H E R E C O M E S T H E D A R K N E S S: Irena Knezevic
October 29-December 18 / 2011
ISU Galleries / University of Illinois at Normal
Opening Reception: Saturday / October 29 / 5-7pm
WEDNESDAY, OCTOBER 26, 7 PM, VIDEO SCREENING WITH LIVE INTERMISSION THE NORMAL THEATER / 209 NORTH STREET, NORMAL
SATURDAY, OCTOBER 29, 4 PM, CONCERT FEATURING KNEZEVIC, DANCERS FROM THE SCHOOL OF THEATRE’S DANCE AREA AND MUSICIANS FROM ISU BANDS 145 CENTER FOR THE VISUAL ARTS
THURSDAY, NOVEMBER 3, 7 PM
PERFORMANCE WITH KNEZEVIC AND ISU’S DEBATE TEAM
145 CENTER FOR THE VISUAL ARTS
For more info go to: allyouknowistrue.net
Image: Various Instances of a Negligible Mistake: A. Hitler’s Daily Walk, 2010
More information about the Guild:
The League of Dark Departments have joined forces in the Gesture Guild, a bureau for the recovery and acquisition of lost gestures. The Gesture Guild aims to return and reinforce the primordial anxieties responsible for head-bending weight and other liquid spiraling disasters, topical and tropical.
The public, inflicted with involuntary movement, nervous twitches, and ticks, due to the loss of solid surfaces and time-space incongruity, can join various Guild programs in search of gravitational re-calibration.
Determined via a brief questionnaire, members of the public are initiated into the Guild, thus participating in prescribed Guild activities at individually appointed times.
A schedule of activities and appointments, available for public observation, will be posted on line at www.three-walls.org.
Irena Knezevic is a Serbian artist currently living in Chicago. Knezevic’s work spans a variety of media to construct public events where scores, instructionals, and programs come together with sculptural objects to form a narrative inventory. Current areas of research include topics, such as: “secrets,” “involuntary movement,” “dream-wreck,” “liquidity,” “topical and tropical disasters,” “downward spirals,” “bright lights,” “vibratory inscription,” “hallucinogenic modernisms,” and “phantom continents.” Recent projects and performances have occurred at the Museum of Contemporary, Art Chicago; White Columns, New York; Harvard University, Cambridge and Galerie im Regierungsviertel, Berlin. Knezevic earned her MFA from the University of Illinois at Chicago in 2007.
Video Screening and Discussion: Wednesday, April 21, 6 pm
Hokin Auditorium, 623 S. Wabash
Join exhibiting artists Beate Geissler and Oliver Sann as they comment on and screen examples of their video work, including Shooter (2000), and Fuck the War (2007).
The photographic series the real estate (2008/2009), by Chicago-based artists Beate Geissler and Oliver Sann, depicts homes in foreclosure, evoking the absence and loss of former homeowners with unembellished portraits of empty living space. Oliver Sann and Beate Geissler moved to Chicago from Germany in 2008 just as the economic downturn hit and home foreclosures became widespread across the economic spectrum. Sann and Geissler document homes in Chicago, usually after they have been vacated, in a straightforward manner, capturing both the stark emptiness and the traces of human occupation, from structural architecture to decorating choices. The homes they photograph range from those worth a few thousand dollars to 3.5 million-dollar mansions. Sann and Geissler install the real estate as a long row of images that are divided by frames, but connected by compositional elements defined by the architecture of the spaces depicted. In this way they invite the viewer to connect distinct spaces and different types of homes in a gesture that reflects the far-reaching effects of the current economic crisis.
Beate Geissler (b 1970) and Oliver Sann (b 1968) are a Chicago-based collaborative artist team. Geissler graduated with an MFA from Staatliche Hochschule für Gestaltung, Karlsruhe, Germany, in 2000, and Sann graduated with an MFA from Academy for Media Arts, Cologne, Germany, in 2000. Their work has been included in numerous group exhibitions in Europe and the United States, including Several Silences at the Renaissance Society in 2009; and the solo exhibition the real estate at Gallery Ftc in Berlin. Geissler is an Assistant Professor of Photography at the University of Illinois at Chicago. Their monograph Personal Kill will be published by Verlag für Moderne Kunst Nürnberg in 2010.
The Museum of Contemporary Photography is proud to present a monographic exhibition featuring the work of British artist Sarah Pickering. While appearing to exist between reality and illusion, Pickering’s images are actually documents of simulation. The exhibition will present a total of 36 photographs from four recent series of Pickering’s work, spanning from 2002 to the present: Explosions, Fire Scene, Incident, and Public Order.
Stephanie Syjuco’s recent work uses the tactics of bootlegging, reappropriation, and fictional fabrications to address issues of cultural biography, labor, and economic globalization. Working primarily in sculpture and installation, her objects mistranslate and misappropriate iconic symbols, creating frictions between high ideals and everyday materials. This has included re-creating several 1950s Modernist furniture pieces by French designer Charlotte Perriand using cast-off material and rubbish in Beijing, China; starting a global collaborative project with crochet crafters to counterfeit high-end consumer goods; and searching for fragments of the Berlin Wall in her immediate surroundings in an attempt to revisit the moment of capitalism’s supposed global triumph.
Born in the Philippines, Syjuco currently lives and works in San Francisco. Her work has been shown nationally and internationally, including exhibitions at the Whitney Museum of American Art; The New Museum; SFMOMA; The Contemporary Museum, Honolulu; The San Diego Museum of Contemporary Art; and the California Biennial at the Orange County Museum of Art, among others. Throughout 2007 she led counterfeiting workshops at art venues in Istanbul, Turkey; Beijing, China; and Manila, Philippines. In October 2009 she presented a parasitic art counterfeiting event, “COPYSTAND: An Autonomous Manufacturing Zone” in Frieze Projects, London; and contributed proxy sculptures for P.S.1/MoMA’s joint exhibition, “1969.” She is a recipient of numerous awards, including a 2009 Joan Mitchell Painters and Sculptors Award.
Light and Shadow: Films by Nicky Hamlyn
With U.K. Filmmaker Nicky Hamlyn in Person!
Saturday, March 27, 8:00pm
1084 N. Milwaukee Ave.
Admission: $7.00-10.00 sliding scale
White Light Cinema is extremely honored to welcome U.K. filmmaker, artist, and author Nicky Hamlyn, who will present a selection of his stunning 16mm films from the past two decades.
Hamlyn is frequently referred to as a Structuralist filmmaker, and he certainly is a minimalist one in the form and construction of his films. But, unlike most “structuralists” he is equally concerned with light and color and texture. His work seems a melding of the Structuralist strain the avant-garde film with the lyrical one, to great effect.
Simple in concept, frequently he films room interiors or buildings, his films are at the same time visually rich and striking in their detail. He has the eye of a painter, but he also has a sophisticated understanding of the power of cinema and his camera work and editing are as delicate and resonant as his images.
“Hamlyn’s mostly silent films are concentrated, focused on the relationship between camera and place, maker and materials. Subtle shifts in focus, single-frame sequences, or time-lapse photography alter perception of a tree, a wall, a garden trellis, a shadow, or a reflection. Space is alternately flattened and expanded. The gap in a fence, the opening between two sheets hanging on a laundry line re-frame the outdoors, and nature in close-up becomes abstract and intensely colored, surprising us with its patterns, variability, and the sheer beauty of the mundane.” (Excerpt from Program Notes, LIFT, Toronto, Canada)
MINUTIAE (1990, 1 min, color, sound, 16mm)
“Nicky Hamlyn’s portrait of BBC2’s The Late Show studio was shot in one continuous sequence, and with no subsequent editing. Within the limit of a one-minute duration, the film reverses the usual visual priorities, and explores the space surrounding the absent interviewer’s chair.” (Tate Modern)
HOLE (1992, 2 mins, color, silent, 16mm)
“Hole is a pendant/coda to a longer film, Only at First, completed a year earlier. The subject is an absence, a hole in a fibreboard security fence surrounding a large construction site. The hole was made by a drunk who kicked the fence as he was passing my house one night. Behind the hole can be seen fragments of an older fence that enclosed an area of ‘allotments’ rectangles of land that can be hired by members of the public who wish to grow their own vegetables. The hole appears in every shot and the work is principally an exploration of light, but also of scale: feline and human appearances articulate the space in passing through it.” (NH)
MATRIX (1999, 7 mins., color, silent, 16mm)
“Matrix is constructed in terms of receding planes. It shows a back garden/yard and the housing beyond it, in which the divide between the private and public sphere, a garden wall topped with wooden trellis, acts as a fulcrum for various spatial elaborations. Matrix is both analytical and synthetic. Analytical in that there is an attempt to explore three-dimensional space through two dimensional planes, but without resorting to Cubist fragmentation, in that the planes are unified around a singular position (not point) of view, synthetic in that every aspect of the space is re-configured through shifts in the angle of that point of view, bringing into alignment previously seen elements from earlier, different alignments. The trellis acts as a framing and aligning
device, and its form echoes that of the filmstrip and the manner in which the film is assembled, that is, in a frame-by-frame manner.” (NH)
LUX ET UMBRA (1999, 2 mins., B&W, silent, 16mm)
“A portrait of the Lux building in Hoxton Square, London. The film shows building work and completed parts.” (LUX)
NOT RESTING (1999, 4 mins., B&W, silent, 16mm)
“Shot from a bed, the film moves from white to black. Monochrome surfaces and textures on colour film.” (LUX)
PENUMBRA (2003, 9 mins., B&W, silent, 16mm)
“In Penumbra the camera strategy, and shooting scheme, are rigidly determined by the film’s subject, a grid of off-white bathroom tiles. The work is formed as a continuously evolving image. In other words it has neither cuts nor dissolves, both of which affect the transition from one shot to another, but exists as a single fixed shot made with a static camera. Penumbra’s spatio-temporal grid structure parallels the structure of the filmstrip, which is similarly grid-like: spatial in its actual physical form, spatio-temporal in its manner of operation.” (NH)
TRANSIT OF VENUS (2005, 2 mins., B&W, silent, 16mm)
“Transit of Venus is composed of two consecutive, partial, time-lapse records of the ‘Transit of Venus,’ when Venus passed across the Sun on June 8th 2004, ‘Transits of Venus’ are rare and currently occur in a pattern that repeats every 243 years, with pairs of transits 8 years apart separated by long gaps of 121.5 years and 105.5 years. Before 2004 the last pair of ‘Transits of Venus’ were in December 1874 and December 1882. The second of the current pair will be on June 6th, 2012. Although the film was shot with a very small aperture, reduced shutter opening and several layers of neutral density filter, resulting in a black sky, the sun nevertheless remains contrastingly dazzling, and Venus, consequently, is obliterated. These two short sequences are contextualized with data detailing the various technical parameters, which determine the peculiarity of the image.” (NH)
OBJECT STUDIES (2005, 16 mins., color, silent, 16mm)
“Object Studies is organised around a colour scheme based loosely on the hues of the colour temperature scale; brown, red, orange, yellow, green, blue, white. Time-lapse, interlaced, single-frame sequences and lap-dissolves were deployed to explore density, translucency and the interactions of different kinds of cast-shadows.” (NH)
PISTRINO (2003, 9 mins., B&W, silent, 16mm)
“Pistrino is a work in progress, assembled from time-lapse footage shot in Italy over the last three years. I am interested in how the relative values of light and shade are transformed in certain images of natural objects and related phenomena, so that, for example, a shadow becomes at least as strong as the object which casts it. This has the effect of complicating the reading of a given image, as well as creating a new kind of image from the interactions between objects and the shadows they cast. In some of the shots am also interested in how the perceptibility of grain is effected by light and focus levels.” (NH)
PANNI (2005, 3 mins., color, silent, 16mm)
“Panni was shot in a rain-lashed garden in central Italy, in the last week of 2004. It depicts the layers, veils and mattes created by washing on a line. A mix of interlaced, single-frame sequences and normal shooting was deployed to develop ideas about translucency, opacity and looking-through.” (NH)
QUARTET (2007, 8 mins., color and B&W, silent, 16mm)
“The film is structured on a 20 shot sequence of a room that is repeated three times. The first two sequences are in colour, and are shot according to a strict formal plan. Each shot contains a portion of the point of view of its adjacent partners. The second two sequences are in black and white and are more freely structured, even though they follow the spatial-formal pattern established in the first sequence. The only movement in the film is accidental – clouds seen through a window – otherwise nothing moves and there is no sound.” (NH)
PRO AGRI (2008, 3 mins., color, silent, 16mm)
A “time-lapse composition that bears a powerful and timely pro-land, pro- agriculture message.” (Toronto International Film Festival)
WATER WATER (2004, 11 mins., color and B&W, silent, 16mm)
“Water Water revisits the bathroom location of a previous film White Light (1996). It is based around a set of antinomies that operate at various levels, from between frames to between the two halves of the film. The black and white first part is composed of individually filmed frames (animation) which form shots of interlaced contrary motion that nevertheless can be read as sequences of individual frames, and/or in which alternate frames are lit in contrasting ways so as to emulate negative-positive juxtapositions. In the colour second half, dissolves replace cuts, light softens and contrast decreases. Continuity, by way of isomorphic features in the room, replaces the discontinuities of part one.” (LUX)
Nicky Hamlyn studied Fine Art at the University of Reading. From 1979 to 1981 he was a workshop organizer at the London Film-makers’ Coop, where he was also a founder and regular contributor to the Co-op’s magazine Undercut. In 2003 he published the book Film Art Phenomena and has contributed to a variety of magazines, anthologies, and exhibition catalogs. He currently teaches at the University for the Creative Arts. Hamlyn is one of the key U.K. experimental filmmakers of the last 30 years. He has screened throughout the
world and has over 40 films, videos, and installations to his credit.