The SAT, in collaboration with MUTEK, presents the Fall 2016 collection of experimental video label Undervolt & Co. This international collective works not only on the circulation of time-based art but also on redefining the boundaries of video media through different presentation formats (installations, projections, workshops and online projects).
For this new series of works, the group will show as much as 11 productions that will be presented in two parts (A and B). This release will be projected daily (free admission) during the Foodlab’s opening hours (3rd floor), for all of November.
Come and check it out !
*Rea McNamara, Managing Director at U&Co., will be giving a talk on November 10 for MUTEK_IMG. She will discuss The Marketplace of Ephemeral Visual Media with Ashley Wong ( s[edition] art ), Sean Caruso ( NEST immersion & SAT ) and Greg J. Smith ( holo magazine and creative applications ). RSVP here.
Opening reception Wednesday, November 2nd from 6-9PM
November 2 to 25 – Monday to Friday – 5 PM to 10 PM
3rd floor – Free entrance
From the clickbait static of information saturation to finding transcendence in feedback noise, Side A features works dwelling on 21st century survival amidst screen-based artifice and technological intervention.
Deserted by Andrew Benson
Digital video, 2016, 9:51 minutes.
Andrew Benson’s “Deserted” is at once a digital video meditation on the idea of the desert, and an autobiographical evocation of growing up near the Mojave Desert in California. A recent move back to its edges sees Benson re-imagining the arid climate’s texture of feldspar, sand, creosote and deep skies with layers of no-input feedback, digital paint, misbehaving color effects and camera-driven image distortion.
Shot in one long take using custom real-time video software, “Deserted” places a geological history within a context both synthesized and electronic to its core.
By The Sea Butterflies Remix by Di-Andre Caprice Davis
Digital video, 2016, 1:32 minutes.
Utilizing personal mobile phone footage recorded along a highway in Eastern Kingston, Di-Andre Caprice Davis’s “By the Sea Butterflies Remix” is at once intimate and candid in its subversion of the city’s lush natural environments.
Part of her ongoing Chaotic Beauty series, the Jamaican artist incorporates this footage into a GIF collage, framing an everyday action within a cascading maelstrom of eddying technicolors.
Nebulous Order by Suzy Poling
Digital video, 2016, 3:56 minutes.
Combining images of fog, 3D rendering with analog video mixing and feedback, Suzy Poling’s “Nebulous Order” is a haze of monochromatic light. Her video work is often situated within an installation environment alongside three-dimensional mirror and wood objects exploring the four dimensional experience of refraction and interference.
“Nebulous Order” was made during her 2016 solo “Infinity Stage” art residency at Los Angeles’s Coaxial Arts with support from the Mike Kelley Foundation.
Brown Material by Jimmy Joe Roche & Yoshihide Sodeoka
Digital video, 2016, 2:05 minutes.
In a dystopian near-future, a conspiracy theorist-turned-bath-salt-inhaling-messiah has his “I’m Mad as Hell” mental breakdown.
Lost in the reactionary clickbait static of 21st century information overload, “Brown Material” is a terrifyingly hopped up vision of the embattled American spirit.
See No Evil, Hear No Evil, Speak No Evil by Yoshihide Sodeoka
Digital video, 2016, 3:03 minutes.
In taking on the triptych form, Yoshihide Sodeoka’s “See No Evil, Hear No Evil, Speak No Evil” finds transcendence in the intense frequency of violet noise.
With a title referencing the Three Wise Monkeys 17th century panel carving at the famous Toshogu shrine in Nikko, Japan, Sodeoka uses the digital video medium — specifically the trope of video feedback and television static bars — to represent a contemporary form of positive mindfulness and action.
Moving between composition and performance, or the generative possibilities of samples, loops and custom software, the works from Side B occupy the liminal intersections of systems, narratives and experiences.
Table Gaze #1 by Scot Cotterell
Digital video, 2016, 8:11 minutes.
“Tablegaze #1” is the first in a series of video works oscillating between composition and performance document. Cotterell employs no input methods on redundant video and audio mixers, and home-made tools are recorded off-screen and live using consumer grade tools and processed to enhance digital artifacts.
The use of crude filters is references. Minimal structural editing occurs retaining the timing of the recorded events.
Peach Cobbler by Adam Ferriss
Digital video, 2016, 5:12 minutes.
In capturing the feeling of biting into a fresh peach, Adam Ferriss’s “Peach Cobbler” is a sensuous and carnal foray into the limits of edibility, particularly the meeting place of juicy flesh and hard stone.
Using custom software and generative processes, Ferriss glides from the fuzzy tendrils of ripened skin to a pit’s deep grooves and ridges, tangling with the fruit’s long-time erotic associations in art.
When I Worked At Control Data in ‘82 by Rea McNamara in collaboration with Travis Gledhill, Alvaro Girón and Lorena Salomé
Digital video, 2016, 3:56 minutes.
In the early 1980s, Chicago-born soul and jazz singer Terry Callier retired from the music industry to raise his daughter, becoming a computer programmer at the University of Chicago. “When I Worked At Control Data in ’82” originated as a live improvisational electronic music composition created by Rea McNamara, Travis Gledhill, Alvaro Girón and Lorena Salomé as the band T∆NG∆.
This extended remix utilizes samples, found footage and real-time video mixing to expand on this assumed personal narrative that plays out other ways of being and making.
Sequence Vehicle by Brenna Murphy
Digital video, 2016, 1:08 minutes.
Brenna Murphy’s “Sequence Vehicle” is a study of her positive feedback loop workflow where simulated domains are imagined with the combination of observed reality and 3D modelling.
Relying on an array of nested computer graphics programs, the evolving symmetry of Murphy’s structures and liquid textures stills on the projections of digitally-aided meditative consciousness.
Treatment (Prologue) by Nicholas O’Brien
Digital video, 2016.
By comparing contemporary 3D modeling software to “design solutions” for water treatment in urban planning, Nicholas O’Brien contemplates what it means to care for systems, networks, and communities.
In this new work, O’Brien draw equivalences between the dangerous disposability of simulated objects and the lack of maintenance in “green” or “gray” infrastructure projects.
Worry Is A Horizontal by JJ Stratford
Digital video, 2016, 6:21 minutes.
The pineal gland — otherwise known as the “third eye” — has long been considered a centre for navigation, and helps to maintain the body’s circadian rhythms.
In JJ Stratford’s “Worry Is A Horizontal”, which was created using her custom software The Pineal Paintbrush, a resonance wave stimulates an affected person’s pineal gland, providing a transdimensional rendering of existence outside the scope of accepted reality.
Undervolt & Co. is an internet-based collective involved in the circulation of time-based art across varied presentational formats. Founded in 2013 by artist Yoshi Sodeoka, the collective’s work has been exhibited widely, often taking the form of installations, screenings, performances, workshops and ongoing online projects.
With an emphasis on the immediacy of image and sound, as well as the mutability of technologies, Undervolt & Co. has cultivated a closely-knit network of international artists earnestly challenging the possibilities of their medium.