433 HARRISON AVENUE | BOSTON, MA 02118
March 16-27, 2010
Videre: an exhibition of new video work from SMFA advanced video students
Opening Reception: Tuesday, March 16, 2010, 6-9pm
Laconia Gallery welcomes you to explore Videre, a group exhibition of new video work from School of the Museum of Fine Arts, Boston advanced video installation course. Exhibiting artists include Fred Ata, Shane Butler, Ahyoung Choi, Stephen St. Francis Decky, Jill Fisher, Merideth Hillbrand, Nancy Ellen Jones, Sydney Kinchen, Katrina Neumann, Samantha Nye, Anna Rochinski, Coco Segaller, Lily Sheng, Michael Sims, Gabriel Sweet, Joanna Tam, Ali White, Melissa Woods, and Biying Zhang. With SMFA faculty Mary Ellen Strom, this group of young contemporary artists requests your presence and participation in this group show of new works.
The individual works present a broad range of ideas by makers from China, Dubai, Lebanon, Hong Kong, Brazil, Korea, Canada and the United States. Projects represent distinct subjects and styles including an intervention into the museum, an homage to Prince, experiences of immigration, a portrait of Guizhou and bad girl art. From high-end production, to stop motion animation, to do-ityourself theatricality, these new video works exhibit relationships to performance, site-work, painting, sculpture, film and digital culture.
To view videos on-line, please email James Dingle at email@example.com for Videre links.
Kip and Vanilla Chip, Stephen St. Francis Decky, 2010
Kip and Vanilla Chip is the story of a dog and cat preparing for winter in a pastel, dreamlike world. Through the use of handmade dolls and stopmotion animation, Stephen St. Francis Decky portrays a haunting, and often hilarious tale of survival and isolated beauty.
115 Pounds, Ahyoung Choi, 2010
Ahyoung Choi uses the image of a washing machine filled with three kinds of meat as her weight.
White Out, Katrina Neumann, 2010
Katrina Neumann crosses and erases the barriers between mediums by taking her painterly installation and performing an engaging erasure act returning back to the white abyss. For this piece, Neumann’s influences stem from Jackson Pollock, Casper David Friedrich, and Takashi Murakami to 90’s chick bands and music videos to the ideals of struggling and failing, all while wearing gold stilettos.
A little red farmer left it real marred, Lily Sheng, 2010
Lily Sheng presents a tradition of generationally passed history is presented through a mother’s narration of farm labor experience in Heilongjiang Province during the Great Leap Forward, while she reinterprets and performs her recollection of memories. These revelations question the authority of assumed cultural identity and burden by revealing the complexity of a pre and post-revolution generation.
Chant Of A Champion, Shane Butler, 2010
Chant Of A Champion is an investigation into an ambiguous zone of contemporary ‘value through a process of appropriation and performance the piece wishes to exhibit a non-linear functioning of this term; explore interstices and humors within social performances of ‘value,’ and bring viewers to engage critically with their own placement in a trajectory of cultural entrancement.
Demicracy, Merideth Hillbrand, 2010
This work explores video as a tool for interaction in public spaces. The site for this piece is the Freedom Trial in Boston, an imaginary line that connects Boston’s revolutionary war era landmarks. The title, Demicracy, means ‘half-government’ or ‘partialpower’, denoting the connection between the passer-by on the street and the history of the buildings.
The Trouble with Logic (Disaster Relief Efforts), Nancy Ellen Jones, 2010
A man walks alone across a barren landscape carrying two jugs of water. In this single channel video, Jones uses the framework of Zeno’s Paradox to comment on the frustration surrounding the disaster relief efforts in Haiti.
Brewing In the Realms, Anna Rochinski, 2010
In this piece, Rochinski utilizes frame-recordings of realtime outdoor spaces alongside abstracted imagery to create a play of light and a poetic reevaluation of time and landscape as a social, yet meditative space, an interplay of digital and tactile desire.
When Doves Cry, Sydney Kinchen, 2010
Sydney Kinchen re-imagines Prince’s 1984 hit “When Doves Cry” with a theatrical, do-it-yourself aesthetic. With a heavy dose of humor, Kinchen explores sexuality and gender in a playful and imaginative space.
The Blob, Ali White, 2010
Ali White inserts a living, breathing sculpture into the MFA Boston. Without spatial constraints, the sculpture is free to roam around, standing in conversation with other works that are steeped in cultural and historical context.
Color Field, Jill Fisher, 2010
Jill Fisher uses Painting as a Performance space in her hyper-colorized, abstracted landscapes. With the use of video, Fisher creates site-specific installations to manipulate space and project interactive, immersive environments.
Borders, Fred Ata and Joanna Tam, 2010
Ata and Tam attempt to capture the struggles they have had with assimilating themselves into U.S. culture as immigrants. Their single-channel video examines the burden caused by lack of acceptance from their home countries.
On Mame, Samantha Nye, 2010
Gleaning from a multitude of female personas in film, On Mame uses repetition and gesture to explore age, gender, and sexuality. The participants in this piece, range from ages seven to eighty-seven and perform movements and dialogue taken from films that have helped to shape their personal ideas about sexuality.
Too Good to be True, Melissa Woods, 2009
Melissa Woods’ three-channel piece explores the reflexive attitude of a body and mind towards itself, with allusions to grooming and vanity. Humming “Can’t Take My Eyes Off of You,” by Frankie Valli and the Four Seasons, she presents a trance-like state of self-involvement, and an intensely personal moment.
Winged Victory, Coco Segaller, 2010
The video shows what appears to be a woman’s body, lacking a head, neck, and arms, trying and failing to hold true to the pose and stillness of the sculpture, The Winged Victory of Samothrace. Where the statue is static, the video response shows the presence of the human body within the work, breathing, tiring, fidgeting, and shifting.
Hands Up, Michael Sims, 2010
Hands Up links gestures scavenged from various media sources through a sculptural object. A computer presents virtual scenes of the communal gesture of raised arms, with the physical zed gesture in front of a physical computer.
Go See, Gabriel Sweet, 2010
Gabriel Sweet uses a performance of masculine ideals to question the impossible standards set to represent the male figure. The video shows Sweet attempting to emulate these larger-than-life images from fashion advertisements, projecting them onto his body.
China, Biying Zhang, 2010
Biying’s video exposes the external layers of Chinese people’s daily life through observations of markets and the street. Surroundings that might have once been familiar suddenly appear foreign.