Microlights Cinema serves as a venue for screening experimental, underground, avant-garde, aprés-garde, and otherwise strange, beautiful, and unusual film//video works.
A ship that returns to its port of destination after decades after having all of its parts exchanged throughout continuous repairs. A gown in which there is no large piece of the same cloth, but an aggregate in various rags.*
The image, like the word, has ceased to be an index for any stable reality. Instead, the image functions as a skin between ourselves and the world. The image has become thin, accessible, pliable and ultimately open to many meanings. Our relationship to it flexes and retracts, destabilizing fixed meaning and separateness. We can't help but attach to both beautiful sunsets and bad renderings. Like any good graft, these images attach back. We live in an ecology of images and the images also live inside of us.
This program presents a selection of work by contemporary moving image artists that embrace the instability of the ecology of images and stretch the relationships between cinema and viewer. Their works offer us interrogations of the image, meaning, and subjectivity wrapped inside seductive pixel skins.
We know we are just pixels and so we recompose ourselves, bending (?) towards a new orientation that enables a view of everything. Each of these works in their own way point us towards a future orientation and demonstrate the futility of this endeavor. We have merged and now fuse new meanings onto the world. The space between the image and the world is the real thing. Each piece in its own way suggests a bold outlook; that we hybridize or disappear.*
Sara Magenheimer - Long Zoom, Slow Pause - 2015
Laure Provoust - We Know We Are Just Pixels - 2015
Blake Williams - Hotel Video - 2009
Beatrice Gibson - The Tiger’s Mind - 2012
John-Paul Kelly - The Innocents - 2014
Andrew Norman Wilson - Sone - 2014
Oliver Laric - Versions - 2012
Thad Kellstadt - Act 2 - _______
TRT = 93