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FILM & TALK: SAW
November 8, 2019, 6 pm - 8 pm
Co-presented with Sag Harbor Cinema
Guest curated by filmmaker Micaela Durand, SAW is a program of six short films that features the work of seven filmmakers who investigate the relationship between seeing and being seen. The films address how individuals present, perform, and reveal in an age of constant documentation. As technology and social media increasingly shapes perception, these films employ a variety of methods to critique and observe how people watch.
The screening will be followed by a conversation with Durand, Jordan Lord and Corinne Erni, Senior Curator of ArtsReach and Special Projects at the Parrish. This first collaboration between SHC and the Parrish forwards the Museum’s mission of bringing together art, artists, and the community for engaging programs that illuminate the creative process; as well as partnering with important arts organizations.
Everything and More by Rachel Rose, 2015
Long Count III (Thrilla in Manila) by Paul Pfeiffer, 2001
After….After….(Access) by Jordan Lord, 2018
Oops! by Laurel Nakadate, 2000
E-Ticket by Simon Liu, 2019
First by Micaela Durand and Daniel Chew, 2019
About the Films
As technology and social media increasingly shapes perception, these films employ a variety of methods to critique and observe how people watch. Paul Pfeiffer presents the third of his seminal three-part video installations, Long Count III (Thrilla in Manila) (2001), which shows the fight in 1975 between heavyweight champions Muhammad Ali and Joe Frazier. Pfeiffer digitally erases the boxers from the film so that the viewers’ attention shifts from watching the missing fighters, to the roaring crowd cheering back at them. Navigating the pressures of structures is also explored in Rachel Rose’s Everything and More (2015). As an astronaut describes the sensation of leaving earth behind, the viewer falls into a similar void through associative and digital manipulations. Reconstructing memory is examined in E-Ticket (2019). Simon Liu recomposes his personal archive of vacation ephemera into a pulsating performance that alludes to the contemporary condition of media exposure. Jordan Lord’s After….After….(Access) (2018) proposes a new kind of engagement with accessibility in mind, by rendering what is seen and heard into subtitles as the filmmaker documents their own open heart surgery. Micaela Durand and Daniel Chew’s film First (2019) follows a teenage girl as she negotiates the interrelationship of online and real world interactions. Laurel Nakadate explores similar entanglements in Oops! (2000), in which the artist is invited into the homes of men through chance encounters and asks them to dance with her to Britney Spears’s iconic song Oops!…I Did It Again.
To learn about the filmmakers, click HERE
Friday Nights are made possible, in part, by Presenting Sponsor:
Additional support provided by The Corcoran Group and Sandy and Stephen Perlbinder.
FILM & TALK: SAW
November 8, 2019, 6 pm - 8 pm
Co-presented with Sag Harbor Cinema
Guest curated by filmmaker Micaela Durand, SAW is a program of six short films that features the work of seven filmmakers who investigate the relationship between seeing and being seen. The films address how individuals present, perform, and reveal in an age of constant documentation. As technology and social media increasingly shapes perception, these films employ a variety of methods to critique and observe how people watch.
The screening will be followed by a conversation with Durand, Jordan Lord and Corinne Erni, Senior Curator of ArtsReach and Special Projects at the Parrish. This first collaboration between SHC and the Parrish forwards the Museum’s mission of bringing together art, artists, and the community for engaging programs that illuminate the creative process; as well as partnering with important arts organizations.
Everything and More by Rachel Rose, 2015
Long Count III (Thrilla in Manila) by Paul Pfeiffer, 2001
After….After….(Access) by Jordan Lord, 2018
Oops! by Laurel Nakadate, 2000
E-Ticket by Simon Liu, 2019
First by Micaela Durand and Daniel Chew, 2019
About the Films
As technology and social media increasingly shapes perception, these films employ a variety of methods to critique and observe how people watch. Paul Pfeiffer presents the third of his seminal three-part video installations, Long Count III (Thrilla in Manila) (2001), which shows the fight in 1975 between heavyweight champions Muhammad Ali and Joe Frazier. Pfeiffer digitally erases the boxers from the film so that the viewers’ attention shifts from watching the missing fighters, to the roaring crowd cheering back at them. Navigating the pressures of structures is also explored in Rachel Rose’s Everything and More (2015). As an astronaut describes the sensation of leaving earth behind, the viewer falls into a similar void through associative and digital manipulations. Reconstructing memory is examined in E-Ticket (2019). Simon Liu recomposes his personal archive of vacation ephemera into a pulsating performance that alludes to the contemporary condition of media exposure. Jordan Lord’s After….After….(Access) (2018) proposes a new kind of engagement with accessibility in mind, by rendering what is seen and heard into subtitles as the filmmaker documents their own open heart surgery. Micaela Durand and Daniel Chew’s film First (2019) follows a teenage girl as she negotiates the interrelationship of online and real world interactions. Laurel Nakadate explores similar entanglements in Oops! (2000), in which the artist is invited into the homes of men through chance encounters and asks them to dance with her to Britney Spears’s iconic song Oops!…I Did It Again.
To learn about the filmmakers, click HERE
