Third Live Projection 2010, Little Hamilton, July 26th

Film Projection for, and in-between, live music performances by:
Sugar Skulls (Ben Marcantel)
Kelli Shay Hix (w/ Amy Marcantel & Kyle Xavier)
Sons of an Illustrious Father (New York)

Kelli Shay gave me a call over the weekend to ask if we would be interested in projecting for these live bands she had booked at the Nashville art space, Little Hamilton. Of course I said yes, and as usual with no consulting my partner. To be asked by such talented artists to assist in augmenting an artistic performance is  a very gratifying sensation which, if taken seriously, can completely alter the performance and elevate the propensity for full effect. The audience is also often engaging and stimulated and vocal, as was the case this evening. The reception was incredible, again....
The previous screenings, albeit successful, culminated on this showing. It was the most last-minute one yet, but one for which my partner and I were well prepared. On this occasion, Alcamy played the initial set of composite film images for both Ben and Kelli's sets, while perpendicular to those images, I screened segments of more known films and some rare Chris Marker early VHS projects. I also played a really psychedelic Wim Wenders short, "Ten Miles to Trona," off of the very interesting project reproached from the 1978 original in 2002 in two 10-film projects titled "Trumpet: Ten Minutes Older," the other film set simultaneously released was "Cello: Ten Minutes Older." Incredible short films there.
It was a great success. Some great hosting was done, particularly by those at Little Hamilton, Dave I believe it was. But, we had a ton of fun, got some great film in front of some great people, and all the while, got some projects out there of ours while instigating new collaborations.
The folks of Sons of an Illustrious Father were very talented and open young people, loving their travels and playing music that seems to me to have been very emotionally cathartic. Best of luck to them, as I hope they've had a safe return, and thanks to everyone for the wonderful comments and questions, namely Scott Zeman of Vanderbilt University and Holly, whose comments are never taken lightly. Lastly, thanks to the great performers Marcantels and Kyle and Kelli Shay, thanks for the invite!!!!
Below are some stills from Chris Marker's "2084," which insitigated a lot of questions and comments...a great work of Marker's VHS output!

Art Sabotage: Break In/Out - May 7th, 2010

After mentioning it twice between us, ASPHH and I decided to take over an unoccupied apartment in her building for a couple of hours on Friday, the 7th of May. We sent out close to twenty-five emails at three pm, followed by another dozen or so text messages, giving eveyone five hours to react. The exhibition was therein scheduled that evening from seven until nine, followed by a film screening across the hall at a properly occupied apartment.

The works displayed were paintings, drawings, photographs, plaster molds, and other works on paper, glass, and chalkboard. During the exhibition, Aleksandr Medvedkin's Happiness played on a wall while the sound art disc, part of Stockholm-based Styx Forlag's Autistisk Skilskrift publication provided the soundtrack. This audio addition was originally released in 2006 as supplement to the book of the same title, and features, among other artists, works by Leif Elggren, Sten Hanson, CM Lundberg.

Due to the process of presenting these works, and the place in which it was executed, there were many unexpected, unforeseeable, and palpable though intangible authors and attendees, in the curatorial and viewing processes. The time constraint certainly had great effect on the exhibition as a majority of the work shown did not arrive until just ten before seven. The space constraint of hauling the audio/visual equipment and art work in a compact sedan; the effect of viewing art for a short window of time in an unoccupied apartment in which none had permission to be, all had significant authorship and presence in the show. These presences, these constraints, were of immense help, across the board.
The constraints mentioned in getting the work to the apartment are self-descriptive. It's hand was apparent in the selection process of the curation. The time constraint followed a similar trajectory, but to a lesser extent as the two respective collections from which we culled the exhibit, containing original works by artists, almost all still living and working in San Francisco, Nashville, New York, Stockholm, and Los Angeles, are housed in three locations central to the room we temporarily inhabited for the exhibit. Of course, with further planning, plenty of other works could have been requested, reclaimed, or created for the show, but the required intentionality for this exhibit to have happened did not extend to that possible function, it is out of scope. The need and desire met, were equal, and as the progenative wave, the monad made another equal, another palpable, intangible third whose presence was of substantial breadth to provide the necessary force to assert itself.

photo: Ben Marcantel; image: Alcamy Henriksen, “10012009-11202009, TN/CA/TX/AZ" 2009, [42 Polaroids]

photo: Ben Marcantel; image: Marc Byndas, "Universitá (immobile)," 2005 [ink, paper]