While the gallery is under-going renovations, we are hosting a series of evening screenings presented by and in collaboration with artists Marco Rios, Jenny Perlin & Shelly Silver. During this period we will be opened by appointment only.
In Shelly Silver’s Touch, 2013, (68 mins), a man returns to his childhood home in Manhattan’s Chinatown after fifty years to care for his ailing mother. The protagonist and narrator, who remains nameless, is a librarian, cataloguer and recorder, gay man, watcher and impersonator. TOUCH is an essay narrated from one man’s point of view. But it is also fiction, for this man is a made-up person, an amalgam of research, interviews, off-the-record comments, secrets, improbabilities, and free-floating desires.
Shelly Silver’s work in film, video, and photography spans an eclectic range of subject matter and genres, exploring the personal and societal relations that identify and restrict us; the indirect routes of pleasure and desire; the stories that we dream or fabricate about others, and the stories that we construct about ourselves. Stories, Cities, Makeshift Structures, solo exhibition is currently on view at Slought, Philadelphia until 20 February, 2015.
Jenny Perlin presents Chantal Akerman’s, News From Home, 1976 – 77, (85 mins). Chantal Akerman is one of the most significant filmmakers of her generation, and a leading visionaire in experimental cinema since the early seventies. In News From Home, letters from Akerman’s mother are read over a series of elegantly composed shots of 1976 New York, where our (unseen) filmmaker and protagonist has relocated. This unforgettable time capsule of the city is also a gorgeous meditation on urban alienation and personal and familial disconnection.
15 FEBRUARY, 6.30 PM
Terry Chatkupt, Julie Orser, and Marco Rios honor the filmmakers that came before them by digesting revisions of some of their favorite film-classic sequences into new films. See what happens when film masterpieces and sub-cult classics in the noir and sci-fi/horror genres, like Vertigo, Bird with the Crystal Plumage, and Miracle Mile, get into the hands of these younger filmmakers who recognize the history and heart of filmmaking but are just as eager to exaggerate and sometimes crumple its standards.
Terry Chatkupt portrays the psychological and emotional instability of his film’s main character and the perverted Los Angeles landscape by filtering the cinematic suspense thriller Miracle Mile through his own new film, Transferase. By combining personalized mythologies with fictions embedded in mortal desire, the ineffectuality of gathered experience is played throughout the artist’s intense drama.
Julie Orser supplies a means by which suspicion, apprehension and the ominous foretelling of terror are folded inside out for movie-viewing audiences. Orser’s artful portrayals, camera savvy and precise editing capture the genius and playful trivialities of the filmmaker’s medium. Surprisingly, her adaptations are typically more disarming and self-aware than the originals in the way they foster a better grasp of the human condition as it stands now.
Marco Rios becomes a hyperbolic facsimile of himself as narrator, performer and observer in his own odysseys, sometimes taking on several roles at once. He similarly serves as supporting screenwriter, set designer and director in his films while the viewers absorb each of the artist’s distorted motion picture characters caught in the act of observing their own big-screen image.
The three Los Angeles based artists have established spot-on counterpoints to the stories and performances of their predecessors. In chorus, they act as contemporary agents who are able to advance their own clear-cut tales through film subjects, character events and plot subversions. Using key narratives from respected movies and a multiplicity of well-known audio and visual codes, especially those found in the fiction and noir genres, the artists’ short films reinvent meaning to be passed on for new audiences.
Films: Transferase (2010) by Terry Chatkupt; Blood Work (2009), The Viewer (2011) and Judy’s Nightmare (2014) by Julie Orser; Despair Beyond Despair (2011) and Seconds Later (2013) by Marco Rios. The above films give reference to Miracle Mile (1988), Spellbound (1945), Vertigo (1958), The Bird with the Crystal Plumage (1970) and Seconds (1966) respectively.