BLACK BOX (Approximate Running Time: 60 min.)

Artists

Susy Bielak Quake/Temblor: Quake Test #2 and Quake/Underneath, 3:30
min., 2009
Quake/Temblor is about the relationship between interior life and natural
disaster, self and system. The short videos include footage from a seismic
test using a shake table at UCSD's Caltrans seismic response modification
device test facility. I applied the same pressure and motion normally used
to test the integrity of structural systems (e.g. bridge bearings, scaled
buildings) to domestic objects and situations. Working with structural
engineers, we applied a seismic record from the 1985 Mexico City
earthquake, magnitude 8.1 on the Richter scale, to a living room/dining
room set.

Crystal Campbell, A Dark Love Story for Clowns, 6:30 min., 2009
A Dark Love Story for Clowns is a twisted triadic mlange of autobiography
seeping from an adapted classic short story and an African ritual.

Micha Crdenas, Becoming Dragon, 3 min., 2009
Becoming Dragon questions the one-year requirement of Real Life
Experience that transgender people must fulfill in order to receive
Gender Confirmation Surgery, and asks if this could be replaced by a one
of Second Life Experience. For the performance, Micha Crdenas lived for
365 hours immersed in the online 3D environment of Second Life with a head
mounted display, only seeing the physical world through a video feed, and
with a motion capture system to map her movements into Second Life. During
the year of research and development of this project, Micha began her real
life hormone replacement therapy and wrote poetry and prose about the
experience on her blog, http://technotrannyslut.com.

Mauricio Chernovetzky, Elsewhere, 5:30 min, 2009
A writer from another time and place encounters joggers on the beach at
sunset. Through the interplay of sound and image, this piece focuses on
movement, texture, and sensation, creating an experience made up of a
series of intensities that unfold mysteriously, as in a dream.

Lili Chin, Untitled, 4 min., 2009

Micki Davis, When We were Vids, 6 min., 2007
When We Were Vids is a constructed video playground derived from
individual friends home movies. The artist reconfigures and reconstitutes
her young friends into a time and space loop of childhood. They are
children caught in the act of play and a constructed memory. By Davis own
admission, this is an act of wishful thinking. These friends play together
only in the artists own generated space/memory.

Monica Duncan, Untitled, 1 min., 2009

Nico Herbst, Red Herring, 7 min., 2009

Anna Chiaretta Lavatelli, The Untitled Still Films, 6:30 min., 2004
I make films and videos and perform within them. I examine the portrayal
of women and femininity in cinemahow the cinema has fragmented female
identity, specifically my own. I perform multiple characters for my camera
in order to manifest the multitude of facets cinema proposes as feminine.
I am interested in the gaze of the camera, the cut, and experiments in
time and motion to suspend the construct, the female star in the very
unreality of cinema, in order to foreground the moments which evince
objectification.

Dolissa Medina, The Moon Song of Assassination, 7:30 min., 2009
The Moon Song of Assassination is a deity creation story about slain
Tejano music star Selena Quintanilla. Utilizing 1990s performance footage
alongside 1960s iconography of space exploration and political
assassinations, this archival/found footage piece tells the story of
Selenas ascension into Americas pantheon of martyred cultural figures, a
moment when The Big Bang began not with a bang and not with a boom but
with the bidi bidi bom bom of Yolandas gun.

Charles G. Miller, Untitled, 6 min., 2009

Andrew Wilson, Transcendent Power and the Mirrored Rhombus Prism, 4 min.,
2008
Architecture's enhancement of the figure-ground dialectic through an
idealized isolated form, privatized health care as transcendent power,
automated calling systems as the delegation of social rules to a device.
These are the institutional conditions of abstraction and control that I
became aware of in a dispute with Blue Cross Blue Shield of North
Carolina. Video shot at the healthcare provider's North Carolina
headquarters before being asked to leave the premises.

WHITE CUBE (Approx. Running Time: 47 min.)

Artists

Susy Bielak, Quake/Temblor: Quake: Still Life, 2:30 min., 2009
Quake/Temblor is about the relationship between interior life and natural
disaster, self and system. In this piece, people and domestic objects
inhabit a massive, brute, mechanical systemforming a disturbed and
displaced quotidian. This experiment is about many things, including how
things become unhinged, how domestic objects become characters, and how a
scientific testing ground becomes a theatrical stage.

Lili Chin, Untitled, 5 min., 2009

Micki Davis, Papa is Not a Palindrome, 9 min., 2006
In her current project, Micki becomes a custodian of stories. She extracts
personal moments, collects these memories, recreates them as artifacts,
and offers them back. Her sketches, plans and notes are part of this
process of translating stories into objects. They become physical
manifestations of her connections with family, friends and associates,
which explore the spaces around personal stories and collective memories.

Cathy de la Cruz, This House, 5 min., work-in-progress
What makes a house haunted? This House is a short animated film (live
action, digitally rotoscoped, colored and altered by hand) based on a
short story I wrote about a young girl stuck living in a house where a
relatives murder occurred. My last film, Two Four Zero Six is a
non-fiction film based around the exterior of my familys home. This House
is focused on the inside of the house. Much like Two Four Zero Six where
memory becomes intertwined with fantasy, This House, while somewhat
fictionalized is based on the reality my uncle and aunt shared of growing
up in a house where their mother was murdered.

Anna Chiaretta Lavatelli, And SHE wasnt, 3:30 min., 2007

Dolissa Medina, A Love That's Here to Guide Us, 4 min. 2009
Two star-crossed lovers meet against the backdrop of San Franciscos
Embarcadero Hyatt Regency Hotel, cinematic site of the 1970s disaster
epic, The Towering Inferno.

Elle Mehermand, Hap Slappy, 5 min., 2008
I slapped myself as hard as I could, for as long as I could, setting up a
parameter to experience within. This spontaneous performance was created
out of anxiety and frustration.

Zac Monday, me/him, 8 min., 2009
A dark encounter of two lovers in transition.