Films & Videos by Morehshin Allahyari
& Michael A. Morris
Saturday, April 27th at 8:00pm, $7-1
The films and videos of Morehshin Allahyari and Michael A. Morris consider the voice–the first technology of intercession between individuals, the amplifier of the languages that frame us, the mode of address by which an author locates herself in relation to a reader. It is the filter through which histories are inscribed. Its folds move the air between us. It is the source of both the personal lyric and the collective chant, a connective tissue and a gulf between distant locations: Tehran and Texas.
“The Voice’s Folds” is a one night screening at the Nightgale with selected works by the artists. Made in a range of media from 16mm and 8mm film to experimental 3D animation, the works shift in voice between the personal and the social, the elegiac and the epistolary.
“The voice, the voice, the voice, only the voice
the voice of the tall yearning of plants to grow
the voice of the transparent wish of water to flow
the voice of starlight pouring
on the surface of the pistil of the earth
the voice of conception of the seed of meaning
and expansion of love’s common mind
The voice , the voice, the voice
it is only the voice that remains.” — Forough Farrokhzad
Fires – 14 minutes, 35mm on HD, 2013 Michael A. Morris
A wide view of the jagged line between landscape and skyscape. An arranged collection of fragments. A study in the limits of autobiography.
Fires was shot with a Lomokino super 35mm camera on the 135 format and transferred using a flatbed scanner. During the shooting of the
film, difficulties were introduced by the elimination of the consumer line of 135 film. The result is a series of stories and landscapes in which objects and the memories attached to them are constantly disappearing.
The Romantic Self Exiles I – 5 minutes, 3D animation, 2012 – Morehshin Allahyari
To build a land; an imaginary home. To push the limits of real and unreal, memory and imagination, locality and universality, self censorship and self- exile, time and space.To put together my most vivid memories on flat planes or 3D cubes. Inside and outside the empty rooms, rooms without bodies, rooms left behind. To construct the remembered, missed, identical objects. Things I care for,love the most, miss the most… To put together every five sense of my body into one (“sight”) through text and animation. A reflection and presentation of emotional attachments. Collective and personal.
In The Realm of Rare and Analogous Accidents – 10 minutes, HD, 2013 – Morehshin Allahyari
I am here to report of a condition in which an image in one’s life is confused for a reality. Something is of course always lost or missed when we get to see only one side. It is for the exact same reason that one must have the courage to confess the pain of the coma-like contrast of life and cinema. In this scenario, somehow we must put it all together to see the big picture; While in the state of unconsciousness, we still have to question belief and incredulity; To see that we are stuck at the thin edge of a screen where two worlds, two countries, and
two cities separate for the sake of it. There is nothing more fascinating when accident brings these together and we finally get to make sense of it.
Confessors – 20 minutes, 8mm film on digital video, 2010 – Michael A. Morris
Confessors is a short, personal essay that attempts to retrace bits of lost or inaccessible family histories. The artist’s
grandparents give him a can of film marked “x-rated” without explanation, as well as an old 8mm camera. The film was lost before he was able to watch it. The resulting video is a consideration of the ephemeral nature of home movies and the lives they can’t help but fail to preserve.
Recitation of a Soliloquy – 5 minutes, 16mm film on digital video, 2012 – Morehshin Allahyari
“Reading her Mother’s diary, one word-per-frame, under the lens of time accumulated since the time of it’s writing, and of her birth — the time of life. Virtual words, lifted off the page, wriggle like embryos under inquisitive gaze of an interlocutor to whom they are addressed, as if resisting to be born into the world in which war and cruelty are present. Released over the overlapping maps of Tehran and Dallas, they carry on their transmissions over time, in the presence of a reader, in the absence of the writer.” Sandra Skurvida.
TRT Approx 56 minutes
Filed under: film, video