Projections Program C

This program will screen on loop in the Amphitheater of the Elinor Bunin Munroe Film Center from 12:00pm – 6:00pm and 9:00pm – 11:00pm. A Q&A will take place at 3:00pm.

Rabbit Season, Duck Season
Michael Bell-Smith, USA, 2014, digital projection, 5m
“In Rabbit Season, Duck Season, a scene from the 1951 Warner Bros. cartoon “Rabbit Fire” is retold as an allegory for the present day. The cartoon’s iconic encounter between the hunter, the rabbit, and the duck frames a web of tightly constructed sequences that move across various forms of video, including traditional animation, live action, and 3-D animation. A loose essay film, the video adopts a variety of tones and genres to touch upon themes of resistance, taste, the construction of meaning, and the exhaustion of choice.”—Michael Bell-Smith

All My Love All My Love
Hannah Black, UK, 2013-15, digital projection, 7m
“In a famous experiment intended to mechanize the procedures of parenting and love, baby monkeys were given ‘wire mothers.’ The experiment failed, just like real mothers sometimes fail. It continues to be cheaper for the complex procedures of care to be performed by women, often impoverished women of color. But the vanguard of tech keeps producing new technologies of love: the Gchat that fills the empty space of a solitary day, for example, or the dancing robot in the video. The ambivalent need for contact remains, as a wound or a breach, threaded through all our relations. The living mother is also a technology, i.e., a social form, and one day she too might be rendered obsolete.”—Hannah Black
North American Premiere

Velvet Peel 1
Victoria Fu, 2015, USA, digital projection, 13m
“Velvet Peel 1 depicts performing bodies in cinematic space interacting with flat layers of digital effects. Featuring performers Polina Akhmetzyanova and Matilda Lidberg, their movements are based on physical enactments of touchscreen interfaces. The figures are composited in a variety of settings—scenes from previous exhibition venues and contexts where the work was installed, the artist’s studio during production, appropriated footage from the Internet, desktop screensavers, and abstracted 16mm color film. Layered together to create a ‘viable’ or ‘habitable’ cinematic space, the scenes are simultaneously deconstructed by making the layers of post-production visible, and the flatness of surfaces called to the fore.”—Victoria Fu

OM Rider
Takeshi Murata, USA, 2014, digital projection, 12m
“In a vast desert bathed in neon hues, a misfit werewolf blasts syncopated techno rhythms into the night. Meanwhile, an old man sits at a large, round table in a void-like space, rigidly sipping coffee and rolling snake-eyed dice as the faint sound of the werewolf’s pulsating, phantasmic synth grows louder. Hopping onto his motorcycle, the werewolf tears full speed ahead over forbidding terrain while his hoary counterpart becomes increasingly anxious…”—Takeshi Murata