Decomposing Hierarchies > Manhattan Bridge Anchorage

Thursday, November 5th, 2015 7-10 pm Manhattan Bridge Anchorage

Decomposing Hierarchies is a Marble House Project publicly-presented video art exhibition on the Manhattan Bridge Anchorage. Works by Marble House Project 2015 Residents: Anne Katrine-Senstad, Catherine Page Harris, Orit Ben-Shitrit, Margeaux Walter, and Jeannette Ehlers. Curated by Sarah Walko, Director of Arts Programming. I’ll be showing ONOMONO, 2015 Some stills: ONOMONO is an experimental video projection that combines found archival footage composited with imagery shot by the artist. The original soundtrack was created by Ben-Shitrit in collaboration with Timothy Korn, using live-feed into a Kaleidoloop. The video was created in collaboration with editor Jeremy C. Hansen.

ONOMONO depicts a circle of destruction. The video captures the ailments of our society using archival footage ghosted over original footage of the Atlantic-ocean, Cappadocia, and a dilapidated British Colonialist-era post in the Arab-Israeli town of Abu-Ghosh. The archival material includes: gruesome animal experiments, depression-era economic graphics, as well as catatonic masked Schizophrenia and OCD patients. The word ONOMONO is a palindrome—it reads the same forward and back. The video begins and ends with the same visual note. The sound is created using live-feed into a Kaleidoloop—a digital recording device that can layer both live and pre-recorded sounds, while navigating and altering playback speed and direction. This work was inspired by the French Anarchist book the Coming Insurrection, which offers a vivid diagnosis of the capitalist decrepitude of our society.

An excerpt HERE.

CROSSBREEDS 14 Austria

Please join Im_flieger in the former Stollwerck chocolate factory in Vienna’s 12th district for a screening of VIVE LE CAPITAL.

CROSSBREEDS 2014 is in search of time. Neoliberal politics has destroyed all forms of time standing in the way of the logic of efficiency and capital. Contemporary man faces the challenge of managing the number of possible situations and their varying time shapes. In order to do this, he continuously moves between internalized rhythms and routines, and the flexible and reflexive creation of individual time structures.
We’re addressing contemporaries and contemporary witnesses who guide or accompany us on historical paths. We attempt time jumps into the future and let ourselves be abducted into fictions of the present. We investigate the city’s body, we embody time. Together with time workers we surrender to sweet idleness and let the continuous bustle of everyday life come to a standstill.
Our stories are mixed with history. We keep claiming our place and at sunrise and sundown visit strange animals in Vienna’s first urban national park. Walking, we meet other cities and times, focusing the unnoticed, and in the walk-in archive we blend Yesterday with Today. We unfold to become an urban stage, let the flow change direction and appropriate Revolution 1934 playfully. Blind between glances, we are ready for the zombie’s slow pace, holding our breath for 5 minutes. Ceaselessly we caress the cheek and dissolve in whiteness or listen to the timeless transformation.