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| NOVEMBER - MARCH 2002 | |
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Andy Deck's
Glyphiti. Deck writes, "Glyphiti is an image composed of many smaller 'glyphs' that can be edited easily. The qualities of the image are co-determined. As author, I have established certain characteristics. These include the size and available colors, which are black and white. But the state of every pixel can be changed by the visiting artist." United States. 2001. |
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James M. Magrini's
Nada: Nothing. Magrini writes, "An encomium to the transhistorical aesthetic movements of DADA and SURREALISM. The film combines 'auto-cinema' (Ray), 'Roto-reliefs' (Duchamp), and archive footage to expose language and vision, the supposed guarantors of truth, as illusory. Once 'aim,' 'being,' and 'unity,' which have been mendaciously exploited to infuse existence with meaning, are pulled out, the world appears pointless. Nada is but one bridge to this conscious awakening." United States. 2001. |
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Derek Rees's Whirling Dervishes. Whirling Dervishes speaks to investigating the everyday, counterpointing the differences between the "everyday" of children and adults. United States. 2001. |
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Anthony Ferraro's Coney Island. Coney Island is one of six short vignettes inspired by the spectacle of Buster Keaton and the sensibility of Beckett shot in 16mm B&W featuring a lone tramp character. With New York City as a backdrop our Tramp is drawn into the drama of a day in which everything seems strange and everything seems familiar. In these journeys lay many of the little epics we face everyday that begin and end with a turn of an unknown corner or the opening of a strange door. With nowhere to go and nothing to do meaning becomes unavoidable. 2001. United States. |
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Wendy Smith's The Waiting Game. This is the story of a woman who spends her life waiting for something to happen. 2001. United States. |