Denver ≥ Denver


Denver ≥ Denver
Nothing To See Here takes a screening of Denver-based (and area) artists to
Toronto’s Regional Support Network
Tuesday, March 24th, 2015
Doors 7.30pm, Screening at 8pm, Pay What You Can
[Video Fag, 187 Augusta Avenue, Toronto]

Often referred to as one of the most vibrant upcoming cities in the US, the City of Denver’s population is projected to increase 87 percent over the next 35 years. With an art scene primarily dominated by two- and 3-dimensional works and largely driven by commerce, artists working in the realm of media art (film, video, performance, sound) are few and far between. Denver ≥ Denver brings together a number of artists working outside of Denver’s norm, tackling issues including: the politics of the landscape; societal critique; explorations of form; and performance for the camera.

with works by: Christina Battle, Adán De La GarzaMichelle Ellsworth, Tobias Fike, Jeanne LiottaZak Loyd, Jenna MauriceRyan Wade Ruehlen, + Kelly Sears.

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Not Titled  – Zak Loyd – 1.50mins – 2k8/2k15
The singularity of two VCRs attempting to record one another.

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In There – Michelle Ellsworth – 7:08mins – 2005
This film answers the question, “What is she doing in there?” [Produced by Prarie Dog Mothers. Choreography and language by Michelle Ellsworth, Music by Michael Theodore]

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Integration with the pond – Jenna Maurice – 2.06mins – 2014
This work explores the idea of creating a relationship with the landscape by using aspects of the beginning human developmental stages as a starting point – including innate reactions, mimicry and non-verbal communication. This series of performances focuses on the complications of communication, which is used to visualize reality, the attempt of dialogue, the dissonance between form and content and the possibility for trial, success and dysfunction in understanding. By exploring the concept of landscape in a reactive way, I try to gain a new relationship with the land through empathetic mimicry as well as reactions to its unique attributes- citing moments of relational conflict, understanding, unity, resistance and tenderness.

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Tracking Sasquatch #1 – Christina Battle – 5mins – 2010
A search for the elusive Sasquatch.  The first chapter in an ongoing series. [with text from various Sasquatch field guides and one of my favourite TV shows – MANTRACKER]

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five states of freedom #3 –  Christina Battle and Adán De La Garza – 2.10 mins – 2014

Shot at Titan 1 Missile Silo [2b] outside of Denver, Colorado, which once contained three underground launch sites for intercontinental ballistic missiles carrying nuclear warheads. Readied for launch during the Cuban missile crisis of 1962, the site was ultimately abandoned in 1965.

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Jumping the Moon – Tobias Fike – 1.31mins – 2014
In the video “Jumping the Moon” Fike does just that. As the moon rises on the horizon, he repeatedly “jumps” the distant celestial body in a series of clips. This playful act is humorous at times, but is also an honest attempt to connect with the cosmos above, something that is impossible for him to truly interact with.

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time spent pondering the absurdity of being censored while talking about being censored – Adán De La Garza – 3.43mins – 2011
The following video was initially documentation of myself trying to comprehend and explain why some of my work had been removed from a show in Colorado Springs. I determined it was more important to echo the sentiment and vagueness displayed in their reasoning and simply remove all the articulate dialog. This turned the video into a visualization of confusion and stumbling fleeting thoughts. The audio becomes a composition determined by speech and thought patterns that welcomes what they called “uncontrollable misinterpretation.”

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Property  – Jeanne Liotta – 3.45mins – 2013
I was prodded by a proximity to the western landscape.  It was where I found myself; I made no claims to it, no promises, no sympathies. I studied the lingo and took my measure with a few simple techniques of the cinema–a direct quotation, a framed location, an actress in costume, a few cuts to the quick. They all conspire in a compact couple of minutes to consider an image replete with historical and geographic visibility, to wit: an implied and uncontainable expanse of a landscape bought, sold and inhabited. -JL

 “In no other country in the world is the love of property keener or more alert than in the United States. ” Alexis deTocqueville, Democracy in America, 1835

(Apologies to de Tocqueville,  a debt to Straub-Huillet  & duly noted  An American Experiment in Anarcho-Capitalism: the Not So Wild Wild West, PJ Hill and Terry Anderson, 2004.)

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Tracking Sasquatch #2 – Christina Battle – 3.40mins – 2012
A search for the elusive Sasquatch. The second chapter in an ongoing series. [with text from reported Sasquatch sightings in Colorado]

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Grim New World Trailer – Nothing To See Here – 2.01mins – 2014

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Once It Started It Could Not End Otherwise – Kelly Sears – 7.30mins – 2011
Candid photos from 1970s high school yearbooks resurface in a minimalist horror story. An unknown force seeps into the walls of the school that eerily mirrors larger political and social markers of the recent past.

we know you are
We Know You Are Watching Trailer – Nothing To See Here – 1.05mins – 2014squaredsmallsurveillance²- Adán De La Garza – 3.46mins – 2014
surveillance² is an experiment in the subversion of authority through the aesthetics of authority. By affixing a mock security camera to block the view of a functioning CCTV cameras the perceived threat of the cameras presence is doubled but ultimately rendered useless.

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It’s Been This Way From The Start – Christina Battle + Adán De La Garza – 2 mins – 2014
the sea will be poisoned. money will be useless. there will be unpunished murder in the streets. [from Charles Bukowski’s Dinosauria We (1992)]

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Mouth, a compression document – Ryan Wade Ruehlen – 2.30mins – 2013
“Mouth” is a test document from a small body of videos where I filmed  seated subjects and then proceeded to re-capture and decompose the moving image & sound over and over again until left with digital artifacts saturating the original, grotesque close up of the subjects’ gaping mouth hole. All sound and image were captured ‘in-camera’.