1084 N MILWAUKEE, CHICAGO

Visual AIDS: Alternate Endings

 A Commemorative Program

 3

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, documentary, experimental, performance, queer, Uncategorized, video

«
»