— A selection of new media and video installations selected into the 40th Annual Big Muddy Film Festival —
For the month of February, CCA First Friday will feature the exhibit “Partitions”. This exhibit is presented in partnership with the Big Muddy Film Festival + The Big Muddy Film Crew. This event is free and open to the public and is a preview of this year’s festival, which is celebrating its 40th anniversary from February 19 – 25, 2018.
“Partitions” reconfigures notions of division within society, exploring this narrative through animation, video, and film. The four shorts and live-action documentary feature address the conceptual, physical and social frames of the imbalance caused by a divisive society. The response of this divide promotes a subtle yet profound influence on the structures that are subjected to the on-goings of the film, which are culminated through natural and evocative means.
The Maribor Uprisings: A Live Participatory Film
Maple Razsa & Milton Guillén
This live participatory documentary invites audiences to grapple with the intimate as well as the public meanings of protest through reflection on the choices of actual participants in the uprising—as well as the choices they themselves make during the screening. How are citizens’ senses of themselves changed by experiences of state force: tear gas, stun grenades, armored vehicles, water cannons, and helicopters? Is this what one protester described as “feeling the state on your own skin?” In these violent encounters, why do so many protesters feel “love at the barricades?” What are the perils—and the possibilities—of these increasingly common eruptions in urban life?
History of Fire Prayer of Death Genesis Creation and Destruction
This piece is a film about the history of mankind: It begins with an empty and inhabitable landscape where the mystical and mythological sound of the divine prayer of creation is heard: followed by the appearance of the written form as language and numbers, the sudden appearance of primitive man as hunter and killer, and his evolution as a machine of repetitive movement: Sisyphus as an absurd working presence: The over productivity of man leads him to burn his world and ultimately to attempt to save his wrongdoing through impractical and primitive methods: only to be left with faint whispers of hope and ultimately: darkness…
Duet Tests 1, 7, 8, 10
A filmmaker and a dancer meet in the same location twice a day – once in the early morning, once in the late afternoon – for five consecutive days. They create a series of ten in-camera 16mm films: a piece that maps the progression of improvised dance and cinematography and their collaborative relationship. Both artists untether their training in premeditated construction and make, act, compose, move, see, and interact in the moment.
Can the camera act as a dynamic partner, more than simply a new “stage” or documenting device for the dancer? Can the dancer be more than a subject embedded within the frame and altered by the cut?
A happy normal day takes a turn for the worse when an outside force tampers with the balance.
This stop-motion animation was made by photographing and re-
photographing antique kimono resist-dyeing stencils in positive and negative. A joyful play with optical illusions, small variations in the repeating pattern elements generate apparent motion.
Scenes from the Anthropocene
Scenes from the Anthropocene combines material shot at The Bronx Zoo and The Museum of Natural History, with 3D animated material. On the soundtrack, paleontologist Peter Ward warns of the probability that we are experiencing the beginning of a sixth mass extinction. This work is a lament on anthropogenic climate change, its effects on life on Earth and the human urge to oblivion.