos entitled Homage To Catalonia from their new album The Exterminating Angel. The song features Pat Ogle, Tim Larson and Chris Connelly. This is my first venture into music video making.
Check it out here:
Text Sound 4/15/2013
The Duende Bros’ track, I’m The Zipper, is featured in issue #15 of the online audio publication Text Sound, which features poets and multi-media artists from around the world. This month’s issue also features the work of ‘tENTAVELY, aCONVENIENCE’, Machine Libertine, AB Gorham, Thylias Moss, and Ansted Moss.
Check it out here.
MIA – A Monthly Moving Image Art Screening Series 3/18/2013
On Friday, March 22nd, Anas Nebula will be shown amongst several international films/videos through MIA: A Monthly Moving Image Art Screening Series in Pasadena, CA at The Armory Center for the Arts. This month’s series is titled, ATTENTIONAL SHIFT. Come by if you can, and read below for more info:
MIA presents video art from nine artists working with repetition, manipulation and found footage on March 22nd. These artworks each focus the audience’s attention through selective editing and image manipulation in order to reveal secondary meanings behind the initial surface impression.
22 March 2013 — 8PM
Rocky Horton – Stephanie Hough – Marco Mendeni
Jessica Miller – Zach Nader – Charmaine Ortiz
Mikey Peterson – Rembrandt Quiballo – Tahir Ün
MIA is a brand new series screening the work of artists using the moving image. Curated by artist Alanna Simone.
Screenings every 4th Friday at 8PM
A donation of $5 is suggested.
The Armory Center for the Arts
145 North Raymond Avenue
Pasadena, CA 91103
Moving image art includes experimental film, video art, installation art, performance art, essay films and animation.
Made possible in part by the Pasadena Arts & Culture Commission and the City of Pasadena Cultural Affairs Division.
STREETVIDEOART “Utopie Distribuée” 3/18/2013
STREETVIDEOART and Art Television will be showing Anas Nebula among many other films at Gallery WHITE PROJECT in Paris, France. The opening is this Saturday, March 23rd. Please stop in if you’re in the area.
Info and other contributing artists are below:
Gallery WHITE PROJECT “Utopie Distribuée”
24 rue Saint Claude 75003 Paris / 09 March – 27 April 2013Workshop 09 – 22 March / Verissage 23 March
Arlen Schumer/ Alain Longuet/ Alejandro Cerón / Barton Lewis / Michael Peterson / Kye Wilson / Russell Chartier/ Silvia Toy / Martin McGill / Rogier Dirkx/ Toby Kaufmann-Buhler / Tahir Un / Jessye Mc Dowell / Marcantonio Lunardi / Yannick Verdier Monsegur / Linda See / Rohan Graeffly / Keaton Fox / Geogette Soh / Sije Kingma / Lotta-Pia Kallio / Mariel Sanhueza / Johana Hartwig / Jerome Bouchez / Stefano Giannoti / Sally Grizzell Larson / Sam Spreckley / Ian Henderson / Ezra Wube / SB / bARut / zerOposition …
Stranger Leaves 1/9/2013
My new video entitled Stranger Leaves is now complete and is currently exhibited here and at Art Television. Like Anas Nebula before it, this piece continues my exploration of nature through distortion, displacement, and sound with hope that it alludes to other ideas about the world we live in.
STREETVIDEOART: Walk Your Telly 10/27/2012
After several months of videos displayed publicly throughout the streets of Paris, the STREETVIDEOART: Walk Your Telly exhibition is now showcasing the artists that participated. My video, Anas Nebula, is among those selected. The show runs through November 8th at the Larcade Gallery in Paris, France. Please stop by if you’re in the area.
You can watch documentation of the opening as well as the street exhibitions HERE.
Lucca Film Festival 2012 9/15/2012
Anas Nebula has been selected as part of the International Short-Films Competition at the Lucca Film Festival in Tuscany, Italy during the week of October 1st – 6th.
Below is a bit of info about the festival:
INTERNATIONAL SHORT-FILMS COMPETITION
The 8th edition of the Lucca Film Festival will take place in October, from 1st to 6th, at the Cinema Centrale, in the centre of Lucca. The Festival wants to promote the knowledge and diffusion of international cinema in all its forms, in a spirit of freedom and conviviality. In addition to the sections mentioned in the following paragraphs, the festival will present retrospectives, exhibitions and homages to artists who excel in film and video-making, in order to promote a better understanding of the history of cinema and videoart.
Click HERE for info on the official line-up of films. More info will be posted when it’s released.
Anas Nebula, along with many other video works from around the world will be shown throughout the streets of Paris, France this summer through Art Television’s latest public exhibition StreeTVideOart.
A video previewing these events can be seen here.
Below is a brief summary of these public exhibitions:
The new art movement is born:
Action / Exhibition / Movement – Paris 2012
“StreeTVideOart” is an art action on an international scale consisting of a number of presentations of an emerging video art in an urban context.
“Unexpected, daring, provocative exhibitions of video art, taking place at secret and surprising places in Paris… will mark the beginning of the movement that will undoubtedly last long in all the big cities of the world.” – author of the concept Milan Atanaskovic, March 2012.Video art in a public space – Very soon via Art Television
StreeTVideOart is an international art action consisting of a number presentations of emerging video art in an urban context.
This new art movement is made up of video artists from all over the world, who will “attack” – with their video artworks – the city of Paris by night in the months to come – its streets, passages, windows, walls, hallways, pavements, squares, yards, unexpected places… We will exhibit works by setting up TVs in an urban and industrial scenery – in direct contact with the audience and the metropolis; return-to-zero, in order to reset, electrify, revive the city! Emerging video art in public space! StreeTVideOart will start in Paris and gradually spread to London, Berlin, New York, Madrid – all the major cities in the world…
My video works, Anas Nebula and Six Moments Of Clarity have been recently featured in the Mexico City-based art/culture magazine Blancopop.
Check them and many other videos, photos, and articles here.
Read the English translation below:
MEDITATION IN MONOCHROME | Mikey Peterson | Blanco Pop
Mikey Peterson speaks to us with the language of distortion: natural environments are modified to invite the viewer to a disconcerting place.
There are artists who take advantage of the fact that the brain does not distinguish between what is real and what isn’t in order to put those who follow them into a type of emotional trance; this is the case with videographer and singer/songwriter Mikey Peterson.
He lives in Chicago and his videos have reached international screens at venues like the Video Art and Experimental Film Festival at Tribeca Cinemas in New York and the Performance Intermedia and DokumentART festivals in Szczecin, Poland.
His experimental work is focused on rhythm, sound and organic abstraction: distorted images –always of natural elements– a bit unsettling because they subject those who view them to a state of restless meditation.
For example, the hypnotic piece Anas Nebula shows us a type of sparkling outer space where patterns at times reveal confusing shapes that have different meanings for each person.
Conversely, in Six Moments of Clarity, tranquility is abruptly interrupted by a concert of lights and sonorous repetitions, jumpy movements that disturb the monochromatic view of the same image multiplied.
If you would like to find out more about Mikey Peterson’s work, you can visit his official web site or listen to some of his songs on MySpace. Once you delve into his experiments, your state of mind won’t escape unscathed.
Translated from the Spanish by Paul Grens
Anas Nebula 2/22/2012
My new video, Anas Nebula, is officially finished and is exhibited online at the New York-based Videoart.net and the Paris/London-based ArtChannel. This one-shot video contains 10 layers of manipulated ambient sound taken from the original source recording. It is definitely headphone-friendly, so play it LOUD.
Watch it here:
UPDATE: Anas Nebula, has been selected as an editor’s pick at Videoart.net.
Watch it and several other international video pieces here.
2011 Video Art And Experimental Film Festival – December 8th and 9th 10/8/2011
My latest video work, Six Moments Of Clarity, will be shown at the 2011 Video Art And Experimental Film Festival at the Tribeca Cinemas in New York, NY on December 8th and 9th. The festival is curated by Videoart.net, an international network for video art and experimental films. I’ll post more info as I get it, but here’s a bit of info about the festival:
The 2011 Video Art & Experimental Film Festival will take place December 8th – December 9th, 2011, at the prestigious Tribeca Cinemas. The Festival strives to showcase the artwork of today’s most groundbreaking video artists and filmmakers from around the world and bring their work to sophisticated New York City audiences. In addition to the screening, the event will feature a panel discussion lead by distinguished academics and industry professionals, followed by a gourmet food and wine reception with the artists and panelists at the elegant Tribeca Cinema bar. Videoart.net Artistic Director Dan Fine says, “The Festival aims to shed new light on the video art genre and is an important step to democratize the relationship between artists, curators, institutions, and the public worldwide.”
Six Moments Of Clarity 2/5/2011
My new video piece, Six Moments Of Clarity, is officially complete. What started as a simple realtime experiment with light morphed into a more complex 2 minute video-audio composition containing only one manipulated 5 second clip. Currently it’s being exhibited at VideoArt.net. Use headphones if you can!
Check it here:
Art Television 10/25/2010
I just received news that my video works will be exhibited on the European-based cable/satellite/internet television channel, Art Television, which televises video and new media-based art in Europe and in parts of Asia and Africa. Currently Cityscape #1 is featured in their trailer for the channel. You can watch it HERE. I’ll have more news about specific episodes when I get them.
Here’s a description about the channel’s concept that’s featured on their website:
Art Television is a new form of artwork, a modular media construction, an innovative concept in visual arts, a total work of art.
Oart.tv platform is an international art association enabling artists to participate in its medias, events and program, to express themselves fully and to become and remain known to professionals and a large audience worldwide, enabling all its members to be involved in art life and in the international contemporary art scene.
O Art is the determinant for television projects Art Television, Art Channel, Art TV – it is a global media artwork and an innovative concept in visual arts: Television as Art. Art TV was founded in 1991 in Belgrade, as the regional terrestrial channel in the Serbian language specialized in culture. After twelve years of experience, one of the three founders, Editor in Chief and artist Milan Atanaskovic, decided to establish Art Channel, the international satellite TV entirely dedicated to contemporary art and the phenomenon of new video art, internet and new technologies in art. Paris based Art Channel was broadcasting via satellites and other TV networks in Europe, part of Asia and Africa from the beginning of 2005. In 2010 the new development phase began and Art Television was created, using internet as the worldwide broadcasting ground.
Feel free to read the rest of the description HERE.
Interview with The Examiner 6/23/2010
I’m currently featured in the latest Chicago Teachable Moments section at Examiner.com. The interview was conducted by my colleague and fellow teaching-artist Dan Godston.
Welcome To MikeyPeterson.com 5/7/2010
Mikey Peterson is a Chicago-based video-audio artist and singer-songwriter. He creates experimental video art that focuses on rhythm, sound, and organic abstraction having shown work nationally and internationally at festivals such as the Video Art And Experimental Film Festival at Tribeca Cinemas in New York City, at the Performance Intermedia and DokumentART Festivals in Szczecin, Poland, at the From Chicago to Lahore: Connecting Edge exhibition at the Chicago Cultural Center, Zero Filme in Lisbon and Braga, Portugal and at the Short Sighted film exhibition at the University of Chicago’s Smart Museum. His video work has also been exhibited on the European-based satellite television channel, Art Television and the New York-based website, Videoart.net. Peterson also records and performs as a solo musician, crafting sparse yet melodic songs with his band The Trust featuring Tom Stukel on drums and Alex Rodriguez on bass. Additionally, he composes electronic-based experimental pop music under the moniker EM Danger, and as The Duende Bros has partnered with poet Eric Elshtain to develop an inimitable form of musical dance poetry.