overscan // underscan

7:00 PM
Friday, October 4, 2019

Woodland Pattern Book Center
720 E Locust St
Milwaukee, WI 53212

fractie, extractie, document // Veerle Nagelkerke // 2019
4 min 17 sec, video

Synopsis:
Fractie, extractie, document is a short film that reflects on the relation between time and feeling, taking shape in the process of collecting- and categorizing personal images of particular spaces in- and around the parental house.

Artist Bio:
Veerle Nagelkerke (1997) has grown up in Maastricht (NL), and after taking one year of Fine Arts education at the Maastricht Academy of Fine Arts and Design, she went to KASK & CONSERVATORIUM in Ghent (BE) to study Film. Working with moving image has been the main practice at the moment (in both cinema- and installation-context), but working with concept, words and drawings has not been moved from the table yet. She is examining subjects as (the human/collective) memory, time- and space, language, archives, categories, systems and schedules.

High Lakes // Pam Minty // 2017
19 min 11 sec, s16mm/HD transfer, color

Synopsis:
Pam Minty’s short documentary High Lakes is a hypnotic reflection on labor and landscape. Over the course of 20 minutes, the film uses just twenty beautifully composed, static shots to reveal itself as a thoughtful personal essay about work - specifically maintenance work, women’s domestic labor, the kind of routine tasks necessary to support life each day. At the same time, the film provides a brief sketch of the filmmaker’s own journey through the world of work, beginning with her earliest experiences including paid labor at the rustic Diamond Lake resort in Oregon’s Cascade mountains, which is the subject of the film. Working at the intersection of documentary and avant-garde film, Minty creates her own approach to cinema with High Lakes, with careful attention to both the truthful telling of her story and its formal presentation. - Julie Perini

Artist Bio:
Pam Minty’s work explores geography, home and community through still photography and motion pictures. Her work has been exhibited at Anthology Film Archives, Center for Documentary Studies, Film Studies Center at University of Chicago, Los Angeles Filmforum, Edinburgh International Film Festival, Portland International Film Festival, San Francisco Cinematheque, UnionDocs, Vancouver International Film Centre, and other film/video exhibition organizations.

de kopieerwinkel (the copy shop) // Veerle Nagelkerke // 2018
6 min 21 sec, video

Synopsis:
De kopieerwinkel examines the (metaphorical- and literal) meaning of printing, scanning and copying in relation to human memory.

Artist Bio:
Veerle Nagelkerke (1997) has grown up in Maastricht (NL), and after taking one year of Fine Arts education at the Maastricht Academy of Fine Arts and Design, she went to KASK & CONSERVATORIUM in Ghent (BE) to study Film. Working with moving image has been the main practice at the moment (in both cinema- and installation-context), but working with concept, words and drawings has not been moved from the table yet. She is examining subjects as (the human/collective) memory, time- and space, language, archives, categories, systems and schedules.

I Can Only See Shadows // Marissa Lee Benedict & David Reuter // 2017
19 min 11 sec, s16mm/HD transfer, color

Synopsis:
“...breathe as deeply as you will, dust will never be depleted”  -- Reza Negarestani, Cyclonopedia

I Can Only See Shadows is a three-channel video set in a troposphere awash in the byproducts of drilling, digging, fracking, cracking, and burning carbon-based fuels. Clouds of dusty molecules increasingly fill the air, irritating the nose and clogging particle filters: material records of energy histories.

Following the dusty, spiraling motions of particulate matter, I Can Only See Shadows erratically traces the logistical routes that petcoke (a dust-like waste product produced from refining bituminous sand) takes as it moves from its origin in Canada’s Athabasca oil sands, through southeast Chicago (where it is processed and stored), to northern China (where it is burned as a low-cost alternative to coal). Weaving together narratives provided by artists, anthropologists, researchers in the “energy humanities,” and environmental activists, the video projects a parallel world where liquid fossil fuels have been replaced by a new, dominant global energy source: untethered carbon particulate, which doubles as a medium for communication. The sparsely populated world, slowed by the sleepily violent interference of dust, envisions new forms of neoliberal labor where tiny particles are captured, scrutinized, and collected as data. Admist such an atmosphere, what new modes of resistance and interference might become possible or necessary?

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"I Can Only See Shadows" was commissioned by the Museum of Contemporary Photography (Columbia College, Chicago, IL) for the exhibition "Petcoke: Tracing Dirty Energy," and is a collaborative work by artists Marissa Lee Benedict & David Rueter.

The video was produced with contributions by artists Alejandro Acierto, Jacqueline Drinkall, Liz Ensz, Adam Mansour, Juan Luis Olvera, Patrick Quilao; and anthropologist Cameron Hu. 

Special thanks to: Heather Ackroyd; Christopher Baker; Olga Bautista; Rozalinda Borcilă; Edith Brunette; Stephanie Conaway; Michael Doerksen; Natasha Egan; Guy Etan; Terry Evans; Lindsey french; Snow Fu; Beate Geissler; Allison Grant; Dan Harvey; Brian Holmes; Karen Irvine; James Kinney; Lafarge S.A. and Jim Bachmann, Plant Manager; François Lemieux; Ernst Logar; Christopher Malcolm; Jennifer Matchett; Trina McQueen; Milad Mozari; Claire Pentecost; Phil Peters; Victoria Sambunaris; Smart Air: Anna Guo, Paddy Robertson, and Thomas Talhelm; Oliver Sann; Florence Twu; Jayne Wilkinson; and Jerry Zee.

Artist Bios:
Marissa Lee Benedict (b. 1985) and David Rueter (b. 1978) began their collaborative partnership with the video installation Dark Fiber (2014-15), which depicts the artists laying an illicit strand of fiber optic cable. Since then, the artist team continues to work on the subjects of technology, the built environment, and the material culture of industry. They have collaboratively exhibited work at 68 Projects in Berlin (2019), the Van Eyck Academie (2019) in the Netherlands, the US Pavilion for the Venice Architecture Biennial (2018), and the Museum of Contemporary Photography in Chicago (2016). They were artists-in-residence for the "Energy Culture" session at the Banff Center in 2016; and from 2016-17 Benedict and Rueter received a National Endowment for the Arts "Art Works" grant for their collaborative project Gary Lights Open Works, developed under artist Jan Tichy's Heat Light Water Cultural Project, in Gary, Indiana.

Most recently, Benedict was a 2018-19 artist-in-residence at the Van Eyck Academie (Maastricht, NL). She is currently Co-Artistic and Executive Director of Ditch Projects in Springfield, OR and lectures at the University of Oregon. Rueter is currently an Assistant Professor in Art & Technology at the University of Oregon.