A Commemorative Program
Monday, December 1st at 7:00pm, $5
In commemoration of the 25th anniversary of Day With(out) Art on World AIDS Day (December 1, 2014), The Nightingale is pleased to showcase Visual AIDS’ program of newly commissioned short videos by Rhys Ernst, Glen Fogel, Lyle Ashton Harris, Hi Tiger/Derek Jackson, Tom Kalin, My Barbarian, and Julie Tolentino.
“ALTERNATE ENDINGS utilizes the medium of video to highlight diverse voices that bring together charged moments, memories and personal perspectives amidst the public history of AIDS. These seven short videos intersect at a crossroads in which the artists position themselves during the present moment of HIV/AIDS cultural production: looking back at the historic past as they envision divergent narratives and possibilities for the future, because AIDS IS NOT OVER.” (Visual AIDS)Select information on the commissioned videos:
Tom Kalin, Ashes, 2014
For the 25th Anniversary of Day Without Art, Tom Kalin photographed thousands of high resolution still images and “stitched” them into a moving image. While borrowing library books for research on another project, Kalin discovered, glued to the endpapers, ordinary “due date” ledgers stamped with dates spanning three decades. Inspired by these tiny ledgers—like skin or palimpsests that recorded an analogue history, an accumulation of many gestures—Kalin combines quotidian pictures snatched from his daily life with an evocative musical track by ongoing collaborator Doveman (Thomas Bartlett). The film layers dates and moments from Kalin’s personal world with the public and global history of AIDS.
My Barbarian, Counterpublicity, Hd video, 2014, Shot in LA at My Barbarian Studios
My Barbarian’s Counterpublicity is a staged video performance based on an essay about Pedro Zamora, AIDS activist and star of the Real World: San Francisco, written by José Esteban Muñoz in his book, Disidentifications. The three members of My Barbarian re-perform scenes from The Real World in an alienated style, resisting the affect of “reality tv” even as they interrogate its politics, contrasting these scenes with the embodied performance of 90s-inspired music videos, with lyrics adapted from Muñoz’s theory of Queer counterpublic spheres that operate against the dominance of racism and homophobia.
Hi Tiger, The Village, 2014, Digital video, Directed by Derek Jackson, Shot by Rollin Leonard
Hi Tiger, the Portland, Maine based art-punk band fronted by visual artist and performer Derek Jackson, recreates the song “The Village” by New Order. Originally, New Order recorded the song as an upbeat new wave tune in 1982. With Hi Tiger’s re-imagining some 30 years later, The Village becomes a torch song that meditates on themes of love and loss, complicity and defiance. In the context of HIV and AIDS, the song becomes a love letter to those that have passed and a call to arms for the ones who remain.
Julie Tolentino, evidence, 2014 (Special thanks to Abigail Severance & Juvenal Cisneros)
In evidence, Julie Tolentino’s naked, moving body articulates backward on her hands and knees, balancing a cluster of Asian medicine cups. Her self-made sound piece initiates the video with a queer list of loved ones living and lost, recognizable or not, as both invocation and provocation of individuals who deeply shifted her perspective. As the listed names blur and are archived in Tolentino’s body, evidence opens up to the list’s potency through a female, brown, artist/activist body in the unseen yet held spaces of relationship, memory, sex and loss.
More info at www.visualaids.org
Filed under: archival
Daviel Shy and THE LADIES ALMANACK
Winter Screening and Inaugural Party
Sunday, December 7th at 7:00 pm, $15
The Nightingale is delighted to introduce FOLLOW FOCUS- a new process-oriented screening series that rallies audiences and resources behind a moving image maker as they complete a feature project. Designed to expand viewership into the production stage, FOLLOW FOCUS invites audiences to observe a director’s process, collaborations, and inspiration. Our inaugural featured project is THE LADIES ALMANACK written and directed by Chicago-based filmmaker, Daviel Shy and produced by NYC-based performer, Stephanie Acosta.
THE LADIES ALMANACK is a feature-length experimental narrative film shot on Super 8 and based on the novel of the same title by Djuna Barnes. The film is a kaleidoscopic tribute to women’s writing through the friendships, jealousies, flirtations and publishing woes of authors and artists in 1920’s Paris.
The Nightingale will host 4 screenings during the course of the next year, each one in a different season and highlighting a different element of the process ending with a rough cut screening in Fall of 2015. The production of a commissioned art object will also raise funds for the film. Admission price at each of the four screenings includes part of a limited edition, risograph-printed Ladies Almanack Tarot Deck designed and illustrated by Jess LeMaster. Attend all four screenings for a complete 24-card set.
The Winter Screening will include a treatment presentation by director Daviel Shy, exclusive trailer release, and dramatic readings from The Ladies Almanack 1928 original novel. Reception with artists to follow the screening.
To support the THE LADIES ALMANACK right away, check out the movie’s website. Donations are tax-deductible.
Image Credit: Collage made by Sarah Patten. Full image may be found here. See more of her amazing collage work here.
Filed under: experimental
, Super 8mm
CONDITIONS UNCERTAIN AND UNLIKELY TO PASS
Recent Work by Ben Balcom
Thursday, November 20th at 8:00 pm, $7-10
The Nightingale is pleased to welcome Milwaukee-based media artist Ben Balcom, who will present a selection of his stunning film, digital, and hybrid work from the past few years. Balcom engages with medium specificity—the textures and rhythms of the media he’s working in—and simultaneously troubles the inherent distinctions as he blends analog and digital, or pushes a single medium to extremes. His works are ones of instability, hovering tentatively and precariously between New Media and Old Media, but claiming neither (or maybe both). Beyond his formal play, Balcom takes on representation, technology, geometry, intellectual disquisition, systems and structures, and, well, a lot of heady-sounding things. But we come back to that word “play.” The seriousness is measured by a deftness of touch, an enthusiastic curiosity, occasional glimpses of irony, and a sensitivity to the beauty of the multiple textures in the imagery that provide many points of access. In instability there is openness.
6.5 min, 16mm/Digital, 2014
A mirrored discourse. The object we see is the object wanting enumeration, but it is never said quite right. We are looking at speech from both sides of the mirror, listening to the wretch who elaborates upon the grid of desire.
5 min, 16mm/Digital, 2014
There, the ruins of a castle at the far edges of the land. The birdsong you hear mimics the sound of the river, and the human voice mimics the song of the bird. This is a failed historical gesture sung in the playful, wild mimetic gesture.
Filed under: 16mm
, artist in attendance