Nine Creative Capital Artists screen their work at the Rotterdam International Film Festival, the Netherlands

Jan 22 2014 - Feb 02 2014


International Film Festival Rotterdam

Rotterdam, International




Film and Video

Opening Reception:

Jan 22 2014

eteam, Kevin Jerome Everson, Lewis Klahr, Carlos Motta, Shana Moulton, Rick Prelinger, Jeff Scher, Philip Solomon and Deborah Stratman screen their work at the Rotterdam International Film Festival, the Netherlands.

January 23–24: Helen of T’s contemplation “of aging and the pastness of the present” is just one exemplary mytho-poetic blossom from 66, Lewis Klahr’s brand new series that’s jammed full of daylight noir reverie, and where texture and eternal time are the favoured intoxicants.

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January 23–24: Shana Moulton conjures up the spirit of Joseph Cornell, meeting us on the astral plane with a hallucinatory tableau of clocks, domestic plastics and luridly soothing colour. Alchemised with a pop potion of sweetness and wonder, we’re ushered to wide-eyed transcendence revelling in the whispering pines.

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January 23–30: In these post-Snowden revelation times, Gene Hackman’s Coppola directed embodiment of surveillance expert Harry Caul is brought into pertinent resonance with the black arts of foley artist Gregg Barbanell. In Deborah Stratman’s Hacked Ciruit, multiple layers of fabrication and imposition are laid bare by this fluidly choreographed, single-shot embodiment of control. We’re unambiguously reminded that professionalism still means invisibility, but we’ll need to tear more than our rooms apart to find that bug. 

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January 24–25: Two smart, but reluctant gangsters survive in a poverty-stricken neighbourhood in Cleveland, Ohio. They are forced to circumvent the rules. Kevin Jerome Everson’s Fe26 is remarkable for its loose style in which image and sound each have their own edit. 

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January 24–30: In Carlos Motta’s Nefandus Trilogy, two men seek unknown stories and coloured historical reports on sexuality and sodomy in pre-colonial South America. The indigenous inhabitants were politically, religiously and sexually subjugated by their colonisers. Pecados nefandos or horrific sins were harshly punished. Untrammelled beauty versus a coercive sexual moralism. A stimulating, three-part visual essay: Nefandus, Naufragios and La visión los vencidos.

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January 25–26: Kevin Jerome Everson’s Sugarcoated Arsenic is a celebration and lamentation, featuring the Herculean voice of Vivian Gordon summoned from archival tape and powerfully embodied by actress Erin Stewart. We’re brought close to radical black protest and reminded of a community that found the music in their heads and the warmth to listen to it together.

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January 25–26: The Emblazoned Apparition was a commission from filmmaker Chuck Workman for his feature film What Is Cinema? Solomon used outtakes from his own three-channel video American Falls (2010). A master of both experimental film and digital recycling, Solomon applies his alchemy to footage of Chaplin and Keaton. 

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January 26: Considered a ‘valentine to the civil engineering of earlier centuries’ by its director Jeff Scher, the film Tunnel Vision celebrates the views one can experience in a NY subway ride. Almost entirely shot with an iPhone, it was edited with a little poetic mischief and interwoven with an original score by Shay Lynch.

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January 26–27: Founder of one of the most respected motion picture archives in the world, over the last decade Rick Prelinger has concentrated on home movies. From this historical collection of more than 9,000, he has compiled a road trip from New York to California. This is also an opportunity for time-travel, with history embedded in the roadside views; traces of the Great Depression, World War II and Vietnam, the transition from two-lane roads to freeways, etc. A contemporary audience may automatically wonder about oil prices, freedom of movement and the fading romanticism of conquering virgin territory.

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January 26–27: Deborah Stratman’s Immortal, Suspended, a video essay on levitation, UFOs and ancient Asian dreams, consists of one long shot recorded at a Smithsonian Museum of Art warehouse in Washington. You float with the camera through the space in which the Freer/Sackler collection of historic Asian art is stored.

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January 26–31: In 2012 eteam visited the towns of Mars and Moon Township in Pennsylvania. They approached as documentarians, positioning themselves as cultural anthropologists who view the towns as if they were simulated environments on Earth, a training ground for eventual living on the planet Mars and Earth’s satellite, the Moon. The 33-minute film explores the uncanny experience of observing foreign landscapes that are equally mundane and loaded with trace evidence from the past until the alienating surroundings turn warm and human. 

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