FL3TCH3R EXHIBIT VIDEO ART - 2022 Video Work & Audio
Zach Horn /Boston, MA
UNITED WE BARGAIN DIVIDED WE BEG
The people featured in my artwork are real union members. Some are identifiable, others are anonymous. Each person is a proud member of a local. In my neighborhood in Boston, I live among pipe-fitters, bricklayers, and heavy machine operators. These are my neighbors. Other figures are members of NJ locals, such as the IFPTE 194. As I expand my work in support of organized labor, I continue to partner with local labor leaders to put workers' struggles in human terms.
The most satisfying aspect to my work is interacting with the unions. In particular, the IBEW Local 2222, invited me to sit through their meeting and to speak to the members. It was fascinating. Four months after their lockout ended, Verizon continued to try to divide their workers. The company wanted the linemen to try to sell Fios while they were installing cable lines. But, the company wanted to pay the sign up bonus individually to each worker, to force linemen into a competition with one another. The union was fighting back to make the incentive structure communal, so that the workers could operate as a team. Their Business Manager, Myles Calvey, put 'brotherhood' in the IBEW. Workers have little protection. It is the union that ensures workers' rights. I am an artist (and an MTA union member!); My artwork in support of organized labor is my way of giving a visual and moral boost to workers rights.
United We Bargain Divided We Beg
FL3TCH3R EXHIBIT VIDEO ART - 2021 Video Work
Rosemary Meza-DesPlas / Farmington, NM
Drawing from her own personal history, as a Latina, Rosemary Meza-DesPlas taps into memories and symbolism related to casa (house/home) for her new video titled Our House. Juxtaposing these memories with the rallying cry heard on January 6, 2021, “Whose house? Our house! Whose house? Our house!”, Meza-DesPlas centers the video around the U.S. Capitol as the people’s house. Our House explores notions of inclusion/ exclusion, might makes right, and freedom/ oppression. Our House features an original poem (by the same name) performed by Rosemary Meza-DesPlas in two different venues: Axel Contemporary and form & concept gallery in Santa Fe, NM. These two performances are interwoven with additional visuals such as original artwork, family photos and images from the Library of Congress.
Award of Merit
Our House, video 9:10, 2021
Our House
FL3TCH3R EXHIBIT VIDEO ART - 2020 Video Works
Sara Koppel / Copenhagen, Denmark
An Animated Poem about the vital need for embraces and contact with other beings.
Award of Merit
Embraces & the Touch of Skin, handrawn on paper animation 1920x1080, HD Film /3 minutes, 2019
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Embraces & the Touch of Skin
Aaron Wilder / Chicago, IL
You Have the Right to Remain Silent is a video project incorporating sound and edited footage of the burning of what appears to be a Confederate flag. The project was significantly inspired by Dr. Martin Luther King’s August 1963 “I Have a Dream” speach as well as by the contemporary Black Lives Matter movement. Pointing to the South as the nexus of racism in the US avoids the underlying truth that many of America’s core institutions are either founded on racist principles or perpetuate structural racism and that many outside the South benefit from this structural racism. This project is an intended break or rupture of the popularly held belief in the United States that white people outside the South don’t have any responsibility for or benefit from the structural racism against Black people. This project presents a deeper look at some of the underlying causes of one of the most significant issues of American contemporary culture and the mentality shift that must take place for a real break-through in social progress and local race relations.
Award of Merit
You Have the Right to Remain Silent, video 18:45, 2016
You Have the Right to Remain Silent
Diego Bonilla / Sacramento, CA &
Rodolfo Mata /Mexico City, Mexico
While the advertising industry heralds the use of digital communication technologies as a form of individual empowerment and self-efficacy, people’s interactions with their devices are proving to have significant negative effects on society. As the data of our everyday use is captured, aggregated, and analyzed at a mass level, we provide powerful tools for others to persuade and misinform us. In this generative video poem (edited by a computer program), the term Big Data speaks to the massive collection of personal information communicated online and its processing for commercial purposes. The combination between the massive collection of personal data and its subsequent statistical processing, with an emphasis on inferential statistics to achieve persuasive objectives, will lead us to a terrible reality.
The video poem regenerates itself differently each time a program is run. The sequencing of the lines in the poem was developed to always achieve, in each regeneration, appropriate grammatical and semantic structures (in Spanish). 600 videos edited by a computer program and the interactive features of this generative project can be found @ https://www.modular.film/bigdatasplash
Big Data, generative video poetry, 4 min 30 sec, 2019
Big Data
Erik Deerly / Kokomo, IN
An effective protest can begin by reframing evidential events as visceral works of art. Emotion stimulates thought. Power Will Fall, an independent audio/video project on police brutality, makes use of this approach. This video was recently accepted into the Blacksphere International Film Festival in the Czech Republic.
Power Will Fall, digital video (MP4) w/stereo audio, 12 minutes run time, 2020
Power Will Fall
Erik Deerly / Kokomo, IN
Distanced is a 2-channel video installation. Through a meta-analysis of socially-distanced participants, this project investigates loneliness and social isolation created by the 2020 pandemic.
Distanced, digital video (MP4) w/stereo audio, 14:27 run time, 2020
Distanced
Heath Schultz / Chattanooga, TN
Typologies of Whiteness: Sympathetic Cops collages appropriated sounds and images from popular police television dramas, police press conferences and news interviews. The film searches for linkages between white reactionary politics, liberal apologetics for police, and structural violence of whiteness.
Typologies of Whiteness: Sympathic Cops, digital video, 00:04:56, 2020
Typologies of Whiteness: Sympathetic Cops
Heath Schultz / Chattanooga, TN
Typologies of Whiteness: Call me Daddy, interrogates a call for Law and Order as a white supremacist paternal instinct. The film intermingles commentary on the missing black father from Moynihan to O’Reilly, liberal propaganda of police tying ties, and excerpts of Barry Goldwater’s reactionary 1964 campaign film Choice, among others. The dialog between related but distinct discursive tropes notices a pattern of criminalizing and pathologizing racialized and resistant culture in moments of political and social crisis—Post-Watts, Post-Obama, Post-Ferguson, etc. The resulting discourses, liberal paternalism on the one hand and conservative Law and Order on the other, are born of the same impulse to reproduce white supremacist violence.
Typologies of Whiteness: Call me Daddy, digital video, TRT:12:25, 2020
Typologies of Whiteness: Call me Daddy
William Major / Baxter, KY
Video was made in Whitesburg, KY on Juneteenth 2020. It was a day of civil disobedience to a noise ordinance and display of public art.
Juneteenth 2020, Whitesburg, KY, digital video, 0:59, 2020
Juneteenth 2020
Alexander Zimmerman / San Diego, CA
This piece started during spring semester after San Diego State University campus closed due to the Covid-19 pandemic. Since that time more has happened in the world most notably the murder of George Floyd and continued protests against police brutality. These “Made In America” masks are designed to share with you the concepts and ideas that I have been exposed to and reflecting on. I feel there are a lot of problems with our society especially as it relates to the pandemic and social justice. I also feel there are an equal amount, and possibly more solutions to these problems. I want to express and share both what I see as problems and what I see as solutions.
Made in America, video, 1080x1920x5:26, 2020
Made In America
FL3TCH3R EXHIBIT VIDEO ART - 2019 Video Works
Amber Crabbe / San Francisco, CA
What’s the alternative to trolls, taunts, tirades, tribes, and tweets? Toxic language broadens social and political divides, blocking access to the hard conversations we desperately need. Reimagining our collective vocabulary is the first step toward an open and honest dialogue about our differences. Chapter One of (Un)civil Discourse invites you to observe the cacophony of today’s social media, pulling from both sides of the political spectrum. Chapter Two teaches new words to communicate shared values and experiences as a tool to build empathy and bridge that divide.
(Un)civ Discourse - Chapters One and Twoil , HD video animation, 2019
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(Un)civ Discourse - Chapters One and Two
Jenny Wu / Washington, D.C.
This video Great! Great!! Great!!! was finished in 2018, it consists Donald Trump saying “great” 289 times in 126 seconds. I use real footage of speeches, interviews, rallies, and alternative facts as raw materials for videos. I hope my work can humorously stab the truth by magnifying the seemingly innocent details they hide behind. Great! Great!! Great!!! was made the most American way I could think of -- outsourcing to cheaper labor markets. I am an immigrant, but I am not here to “steal your job.” I, too, outsource it.
Jenny Wu, Great! Great!! Great!!!, video, 2 minutes 12 seconds, partial production outsource to Bangladesh,
Great! Great!! Great!!!
FL3TCH3R EXHIBIT VIDEO ART - 2018 Video Works
Gabriella Willenz / Berkley, CA
Shot on location in a military urban combat training facility in Israel, this choreographed video reflects on the implications of Israel’s active army service and reserve duty, both of which are mandatory. Blurring the line between public and private, civilian and military, individual and collective, the image lingers in this excruciating state of becoming. Six civilian men enter an uncanny simulated urban site carrying military garb in their backpacks. Slowly, they transform into characters that fit the staged setting, becoming both soldiers and symbols of the nation-state and its ideals of sovereignty. In the same way that rituals are solidified, ideology gains its power and neutralized stance through repeated action that develops from the physical to the symbolic.
The mandatory army service and its indispensable processes of indoctrination render military activity as justified and codify continuous aggression as an inevitable reality. Fixating the video on the stage of transformation into the military force, the video asks us to consider if alternative options (e.g., political negotiations, peace) would be invested in, simulated and practiced, perhaps they could become reality.
Interpolation, video, 7:54 minutes, 2018 URBAN TRAINING FACILITY # 1, video 7:54 min, looped, 2018 Director and Editor: Gabriella Willenz Director of Photography: Yardenne
Interpolation
Jenny Wu / Washington D.C.
This video consists of President Trump saying “believe me” 131 times in 126 seconds. Living in Washington, D.C. in this era is a surreal experience -- even introverts are out on the street protesting. I use real footage of speeches, interviews, rallies, and alternative facts as raw materials for videos. I hope my work can humorously stab the truth by magnifying the seemingly innocent details they hide behind.
This video was made the most American way I could think of -- outsourcing to cheaper labor markets. I am an immigrant, but I am not here to “steal your job.” I, too, outsource it.
When We Were Free is a work of oscilloscope music that references the precarious role of computing in contemporary media transmission. It also continues the tradition of using visual music as a vehicle for sociopolitical commentary or opposition (e.g. Hans Richter). The process used to create the film alludes to technology and synesthetic cinema, facilitating a direct relationship between sound and image; the images recorded from the screen of the oscilloscope are created by the stereo audio heard in the film. The title is a reference to Milton Mayers 1955 account of the development of fascism in Germany in “They thought they were free.” It is meant to be an open question as much as a statement, not unlike the “what if” questions created by abstraction in other types of visual and poetic work.
When We Were Free, Video, 2 minutes 15 seconds, 2018
Jack Shrader Award
When We Were Free
FL3TCH3R EXHIBIT VIDEO ART - 2015 Video Works
2015 Video Works
Yebin YEO - 행여 내가 - / Seoul, South Korea
Even if I can't understand your...(Trailer)
dedicate this film to suicides family and everyone who has parted. 2015 watercolor, signpen, TVP, adobeAF, adobePR, adobePS, animation paper
Award of Merit
Even if I can't understand your...
J. Casey Doyle / Moscow, ID
Granting permission allowing myself (yourself) to become MY (your) OWN CHEERLEADER overcoming resistance (un)conciously created obstacles accepting value and worth change TRANSFORMation Acknowledging ownership self-identified Empowerment individuality identity community EQUALITY. OWN becoming (an) advocate (an) ally
I AM MY OWN MASCOT, 2014, single channel, silent, HD video 11:36
This project had all kinds of reviews. Some positive, some not so positive- including accusations of a tokenizing spectacle from Museum staff. One of the responses that means the most to me is the following one, from Javier Lara, organizer for the Northwest Treeplanters and Farmworkers United (PCUN), based in Woodburn, OR, the only farmworkers union in the state. (See Complete text on catalog or yuoTube)
Reinauguración / Reinauguration
When the process is more important than the product
Reinauguración / Reinauguration
Jesse Kreuzer / Ithaca, NY
In this performance I move through The Foundation Building, from my studio on the 6th floor to the front of the building on the first floor without touching the ground. The act creates an intimacy between myself and the space- I know details of hallways, doors, the tops of walls because I have measured them with my body. The piece is a love letter to the building. (See Complete text on FL3TCH3R Exhibit catalog)
Can’t Touch the Ground, excerpt: video documentation of 40 minute performance , 2013.
Imagine is a meditation on the power of the image and the irreversible nature of violence.
Imagine, I include 5 stills of the video to represent the video. On the DVD you will find the video file of Imagine. IMAGINE, (Version 2013) Loop, 1 channel video (2 minutes)
Imagine
Robert Mitchell Williamson / Knoxville, TN
In my work I use meticulously detailed structures containing video and animated imagery to engage the viewer from an artistic and civic perspective about the human condition. Challenging an observer’s expectations, beliefs and assumptions through visual representations of information independent from typical associations and attributes.
I have an aspiration in creating personal and symbolic imagery, influe
Political Theater 2011 Plywood, cast plastic, steel, speakers, LEDs & LCD monitor, Video screenshot below click link to see exhibit video’s
Political Theater 2011
This video was viewed inside of the work Political Theater 2011
Plywood, cast plastic, steel, speakers, LEDs & LCD monitor, Video screenshot below click link to vee exhibit video's
Steve Rossi / Beacon, NY
Inspired by the horizontal organizational structure of the Occupy Wall Street movement, this public performative intervention is titled Reciprocal Ladder to Roll and involves a circular ladder form designed to be pushed and pulled along the streets and sidewalks of lower Manhattan, an area with one of the largest income inequality gaps in the country. This project was undertaken to draw attention to the possibilities of re-imagining alternative non-hierarchical forms of social organization through the uncanny gesture of subverting the familiar orientation, function, and metaphor of a ladder— (See Complete text on catalog or YouTube)
Reciprocal Ladder to Roll, performance video documentation running time 6:25
Reciprocal Ladder to Roll
Melisa Cadell / Bakersville, NC
2013 The rhetoric of world leaders, local politicians, and religious heads often leaves me in a lonely place wondering if the future can really bring about a better world. Since the birth of my two children I have grown more outspoken about the issues that shape our world. It is in these works that an inner and often silent dialogue becomes public.
The figure has provided the vehicle for expression. It is something quite familiar yet complex in that it proposes layers of thought that are be contemplated in a personal space. The surface offers insight into intent but allows for uncertainty. Meanings are given a chance to emerge, a place to be examined.
(See Complete text on catalog or YouTube)
You Must Not, Stop motion photography. The use of religious mythology to control people politically and socially still occurs even in my little girl’s Sunday School Class.
2009 Posthumous Memorial video in Celebration and Honor of our Son, Brother and Soulmate Fletcher Hancock Dyer Lost too soon
Video created by M. Wayne Dyer, Carrie A. Dyer, & Barbara H .Dyeris a compilation of Fletcher's Art and design, graphic, photographs, print, sculpture, video, creations as well as a voice message left from Fletch to his mon, and loving candid photos of family and our sweet Fletcher. Tears.
