Skowhegan Two-Channel Video Festival: Week 3

Opening: Monday January 21, 5-8PM

Hours: Tuesday-Friday 10AM-5PM 

By Appointment: mail@skowheganart.org

Skowhegan NY  •  136 W. 22nd Street, New York, NY


Week 3: Side By Side

Monday January 21 - Friday January 25

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Itziar Barrio, A ’12

Mirroring Basic Instinct

Barrio appropriates an infamous scene from the film Basic Instinct (1992) Dir. Paul Verhoeven. Rather than a panty-less Sharon Stone, however, Barrio’s actors are both clothed and male. Reciting Stone’s lines they call attention to the artifice and mechanisms of all production (as well as the ways in which it is always inflected by gender, race, and class). Both performers, who we also see performing the police and the thief in 'All Of Us Want To Work Less', repeat gestures and lines of the scene. Sometimes they are synched and sometimes they are not, referring to the learning process and ideas of the otherness. This piece is part of the multimedia project 'All Of Us Want To Work Less' (2014 - 2018). Like many of Barrio’s projects, this takes multiple elements and forms (performance, video, and sculptures) and is ongoing. At stake in its distinct iterations are questions revolving around labor and the value of different kinds of work. In a performance executed in 2015 at MACBA Museum Barrio appropriates the infamous scene from Basic Instinct. Barrio’s actor broke from the original script by engaging in producing a cement sculpture that hardens during the rest of his performance. In a 2016 video also titled 'All of Us Want To Work Less', two actors riff off Robert Bresson’s 1959 feature film, Pickpocket. It explores the relationship between work and legality, while queering the space of 'criminality' the original movie implies. A pointed critique of labor policies and conditions, Barrio’s piece ironically shows that even stealing requires a precise skill-set and lots of practice if one is to succeed at it.

Itziar Barrio (1976, Bilbao) lives and works in New York City. Her recent survey exhibition, 'By All Means', curated by Johanna Burton (New Museum) took place at Azkuna Zentroa, Bilbao. Barrio's work has been presented internationally at: MACBA; Museum of Contemporary Art of Belgrade; PARTICIPANT INC, NYC; Museo del Banco de la República, Bogotá; Anthology Films Archives, NYC; Salzburger Kunstverein, Austria; and the Havana Biennia. She has received awards and grants from the Brooklyn Arts Council, the Spanish Ministry of Culture, the NYC Department of Cultural Affairs and Foundation for Contemporary Arts, NYC. She teaches at the School of Visual Arts and has lectured at NYU, Hunter College, MICA and the New School. Itziar Barrio is a 2018-2019 recipient of the Spanish Academy in Rome Fellowship.

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Alan Segal, A ’15

Internacia Lingvo

In the late 90s, the euro was introduced as a replacement for local European currencies, carrying with it the promise of economic integration through a single currency and the desire for a more self-regulated market. One hundred years prior,  Ludwik Lejzer Zamenhof had a similarly utopic aim when he invented an artificial language called Esperanto. This language was constructed from a multicultural buffet of sounds, rules, and access points.

The failures of these two administrative projects have been collapsed into a single object. They are antithetical faces of global manifestos that converge in the minefield of the nationalistic present.

Alan Segal (Argentina) he studied at Skowhegan School of Painting and Sculpture, Program for Artist and Curators from Universidad Di Tella, and The Milton Avery Graduate School of the Arts at Bard College. He uses drawings, video, coding, and sound to design works that reveal alternative systems of communicative convention. His work has been shown in international, institutions, galleries, biennials and festivals; BIENALSUR (the South America Contemporary Art Biennial), Buenos Aires Museum of Modern Art, Hessel Museum of Art, Wroclaw Art Center, Rencontres Internationales Paris/Berlin and New York Film Festival.

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Shana Hoehn, A ’13

Boggy Creek Version 2

Boggy Creek version2 is based on popular culture and mythology surrounding monster sightings along the Texas-Arkansas border where the Hoehn grew up. With the aid of anamorphic illusions, often used throughout art history to camouflage erotic images and dangerous political statements, Hoehn conflates “the real” as it is manifested in folklore, social constructions, and digital manipulations in the video’s images and props. In the video, Hoehn straps a crystal boat on top of her car and heads to Boggy Creek. Affixed to her boat is an angry mermaid figurehead. At home, she pumps gas at Monster Mart, a convenience store featuring a large sculpture of the Fouke Monster. The monster and mermaid, both imagined as male-explorer fantasies, meet. As the video progresses, Hoehn travels waterways searching for the creatures, seeking solidarity with their in their incarnated forms.

Through video and sculpture, Shana Hoehn disorganizes spaces and objects that manifest forms of social regulation. Hoehn received her BFA in painting from Maryland Institute College of Art and her MFA in sculpture and extended media at Virginia Commonwealth University. She has participated in residencies and fellowships such as the Core Program at the Museum of Fine Arts Houston, Skowhegan School of Painting and Sculpture, Acre Residency, SOMA Summer, the Fulbright Program, and she will attend the Jan Van Eyck Academie and Lighthouse Works in 2019.

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Seline Baumgartner, A ’14

Nothing Else

Collaboration with the dancers: Meg Harper, Jon Kinzel, Vicky Shick, Keith Sabado

“NOTHING ELSE ”, is an EMPAC DANCE MOViES Commission 2013 - 2014, supported by The Jaffe Fund for Experimental Media and Performing Arts. Experimental Media and Performing Arts Center (EMPAC), Rensselaer Polytechnic Institute, Troy, NY”

“You don’t see Baumgartner in her art, at least not directly: you see instead her steady gaze, those warm eyes open and trained on others. In her recent videos Seline Baumgartner has been collaborating with New York dance royalty: Sally Gross, Meg Harper, Jon Kinzel, Keith Sabado, Vicky Shick and Robert Swinston. None of these performers are young, a fact that has been made much of in most of the writing about this body of work. But this fact is almost entirely uninteresting, really, other than what it reveals about tedious Western expectations around bodies. The real point here isn’t age, but experience, and how it deepens artistry. Small, subtle shifts of weight, of gaze, of intensity, these all take on outsize implications—the point is never what these individuals do, but how. Baumgartner gives the space for these implications to ripple out, overlap, interrupt…creating the most satisfying sort of portrait, the non-narrative one.

There are many complicated intellectual scaffolds one can erect around the intersection between camera and body. But there are also wordless pleasures. All that the doer does. All that the seer perceives. This is something besides. The way time moves, catches, redirects. The frame is full; and then it is empty.”

- Excerpt from a text by Claudia La Rocco

Seline Baumgartner is a Brooklyn and Zurich-based artist. Her solo exhibitions include Let it Linger, Scenic Design for Vicky Shick, The Kitchen, NYC (2017); Nothing Else, Tanzhaus NRW, Düsseldorf (2016); Nothing Else, Centre Culturel Suisse, Paris, (2015); As Everything Fades, 83 Pitt Street, NYC (2015); Before the Future, Walcheturm Zurich, (2015); Time to Lose, Art Cube, Artist Studios, Jerusalem (2015); In 2013-2014, she was an artist-in-residence at LMCC Workspace and the Skowhegan School of Painting and Sculpture. In 2014 she was the laureate of the Dr. Georg and Josi Guggenheim Foundation’s Award, and her works are part of collections such as Kunsthaus in Zurich, Aargauer Kunsthaus in Aarau, and Goetz Collection in Munich.

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Bryan Zanisnik, A ’08

Aquarium Painting

Using discarded walls from a hospital, I constructed a maze-like labyrinth at a recycling center in Philadelphia. Each room is populated with objects sourced from the dump; one room suggests a bar, the next a 99-cent shop. As my father tours the structure he constructs fictitious narratives about the objects before him. As the labyrinth shifts from the domestic, to the commercial, to the industrial, the incongruent narrative raises questions on the psychological and historical meaning of objects.

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Lex Brown, A ’12

Projection Affection

An early work; attempting to become one with color and the tools of projection.

Lex Brown is an artist, musician, and writer. Her work plays with the scale of personal and emotional experience in relation to large scale systems of social and economic organization. She has performed and exhibited work at the the New Museum, the High Line, the International Center of Photography, and Deli Gallery in New York; REDCAT Theater and The Hammer Museum in Los Angeles; and at the Munch Museum in Oslo, Norway. Brown holds degrees from Yale University (MFA) and Princeton University (BA). Her first paperback work in fiction, My Wet Hot Drone Summer, a sci-fi erotic novella that takes on surveillance and social justice, is available online. This April she will be a resident artist at Recess Sessions in Brooklyn. Her first institutional solo show Animal Static is currently on view at The Kitchen until February 23.  

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Cooper Holoweski
, A ’09

As Above, So Below

As Above, So Below is a two-channel HD video installation with sound that uses everyday objects to depict parallels between the cosmic and subatomic realms. Inspired by the 1977 Eames Film “Powers of Ten” the piece also draws from the notion of macrocosm/microcosm as originated by the 16th century theologian Robert Fludd. Macrocosm and microcosm are terms from religious esotericism that refer to a vision of the cosmos reflected within a smaller part of itself.

As Above, So Below illustrates the concept with materials such as aluminum foil, coffee grounds, and Styrofoam to draw parallels between micro and macro – the commonplace and the divine.

Cooper Holoweski is an artist working in print media, video, and sound.   He holds a MFA from RISD. Holoweski has held residencies at Taller 99 in Santiago, Chile, Gallery Titanik in Turku, Finland, and Skowhegan School of Painting and Sculpture.  In 2015 he was awarded the Media Residency at the Clocktower Gallery and the Keyholder Residency at the Lower East Side Printshop in NYC. In Spring of 2017 he was awarded the Prix de Print by Art in Print Magazine.  

Holoweski is currently the Artist-In-Residence and co-Head of the Print Media department at the Cranbrook Academy of Art.

Week 1

Sunday January 6 - Friday January 11

Jaye Rhee (A ’09), Polka Dots 
Ana María Gómez López (A ’15), On Taphonomy 
Mary Vettise (A ’12), A reality with forms 
Lorena Mal (A ’16), Invisible Structures 
Jonathan Ehrenberg (A ’11), Monument

Week 2

Monday January 14 - Friday January 18

Elizabeth M. Webb (A ’18), CONVERSE, CONVERSE 
James R. Southard (A ’12), Father’s Flag Part A & B 
Tricia McLaughlin (A ’92), Disposable Heroes 
Josefina Malmegård (A ’16), Heavenly bodies. 
Jessica Segall (A ’10), (un)common intimacy 
Sharon Paz (A ’01), HOMESICK

Week 3

Monday January 21 - Friday January 25

Itziar Barrio (A ’12), Mirroring Basic Instinct 
Alan Segal (A ’15), Internacia Lingvo 
Shana Hoehn (A ’13), Boggy Creek Version 2 
Seline Baumgartner (A ’14), Nothing Else 
Bryan Zanisnik (A ’08), Aquarium Painting 
Lex Brown (A ’12), Projection Affection 
Cooper Holoweski (A ’09), As Above, So Below

Week 4

Monday January 28 - Friday February 1

Richard T. Walker (A ’09), the predicament of always (as it is) 
Kerry Downey (A ’17) and Joanna Seitz, Weather Report 
Angela Willetts (A ’16), Escape Raft 
Orr Menirom (A ’16), Clinton and Sanders Looking at the World and Naming Things for the First Time 
Holli McEntegart (A ’14), Beyond the ultraviolet, beyond the infrared 
Jennifer Calivas (A ’16) and Dan Swindel, Sides