Evidence Is Everywhere

San Francisco – CCA’s PlaySpace gallery and SF Cinematheque co-present Evidence Is Everywhere: [Between Gallery and Cinema], a gallery exhibition and one-night film screening of experimental shorts. As part of SF Cinematheque’s Promiscuous Cinema, a ten program series which explores cinema in an active and engaged relation to other forms of artmaking and performance, Evidence is Everywhere examines various manifestations of moving image-based work in both gallery and cinema settings. Featuring recent work by artists who trained in film/video/performance at CCA, the program celebrates CCA’s contribution to contemporary media art and its recent collaborative relationship with SF Cinematheque, one of the oldest and longest-running organizations in the country dedicated to the art of experimental cinema and moving images. Playing upon different ideas of “evidence” from records of personal and public events, found footage, photographs and the matter of film or television itself, the artists engage diverse media, exhibition formats and approaches to temporality.

Ominous fate and its potential impact on the body permeate these narrated video accounts: individuals’ acquisition of scars in Harrell Fletcher’s If I Wasn’t Me I Would Be You (2004); the visit to the murder site of a friend in documentary filmmaker Laura Plotkin’s new ongoing project Murder Triptych (2005); the diaries of a Victorian fetishist in Kim Wood’s On My Knees (2004); Virginia Kleker’s grainy portrait of her step-father in This Is the Last Carousel Ride I’ll Ever Take (2005). The rolling dice in Sean Horchy’s Dice Drum (2005) and the fortune-telling machines in Katherin McInnis’ Predictions (2005) suggest the role of chance.

Alfonso Alvarez and Steven Dye’s multiple projection performance, As Big As A House (2005), intervenes into found footage, an interest and method echoed by gallery artists Dana Plays, Alex Killough, Rick Danielson and Tommy Becker. Killough’s video installation Signal Investigation (2004) presents a scrambled, running text version of an episode of the crime show CSI. Good and evil dichotomies are further articulated in Danielson’s film sculpture “Goldeneye Trailer: James Bond Extracted, Villains Taped Red (2002) and Becker’s video projection Daddy Kill (2003).

Juxtaposing media with photographs, Hannah Henry’s room installation Trepidation (2004) and Mary Tsiongas’ sound work Listening Trees (1999) meditate on aspects of the landscape, while Anthony Discenza’s Dream Object #3 (Convergence) focuses on a plane in the sky. Katherin McInnis’ Open (2004), Hailey Ashcraft’s Ramona (2004) and Morgan Barnard’s Disappear/Re-appear (2005) each document a mysterious urban scene at night. Abstract manipulations of narrative imagery are explored in Elizabeth Block’s poetry and painting on film leder in her film Make Haste, Slowly (2004) and Julia Shirar’s combination of her video with her father’s slides and photographs in Inertial Navigation (2004).

With support from the California College of the Arts’ Alumni Association

Pressetext

Evidence Is Everywhere: Between Gallery and Cinema
PlaySpace gallery - California College of the Arts
Kurator: Tanya Zimbardo

mit Tommy Becker, Rick Danielson, Anthony Discenza, Hannah Henry, Alex Killough, Dana Plays, Mary Tsiongas, Hailey Ashcraft, Morgan Barnard, Elizabeth Block, Harrell Fletcher, Sean Horchy, Virginia Kleker, Katherin McInnis, Laura Plotkin, Julia Shirar, Kim Wood, Alfonso Alvarez & Steven Dye, Katherin McInnis