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NADA Related Videos

Curated by NADA Art Fair

Each December in Miami, NADA holds a renowned art fair to vigorously pursue our goals of exploring new or underexposed art that is not typical of the “art establishment.” NADA Miami Beach is recognized as a much needed alternative assembly of the world’s youngest and strongest art galleries dealing with emerging contemporary art. The 14th edition of the fair continues to showcase the best of emerging contemporary art, with exhibitors representing 36 cities from 17 different countries, 43 first-time exhibitors, and 29 project spaces. NADA Miami Beach is dedicated to showcasing new art and to celebrating the rising talents from around the globe. It is the only major American art fair to be run by a non-profit organization. Our international group of members includes both galleries (including non-profit spaces) and individuals (art professionals, independent curators, and established gallery directors). The various perspectives and ideas offered by our diverse roster creates a network which, at its most basic, is a resource which people could contribute to and take as much (or as little) as they are inclined. We believe in a spirit of friendly competition and the power of working collectively to gain access to resources and to provide services to artists and the public that we could not as individuals. The benefits for some may be a matter of business, for others a source of intellectual or aesthetic stimulation. To date, our initiatives have succeeded on two fronts: making the contemporary arts more accessible for the general public, and creating opportunities that nurture the growth of emerging artists, curators, and galleries. Our events have included: artist talks/gallery walks with critics and curators; benefits in support of charitable institutions; members-only seminars to stimulate dedication and ethics in our profession; panel discussions; our annual art fairs, in New York and Miami Beach, are held in May and December. The New Art Dealers Alliance is a not-for-profit organization, registered in the State of New York. Membership is by invitation only, following nomination by an existing member and approval by the Board.

Commercials

HD Video - 2015 - 14:39 min Courtesy of the artist David Berezin (b.1985, Los Angeles, CA) lives and works in Los Angeles, CA. He received his BFA from the California College of the Arts, and has exhibited work at SculptureCenter, New York; Wattis Institute for Contemporary Art, San Francisco; and Seventeen, London, among others.

Featuring

HD Video - 2016 - 08:48 Courtesy of the artist David Berezin (b.1985, Los Angeles, CA) lives and works in Los Angeles, CA. He received his BFA from the California College of the Arts, and has exhibited work at SculptureCenter, New York; Wattis Institute for Contemporary Art, San Francisco; and Seventeen, London, among others.

Signatures

HD Video - 2015 - 11:05 min Courtesy of the artist David Berezin (b.1985, Los Angeles, CA) lives and works in Los Angeles, CA. He received his BFA from the California College of the Arts, and has exhibited work at SculptureCenter, New York; Wattis Institute for Contemporary Art, San Francisco; and Seventeen, London, among others.

Apprehension, "come back for another look"

Video loop - 2016 - 00:15 min Courtesy Fierman Gallery B. 1984 Miami, lives and works in Toronto.

ppants (for Brad)

HD video - 2015 - 02:00 min Courtesy Fierman Gallery B. 1984 Miami, lives and works in Toronto.

Finally people are reading about me

Video loop - 2016 Née en 1984 à Miami. Vit et travaille à Toronto. Courtesy Fierman Gallery

Game Changer

HD Video - 04:19 min Courtesy Klaus von Nichtssagend Gallery Melissa Brown was born in New Jersey and now works in Brooklyn. During the 2009 Nuit Blanche, she hosted ‘How To Win The Lottery’ in the Toronto financial district, a performance whose goal was to win the lottery with thousands of other people by playing identical sets of numbers, attempting to make collective fantasy a reality. Ms. Brown currently organizes winner-take-all poker games. The players are artists & collectors, the pot a new art collection formed by chance. These poker tournaments have taken place at the think tank Where, Nada New York 2015, Essex Flowers and Safe Gallery. The players used cards she designed called The Tabloid Deck, which assigns symbolic Supermarket Tabloid headlines. Brown’s paintings and animations, in fact, take influence from playing cards and other fantasy-related paper ephemera such as money and lottery tickets. She has been the subject of solo exhibitions in New York City at Bellwether, CANADA, Kansas, Essex Flowers and, internationally, at Kenny Schacter, Rove in London and Roberto Paradise in San Juan. She has exhibited as part of group shows at Mass Moca, Musee International des Arts Modestes in France, Loyal, Petrella’s Imports, Andrew Edlin, Gavin Browns Enterprise, Klaus von Nichtssagend, and Winkleman. Her work has been reviewed in the New York Times, Art Forum, Art in America, Hyper Allergic, Art News, the Art Newspaper, Time Out New York, White Hot Magazine, to name a few. She was awarded the Joan Mitchell grant for painting in 2012.

This Is Planet Earth

Video loop - 2016 - 02:22 min Courtesy Situations Gallery This is planet earth combines excerpted elements from three found videos into a tormented yet euphoric contemplation on human existence.  Believing that all subjects contain multiple layers of information, histories and interpretations, Josef Bull creates sculptures, images and videos to find and decode meaning in situations where that meaning may not have been intended or apparent. Whether initiated by coincidences, internet wormholes, or encounters in everyday life, his works explore specific relationships between seemingly unrelated themes and objects, using mind-map-like narratives to materialize surprising, yet familiar, networks of information. Josef Bull (b. 1984, Huddinge, Sweden) lives and works in Brooklyn, NY.  His work has been exhibited at Bonniers Konsthall, Stockholm and Jackie Klempay Gallery, New York. 

Palms

16mm film digitalized - 2015 - 08:30 min Courtesy Document Gallery "What can we say about these elements in relation to one another? There is a movement of rounded forms, an implication that hands are doing the moving (driving, playing tennis, perhaps waving the flag), but all this seems far too literal. What Clark really gives us is a series of open fields (white, black, and green) where our narrow attention to specific actions and objects closes down our experience of the breadth of the space before us. That's to say, the situations depicted, and the manner in which Clark depicts them, serve to narrow our perception of areas that could conceivably engulf us." - Michael Sicinski, MUBI.com Mary Helena Clark (born 1983, USA) lives and works in central New York. Her work has been exhibited and screened nationally and internationally, including presentations at the Swedish Film Institute (Stockholm), The Gene Siskel Film Center (Chicago), the Museum of Contemporary Photography (Chicago), the Wexner Center for the Arts (Columbus, OH), Anthology Film Archives (New York), the Yerba Buena Center (San Francisco), the National Gallery of Art (Washington) and at the New York, London and Toronto International Film Festivals. In 2017, Clark will be part of the Whitney Biennale.

Haunted Houses

16mm films - 2012 - 09:00 min Coutesey Kai Matsumiya I have been living in Spanish Harlem since 1997, a period where most of the New York city has seen massive re-development and gentrifications. Third Avenue between 99th and 120th street has not seen much change since and houses are not only boarded up but even 'bricked up' for many decades. The reasons are complex but real estate speculations, mismanagement and general distrust in the neighborhood are overwhelmingly to blame. 'Haunted houses" refers to vacant buildings in Spanish Harlem as mentioned in a New York Times article by a housing advocate. According to this article "one of four low-rise residential buildings on avenues or major cross streets in East Harlem had open stores but sealed-up residential floors." This results in thousands of lost housing unites, lost residents and lost revenues for the neighborhood. Thus, East Harlem suffers from a sense of normalcy and a lack of residential vitality. From an aesthetic point of view this inaction offers the beautiful spectacle of a time capsule and caters to all the negative prejudices this neighborhood has suffered so much from. Rainer Ganahl is a New-York based who has been shown internationally including the Venice Biennial ( 1999, 2007, 2009 ), the Shanghai Biennial (2008), and then Athens Biennial (2013). Recent Solo Exhibitions include Manhattan Marxism (De Vleeshal in Middleberg, Neterhlands 2015), Artists: Recent Photographs from My Seminar/Lectures Series at Kai Matsumiya (New York, New York 2015) , SWISS JARRY at Hacienda (Zurich, Switzerland 2014), and Commes Des Marxists at White Columns (New York 2013). Additionally, Ganahl is currently preparing solo exhibitions at Barbara Weiss Gallery (Berlin, 2016), Green Gallery (Milwaukee, 2016), and at Kai Matsumiya (New York, 2016).

Signal

16mm film - 2012 - 07:00 min Courtesy LTD Los Angeles The script for Signal, a 7-minute, 16mm film, attempts to narrativize a collection of spam emails gathered over a 3-year period, and is staged in or near “sacred spaces”. The landscape of Pyramid Lake, on the Paiute Indian reservation is populated by 10,000-year-old rock formations, many of which are off limits to the public. They loom in the background as characters banter in the sometimes awkward, sometimes solicitous, sometimes nonsensical dialog of spam. The Black Rock Desert Playa, while vacant most of the year, is home to close to 60,000 people annually during Burning Man. These locations were chosen because they act as both mirror and foil for the internet - at once wastelands and gathering sites for millions of people, while maintaining an ancient physicality that transcends any inhabiting group. Mariah Garnett mixes documentary, narrative and experimental filmmaking practices to make work that accesses existing people and communities beyond her immediate experience. Using source material that ranges from found text to iconic gay porn stars, Garnett often inserts herself into the films, creating cinematic allegories that codify and locate identity. She holds an MFA from Calarts in Film/Video and a BA from Brown University in American Civilization. She has received awards from the Rema Hort Mann Foundation (2015), Sarah Jacobson Film Grant (2015), California Community Fund (2014) and Artadia Los Angeles (2016). She has had solo exhibitions at the Metropolitan Arts Center (Belfast, UK), ltd los angeles (Los Angeles), and Louis B James (New York), and her work has shown at SF MoMA, REDCAT, White Columns, Ann Arbor Film Festival and in the 2014 Made in LA Hammer Biennial. Her work has been written about in Bomb Magazine, Artforum online and in print, The LA Times, Hyperallergic, Girls Like Us, and Art News. She lives and works in Los Angeles.

Untitled (Eclipse)

Video - 2012 - 10:03 min Courtesy LTD Los Angeles Reading spam as a new form of automatic writing, Garnett incorporates unaltered texts to consider the relationship of the physical world to the metonymic space of the internet. In her video Untitled (Eclipse), 2012, an image of a solar eclipse provides the background for a scrolling text taken from a personal ad found on Craigslist in which a professional gambler seeks to form a travelling, polyamorous poker crew — revealing an apparently sincere, if confounding utopian desire for lifestyle alternatives in contemporary reality. Mariah Garnett mixes documentary, narrative and experimental filmmaking practices to make work that accesses existing people and communities beyond her immediate experience. Using source material that ranges from found text to iconic gay porn stars, Garnett often inserts herself into the films, creating cinematic allegories that codify and locate identity. She holds an MFA from Calarts in Film/Video and a BA from Brown University in American Civilization. She has received awards from the Rema Hort Mann Foundation (2015), Sarah Jacobson Film Grant (2015), California Community Fund (2014) and Artadia Los Angeles (2016). She has had solo exhibitions at the Metropolitan Arts Center (Belfast, UK), ltd los angeles (Los Angeles), and Louis B James (New York), and her work has shown at SF MoMA, REDCAT, White Columns, Ann Arbor Film Festival and in the 2014 Made in LA Hammer Biennial. Her work has been written about in Bomb Magazine, Artforum online and in print, The LA Times, Hyperallergic, Girls Like Us, and Art News. She lives and works in Los Angeles.

MOVING

HD Video - 2014 - 02:47 min Courtesy of China Art Objects Galleries Marc Horowitz (b. 1976) is a Los Angeles-based artist working in painting, performance, video, photography, and social practice. In a practice that combines traditional drawing, commercial photography, and new media, Horowitz turns American culture on its head to explore the idiosyncrasies of entertainment, class, commerce, failure, success, and personal meaning. Using visual puns, large-scale participatory projects, and viral social pranks, Horowitz creates environments of high energy that lift the most mundane to the status of grand event in complex interplays between subject, viewer, and participant. Horowitz holds a master’s degree in Art from the University of Southern California, and bachelor’s degrees in both Art and Marketing from San Francisco Art Institute, and Indiana University Kelley School of Business respectively. Horowitz has had solo exhibitions at China Art Objects in Los Angeles, The Depart Foundation in Los Angeles, Johannes Vogt in New York, The Hayward Gallery in London, and at New Langton Arts in San Francisco. He received a project grant from Creative Time for their first online-based project. His work has been featured extensively on local and national television including ABC News, NPR Weekend Edition, CBS Inside Edition CBS, CNN American Morning, and on NBC’s The Today Show. He has lectured at The Hammer Museum in Los Angeles, California Institute of the Arts, Stanford University, and Yale University. He has taught at the University of Southern California and developed a course in Post-Internet Art at Otis College with his partner, Petra Cortright.

THE TITLE IS A DRAWING II

HD Video - 2012 - 16:08 min Courtesy of China Art Objects Galleries Skirting the existential for the self-referential, "The Title is a Drawing" is a series of peripheral conversations between two dust clods. Like a stranger tripping on cracks in the sidewalk, the ad-hoc immediacy of this micro-performance stumbles and stutters towards near face plants. In a way, it feels as if one is witnessing a joke narrating its own ill-formed mitosis - the act of creation decidedly present as these characters weave speckled threads of dialogue along pubic hair suspension lines. À la Beavis and Butthead, the intended audience seems to only ever consist of 2; the rest of us just get to watch. Marc Horowitz (b. 1976) is a Los Angeles-based artist working in painting, performance, video, photography, and social practice. In a practice that combines traditional drawing, commercial photography, and new media, Horowitz turns American culture on its head to explore the idiosyncrasies of entertainment, class, commerce, failure, success, and personal meaning. Using visual puns, large-scale participatory projects, and viral social pranks, Horowitz creates environments of high energy that lift the most mundane to the status of grand event in complex interplays between subject, viewer, and participant. Horowitz holds a master’s degree in Art from the University of Southern California, and bachelor’s degrees in both Art and Marketing from San Francisco Art Institute, and Indiana University Kelley School of Business respectively. Horowitz has had solo exhibitions at China Art Objects in Los Angeles, The Depart Foundation in Los Angeles, Johannes Vogt in New York, The Hayward Gallery in London, and at New Langton Arts in San Francisco. He received a project grant from Creative Time for their first online-based project. His work has been featured extensively on local and national television including ABC News, NPR Weekend Edition, CBS Inside Edition CBS, CNN American Morning, and on NBC’s The Today Show. He has lectured at The Hammer Museum in Los Angeles, California Institute of the Arts, Stanford University, and Yale University. He has taught at the University of Southern California and developed a course in Post-Internet Art at Otis College with his partner, Petra Cortright.

Become A Microscope

Directed by Aaron Rose - 2009 - 23:00 min Courtesy the Conversation Sister Corita (1918-1986), was an artist, teacher, activist and Catholic nun. She stunned the world with her popular art works from 1947 through to 1968. Incorporating typography and advertising slogans into her silkscreen/serigraph works, she was a “pop artist" before they even coined the term. The concept of this film was to create a narrative where two films are simultaneously cut together as one. The first compiles a wonderful arrangement of visuals and archival footage alongside exclusive interview footage with Corita's friends and colleagues. They give insight into the world of a woman who prioritized devotion, vision and a love of her world. Running concurrently, the second part of the film deals with 90 "statements" we devised based on recurring themes in her work. These are executed as a series of graphic interstitials in visual essay form that illustrate some of Corita’s many fascinations as an artist and activist. The film was produced by Jon Barlow, Edited by Lenny Mesina and the original soundtrack was composed by Beastie Boys’ keyboardist Money Mark. About Aaron Rose: Aaron Rose (1969- ) is an artist, film director, curator, musician and writer. In the 1990’s he was the owner of Alleged Gallery in Manhattan, which helped launch the careers of many of today's top contemporary artists. He co-curated the museum exhibition, Beautiful Losers: Contemporary Art & Street Culture and directed the feature documentary film of the same name. In 2011 he co-curated the exhibition, Art In The Streets, at the Museum of Contemporary Art (MoCA), Los Angeles. Rose is also editor of ANP Quarterly, a free arts magazine published by clothing brand RVCA. His publishing imprint, Alleged Press releases monographs by contemporary artists. In late-2011, Aaron Rose co-authored "Collage Culture: Examining the 21st Century Identity Crisis," a seminal book of social criticism published by JRP/Ringier. He is currently director at large for the Berlin-based project space, The Conversation. 

Bambi in Chernobyl

HD Video - 2013/14 - 13:26 min Courtesy LETO with music by Franck Krawczyk Chernobyl is a no man’s land since the nuclear disaster of 1986. Since then, nature seems to have regained its footing: fauna and flora have developed on the site, slowly invading the ruins of a world abandoned by men and transformed by the artist in a dreamlike world, suspended between reality and fiction that awakens childish fears. The artist drew on the film Bambi (1942) and asked composer Franck Krawczyk to create an original piece whose effect would be as familiar as it would be uncanny. Angelika Markul b. 1977, lives and works between France and Poland. 
She gratuated from the Ecole Nationale Supérieure des Beaux-Arts of Paris in 2004. Since the beginning of the 2000s, Angelika Markul sets up a corpus of dark and powerful works, drawing a map of humanity in its most remote territories. The time, memory, man and nature are guiding lines for this artist who is particularly interested in not common and deserted landscapes. Her practice navigates between video, sculpture and installation, bringing a look both poetic and plastic on hazardous or conflictual situations. Not hesitating to go to places where death struck and where the danger is still there ( Fukushima, Tchernobyl, Baghdad, etc), she shows trough her videos natural disasters or catastrophes attributable to humans and crosses that with immemorial questions. She is the winner of the SAM Art Projects Prize 2012 and PRIX COAL 2016

Active Denial System: Metadata

HD Video - 2016 - 11:01 min Courtesy Document Gallery Metadata is a video compilation of various montages, frames, and long takes with a musical arrangement by electronic composer Elise Macmillan. Resonating absences, but also brute police forces, this video contains clips from protests, scenes from 3D modeling environments, and drone scapes. These videos are networked across multiple screens that have ben sculpturally shaped into a tall arch, asserting its physical presence like boding force. Embedded within one of the video sections is a poem the artist wrote about the ties the police have to slave catchers who then became police officers after abolition. The video also separately speaks to the artist’s own personal loss, affecting the video with an additional elegiac quality of the search for a missing friend. This personal grief is then linked to a more general lament for the continual domestic warfare within the United States, revealing a larger problem within legalities, which persists not to be rectified. Christopher Meerdo's work explores ideas of paranoia, entropy and memory through use of data processing, photography, installation and moving images. He holds a MFA from the University of Illinois at Chicago. His work has been shown in numerous locations, including Reykjavik, Nottingham, Seattle, Toronto and New York, with recent solo exhibitions held in Chicago and Jackson, Wyoming. He teaches photography at the School of the Art Institute of Chicago.

Five Deals Frame

Video - 02:30 min Courtesy Michael Benevento D’Ette Nogle’s video-based work offers viewers clear and purposeful directions for memorizing and visualizing the five obtuse and heavily politicized terms Equality, Liberty, Democracy, Opportunity, and Rights. The text appears on screen and is accompanied by a female American English computer voice and intermittent close-up views of the artist’s eyes and forehead while she responds along with viewers to a cue to “draw a picture in your mind”.   

Wam-View Weekend

Video - 2015 - 07:42 min Wam-View Weekend overlays the famous traffic jam scene from Godard’s 1967 film Weekend, with an animated talking avatar that delivers a running synopsis of the unfolding scene. Attempting to locate a kernel of truth in Godard’s original the artist then translates this into our current circumstance, in a type of ventriloquism that hopes to speak this truth through a different mouth, to a different time. Drawing upon the cultural critique of capitalism and consumption, with its climax of cannibalism presented in Godard’s original film, the work becomes an absurd study of the way bodies function, defecate, consume and may be consumed as systems, within systems.      Jamie O’Connell’s idiosyncratic creations are meditations on nature, machines, and the body and human consciousness. His inventive works range in size and medium, from monumental kinetic and sound-producing sculptures to almost microscopic pieces created from actions and investigations. Driven by ideas, materials, and an interest in transformation, his past works include a VW Golf converted into a functioning spa bath; the attempt to launch a metorite back into outer space; and a smart phone App that chases House music around the globe streaming live sets from a constant 3am on earth. Jamie O’Connell (b. 1985) has a Bachelor of Fine Arts from the Victorian College of the Arts, and is currently undertaking a Masters of Fine Arts at Monash University. In 2016 he received the Bear Brass prize and he was awarded the Sainsbury Sculpture Grant (NAVA). In 2014 he was granted a position in the 2014 India Global Atelier, funded by Asialink, and was the recipient of the Roger Kemp Memorial Award and the Stella Dilger Award. 

Coward

HD video - 2016 - 01:11 min Courtesy Bodega Gallery Elizabeth Orr (b.1984, Los Angeles, CA lives and works in Brooklyn) is a filmmaker and artist. Her work has appeared at Artists Space Books and Talks, New York, Recess, NY, MoMA, NY, If I Can’t Dance I Don’t Want to Be Part of Your Revolution, The Netherlands, ICA Philadelphia, PA, Harvard University Carpenter Center, MA, NurtureArt, NYC, and she has been commissioned by MOCAtv and the Museum of Art and Design. Orr is represented by Bodega in New York City, and she holds an MFA from Bard College in Film/Video.

Magic Hour

HD Video - 2014 - 12:04 min Courtesy LETO The project is built around cinematic theme of the ”golden/magic hour” which is renowned among Hollywood cinematographers as the best time of the day for shooting the scenes of twilight, mystery, beauty and sensuality. In both moody and ironic Magic Hour Puś rewievs his look at the matter of cinematography, it’s complexity but also easiness and superficiality of themes. The background for the movie plot has it’s roots in artist’s birthplace, the small village in Poland and his close relationship with his partner. Using the highspeed camera Puś shows the documentation of his small, private, intimate world as the kingdom of feelings and the forces of nature. Magic Hour was exhibited in the Museum of Modern Art in Warsaw and presented in the Institute of Contemporary Art in London.  Wojciech Puś (b. 1978) Filmmaker, artist. His recent works refer to the sphere of queer abstraction and the realm of spirituality and intimacy. His films, videos and installations were exhibited in Museum of Modern Art in Warsaw, Museum of Art in Lodz, Exchange Gallery in Lodz, Stefania Piga Vaselli Gallery in Rome, Westfälischer Kunstverein in Münster, ICA in London, Bunkier Sztuki Contemporary Art Gallery in Cracow. His works are to be found in the Collection of Museum of Modern Art in Warsaw, Film Archive of the Museum of Modern Art in Warsaw, Bunkier Sztuki Contemporary Art Gallery in Cracow and several private collections in Poland, Germany and Italy. He holds a degree in cinematography (2004) and the PhD (2013) in film/multimedia from the National Film School in Lodz. Assistant Professor at the Department of Multimedia Faculty of Cinematography at the National Film School in Lodz. 

Chloe Sightings

Digital Video - 2016 - 04:05 Courtesy Queer Thoughts Gallery Chloe Seibert is a living and working artist. Recent exhibitions include Night Gallery, Los Angeles; Atlanta Contemporary, Atlanta; Balice Hertling, Paris; COOPER COLE, Toronto; and Efrain Lopez, Chicago.​

Doors of Perception (One-Eye)

HD video, looped, silent - 2014 - 01:06 min Courtesy SVIT DOORS OF PERCEPTION (ONE-EYE) takes the eye as a portal between the inner and the outer world and installs it on the intersection of so called reality and the virtual world – on the interface of our devices. The technological eye is gazing back at the spectator. Referring to religious medieval painting and the image of the All-Seeing Eye (God), in today´s perspective of surveillance this digital Icon becomes an ambivalent one.  Since the mid 90s digital pioneer Markus Selg (b.1974, living in Berlin) is exploring the dynamics between archaic myths and computer technology in forms of digital painting, sculpture, the moving image, theater and encompassing, immersive installations. Recent exhibitions / performances: Medea.Matrix (with Susanne Kennedy, Ruhrtriennale, 2016), Primitive Data (De Hallen / Frans Hals Museum, Haarlem, 2015), Sublimation / Simulation (Galerie Guido W. Baudach, Berlin, 2014), La Vague d´Esprit, (Vilma Gold, London, 2013) 

A weirdly floating we snaps into a blurry focus

HD video - 2016 - 18:00 min Courtesy Cooper Cole Gallery Tracing the presence of glass in a wide array of environments, this work examines how a physical material can be transformed by the social purposes it serves. Glass is used as a poetic metaphor for the ‘invisible’ forces that divide, contain and blur experience- affecting perception and behaviour. Brittany Shepherd is an artist based in Toronto, Canada. Her work deals with perception, images and notions of private and public space. She has recently shown at 8-11 Gallery and Roberta Pelan and has published with JMS Press and Perish Publishing.

A Short Coma

SD Vidéo - 2015 - 06:03 minutes Courtesy Kristen Lorello Other credits: Director- Josh Slater Editor- Michael Dart Wadsworth Score- Jeremy Kelly Featuring- Ernesto Burgos A Short Coma features original footage shot by Josh Slater in locations varying form Malibu, California, to Queens, New York.  Images act as visions and dreams that rip, dance, melt, tear, and dissolve in the protagonist's mind.  The video is book-ended by the face of the male protagonist melting and then in the end reforming as if nothing happened to him, suggesting that these visuals were a passing day dream. Slater used basic green screen technology and the ability to intentionally trick his computer into creating glitches, errors, and break-downs in the video.  This was in itself somewhat uncontrollable.  It is also the way that Slater was able to create the effect of some images appearing as if they are melting or falling apart.  He also treated video as if it were paper in a collage, layering it,crumpling it, and even tearing certain images in half.

California Bloodlines (GPS Dozen)

HD video - 2016 - 04:56 min Courtesy Fourteen30 Contemporary California City is the third largest city in California. Sited on forty square miles of Mojave Desert in the early 1960’s, this planned community was built on speculation of an eastward jag of the then- developing California Aqueduct. The water never came, however, and so neither did the community. What remains is forty square miles of crumbling pavement, home to just under fifteen thousand residents in lieu of the millions it was designed to accommodate. Designed in mile square tracts, this shadow metropolis is slowly degrading back into desert, a vacant landscape populated only by off-road vehicles, recklessly vast bonfires, and the uncontested reports of Air Force weapons testing. The city, as it was planned, is ignored; the blank value of the desert outweighs the structured sprawl of civilization. In California Bloodlines (GPS Dozen), Sugarmann investigates California City’s grid as an incomplete system of data, using inaccurate and expired GPS programming to map and traverse this untraveled land. Through this effort Sugarmann finds the balance of structure and loss that is at the spirit of California City, digitally approximating the social absence of a society that never materialized. Jesse Sugarmann is an interdisciplinary artist working in video, photography, performance, and sculpture. His work engages the automotive industry as a manufacturer of human identity, accessing automotive history as an index of both cultural progress and social development. Sugarmann has exhibited work both nationally and internationally in venues such as the Getty Institute, Los Angeles; el Museo Tamayo, Mexico City; the Portland Institute for Contemporary Art, Oregon; the Banff Center, Canada; Filmbase, Ireland; Human Resources, Los Angeles; Michael Strogoff, Marfa; el Museo de Arte Moderno de Santander, Spain; Drift Station, Omaha; Spirit Abuse, Albuquerque; Fugitive Projects, Nashville; the Bakersfield Museum of Art, California; the 21c Museum, Louisville; the Knockdown Center, New York; High Desert Test Sites, Joshua Tree; Space 538, Maine; Southern Exposure, San Francisco; the True/False Festival, Missouri; and both the Paris and Berlin exhibitions of Les Recontres Internationales. Sugarmann’s work has been written about in publications including ArtForum, Art Papers, the Atlantic, Hyperallergic, Art Fag City, Frieze Magazine, the Huffington Post and The New York Times. He lives and works in Bakersfield, California.

California Bloodlines (139th St)

HD video - 2016 - 05:05 min Courtesy Fourteen30 Contemporary California City is the third largest city in California. Sited on forty square miles of Mojave Desert in the early 1960’s, this planned community was built on speculation of an eastward jag of the then- developing California Aqueduct. The water never came, however, and so neither did the community. What remains is forty square miles of crumbling pavement, home to just under fifteen thousand residents in lieu of the millions it was designed to accommodate. Designed in mile square tracts, this shadow metropolis is slowly degrading back into desert, a vacant landscape populated only by off-road vehicles, recklessly vast bonfires, and the uncontested reports of Air Force weapons testing. The city, as it was planned, is ignored; the blank value of the desert outweighs the structured sprawl of civilization. In California Bloodlines (139th Street), Sugarmann engages California City’s grid work as a physical presence of lost memory, unearthing and resurfacing an abandoned street to discover an incomplete history and unrealized past. Sugarmann engages the present uses of the land by conducting his own weapons tests, using Napalm as a tool for making, and engaging in sad semblances of off-road motor sport. Jesse Sugarmann is an interdisciplinary artist working in video, photography, performance, and sculpture. His work engages the automotive industry as a manufacturer of human identity, accessing automotive history as an index of both cultural progress and social development. Sugarmann has exhibited work both nationally and internationally in venues such as the Getty Institute, Los Angeles; el Museo Tamayo, Mexico City; the Portland Institute for Contemporary Art, Oregon; the Banff Center, Canada; Filmbase, Ireland; Human Resources, Los Angeles; Michael Strogoff, Marfa; el Museo de Arte Moderno de Santander, Spain; Drift Station, Omaha; Spirit Abuse, Albuquerque; Fugitive Projects, Nashville; the Bakersfield Museum of Art, California; the 21c Museum, Louisville; the Knockdown Center, New York; High Desert Test Sites, Joshua Tree; Space 538, Maine; Southern Exposure, San Francisco; the True/False Festival, Missouri; and both the Paris and Berlin exhibitions of Les Recontres Internationales. Sugarmann’s work has been written about in publications including ArtForum, Art Papers, the Atlantic, Hyperallergic, Art Fag City, Frieze Magazine, the Huffington Post and The New York Times. He lives and works in Bakersfield, California.

Soliloquy

SD Video - 2015 - 03:58 min Courtesy of the artist In Soliloquy, 2015, I create a video dating profile for myself, in which I directly address viewers as potential suitors. An awkwardly self-conscious self-portrait, the video functions also as an audition tape for love. Made during a residency at the Lighthouse Works which is located on the fairly remote location of Fishers Island, NY, I layer and shuffle statements of self-description over somber footage of myself reading alone and gazing at the sea. The island becomes an oblique metaphor for solitude and the desire to connect. Jennifer Sullivan is a New York-based interdisciplinary artist. Solo exhibitions include Revenge Body at Five Car Garage, Los Angeles, CA (2016), House Cat at Arts + Leisure, New York, NY, (2015), Big Girl Paintings, Five Car Garage, Los Angeles, CA (2014), Adult Movie, Las Cienegas Projects, Los Angeles, CA (2011), and One-Week Walden, Freight + Volume, New York, NY (2010). Sullivan has also exhibited and performed in exhibitions at PS1, Essex Flowers, Pablo's Birthday, 247365, Klaus Von Nichtsaggend, and Arthouse. Awards include a fellowship at the Fine Arts Work Center, and residencies at Skowhegan, Ox-Bow, and Yaddo. Her work has been reviewed in the NY Times, Artforum.com, and Art Papers, and her videos are included in the Geisel Library collection at the University of California in San Diego.

Bright Deal (super sónico)

HD Video - 2016 - 08:22 min Courtesy Galería Agustina Ferreyra Inspired by consumer goods, industrial debris and autobiographical narratives and objects, Cristina Tufiño (Puerto Rico, 1982) addresses her practice as an archeologist hoarder rummaging through a broad cultural system of references, with a particular nod to artifacts and museological aesthetics. Her multimedia works arise from a process of assembling, associating and translating images and ideas inspired by seemingly oppositional languages and spaces. Tufiño's photographic compositions, prints, videos, installations and sculptures, give a new meaning to post-studio practices and the use of social debris in our time. Recent exhibitions of Cristina Tufiño's works include "Utopia is like the Horizon", Hidrante, San Juan; "He Put a Hot Fish in her Navel", Embejada, San Juan; "Since I Must Leave My Home", Area: Lugar de Proyectos, Caguas. In 2015, Tufiño was mentioned as an Artist to Watch by Modern Painters magazine.

Fuerza Oculta

HD Video - 2016 - 07:18 min Courtesy Galería Agustina Ferreyra Inspired by consumer goods, industrial debris and autobiographical narratives and objects, Cristina Tufiño (Puerto Rico, 1982) addresses her practice as an archeologist hoarder rummaging through a broad cultural system of references, with a particular nod to artifacts and museological aesthetics. Her multimedia works arise from a process of assembling, associating and translating images and ideas inspired by seemingly oppositional languages and spaces. Tufiño's photographic compositions, prints, videos, installations and sculptures, give a new meaning to post-studio practices and the use of social debris in our time. Recent exhibitions of Cristina Tufiño's works include "Utopia is like the Horizon", Hidrante, San Juan; "He Put a Hot Fish in her Navel", Embejada, San Juan; "Since I Must Leave My Home", Area: Lugar de Proyectos, Caguas. In 2015, Tufiño was mentioned as an Artist to Watch by Modern Painters magazine.

Dead Cat Bounce

HD Video - 2016 - 09:50 min Courtesy Geary Contemporary Vanderhyden creates hypnotic videos suspended between the worlds of the familiar and the abstract. Borrowing its soundtrack from excerpts of the biographies of celebrity entrepreneurs, mostly their coming of age moments, Dead Cat Bounce uses found, invented, and hybridized forms to tug the links between the playful, sexual, clinical, and commercial.     Philip Vanderhyden received his MFA from Northwestern University and his BFA from the University of Wisconsin, Madison. He participated in the 2014 Whitney Biennial and has recently exhibited with Southfirst Gallery, New York; Andrew Rafacz Gallery, Chicago; The Poor Farm, WI; The Kitchen, New York; Synchrotron Radiation Center, WI; Musuem of Contemporary Art, Chicago. Vanderhyden lives and works in New York.

turns, folds differences

SD Video - 2009 - 44:27 min Courtesy Capital gallery ‘turns, folds, differences' documents an un-choreographed 45 minute ‘performance’ during which abstract compositions fall into and out of formation as a piece of cloth is manipulated. Over the course of its duration, references from different realms converge: some moments are reminiscent of everyday activities like folding laundry, others like watching someone make, or un-make, a painting. Stefanie Victor lives and works in Queens, NY. Her work has been shown at Capital, Four A.M., MoMA/PS1, Fleisher/Ollman, Participant Inc, and the Drawing Center.

Night

HD Video - 2011 - 01:27 min Courtesy Capital Gallery ‘night’ is part of a small group of videos that demonstrate a haptic, aesthetic, or narrative possibility latent in everyday objects. Stefanie Victor lives and works in Queens, NY. Her work has been shown at Capital, Four A.M., MoMA/PS1, Fleisher/Ollman, Participant Inc, and the Drawing Center.

Ode To Seekers

HD Video - 2012 - 08:30 min Courtesy Document Gallery ODE TO SEEKERS, 2012 is a looped video that celebrates mosquitoes, syringes, and oil derricks. Not only are they symbols of some of the most significant threats to human life—mosquito borne illnesses, drug addiction, and the petroleum industry—but they are also the causes of three of my most significant personal traumas. Andrew Norman Wilson is an artist based in New York. Recent and exhibitions include the Gwangju Biennale (2016), the Berlin Biennale, the Bucharest Biennale (2016), Bread and Roses at the Museum of Modern Art Warsaw (2016), On Sweat, Paper and Porcelain at CCS Bard in Annandale-on-Hudson, New York (2015), Office Space at Yerba Buena Center for the Arts in San Francisco (2015), Art Post Internet at Ullens Center for Contemporary Art in Beijing (2014), Scars of Our Revolution at Yvon Lambert in Paris (2014), and Image Employment at MoMA PS1 in Queens, New York (2013). His work has screened in Les Rencontres Internationales, the New York Film Festival, Prospectif Cinema at the Centre Pompidou, #VOICEOVER at the Palais de Tokyo, the San Francisco International Film Festival, and the Images Festival. He has lectured at Oxford University, Harvard University, Universität der Künste Berlin, and CalArts. His work has been featured in Aperture, Art in America, Artforum, Buzzfeed, e-flux journal, Frieze, Gizmodo/Gawker, The New Yorker, and Wired.