Aaron Delehanty originally conceived of the Monster Movie Seminar with monster movie expert, Matt Fagan during a residency at Lill Street Art Center in 2008. The evening is a celebration of monster movies through performance, discussion, movie clips, and presentation.

The festivities will begin at 8 pm with brief performances by Stephanie Burke, Jeriah, and Aaron Delehanty. These performances will be followed by a Monster Movie Presentation. Audience participation in encouraged.

If arriving during the presentation, please walk in and take a seat. No need to be shy!

Currently on view at Hinge Gallery through February 25th:

Group exhibition of gallery artists – Corydon Cowansage, Aaron Delehanty, Brent Houston, Charles Mahaffee, MaryKate Maher, & Ryan Richey.
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Located in the Ukrainian Village, Hinge Gallery presents a future forward vision for the culture of Chicago’s creative community. Hinge Gallery is dedicated to the exploration of multimedia arts through experiential discovery. Supporting programming includes artist’s talks, performances, panel discussions, workshops, and receptions.

The mission of Hinge Gallery is to support emerging contemporary artists of the highest quality from Chicago as well as around the world. Hinge Gallery is a commercial exhibition space featuring painting, mixed media, prints, sound, video, sculpture, and installation.

With films and videos by: John Latham, Alain Resnais, Toute la memoir du monde, Oliver Laric, Rebecca Baron, Michael Bell-Smith, David Gatten, Paperrad, and Eric Fleischauer.

The Evidence Show(s) is a one-night public screening of video work in conjunction with the Museum of Contemporary Photography’s current exhibition Crime Unseen. The artists featured in this program consider the potential for everyday objects, ordinary surroundings and average people to become evidence of something beyond the familiar.

Featuring work by:
Steve Matheson
Semi-Conductor
Jessie Stead
Michael Bell-Smith
Noah Klersfeld
Steve Reinke
Jacob Ciocci

About the curator:

Jesse McLean is a Chicago based artist. She received her MFA in Moving Image from the University of Illinois at Chicago. She has presented her work at Interstate Projects, Transmediale, 25 FPS Festival, European Media Arts Festival, Wexner Center for the Arts, Venice Film Festival, Conversations at the Edge, Impakt, CPH:DOX, Kassel Doc FF, NEXT, Art Chicago and PPOW Gallery. She was the winner of the Overkill Award at the 2011 Images Festival and the Barbara Aronofsky Latham Award for Emerging Experimental Video Artist at the 2010 Ann Arbor Film Festival. She is currently Visiting Assistant Professor at UIC.

The talk will highlight resonances between some of Stratman’s recent (and future) projects and that of Nancy Holt. In particular, the recent public installations “Desert Resonator” and “Augural Pair,” (collaborations with artist Steven Badgett), and the in-progress “Sinkholes” project. Nancy Holt: Sightlines will be on view at the Graham Foundation from October 7 through December 17, 2011.

Deborah Stratman is a Chicago-based artist and filmmaker interested in landscapes and systems. Her films, rather than telling stories, pose a series of problems – and through their at times ambiguous nature, allow for a complicated reading of the questions being asked. Many of her films point to the relationships between physical environments and the very human struggles for power, ownership, mastery and control that are played out on the land. Most recently, they have questioned elemental historical narratives about freedom, expansion, security, and the regulation of space. Stratman works in multiple mediums, including photography, sound, drawing and sculpture. She has exhibited internationally at venues including the Whitney Biennial, MoMA, the Pompidou, Hammer Museum and any international film festivals including Sundance, the Viennale, Ann Arbor and Rotterdam. She is the recipient of Fulbright and Guggenheim fellowships and she currently teaches at the University of Illinois at Chicago.

Presented in conjunction with the exhibition Nancy Holt: Sightlines.

The YTA consists of screening web-based video for a live and participating audience. Each YTA features 2 hosts that use YouTube to elaborate on a point of interest relevant to their artwork or creative practice. After the “talk” the assembly opens for dialog, giving audience members the opportunity to pull up videos in response or that are relevant to the topic. It’s halfway between an artist talk and film screening; yet goes beyond their conventions by channeling the social possibilities of the medium.

Meg Duguid was raised in Columbus, Ohio, and received her BFA from the School of the Art Institute of Chicago and her MFA in from Bard College. She has performed and exhibited at the Museum of Contemporary Art in Chicago, the Hyde Park Art Center in Chicago, the DUMBO Arts Festival in Brooklyn, and 667 Shotwell in San Francsiso. Duguid has screened work at Synthetic Zero in New York, Spiderbug in Chicago, and at the Last Supper Festival in Brooklyn. Duguid lives and works in Chicago, IL where she runs Clutch Gallery, a 25 square-inch white cube located in the heart of her purse.

Catie Olson is multi-disciplinary artist born in Decatur, Illinois, the pleasant home of two chicken cars. She received her BS from the University of Illinois at Urbana-Champaign in 1995 in Agriculture, ventured to Chicago and received her BFA at the School of the Art Institute in 2000. Catie organizes SpiderBug, a mobile short film festival, along with her husband, EC Brown. The pair also run Floor Length and Tux, an apartment art space. Catie has an animation that will be shown in the International Pancake Film Festival in Boston upcoming in July. She has shown work in Chicago including Heaven, Swimming Pool, antena and minidutch galleries. http://www.catieolson.com/, http://www.floorlengthandtux.com/, http://www.spiderbug.org/

Presented by Homeroom

Rivas teaches video and cybernetics at Universidad Centro in Mexico City, runs dorkbot Mexico City and will be participating in the Festival de Música Electrónica Latina while in Chicago:

Lori Felker is a filmmaker, curator, festival programmer, cinematographer and teacher living in Chicago. Her films have screened in festivals and venues around the world, including the International Film Festival Rotterdam, the Florida Experimental Film Festival, and the Wexner Center for the Arts.

The Zummertapez screening series invites artists to create a video mixtape that combines excerpts of their own work with material that inspires or influences them. Launched by Alexander Stewart and Andy Roche in 2007, the goal is to produce a more sociable and engaging artist talk. The 2011 Zummertapez series will conclude with a mixtape from Lilli Carre on August 21.

Curated by Kate Bowen and David Oresick.

Work by Paul Chan, Olivia Ciummo, Coco Fusco, Jillian Mayer and Chi Jang Yin.

The films use an aesthetic language of multiple-exposure, single-framing, time-lapse, and computational techniques to produce striking visual imagery created directly on 16mm. Drawing on ideas in the work of Chris Marker, Bruce Conner, and Bruce Nauman, Monteleone’s films are moody records of locations, actions and dreams. Underlying all of his film work is the sense that Monteleone belongs to a tradition of eclectic thinkers and inventors whose experimentation is a route to grappling with self and psyche. Monteleone’s films reveal him as a combination of abstract scientist, workshop-tinkerer, and thoughtful observer.

The screening includes the release of a double-sided zine with two interviews between Alexander Stewart and Andy Roche: “On Psychedelia,” a 2009 interview on psychedelic culture and politics, and “RIFFIN,” a 2011 discussion about Leftist Catholicism.

With a surprise outdoor event at 9:45pm.

Oh, rust-surfaced sphere, with your receding polar ice caps and optical illusion canals! If not for your half-mass, your eccentric orbit, and your global dust storms, we would call you sister or cousin; but it was your fiery red-lit temperament and your thin atmosphere that led the Romans to name you after their God of War, and we at SPACE PROGRAM shall do the same. We shall land our newest craft upon the peak of your Olympus Mons, and from that vantage point (highest in the solar system) we shall survey the entire galaxy stretched out before us. Unlike the 2/3rds of failed Mars voyages that left before us, we shall traverse your Valles Marineris with the understanding that the power of Mars as the power of War is a power best used to secure the peace. Our childhood wargames (Geissler/Sann), our damaged soldiers (Single Spark Film Collective), our flicker destruction (Sharits), our media paralysis (Smith), and our transcendent explosions (Conner) are herewith submitted as evidence. With a question on our lips we shall raise our flag upon your soil, its single dollar/Euro sign fluttering in the solar wind: Oh, Mars—if it costs $309,000 per kilogram to land upon your basalt surface, what (pray tell) is the average cost of peace?

Eames Demetrios believes that, along with art and film, design is a process of discovery. By examining Emeco and Frank Gehry’s Super Light chair, the Six Pound Chair reveals the inner workings of this process.

Glenn Murcutt is Australia’s most internationally recognized architect. In 1992 he was awarded the Gold Medal of the Australian Institute of Architects; in 1996 he was awarded the Order of Australia (AO); in 2002 he received the Pritzker Prize, considered the equivalent of the Nobel Prize for architecture; and in 2009 he was awarded the Gold Medal of the American Institute of Architects. The short film Architecture For Place was made to accompany a touring exhibition of Murcutt’s work.

In 1969 world-renowned architects Robert Venturi and Denise Scott Brown designed the world’s first pop-art house. Forty years later, when the couple learned that their brainchild would be demolished, they enlisted their son, Jim, and friend and colleague, Fred Schwartz, to save the house. Saving Lieb House documents the 97-mile journey of the house from Barnegat Light, NJ through the rough waters of the Atlantic, under the Verrazano Bridge, past crowds of cheering New Yorkers, the Statue of Liberty, and the Brooklyn Bridge, to its new home in Glen Cove, New York.

James Venturi is a filmmaker and owner of Light From Light Films (LFLF). Venturi is currently working on, Learning from Bob and Denise, a documentary on the architecture and ideas of his parents, Robert Venturi and Denise Scott Brown. Learning from Bob and Denise was supported by two grants from the Graham Foundation in 2006 and 2009.

Lovers Rock! This party is for you and you and you and, as such, Alex Hubbard is there to welcome you at the door of your new Cinepolis. You’ll find Michael Robinson just inside, asking Venus the self-same question All Through the Night: “What is beauty?” Chick Strand’s Elasticity and Laida Lertxundi’s My Tears Are Dry shout answers from the living room with meditations on longing, euphoria and ecstasy. Later on, Lertxundi escapes outside for some fresh air, wanders into the volcanic horizon and stakes claim to a desert outpost in Footnotes to the House of Love—after all, there’s no rainfall on Venus. Back inside, we share a Puce Moment or two with Kenneth Anger—all glitter and glamour and greyhound, an early indicator of just how British club-and-rave this party is going to get (courtesy of Mark Leckey’s Fiorucci Made Me Hardcore). The music rises, you dance and dance and get caught up in that Crystal Lite high of Shana Moulton’s Whispering Pines 8 until finally the dense carbon dioxide atmosphere makes your head throb and you run into a corner to empty yourself out entirely. Through bleary-eyes you think to yourself, “The surface of Venus sort of looks like Hell” and as you vomit brightness underneath so many toxic clouds, you realize that this planet really is a metaphor for love as well.

The videos in this program are part of a Berlin/Chicago Exchange between Eric Fleischauer and the one-year art space MMX Open Art Venue in Berlin.

Work by Andrew de Freitas, Elizabeth Wurst, Eric Fleischauer, Jon Rafman, Zachary Fabri, Inez de Vega, Michelle Teran, Nicolas Provost, Jacob Tonski, Cari Freno, Hugh Walton, Ben Kinsley, Jesper Just and David Sherry.

Marc Arcuri, (ironically labeled ‘undefineable’) is self-defined as a drifter, gambling addict and sock fetishist. He will perform two sets of his poetic slop-art remedial comedy.

Esme Rodriguez, drag queen and trans/intersex cultural theorist will perform a drag show on the loading dock and amidst Ben Gill’s Brancussi-esque sculpture garden.

The video installation Stone Painting by Amsterdam based Estonian artist Katja Novitskova, merges caves at Lascaux with virtual reality.

At 10 pm, the evening will conclude with a screening of Paris is Burning the documentary chronicling ball culture in 1980’s New York.

A deep commitment to in-depth understanding of her subject marks Naomi Uman’s filmmaking. Her interest in working with her hands and learning from her subjects is manifest in both the things she chooses to document and the processes such as sewing, gardening, cooking and preserving, painting and embroidering that she engages in while making moving image works.

Curated by Kate Bowen and David Oresick.

Featuring work by Linda Montano, Duke and Battersby, Paul Kos, Oliver Laric and Kate Gilmore.

This seemed like a reasonable metaphor for a strain of video art concerned with direct recording of action and performance, with emphasis on personal expression, structural innovation, peculiar point of view and humor. The 16 short works in this program present a multitude of approaches to performance and direction in video. Experimental DIY methods prevail over conventional notions of story, quality or technique. The camera provides audience access to the thing that has happened, however shaky, small or strange; often with complex and affecting results.

Featuring Andrew Fansler, Derek Fansler, Ken Fandell, Eric Fleischauer, Gabriel Fowler, Charles Irvin, Emily Jones, Mike Lopez, Daniel Paz, David Servoss, Kwabena Slaughter, Clay Smith, Alexander Stewart, Kirsten Stoltmann, Selina Trepp and Erik Wenzel.

Suitable Video is the curatorial platform of Scott Wolniak, organizing video programs for screenings, gallery exhibitions and limited-edition DVDs.

Participating Artists include Daniel G. Baird, Mark Beasley, Jon Cates, Chris Collins, Theodore Darst, Louis Doulas, Arend deGruyter-Helfer, Lauren Elder, Daniel Everett, Eric Fleischauer, Bea Fremderman, Joe Grimm, Nate Hitchcock, André and Evan Lenox, Patrick Lichty, Rachael Milton + Ramsey Alderson, Judd Morrisey, Micah Schippa, Sarah Weis, Andrew Norman Wilson, Samuel D York and many more!

The installation hinges on a central sculpture which links the existing skylight in the room to a floor plan of the artist’s studio. The main space of the gallery is transformed into a time piece as the angle of the sun shifts across the skylight. Constant traits in the artist’s work: refraction, absorption, accumulation, and darkness, come together to raise the question “who draws the line?”

Fabric scrims interface with the paltry distant horizon of a western-headed rail line, as Carter addresses transference from the role of viewer/observer to the role of maker and back again; a parallel to the role of belief and isolation in an artist’s practice. Treating windows as thresholds of entry and exit, the works in the space conflate portals from her present studio with memory of spaces once lived in.

Wildness depicts the creativity and conflict that arises when queer avant-garde performance artists intersect with community at the historic Los Angeles bar Silver Platter, a 40-year-old, family-owned bar in the MacArthur park neighborhood of Los Angeles that serves as a refuge to the Latina transgender immigrant community.

In 2008, Director Wu Tsang teamed up with Ashland Mines (DJ TOTAL FREEDOM) and Daniel Pineda (1/2 DJ-team NGUZUNGUZU) to throw a weekly party at the bar on an off night of the week. They were inspired by the Silver Platter scene, and built an exciting collaboration with the owners and some of the regulars. For a brief period of time, this unlikely union produced an explosion of underground music, dancing, and art. But the party’s rising popularity cast a more mainstream spotlight on the Silver Platter, raising questions about gentrification. Ultimately real life overcame the drama when the unexpected death of one of the owners transformed the fate of everyone involved.

We will be screening both of these films on one loop in the second floor window of 1369 W. Chicago Avenue from 8pm—Midnight the following dates: February 19, February 26, March 12, March 19, March 26, April 2, April 9, April 16 and April 23.

The evening will begin with a video screening of Mater and Mortale by Italian artist VIDEONERO. Both videos are animations developed in collaboration, using the drawings of Paolo Bonfiglio and the music of Mick Harris. Mater is a dark story of a woman in a tiny room giving birth, from a most absurd conception. Mortale follows a man, a dog and a crow lost in a snowscape.

At approximately 7:00 Matt Griffin (or Catherine Forster) will read one of Dahl’s short stories, followed by a James Payne reading. James Payne is an artist, musician and writer from Columbus, Ohio, currently living in Chicago.

Mark Franz, visiting from Florida, will present The Pig an audio/visual performance based on text written by Roald Dahl. Franz is intrigued by Dahl’ s reputation, known for imaginative children’s stories while his adult texts are mostly forgotten. This work attempts to present both sides simultaneously, with each informing the content of the other. Custom electronic instruments provide rhythmic pulses that accompany the spoken word, visual, and textual elements.

Mark Franz’s video and sound work explores contrasts between technology and nature.

Derived from the Greeks (no surprise), agony traveled a typically internalizing route, from fetishized contest in sport to an umbrella term for all varieties of pain; the only requirement that the pain need be dreadful, at the limits of our endurance. Today’s agonies are as often psychic and social as they are physical. Our emotional habitat is one of increasing danger and, as we are reminded daily, treachery. Thus, while physical pain is still very much with us—its uses shamefully familiar—psychic pain, underscored by social and political pain, seems ever more inescapable. This is our epochal trauma—the one that ‘just won’t go away.’

Peggy Ahwesh’s The Ape of Nature (2010) is a split screen, single channel version of her first gallery installation from 2009. A treatise on the malaise of post-industrial cultures, the lion’s share of this film unfolds in a bucolic Hudson River mansion rather than an anachronistic factory environment. Ahwesh proposes an equation between women under hypnosis and the mindset induced by the current economic climate, observed in the men she films at work in a vestigial industry. The Ape of Nature eschews melodrama and the outright expression of anguish, there is a clinical, at times humorous, timbre to the film, one markedly at odds with its timely rueful observations.

Colin Campbell’s pioneering The Lady from Malibu (1976) is the first in a series of six tapes about a woman who lives in Southern California and talks about her life and the lifestyle of Los Angeles, which she documents in obsessive detail. This tape recounts the death of her husband in the Himalayas.

“The Agonal Phase”—a biological term—denotes the end phases of the dying process, and as the title of Jennifer Montgomery’s 2010 film, it forewarns of grief to come. Still, nothing could forearm us against Montgomery’s steady gaze and unflinchingly lachrymose treatment of both her mother’s passing and—yet more horrible and unforgivable—her father’s and her own survival. The agony in The Agonal Phase is familial and deeply personal, but its acutely lived and ruthlessly observed discomforts belong to us all. Like death, this film tries the viewer in irredeemable ways. Its triumph is in refusing to comfort, in assuming a stubbornly democratic stance toward its easily dramatized subjects: the remarkable and the not so remarkable (as if there were any).

Work by Dani Leventhal, Michael Gitlin, GUMMI international, Rosa Barba, Kevin Jerome Everson, Jem Cohen and Jessie Mott/Steve Reinke.

See the website for the screening dates and schedule.

For her UBS 12×12 exhibition, Bass presents her film and video work in a site-specific installation. In addition, her recent films Shoals (52 mins) and Waking Things (25 min) will be screened on Sunday, February 6. Waking Things was co-produced by the performance company Every house has a door, and features members from their ensemble. The screening is co-presented as part of the performance, Every house has a door: Let us think of these things always. Let us speak of them never (Feb 9-13), and symposium, Reconstructing Utopia: Cinema, Performance and Ex-Yugoslavia (Feb 6).

Coppice/Pik features a live performance by Chicago-based duet Coppice (Noé Cuéllar & Joseph Kramer) and a video screening by Israeli artist Maya Pik.

Coppice will be performing Vinculum (Coincidence), a procedural composition that unfolds from intersections between two accordions, fixed media, spatial/temporal intervals, and audience flow.

Echoes is a video by Maya Pik, recently screened at Synesthesia Nights Festival, in Jerusalem.

Featuring work by Miranda July, Dani Leventhal, Meredith Monk, George Kuchar and Walid Raad.

Curated by Kate Bowen and David Oresick.

Participating artists, Robert Ladislas Derr, Jac Jemc, Ryan Dunn and Joseph Kramer, will present work influenced by Edgar Allen Poe’s body of work. Poe is most known as the father of the detective story, the master of horror and the voice of “The Raven,” but he also wrote hoaxes as news, comedic works, satire, parodies, sketches and experimental stories.

To Helen by Robert Ladislas Derr is a psycho geographical walk (wearing four video cameras) through Providence, RI at midnight, loosely based on Edgar Allan Poe’s poem “To Helen.” Beginning at the Athenaeum where Poe was known to write, Derr traced the footsteps that Poe might have taken while creating this poem written to his beloved Helen Whitman, resident of Providence. Dressed in white, reminiscent of Poe’s remembrance of Helen “clad in white upon a violet bank”, Derr moves through the dark night on historic Benefit Street toward the First Baptist Meeting House, then down Meeting Street to Waterplace Park, continuing on the Riverwalk, and back to Benefit Street. Upon the John Brown and Nightingale Brown houses, Derr looked for the roses that Poe says “grew in an enchanted garden”. From there, he continues on Benefit Street until the Point Street Bridge, where he meets in Poe’s words “the mossy banks and the meandering paths.”

In The Dreaded Miscellany, Jac Jemc will try her hand at the Gothic—the genre for which Poe is perhaps most famous. A miscellany is gifted the narrator by an intellectually curious uncle who has met an untimely end. On a daily walk, the life of a stumbled-upon fruit bat slips away without explanation. The book calls to the narrator, drawing him away from his own livelihood, and asking him to believe the content of its pages despite his most common sense.

Ryan Dunn and Joseph Kramer will take on Poe the trickster in this fake news broadcast. In 1844′s “The Balloon Hoax”, Poe created an entirely fictitious story of a balloon crossing the Atlantic in three days, and published it in the New York Sun, ostensibly as fact. Here, Dunn and Kramer subvert traditional notions of fact and fiction through obscured language and varying levels of intelligibility, while simultaneously questioning that which should be viewed as an authoritative broadcaster of information.

An excerpt of the work was recently removed from the National Portrait Gallery’s exhibition Hide/Seek: Difference and Desire in American Portraiture following protests by a religious group and conservative politicians. In response to the Smithsonian’s decision to pull the work, institutions around the country have joined together to host screenings as a way to draw attention to its removal and to foster discussion around the work and issues of censorship.

The Smart Museum will be screening the original, 13-minute version of the film edited by Wojnarowicz in 1986–87 followed by a 7-minute additional chapter that was later found in his collection. It will be playing on continuous loop in a black box screening area.

Curated by Steve Reinke.

Work by Eric Bunger, Deirdre Logue, Alex Grant, Lisa Steele, Donigan Cumming and Jonathan Culp.

Movies by Matthew O’Shaughnessy, Ross Meckfessel, Lyra Hill, Bethany Schmidt, Randy Sterling Hunter, Francisco Cordero-Oceguera and others TBA.

Performances by Daniel Fandino, Frank Van Duerm and Jacob Kart.

The Now It’s Dark Experimental Film and Music Series seeks to explore the intersection of film and music by pairing original works by Chicago filmmakers with live performances by Chicago improvisers. These scoreless films will incite and inspire the spontaneous creation of autonomous musical pieces that will merge and stray from the projections on the wall.

This month’s installment will feature a stellar program of 16mm film projections!

Work by Natalie Bookchin, Jesse McLean, Nicolas Provost, John Routson and Sterling Ruby.

Curated by Kate Bowen and David Oresick.

Work by Jodie Mack, Theodore Darst, Nick Briz, Alexander Stewart, Clint Ens, Nick Salvatore, Johnny Rogers, Jon Satrom, James Connolly, Ben Pearson, Jimmy Joe Roche, Karl Klomp, JB Mabe and LJ Frezza.

Performances by James Connolly & Eric Pellegrino, Tamas Kemenczy & Mark Beasley, Jeronimo Barbosa, Andrew Bucksbarg, Ben Baker-Smith & Evan Kühl, StAllio!

Work by Theodore Darst, Ben Baker Smith, Cole Pierce, Omar Mashal, Clint Ens, Morgan Higby Flowers, Antonio Roberts, Evan Meaney, Richard O’Sullivan and BotBorg.

Performances by Aaron Zarzutzki, Morgan Higby Flowers, Jeff Donaldson, Vadim Sprikut Anton Marini, jon.satrom, Jason Soliday.

Co-Curated with Brook Sinkinson Withrow.

As a culture we routinely use video as a language, whether or not it is acknowledged. This dialect has evolved from customary communication and presentation, overdetermined by the conventions of television, advertising, and web-based imagery. These artists communicate through this language to address our mediated experiences and to articulate expressions of the everyday. The video works unpack and transform the contexts in which we communicate with others – from the simple act of typing on our keyboards, to saying “I love you,”- and make formats such as reality television and Youtube video mash-ups personal. These artists, by talking in video, simultaneously address and communicate with the language we are culturally accustomed to.

To launch the project, Kaplan will discuss the aesthetics of conspiracy and screen Charles Irvin’s video Membrane Lane and excerpts from popular videos such as Loose Change: An American Coup (Second Edition) and 911 Taboo. The first five visitors will receive a compilation of music culled from 9/11 conspiracy videos.

Curators Stephanie Nadeau and Amira Hanafi use Richmond Manor not as a gallery, but as a domestic space that retains its character: the intact living room is a site for conversation around the TV; garage windows are animated by video installations; at a desk a viewer contemplates images of abandoned offices. The outdoor screening transforms an empty lot into a theater. Popcorn and beverages will be available for a small donation.

The first Humboldt Moving Picture Show was conceived as a community affair; this year’s program features more than 25 moving pictures from local and international artists located in Egypt, Kosovo, Palestine, Germany, and Mexico. Artists included are Aaron Henderson, Ben Lipkin, Ben Stagl, Brian Hubble, Brigitte Boucher, Cathleen Schuster, Chang Den-Yao, Chris Lin, Derek Larson, Diego Leclery, Edward Salem, Eunsong N, Gwyneth Anderson, Jang Soon Im, Jessica Taylor Caponigro, Joseph Letourneau, Josh Reames, Katy Collier, Kayce Bayer, Laura Goldstein and Marisa Plumb, Mia E. Rollow, Mohamed Alaa, Mohamed Ghazala, Nadia Jassim, Patrick Holbrook, Rebecca Schoenecker, Ryan Richey, Shayma Aziz and Vera Palme.

Curated by Alicia Eler and Jefferson Godard.

Featured artists in the program include Jon Cates, Warren Cockerham, Nick Edelberg, Lori Felker, Jason Halprin, Emily Kuehn, Kent Lambert, Jodie Mack, Jesse McClean, Nicholas O’Brien, Jon Satrom, Kate Raney, Michael Robinson and Jerzy Rose.

CHANNELING is an entryway into the spirit realm and the queer body politic: a program of experimental moving image work that calls up the ghosts of the past and the specters of the future. The intent of the program is to re-imagine film and video as occult technologies that allow us to connect with the bodies, experiences, and emotions that are often invisible– ghostly, even–in everyday life.

Videos by Vanessa Renwick, Elliot Montague, Shana Moulton, Michael Robinson, EMR (Math Bass & Dylan Mira), Aay Preston-Myint, Jillian Pena and John Di Stefano. Presented by Threat Level.

Work by Jesse McLean, Sterling Ruby, Dani Levanthal, Jim Finn, Pat Steir, Susan Youssef, Wynne Greenwood & K8 Hardy and Nicholas Provost.

Curated by San Francisco Bay Area artist and animator, Sarah Klein, Klein (who uses hand-drawn images and stop-motion animation in her own work), chose pieces that explore the possibilities of stop-motion processes. The animators breathe life into magazine cutouts, homemade drawings, everyday objects, and even the body itself. The result is a selection of videos that are humorous, poignant, and marvelous.

The international program includes Ignacio Alcantara, Eddie Alonso, Tommy Becker, Lilli Carré, Pete Davies, Samara Halperin, Meredith Holch, Sean Horchy, Stephanie Hutin, Andrew Kelleher, Lana Kim, Sarah Klein, Mike Leavitt, Michael McHam, Laurie O’Brian, Saelee Oh, Mel Prest, Clare Rojas, Judith Selby, SAF Cakovec Studio, Jen Stark, Melinda Stone, Claudia Tennyson, Philippe Vendrolini, Sherri Wood, Aeneas Wilder and Andrew Jeffery Wright.

The program for the evening will include animations by Gracen Brilmyer, Peter Burr, Tom Burtonwood, Dana Carter, Jodie Mack, Tracy Taylor and Rebecca Schoenecker with sound by The Chicago Phonographers, Chris Hammes, Eric Ziegenhagen, Steve Lacy, Frank Van Duerm, Kotoka Suzuki, Cait Stevens, George Monteleone and Broken Chooser.

The YouTube Assembly is an attempt to capture the phenomenon of viral video in a live event. The event consists of screening web-based video for a live, participating audience. Like karaoke or a traditional performance open mic, the YouTube Assembly creates a situation in which people take turns entertaining each other, in this case, by sharing their favorite Youtube clips. In the spirit of the popular YouTube interface, audience members will be encouraged to comment on the videos they watch, except out loud and in real time with no anonymity

Each screening will feature a pair of hosts from different artistic backgrounds that will share their YouTube video picks and help facilitate the evening’s open mic portion.

Work by Sterling Ruby, Jacqueline Goss, Emily Vey Duke and Cooper Battersby, Steven Matheson and Brendan Fernandes. Programmed by Crystal Heiden and Christine Negus.