I’m pleased to announce that WARD OF THE FERAL HORSES will premiere in AVIFF—the Art Film Festival at Cannes this weekend. It is a tale about Cognitive Capitalism, language gone wrong by way of lipogram, Gertrude Stein, pattern and decoration, the emancipation of the psyche, and Jinn.
“At the breast of history I sucked and pissed.”
—Jiang Qing, Nixon in China (John Adams, 1987)
House of Flying Boobs is a performance art cabaret interweaving four distinct acts and several visual and performing arts genres: opera, theatre, burlesque and contemporary dance that burrow into a bewildering range of topics: the force of capitalism in Europe’s financial and humanitarian crisis; the sexual and political agency of women from the age of myth and biblical tales to Surrealism and the Cultural Revolution; the fabrication of discourse in the artist interview format.
Featuring: Nadim Abbas, Orit Ben-Shitrit (video artist/choreographer), Rainer Ganahl, Mary Notari (activist/stage actress), Tuo Wang, Mo Zhou (theatre/opera director), among other musicians, designers, composers, and performers. Curated by Xin Wang.
Originally conceived and performed in 2012, AUCTIONING OFF THE GREEK DEBT negotiates the European debt crisis by creating a new financial tool—a commodity derivative—by the two most powerful entities in the EU: Germany and France. Three dancers: German, French and Greek enact an abstract financial scenario involving their respective languages. The qualities of the Greek dancer are bundled and sold as commodity derivatives by Germany and France. The performance, now re-staged with an uncanny sense of relevancy, is a set of actions that trigger a chain of responses and interweave/interfere with the cabaret’s various acts. All is told through choreographed movement, combined with language phrases spoken with an Economy of Consonants—a restricted form of communication. The performers punch a time clock to underscore the movement transactions. Dancers: Martina Potratz, Sandra Passirani and Dafni Mari.
Conceived, sound collaged and choreographed by Orit Ben-Shitrit.
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.
“Presenting five dance films, commissioned or developed at EMPAC. Three of the works are supported by the DANCE MOViES Commission—experimental dance works for the screen, which vary widely in content and form, yet are united by the fact that they are crafted by a choreographer or movement-based artist.”
For more info: EMPAC DANCE MOViES Commission
I’m excited to see WARD OF THE FERAL HORSES / work in progress on the big screen tomorrow night at EMPAC. I spent the past month with sound collaborator and mixer Timothy Korn and Editor Jeremy aka the EnHancer to engage you sonically and visually. Tristan Kneschke helped us harmonize the color space, and many more people like DP Chapin Hall and choreographer Kate Corby, actors and dancers have all been engaging participants.
so here we are, working on the final composition and sound mix of WARD OF THE FERAL HORSES. the premiere is January 31st at EMPAC. using all original sounds, Tim and I are creating the structure and sonic voyage that builds into the eventual breakdown in the film.
i’m finally posting some production images from the new project. i spent almost two weeks in residence up in Troy, NY with the wonderful EMPAC team lead by Ash Bulayev, along with my dear friends choreographer Kate Corby, DP Chapin Hall, and Assistant director James Francis Cerretani. as always, the cast and crew are all fantastic people. lucky bastard. we had a ton to get done, and we did it all. wish you could have been there.
for a few months now, i’ve been editing with the Jerrrs C-hance and Anne-Laure, and making all original sounds with forever Tim Korn at the Dungeon. i’m even singing! we’ve been sculpting the cut and going back and forth between the edit and sound composition. our timeline is a mess, and they want to kill me. stay tuned.
a couple of weeks ago we received a grant from the Ostrovsky Family Fund to make a three channel iteration of the project. we shot with three cameras, so we are all set to make you go cray. thank you, Ostrovsky ladies. you rock and once again you make wrong be right. molto danke.
Max Cosmo Cramer in (new title,yes!) WARD OF THE FERAL HORSES
Max Cosmo Cramer and Doug Barron in WARD OF THE FERAL HORSES
L. and R. aka Max and Doug
Joanna Kotze, MCC, Brittany Engel-Adams, Or Reitman,
Cara Angela Liguori and Pascale Seigneurie (not pictured)
After a year long development of Shadows With Heat (working title) I’m excited to be an artist in residence at EMPAC. I’ll be working on an ambitious project with five dancers and two actors. more to come!
The word ONOMONO is a palindrome—it can be read forward and back. The video begins and ends with the same visual note. The sound is created using alive-feed into a Kaleidoloop—a recording device that can manipulate speed, pitch and direction. During the performance, I sampled sounds live—some by recording the audience—which I then played back, forward and in reverse at different speeds and pitch to create the soundtrack.
ONOMONO depicts a circle of destruction. It captures the ailments of our society through various archival footage, such as gruesome animal experiments, depression-era economic graphics, schizophrenia and OCD patients. this is what happens when you soak up the coming insurrection.
This experiment was preformed at Cristin Tierney gallery NY, on Dec 17, 2011. It was a collaboration with two of my friends—Jeremy C. Hansen and Timothy Korn.
please join us saturday for live music and performances hosted by my friends chris and owen aka Critter & Guitari at Cristin Tierney Gallery. our 15 minute long performance includes a video projection and live music. we are featuring two beautiful dancers: Netta Yerushalmy and Lily Baldwin. this is a collaboration by myself, editor Jeremy C. Hansen and musician Timothy Korn.
cristin tierney gallery
546 West 29th Street
SATURDAY, dec 17, 2011
doors 8pm/performances 9pm
hosted by critter & guitari [ this collage is from a photo of cappadocia that i took in miniatürk. the dancer is netta yerushalmi ]
i stopped by at my friends chris and owen aka critter & guitari video shoot today at Fast Ashley’s studios for their Pocket Piano demo. here’s chris with the hand that controls it all: a still life with the pocket pianos: here’s chris playing with the funny hand: owen on the left and chris is with his back to us: this pictures a mute jam session that i wish you could hear. imagine electronic madness with drums: chris and owen made kaleidoloopes before they started making pocket pianos. chris let me borrow a couple when I was working on the TYRANNY OF TIME. the k-loops can record multiple tracks onto an SD card. as you play what resides on the card, you can change pitch, play in reverse or fast forward—exactly what i wanted to achieve. they are very electronic sounding, so it wasn’t quite right for the TYRANNY, which was all about the live act of mediation without the apparatus. i am as in love as one can be with an object, so i do hope to use k-loops in the future. in 2009 i organized an event at the time square gallery at Hunter with chris and owen and the dearraindrop collective. this is joe, who is also a part of the collective, and overall chillin’ with paper: