https://marathonscreenings.com MarathonScreenings Wed, 19 Jul 2023 04:08:52 +0000 https://marathonscreenings.com en https://marathonscreenings.com/Front-page Fri, 26 Feb 2021 01:19:57 +0000 MarathonScreenings https://marathonscreenings.com/Front-page <img width="1438" height="804" width_o="1438" height_o="804" data-src="https://freight.cargo.site/t/original/i/b7b4a4332307170027b15ff95c23bc65b07dac6546fe4c920c3dd5b4b3932fe7/Florian.JPG" data-mid="175683446" border="0" data-scale="94" src="https://freight.cargo.site/w/1000/i/b7b4a4332307170027b15ff95c23bc65b07dac6546fe4c920c3dd5b4b3932fe7/Florian.JPG" /> <img width="1280" height="939" width_o="1280" height_o="939" data-src="https://freight.cargo.site/t/original/i/bd90116af3d84f0ae00f6acee0e04e8fdd529a19be202c9c43c42f2102cfde3f/Wall-3-Kherson.jpg" data-mid="175684218" border="0" data-scale="85" src="https://freight.cargo.site/w/1000/i/bd90116af3d84f0ae00f6acee0e04e8fdd529a19be202c9c43c42f2102cfde3f/Wall-3-Kherson.jpg" />&nbsp; &nbsp;&nbsp; <img width="3305" height="2038" width_o="3305" height_o="2038" data-src="https://freight.cargo.site/t/original/i/687b7278ce7d627fa9ca0d683ed90df33a68959cd28feca76ca0ff9035c5a947/Basel-Ruanne_spread_241x406mm_CLUSTER-4_PAGE-6_3500-Cut.jpeg" data-mid="154776375" border="0" data-scale="99" src="https://freight.cargo.site/w/1000/i/687b7278ce7d627fa9ca0d683ed90df33a68959cd28feca76ca0ff9035c5a947/Basel-Ruanne_spread_241x406mm_CLUSTER-4_PAGE-6_3500-Cut.jpeg" /> <img width="2016" height="1512" width_o="2016" height_o="1512" data-src="https://freight.cargo.site/t/original/i/4ea0635f8d64a46fdde230d476637fe8267f6d935df8466f5c53916a8e54db5f/IMG_9694.jpg" data-mid="151865521" border="0" data-scale="94" src="https://freight.cargo.site/w/1000/i/4ea0635f8d64a46fdde230d476637fe8267f6d935df8466f5c53916a8e54db5f/IMG_9694.jpg" /> <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/1e07ec267f4863fd51934b795d3acbae627a5a526f0811784394add5b8682fa5/Marathon_Screenings_eventbrite-copy.jpg" data-mid="154775875" border="0" data-scale="88" src="https://freight.cargo.site/w/1000/i/1e07ec267f4863fd51934b795d3acbae627a5a526f0811784394add5b8682fa5/Marathon_Screenings_eventbrite-copy.jpg" /> <img width="1921" height="1081" width_o="1921" height_o="1081" data-src="https://freight.cargo.site/t/original/i/0e8ff8d103295f6c5a3378781947b032fe187b1f32679db2a57d62edb71cd8dd/01_MenOfMyDreams.jpg" data-mid="151866220" border="0" data-scale="88" src="https://freight.cargo.site/w/1000/i/0e8ff8d103295f6c5a3378781947b032fe187b1f32679db2a57d62edb71cd8dd/01_MenOfMyDreams.jpg" /> <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/eb9b41f1942786a220a8126b76ed2d728d52c5bb47bce039cd781b75b2caa699/1unnamed.jpg" data-mid="141123869" border="0" data-scale="94" src="https://freight.cargo.site/w/1000/i/eb9b41f1942786a220a8126b76ed2d728d52c5bb47bce039cd781b75b2caa699/1unnamed.jpg" /> <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/f1984283261d14522e7c7365bed876c1e5f7d44217886ed3ab83fd188544369a/MilkDebt-Script2.png" data-mid="141124292" border="0" data-scale="88" src="https://freight.cargo.site/w/1000/i/f1984283261d14522e7c7365bed876c1e5f7d44217886ed3ab83fd188544369a/MilkDebt-Script2.png" /> <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/2682bcc54c3614093f4f02ba7284652e67f9b70fba7943e2a5ad4f2eee2d7e72/lavenderhouse10.jpg" data-mid="114363156" border="0" data-scale="88" src="https://freight.cargo.site/w/1000/i/2682bcc54c3614093f4f02ba7284652e67f9b70fba7943e2a5ad4f2eee2d7e72/lavenderhouse10.jpg" /> &nbsp;&nbsp;&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/cdfabaecfcdc629e1cf07c4f8abb349a982e1b7adae99ee0a5df920e0f1e12b6/deviation_04.jpg" data-mid="100194848" border="0" data-scale="94" src="https://freight.cargo.site/w/1000/i/cdfabaecfcdc629e1cf07c4f8abb349a982e1b7adae99ee0a5df920e0f1e12b6/deviation_04.jpg" /> <img width="1920" height="1076" width_o="1920" height_o="1076" data-src="https://freight.cargo.site/t/original/i/91034fca5bca4a6d1645a6b58660c8a6202c07f32b9aeae808667889a4053f23/tM1y21B8.jpeg" data-mid="100195249" border="0" data-scale="88" src="https://freight.cargo.site/w/1000/i/91034fca5bca4a6d1645a6b58660c8a6202c07f32b9aeae808667889a4053f23/tM1y21B8.jpeg" /> <img width="5061" height="2803" width_o="5061" height_o="2803" data-src="https://freight.cargo.site/t/original/i/4a491b77bf142ce90e4eba1287e70afc610ff58fa32f8b543c738149211aaf07/OutofPlay_still4.jpg" data-mid="100207464" border="0" data-scale="89" src="https://freight.cargo.site/w/1000/i/4a491b77bf142ce90e4eba1287e70afc610ff58fa32f8b543c738149211aaf07/OutofPlay_still4.jpg" /> <img width="4096" height="2208" width_o="4096" height_o="2208" data-src="https://freight.cargo.site/t/original/i/79b62c66f2fd4736a575a3a5efadc72bdc379068c4c8c833b896a3f2078d132d/Coleman-Collins-.jpg" data-mid="100207877" border="0" data-scale="94" src="https://freight.cargo.site/w/1000/i/79b62c66f2fd4736a575a3a5efadc72bdc379068c4c8c833b896a3f2078d132d/Coleman-Collins-.jpg" /> <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/8eb006431d11b826b5512e1f03409ba1f5ad44281840a65a48e68baaab036be9/7_Jessica-Manafort.png" data-mid="100207459" border="0" data-scale="88" src="https://freight.cargo.site/w/1000/i/8eb006431d11b826b5512e1f03409ba1f5ad44281840a65a48e68baaab036be9/7_Jessica-Manafort.png" /> <img width="1024" height="576" width_o="1024" height_o="576" data-src="https://freight.cargo.site/t/original/i/9b71695eea8ade7356e8c25688fce47fd21c6c96e8efa197040a2b399101824a/The-wandring-Israeli-1.jpg" data-mid="100195214" border="0" data-scale="88" src="https://freight.cargo.site/w/1000/i/9b71695eea8ade7356e8c25688fce47fd21c6c96e8efa197040a2b399101824a/The-wandring-Israeli-1.jpg" /> <img width="1430" height="1054" width_o="1430" height_o="1054" data-src="https://freight.cargo.site/t/original/i/0035b25a9b7a3115ab2fae8ef8e3aa4198199841b46ccc9b6f4e4646fee60cf1/mobilize_02.jpg" data-mid="100194726" border="0" data-scale="94" src="https://freight.cargo.site/w/1000/i/0035b25a9b7a3115ab2fae8ef8e3aa4198199841b46ccc9b6f4e4646fee60cf1/mobilize_02.jpg" /> <img width="3352" height="1882" width_o="3352" height_o="1882" data-src="https://freight.cargo.site/t/original/i/fc8f2058aafa06a57b9305f9163f3e05baa6ca0b271edcdb8ba532511855cad2/Still-Frame---talk-in-Tounges.jpg" data-mid="100194911" border="0" data-scale="88" src="https://freight.cargo.site/w/1000/i/fc8f2058aafa06a57b9305f9163f3e05baa6ca0b271edcdb8ba532511855cad2/Still-Frame---talk-in-Tounges.jpg" /> <img width="1586" height="897" width_o="1586" height_o="897" data-src="https://freight.cargo.site/t/original/i/9def7f3936fd7a5446a075b51d6e8af35bcfc99560368a5eec54b2e6a1fa8a08/OPERSECUTED_1.jpg" data-mid="100208664" border="0" data-scale="88" src="https://freight.cargo.site/w/1000/i/9def7f3936fd7a5446a075b51d6e8af35bcfc99560368a5eec54b2e6a1fa8a08/OPERSECUTED_1.jpg" /> <img width="2700" height="1158" width_o="2700" height_o="1158" data-src="https://freight.cargo.site/t/original/i/16f15f25455b74442eae2621015964c847536b08c4ff02f184f2fc1d6577720a/TTT_NykeLandscape.jpg" data-mid="100194995" border="0" data-scale="94" src="https://freight.cargo.site/w/1000/i/16f15f25455b74442eae2621015964c847536b08c4ff02f184f2fc1d6577720a/TTT_NykeLandscape.jpg" /> https://marathonscreenings.com/Kyiv-to-LA Thu, 24 Nov 2022 00:19:25 +0000 MarathonScreenings https://marathonscreenings.com/Kyiv-to-LA Kyiv to LA is&nbsp;a cross-cultural initiative inviting Ukrainian artists and researchers working with moving image to participate in a Los Angeles-based residency and public program. The project marks a unique collaboration with several Los Angeles organizations including 18th Street Arts Center; Institute of Contemporary Arts, Los Angeles (ICA LA); GRI Scholars Program; Villa Aurora Thomas Mann House (VATMH); California Institute of Technology (Caltech); The Center for European and Russian Studies, UCLA; The Fulcrum; Art at the Rendon, Human Resources; Los Angeles Filmforum; and e-flux in New York.Kyiv to LA is made possible by a generous grant from Nora McNeely Hurley and Manitou Fund, together with individual and in-kind donations. The project is fiscally sponsored by 18th Street Arts Center, who also serves as a collaborative partner. &nbsp;About the participants: Recognized for their work within Western and Eastern European institutions, biennales, and film festivals, this project marks the first time these artists present their work to West Coast audiences. Working across mediums and interdisciplinary research, their practices build new narratives by deconstructing imperialist mythologies and envisioning new, sustainable futures. 2026 Participants Forthcoming: Zhanna Kadyrova, Artist, Filmaker 2025 Participants Darya Tsymbalyuk Writer, Researcher, Artist. 2024 Participants Nikolay Karabinovych&nbsp;Artist, Filmmaker, Curator&nbsp; Teta Tsybulnyk&nbsp;Filmmaker and Writer Elias Parvulesco&nbsp;Filmmaker, Director&nbsp; Mykola Ridnyi&nbsp;Filmmaker, Curator, Professor&nbsp; 2023 Participants Asia Bazdyrieva Art Historian, Writer, Researcher Roman Khimei Filmmaker Dana Kavelina Artist, Filmmaker Yarema Malashchuk Filmmaker Zhanna Ozirna Filmmaker Oleksiy Radynski Filmmaker, Writer2025 Program October 25e-fux Screening Room, Brooklyn, NYJoin us at e-flux Screening Room for “Swamps, Steppes and Souvenirs,” a group screening featuring films by&nbsp;Daryna Mamaisur,&nbsp;Oleksiy Radynski,&nbsp;Darya Tsymbalyuk, and&nbsp;ruїns collective&nbsp;(Teta Tsybulnyk&nbsp;and&nbsp;Elias Parvulesco). The program explores the vastness of Ukraine’s ecology and the powers—both real and imagined—that have shaped its landscape. Unearthing deeply layered histories and personal narratives, the films address Russian imperialism, western romanticization, and memories rooted in loss and discovery. This program is hosted by the Ukrainian Cultural Festival in collaboration with e-flux. RSVP/ Learn More. July 24Thomas Mann House, Los Angeles Conversation between Thomas Mann House Distinguished Visitor Darya Tsymbalyuk (University of Chicago) and Ursula K. Heise (UCLA). From Kyiv to Los Angeles, we have witnessed how environmental destruction has dramatically altered our understanding of home, place and belonging. To trace ways in which ecological grief is echoed and reckoned with across these different contexts, the Thomas Mann House- which recently reopened after the devastating Palisades Fire- presents a conversation between Darya Tsymbalyuk (University of Chicago) and Ursula K. Heise (UCLA). The conversation will open with Tsymbalyuk briefly introducing her recent book Ecocide in Ukraine: The Environmental Cost of Russia’s War (Polity, 2025) and sharing poignant accounts of witnessing ecocide in her homeland of Ukraine. Tsymbalyuk and Heise will discuss the loss of cherished places and species to examine the role of storytelling and the cultural imaginations in ways of inhabiting the damaged Earth. 2024 Programs <img width="6880" height="5504" width_o="6880" height_o="5504" data-src="https://freight.cargo.site/t/original/i/1d2424838dda67c32f71c2205d0103a0e3b6da622ab33207c50cd1284f1501e1/KyivToLA_March2024_0006.JPG" data-mid="214039111" border="0" data-scale="96" src="https://freight.cargo.site/w/1000/i/1d2424838dda67c32f71c2205d0103a0e3b6da622ab33207c50cd1284f1501e1/KyivToLA_March2024_0006.JPG" /> &nbsp;&nbsp;<img width="6880" height="5504" width_o="6880" height_o="5504" data-src="https://freight.cargo.site/t/original/i/f637acc8a963be37ef7ca6e12c1c998d69b16d5bd0cf12f69b384cf7730c8239/KyivToLA_March2024_0029.JPG" data-mid="214038960" border="0" data-scale="96" src="https://freight.cargo.site/w/1000/i/f637acc8a963be37ef7ca6e12c1c998d69b16d5bd0cf12f69b384cf7730c8239/KyivToLA_March2024_0029.JPG" /> <img width="6530" height="5224" width_o="6530" height_o="5224" data-src="https://freight.cargo.site/t/original/i/c6735bd736f608acefa34a812fa32d165ff215e756f0503afcdf499c29eb9c53/KyivToLA_March2024_0051.JPG" data-mid="214038961" border="0" data-scale="96" src="https://freight.cargo.site/w/1000/i/c6735bd736f608acefa34a812fa32d165ff215e756f0503afcdf499c29eb9c53/KyivToLA_March2024_0051.JPG" /> &nbsp;&nbsp;<img width="6880" height="5504" width_o="6880" height_o="5504" data-src="https://freight.cargo.site/t/original/i/b34e3187f5db5140845333c51b7c199a982aaa3a8e03d2258d6b00c047ddeb60/KyivToLA_March2024_0059.JPG" data-mid="214038962" border="0" data-scale="96" src="https://freight.cargo.site/w/1000/i/b34e3187f5db5140845333c51b7c199a982aaa3a8e03d2258d6b00c047ddeb60/KyivToLA_March2024_0059.JPG" /> March 17 Human Resources, Los Angeles Screening and dinner with Teta Tsybulnyk, Elias Parvulesco, and Nikolay Karabinovych.March 27 e-flux and&nbsp;Bar Laika, BrooklynDJ and artist Nikolay Karabinovych brings his collection of 45s to weave a journey through time and territories from the shores of the Black Sea to the Scheldt River.September 22 Los Angeles Filmforum at 2220 Arts &amp; Archive, Los AngelesScreening and conversation with Mykola Ridnyi. The screening will feature five works spanning the past decade of Ridnyi’s practice. October 01e-flux Screening Room, Brooklyn Screening and conversation with Mykola Ridnyi 2023 Programs: <img width="4768" height="3814" width_o="4768" height_o="3814" data-src="https://freight.cargo.site/t/original/i/980fb955ba88a6112a79c592d4810cc3ffbf8556585756e9975adeb06832d8ed/KyivToLA_Screening_011123_012.JPG" data-mid="164677026" border="0" src="https://freight.cargo.site/w/1000/i/980fb955ba88a6112a79c592d4810cc3ffbf8556585756e9975adeb06832d8ed/KyivToLA_Screening_011123_012.JPG" /> <img width="4786" height="3829" width_o="4786" height_o="3829" data-src="https://freight.cargo.site/t/original/i/bfedff2df47bbf32a1ea3965a6ef2e59265614ff5dde93f6d8a646859a8cecf3/KyivToLA_Screening_011123_025.JPG" data-mid="164676991" border="0" src="https://freight.cargo.site/w/1000/i/bfedff2df47bbf32a1ea3965a6ef2e59265614ff5dde93f6d8a646859a8cecf3/KyivToLA_Screening_011123_025.JPG" /> <img width="4342" height="3474" width_o="4342" height_o="3474" data-src="https://freight.cargo.site/t/original/i/16136c4d47c57c92d057cd180e520305618dcc4774536bbd46924e461ca4a9af/KyivToLA_Screening_011123_050.JPG" data-mid="164677008" border="0" src="https://freight.cargo.site/w/1000/i/16136c4d47c57c92d057cd180e520305618dcc4774536bbd46924e461ca4a9af/KyivToLA_Screening_011123_050.JPG" /> <img width="5030" height="4024" width_o="5030" height_o="4024" data-src="https://freight.cargo.site/t/original/i/fb680d02f03ef13511437fc79c717938f9ed2b813f3ca6b109790ed0e5740ad3/KyivToLA_Screening_011123_055.JPG" data-mid="164677029" border="0" src="https://freight.cargo.site/w/1000/i/fb680d02f03ef13511437fc79c717938f9ed2b813f3ca6b109790ed0e5740ad3/KyivToLA_Screening_011123_055.JPG" /> January 11 Institute of Contemporary Arts, Los Angeles Potluck dinner and screening with artist Yarema Malashchuk. Photos (above) Nick Agro.February 25Hall of Nations, Balboa Park, San DiegoScreening and conversation with Roman Khimei and Yarema Malashchuk to commemorate the one-year anniversary of the full-scale invasion, with the House of Ukraine. March 9&nbsp;California State University, Northridge Class lecture and screening with Roman Khimei and Yarema Malashchuk. Open to the public.&nbsp;March 18 The Fulcrum, Los Angeles Reconstructing creativity at times of war:&nbsp;Conversation and book sale with the founders of Theater of Hopes and Expectations and fundraising publication Oberih. March 30 Art at the Rendon, Los AngelesScreening and conversation with Roman Khimei and Yarema Malashchuk about thier most recent film featuring the looting of the Kherson Museum of Local Lore. April 06 e-flux Screening Room, Brooklyn New York premiere of Oleksiy Radynski’s Infinity According to Florian followed by a discussion.April 20 UCLA, Guest Lecture, Los Angeles Discussion with art historian Asia Bazdyrieva and filmmaker Oleksiy Radynski as they expand the territory of decolonial discourse by examining Ukraine’s anti-imperial war against Russia. Moderated by sociocultural anthropologist Laurie Kain Hart. April 23 UCLA James Bridges Theater, Los Angeles &nbsp;Screening of Infinity According to Florian&nbsp;with Oleksiy Radynski. What is Earth? What is a solar system? What is humanity? Who is Florian Yuriev? Why did he build a UFO building in Kyiv? This film explores the legendary figure of Kyiv-based architect Florian Yuriev and recounts why capitalism is a thing of the past, and what happens when you divide one by infinity.May 10th&nbsp; Thomas Mann House, Pacific PalisadesScreening and conversation with VATMH Distinguished Visitor, filmmaker Dana Kavelina featuring two films:&nbsp;Letter to Turtledove (2020) and her most recent work, It can't be that nothing can be returned (2022), a science fiction video set in post-war Ukraine.May 17Caltech, PasadenaScreening and lecture with art historian and researcher Asia Bazdyrieva. Bazdyrieva will address key questions which sit at the core of Geocinema — a documentary-led research project that reframes Earth sensing and imaging processes. June 01 e-flux Screening Room, BrooklynArt historian and researcher Asia Bazdyrieva will speak about resourcification, extractivist policies, and the sociotechnical imaginaries of the future as a follow-up to her 2022 e-flux article, No Milk, No Love. July 9 Private Residence, Pasadena Outdoor screening with Zhanna Ozirna featuring Encounter (2016), The Adult (2019), Grace (2017), and current work in progress, Ground Zero. Hosted by artist and writer Julia Tcharfas, this event celebrates the culmination of Kyiv to LA,&nbsp;2023.Press: KCRW, Hyperallergic, Deutschlandfunk Forthcoming Artists/ 2025:&nbsp;<img width="2066" height="2051" width_o="2066" height_o="2051" data-src="https://freight.cargo.site/t/original/i/30fb8a142a98ee8812cc32cc2f9ad00ec52a47a1ce7d6bce7b1d46b307ff33b4/000019670029-1.jpg" data-mid="234843476" border="0" src="https://freight.cargo.site/w/1000/i/30fb8a142a98ee8812cc32cc2f9ad00ec52a47a1ce7d6bce7b1d46b307ff33b4/000019670029-1.jpg" />Darya Tsymbalyuk is an interdisciplinary researcher, whose practice includes writing and image-making. Most of Darya’s work lies at the intersection of environmental humanities and artistic research, but she has also written on embodied knowledge, coloniality of knowledge and colonial legacies, whiteness, (post)industrial heritage, and visual arts. Darya is the author of the forthcoming book Ecocide in Ukraine: the Environmental Cost of Russia’s War (Polity Press 2025), in which she offers an intimate portrait of her beloved homeland against the backdrop of Russia’s war and ecocide. Her first book, Limits of Collaboration: Art, Ethics, and Donbas, was co-written with Victoria Donovan in collaboration with artists and curators Dmytro Chepurnyi, Viktor “Corwic” Zasypkin, Oleksandr Kuchynskyi, and Kateryna Siryk (Rosa-Luxemburg-Stiftung Ukraine, 2022). Her shorter essays and academic articles appeared in BBC Future Planet, Antennae: The Journal of Nature in Visual Culture, Nature Human Behaviour, Journal of International Relations and Development, Arcadia: Environment &amp; Society Portal, The Funambulist Magazine: Politics of Space and Bodies, REGION: Regional Studies of Russia, Eastern Europe, and Central Asia, IWMpost, and more. A double special issue on environmental humanities of Ukraine she co-edited with Tanya Richardson is forthcoming with East/West: Journal of Ukrainian Studies. In addition to writing, Darya also works with images through drawing, painting, collage, and film essays. Her visual work was featured at the 5th Odes(s)a Biennale of Contemporary Art, Kyiv Biennial 2023, The Württembergische Kunstverein Stuttgart, and Dnipro Center for Contemporary Culture, among other places. She is currently working on drawings and paintings of endangered endemic steppe plants.https://daryatsymbalyuk.com/ <img width="1787" height="1080" width_o="1787" height_o="1080" data-src="https://freight.cargo.site/t/original/i/f3f2e0f59e34ea850659ed5576744c1740ff55182347e3281788e5e17cee752d/zhanna-sida.jpeg" data-mid="205794009" border="0" src="https://freight.cargo.site/w/1000/i/f3f2e0f59e34ea850659ed5576744c1740ff55182347e3281788e5e17cee752d/zhanna-sida.jpeg" /> Zhanna Kadyrova (b.1981, Brovary, Ukraine) is an interdisciplinary artist and member of “R.E.P.” group (Revolution Experimental Space). After graduating from the Taras Shevchenko State Art School in 1999, she received the Kazimir Malevich Artist Award and the Grand Prix of the Kyiv Sculpture Project (both 2012). She was awarded the Special Prize (2011), Main Prize (2013), and Special Prize – Future Generation International (2014), all by PinchukArtCentre. Kadyrova’s practice engages various disciplines including sculpture, photo, video, and performance. In her work, the issue of context unravels to reveal the rhythm of History on the move - that of a world whose multiple layers disappear behind their immediacy. Often diverting the aesthetic canons of the socialist ideal still present in the heritage of contemporary Ukraine, Kadyrova’s perspective is partially informed by the plastic and symbolic values of urban building materials. Thus ceramics, glass, stone, and concrete enter the spotlight of her work.Her work has been exhibited nationally and internationally, including exhibitions at Kunstverein Hannover (Germany), Stavanger Museum (Norway) Kunstforum Wien (Austria), Eretz Israel Museum Tel Aviv (Israel), Centre Pompidou, Palais Tokyo; La Kunsthalle Mulhouse (all France), Kunstraum Innsbruck (Austria) Ludwig Museum, Budapest (Hungary), Museum of Modern Art; Uyazdovski Castle, Warsaw (both Poland), Spinnerei Leipzig; Badischer Kunstverein, Karlsruhe; DAAD, Zimmerstrabe, Berlin (all Germany), the National Union of Cuban Architects and Construction Engineers, Havana (Cuba), Sara Hilden Museum, Tampere (Finnland), Lviv Municipal Art Center, Lviv, National Art Museum of Ukraine and PinchukArtCentre, Kyiv (all Ukraine).https://www.kadyrova.com/ Past Artists / 2024:&nbsp;<img width="3130" height="2075" width_o="3130" height_o="2075" data-src="https://freight.cargo.site/t/original/i/00de218d73cda4fbc460c5e664f9bd5dcc76f892c960292248142abc288bfffe/IMG_8823-2.JPG" data-mid="205793481" border="0" data-scale="97" src="https://freight.cargo.site/w/1000/i/00de218d73cda4fbc460c5e664f9bd5dcc76f892c960292248142abc288bfffe/IMG_8823-2.JPG" /> Nikolay Karabinovych (b. 1988, Odesa, Ukraine) works across various media such as video installation, performance, sound, and sculpture. He explores the social histories of Eastern Europe, approaching collective and personal memory by means of analytical, conceptual or interventionist tactics. In 2020 he graduated from the Higher Institute for Fine Arts (HISK) in Ghent. Karabinovych was an assistant curator of the 5th Odesa Biennale. In 2022, 2020 and 2018, he was awarded the first PinchukArtCentre Prize. His work has been shown extensively at public institutions (M UHKA, Museum of Contemporary Art, Antwerp; HKW, Berlin, Belgium Jewish Museum, Bozar, Brussels; w139, Amsterdam; Zamek Ujazdowski, Warsaw; Pinchuk Art Centre, Kyiv; and many others) and in galleries (Hunt Kastner gallery, Prague; Voloshyn Gallery, Kyiv; Hit Gallery, Bratislava and others) He has also participated in the Kaunas Biennale (2023), the Kyiv Biennale (2023, 2021) and in parallel program of 59th Venice Biennale. &nbsp;https://karabinovych.com/ <img width="1280" height="853" width_o="1280" height_o="853" data-src="https://freight.cargo.site/t/original/i/bbac6907611ad8feb32774efb7b2fc1b5210e9bb4d4d55e53a1cb6ff80eacf99/JPEG-image-4E05-9CD8-AE-0.jpeg" data-mid="205793483" border="0" data-scale="98" src="https://freight.cargo.site/w/1000/i/bbac6907611ad8feb32774efb7b2fc1b5210e9bb4d4d55e53a1cb6ff80eacf99/JPEG-image-4E05-9CD8-AE-0.jpeg" /> Teta Tsybulnyk is an artist and psychoanalyst based in Kyiv. With a background in sociology, social anthropology and clinical psychology, her research investigates the non-human gaze on nature and semiotics of the unconscious. Tsybulnyk is the co-founder of ruїns collective, an art and film union established with Elias Parvulsco and Oleg Isakov (2017-2021). ruїns collective has authored a number of video works including dendro dreams (2017), zong (2019), K-Object from LL-Group (2019), Salty Oscillations (2021) and Endless Sea of Sand (2023), which have been screened at international film festivals and art exhibitions worldwide.https://www.ruins.today/teta-tsybulnyk <img width="1280" height="853" width_o="1280" height_o="853" data-src="https://freight.cargo.site/t/original/i/133e05d5d0058eebbd0685d62de20d4e397201e41603224150d13681bf58d3cc/IMG_8827.JPG" data-mid="205793482" border="0" data-scale="97" src="https://freight.cargo.site/w/1000/i/133e05d5d0058eebbd0685d62de20d4e397201e41603224150d13681bf58d3cc/IMG_8827.JPG" />Elias Parvulesco is an artist, curator and film archivist based in Kyiv. He is a film history scholar and programmer at the Oleksandr Dovzhenko National Centre in Kyiv (2015 to the present); co-founder of the art and film union ruїns collective (2017–21). As a director Parvulesco has been represented at Jihlava International Documentary Film Festival (2014, 2018); FIDMarseille, Festival International de Cinéma de Marseille (2022); The International Short Film Festival Oberhausen (2022); Glasgow Short Film Festival (2022); Molodist Kyiv International Film Festival (2018); Docudays UA International Human Rights Documentary Film Festival (2020). Parvulesco’s work is in various collective exhibitions and art projects, including Gray Cube (2018); Social realism. Pretend to be different (2018); Creating Ruin (2018, 2019); Climate Emergency Movement (2019); Armed and Dangerous (2019); NHT (personal exhibition w/Teta Tsybulnyk, 2020); Kyiv Biennial (2021); Un/archiving post/industry (2021); UNFOLDING LANDSCAPES (2022); antiwarcoalition.art (2022); Chain Reaction (2022); To Watch the War—The Moving Image Amidst the Invasion of Ukraine (2022); Heart of Earth (2022). In 2020, Parvulesco was nominated for the PinchukArtCentre Prize, a nationwide prize in contemporary art to young Ukrainian artists.https://www.ruins.today/elias-parvulesco <img width="1536" height="1019" width_o="1536" height_o="1019" data-src="https://freight.cargo.site/t/original/i/68aebef3fcec639d46f118a1ff758b91804fea3a3434f6b1310f12188ae277ff/fee1edad-9515-4393-9dcb-be0d2d635c7e-2.JPG" data-mid="205793480" border="0" data-scale="96" src="https://freight.cargo.site/w/1000/i/68aebef3fcec639d46f118a1ff758b91804fea3a3434f6b1310f12188ae277ff/fee1edad-9515-4393-9dcb-be0d2d635c7e-2.JPG" /> Mykola Ridnyi (b. 1985, Kharkiv, Ukraine) is an artist, filmmaker, and curator currently based in Berlin, where he holds a guest professorship for multimedia art at the Berlin University of the Arts. Since 2005, he has been a founding member of the SOSka group, an art collective based in Kharkiv. The same year he cofounded the SOSka gallery-lab, an artist-run-space in Kharkiv. Under Ridnyi's lead, the gallery-lab was instrumental in developing the artistic scene in the region before it was closed in 2012. Starting from his curatorial project Armed and Dangerous (2017 – 2021), Ridnyi developed a collaborative platform between Ukrainian moving image artists and filmmakers. In 2022 he curated several screening programs of Ukrainian film and video art in DAAD gallery in Berlin, MAXXI Rome, Museum Folkwang Essen, National Gallery in Sofia. Ridnyi works across media ranging from early collective actions in public space to the amalgam of site-specific installations. Photography and moving image constitute the current focus of his practice. In recent films and images, he experiments with nonlinear montage, collage of documentary and fiction. His way of reflecting social and political reality draws on the contrast between fragility and resilience of individual stories and collective histories. He graduated from Kharkiv National Academy of Design and Arts in 2008, where he studied sculpture. https://www.mykolaridnyi.com/ Past Artists / 2023: <img width="1920" height="1280" width_o="1920" height_o="1280" data-src="https://freight.cargo.site/t/original/i/ca4e535602b8b91b76c46fd82da95aef9cf9b692d5d2cd61ac76317dbfa10908/asy1.jpg" data-mid="160159109" border="0" data-scale="95" src="https://freight.cargo.site/w/1000/i/ca4e535602b8b91b76c46fd82da95aef9cf9b692d5d2cd61ac76317dbfa10908/asy1.jpg" /> Asia Bazdyrieva (b. 1986, Svitlodarsk) is an art historian whose research spans visual culture, feminist epistemology, and environmental humanities at large. Her projects focus on Soviet modernity and its ideological and material implications in spaces, bodies, and lands. She holds an MA in Art History from City University of New York and an MS in Analytical Chemistry from the Kyiv National University. She was a Fulbright scholar in 2015–2017, an Edmund S. Muskie fellow (2017), and resident&nbsp;at Transmediale (Berlin). She is currently associated with Critical Media Lab (Basel).&nbsp; Bazdyrieva co-authored ‘Geocinema’—a collaborative project exploring the possibilities of a “planetary” notion of cinema. Concerned with the understanding and sensing of the earth while being on the ground, the project includes vastly distributed processes of image and meaning making. ‘Geocinema’s work has been shown internationally, including the solo show Making of Earths at Kunsthall Trondheim Norway (2020), and group shows including Critical Zones at ZKM Karlsruhe (2020-21), Re-thinking Collectivity at Guangzhou Image Triennale (2021) and Sensing Scale at Kunsthalle Muenster (2021). They have given lecture-performances at the Ashkal Alwan Beirut, ICA London, HKW Berlin, NYU Shanghai, Matadero Madrid, and have taught at the Berlin University of the Arts, FAMU Prague, Central Saint Martins, RCA London among others. As part of ‘Geocinema’, Bazdyrieva was a 2018–19 Digital Earth Fellow; the project has been nominated for the Schering Stiftung Award for Artistic Research (2020), and the Golden Key prize at the Kassel filmfestival (2021).https://www.e-flux.com/journal/127/465214/no-milk-no-love/<img width="5274" height="3516" width_o="5274" height_o="3516" data-src="https://freight.cargo.site/t/original/i/d35bb965cc6d39bca80c19392edfd78e7c2f409db97ae59a29342cdc7697a256/Yarema-Roman.jpeg" data-mid="160004846" border="0" data-scale="95" src="https://freight.cargo.site/w/1000/i/d35bb965cc6d39bca80c19392edfd78e7c2f409db97ae59a29342cdc7697a256/Yarema-Roman.jpeg" /> Collaborating at the edge of visual art and cinema since 2013, Kyiv-based artists and filmmakers Roman Khimei&nbsp;(b.1992, Kolomyia) and Yarema Malashchuk&nbsp;(b.1993, Kolomyia) graduated as cinematographers from the Institute of Screen Arts in Kyiv, Ukraine. They were awarded the main award of the PinchukArtCentre Prize (2020), VISIO Young Talent Acquisition Prize (2021), as well as the Grand Prix at the Young Ukrainian Artists Award (MUHi 2019). Their debut documentary feature “New Jerusalem” premiered at Docudays UA International Film Festival 2020. The film received the Special Mention Award at Kharkiv MeetDocs and the duo also participated at the Future Generation Art Prize 2021. Their video works are in collections of Frac Bretagne, Fondazione In Between Art Film, and Seven Gravity Collection. Yarema and Roman are members of the Prykarpattian Theater art collective.https://www.yaremaandhimey.com/https://theater-hopes-expectations.com/ <img width="1818" height="1228" width_o="1818" height_o="1228" data-src="https://freight.cargo.site/t/original/i/3a2e2e9e906fb6bfdc97aee5da0b48a2b61b2fd95c17d7decc22b95afc13e0ce/000043-1.jpg" data-mid="161773654" border="0" data-scale="95" src="https://freight.cargo.site/w/1000/i/3a2e2e9e906fb6bfdc97aee5da0b48a2b61b2fd95c17d7decc22b95afc13e0ce/000043-1.jpg" /> Dana Kavelina (b.1995 in Melitopol) is a filmmaker, animator, and artist based in Kyiv/ Lviv, Ukraine (currently fled to Germany). Working primarily with animation and video, her practice includes installations, painting, and graphics that thematize military violence and war from a gender perspective. Positioning the victim as a political subject, her works investigate the distance between historical and individual trauma, memory and misrepresentation. Her works have been exhibited in: Kristianstad Kunsthalle (Sweden); Fridman Gallery (New York); Haus der Kunst (Munich); HKW (Berlin); and screened as part of the e-flux program “War and Cinema”, and MoMA’s screening program “Notes from the ground”. In 2018,&nbsp; Kavelina’s animated film Mark Tulip, who spoke with flowers received the Special Jury Prize at the OIFF and the Grand Prix of the KROK festival. She is a graduate of the Department of Graphics at the National Technical University of Ukraine.https://www.vatmh.org/en/-distinguished-visitor.htmlhttps://www.e-flux.com/video/339843/letter-to-a-turtledove/ <img width="1024" height="768" width_o="1024" height_o="768" data-src="https://freight.cargo.site/t/original/i/758536328dbe153204541f19625a51acc190a77f855c1b0718ebded497c0f046/b3b7858c-ef6d-4cc3-8ed8-e36e9abc3f20.JPG" data-mid="160663345" border="0" data-scale="94" src="https://freight.cargo.site/w/1000/i/758536328dbe153204541f19625a51acc190a77f855c1b0718ebded497c0f046/b3b7858c-ef6d-4cc3-8ed8-e36e9abc3f20.JPG" /> Zhanna Ozirna&nbsp;(b.1986, Kirovohrad) is a film director and screenwriter based in Kyiv, Ukraine. She is a member of the Ukrainian Film Academy and Directors Guild of Ukraine, a 2020 alumna of Berlinale Talents, and a 2022 résident at Cité international des arts. Her animation short project Anna &amp; Gravity won Jury Special Mention for the best story pitching at the interfilm Berlin Script Lab 2020. Her short fiction The Adult was presented in the special programme The State of a New Generation at the Internationale Kurzfilmtage Winterthur 2019.&nbsp; The development of her feature debut Ground Zero was supported by the Ukrainian Cultural Foundation. The project took part in international script workshops ScripTeast (2021) and Pustnik (2020, 2022), and in professional platforms La Fabrique Cinéma, Brussels Bozar Industry Day, New Horizons Studio+ and co-production markets of IFF Rotterdam Cinemart and Marché du Film of Festival de Cannes. In September 2021 Ground Zero received funding from the Ukrainian State Film Agency, however shooting was postponed due to the war and is now scheduled for August 2023. She is currently working on a new feature project Honeymoon, based on real events that have taken place in Ukraine since the Russian invasion.https://www.institutfrancais.com/en/magazine/interview/zhanna-ozirna-presents-her-debut-feature-film-ground-zerohttps://www.berlinale-talents.de/bt/talent/zhanna-ozirna/profile <img width="5472" height="3648" width_o="5472" height_o="3648" data-src="https://freight.cargo.site/t/original/i/d6ce16a3faa61080128453592e82059a1ed0f3708b69c828423e1bed444c319b/Oleksiy_Radynski_Photo-by-Anastasiya-Mantach.jpg" data-mid="160004845" border="0" data-scale="94" src="https://freight.cargo.site/w/1000/i/d6ce16a3faa61080128453592e82059a1ed0f3708b69c828423e1bed444c319b/Oleksiy_Radynski_Photo-by-Anastasiya-Mantach.jpg" /> Oleksiy Radynski is a filmmaker based in Kyiv, Ukraine. He was born in 1984 and raised on the ruins of a Documentary Film Studio in Kyiv. After studying film theory at Kyiv-Mohyla Academy, he took part in several film education experiments including Home Workspace Program (Ashkal Alwan, Beirut) and Labor in a Single Shot by Harun Farocki and Antje Ehmann. His films have been screened at International Film Festival Rotterdam, Oberhausen International Short Film Festival, e-flux (New York), the Institute of Contemporary Arts (London), Krakow IFF, DOK Leipzig, DoсAviv, Sheffield Doc Fest, Docudays IFF, S A V V Y Contemporary (Berlin), International Studio &amp; Curatorial Program (New York), among other places, and received a number of festival awards. As an essayist he contributed to publications including Proxy Politics: Power and Subversion in a Networked Age (Archive Books, 2017), Art and Theory of Post-1989 Central and East Europe: A Critical Anthology (MoMA, 2018), and e-flux journal. https://www.e-flux.com/journal/125/453868/the-case-against-the-russian-federation/ https://marathonscreenings.com/Sunshine-and-Noir-1 Wed, 19 Jul 2023 04:08:52 +0000 MarathonScreenings https://marathonscreenings.com/Sunshine-and-Noir-1 Marathon Screenings presents Sunshine and Noir: Film in the City of Angels, a summer series featuring artist’s films that explore the myths and makeup of Los Angeles. Expanding on Reynar Banham’s The Architecture of Four Ecologies, the series looks to oil, water, concrete, and people as the elements that constitute LA’s architecture. Investigating the built environment, the communities that reside within, and the myriad dreams held by those who call the City of Angels home, the series probes manifold historical and cultural layers as a means to envision a new future for “an island on the land.”Host: NeueHouse Hollywood Dates: July 12 - September 20. Artists:&nbsp;Pau Pescador, Kerry Tribe, Nina Sarnelle, Clarissa Tossin, Catherine Opie, Agnès Varda,&nbsp;Barbara McCullough. Screenings are followed by a discussion with the artist, curator, or guest speaker. PROGRAM:&nbsp; July 12 &nbsp; Pau Pescador, The Founding of Los Angeles, 2018, 53:00 Conversation with Pau Pescador after the screening &nbsp; On September 4, 2017, the anniversary of the founding of the city of Los Angeles, artist Pau Pescador began filming within the unrenovated levels beneath The Main Museum to produce a video work about the history of L.A. As the project grew, Pescador expanded their research to include audio conversations conducted with local residents, historians, and scholars where they asked them to recount lesser recognized moments, both historical and personal. The resulting film is a set of episodic stories and experiences of L.A. In this piece, Pescador postulates and attempts to document the city’s vast and expansive history in the period of a single film. July 26 Kerry Tribe Exquisite Corpse, 2016, 51:00 &nbsp;&nbsp; Conversation with Kerry Tribe after the screening &nbsp; Exquisite Corpse is&nbsp;a 51-minute film that traces the 51-mile Los Angeles River from its origin in the San Fernando Valley to its terminus at the Pacific Ocean. Along the way, Tribe’s camera captures its varied landscapes, neighborhoods, creatures, and communities through a string of meditative encounters that collectively describe the River at a particular moment it its evolution. &nbsp; August 09 Nina Sarnelle Sound for the Long Hole, 2018, 42:00 Conversation with curator Ceci Moss (Director and Chief Curator of the Mandeville Art Gallery at UC San Diego) and Zandie Brockett (Director of Community and Culture at NeueHouse) Nina Sarnelle’s Sound for the Long Hole is&nbsp;a 40 minute composition that considers another world far below the city’s surface. Created after Sarnelle came to the realization that she had been living next to an oil tower and several deep drilling holes (one 9,514 feet deep), the film takes us across her neighborhood, measuring out the length of one oil well in twine, while mining production data from the site’s many historical owners and remembering a 1985 methane gas explosion at the site of a Ross Dress for Less discount store. August 23 Clarissa Tossin's CH’U MAYAA (2017) Catherine Opie's The Modernist (2017). Conversation with Clarissa Tossin and Catherine Opie&nbsp; &nbsp; Ch’u Mayaa re-signifies Frank Lloyd Wright’s Hollyhock House by depicting the building as a temple, and imbuing it with a dance performance based on gestures and postures found in ancient Mayan pottery and murals. The Pre-Columbian Mesoamerican features of the architecture are highlighted and acknowledged as a fundamental influence in Wright’s project. The Modernist presents a dystopian view of Los Angeles, a city that has figured prominently in Opie’s work over the years. The film is in conversation with Chris Marker’s radical 1962 photo-roman, La Jetée, which utilizes still photography to tell a story of longing, time travel, and the terror of nuclear apocalypse. Opie’s film continues this dialogue, employing similar formal and narrative structures to a different end. Focusing on contemporary issues like natural disasters, the breakdown of the American political system, global tragedies, and the Los Angeles housing crisis, the film stars Stosh, a.k.a. Pig Pen, a close friend of Opie’s who has appeared in many of her photographs, as a struggling artist who is obsessed with landmark mid-century modern architecture. September 6 Agnès Varda, Mur Murs, 1981. 82:00&nbsp;Conversation with Curator Asha Bukojemsky (Marathon Screenings). In 1979 Agnès Varda created this kaleidoscopic documentary about the striking murals that decorate the city after returning to Los Angeles from France. Bursting with color and vitality, Mur Murs is as much an invigorating study of community and diversity as it is an essential catalog of unusual public art.&nbsp;Venturing from Venice Beach to Watts, Varda looks at the murals of LA as backdrop to and mirror of the city’s many cultures. She casts a curious eye on graffiti and photorealism, roller disco &amp; gang violence, evangelical Christians, Hare Krishnas, artists, angels and ordinary Angelenos.September 20Barbara McCullough, Water Ritual #1: An Urban Rite of Purification, and Shopping Bag Spirits and Freeway Fetishes: Reflections on Ritual Space, 1981. 60:00Conversation with filmaker Darol Olu Kae, filmaker Ben Caldwell, Zandie Brockett (Director of Community and Culture at NeueHouse) and Asha Bukojemsky (Marathon Screenings). This film explores nine Los Angeles based artists reflecting on ritual in their life and art. Artist David Hammons discusses the role of chance and improvisation in his work while working on sculpture on a waste site while N’Senga Nengudi talks about staging her performances in freeway underpasses. Spanning performance to spoken word, environmental sculpture to music each artist talks about how ritual and cultural traditions informs their work. This experimental essay intercuts interviews, documentation, and photographs with the music of Don Cherry seeking to adjust the criteria and language used to talk about artists of color. https://marathonscreenings.com/Ikechukwu-Sharpe Sun, 02 Oct 2022 19:43:31 +0000 MarathonScreenings https://marathonscreenings.com/Ikechukwu-Sharpe Ikechukwu Sharpe Mystique, 2020-2022, Single-channel HD video, sound 11:06 min I Manifestations, 2022, sound, 23:46 min. October 09 Pan Pacific Park,&nbsp;Outdoor Amphitheater <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/453b9a06e76cf6455e98a8029e1a41b0233685695f5c7e6a16ae7d2d9f3c36bf/Marathon_Screenings_1.jpg" data-mid="154639750" border="0" src="https://freight.cargo.site/w/1000/i/453b9a06e76cf6455e98a8029e1a41b0233685695f5c7e6a16ae7d2d9f3c36bf/Marathon_Screenings_1.jpg" /> Mystique unveils themes of capitalism, consumerism and mass production as it relates to concepts of wealth and value. Drawing from the journey of precious metal/stone mining in Africa to its adornment on a wearer’s neck in North America, the experimental video explores individualism, interdependency, and a love displaced. More critically, it explores the intricate relationship Black Americans have with the land, by way of extraction, cultivation and eventual returnal. <img width="1121" height="720" width_o="1121" height_o="720" data-src="https://freight.cargo.site/t/original/i/05fd13fcb239a912fc7c77d3d091c80b02f92e64ce4f253211b0228f8c3c7312/Marathon_Screenings_2-CUT.jpeg" data-mid="154640146" border="0" src="https://freight.cargo.site/w/1000/i/05fd13fcb239a912fc7c77d3d091c80b02f92e64ce4f253211b0228f8c3c7312/Marathon_Screenings_2-CUT.jpeg" /> I Manifestations is a sound composition that expands beyond the future aspirations of a better world, into present manifestations of living the life we envision. Linking themes of community and interdependency, the piece builds on the magnitude of inner growth and spirituality as a way to “dismantle the master’s house.” Sampling the history and spiritual awakenings found in Black Churches, the sonic tapestry features a collage of original scores with archival recordings and personal conversations, guided by an original sermon of Lazarus' resurrection by Reverend Scott Adams. The works emerge from LINX, a larger multimedia project that began by studying precious jewelry as an entry point to examine the modern Black American experience in a white patriarchal society. Over time, the project modified into conceptual and existing narratives on freedom, expectations, and manifestations to and of Black and Brown communities. <img width="1280" height="720" width_o="1280" height_o="720" data-src="https://freight.cargo.site/t/original/i/36f356a61a8ce08795ba0d25544e6b28976612171cac7a14f59f33275c7b43a2/Marathon_Screenings.jpg" data-mid="154639749" border="0" src="https://freight.cargo.site/w/1000/i/36f356a61a8ce08795ba0d25544e6b28976612171cac7a14f59f33275c7b43a2/Marathon_Screenings.jpg" /> Ikechukwu Sharpe is a multi-disciplinary artist working across video, sound and installation to capture and recontextualize the “Black Glow” that pervades and upholds American society. Born in Germantown, Maryland, he received his Bachelor of Arts degree at Loyola University Maryland in 2018, where he studied digital media, writing and marketing. Recent screenings include Coachella, Studio Museum x MoMA and Neuehouse Bradbury. He is currently based in Los Angeles. https://marathonscreenings.com/Prima Thu, 01 Sep 2022 18:03:50 +0000 MarathonScreenings https://marathonscreenings.com/Prima Prima Jalichandra-Sakuntabhai Monuments of Ratchadamnoen, a performative lecture September 11 Pan Pacific Park, Outdoor Amphitheater &nbsp; Conceived as a performative lecture, Monuments of Ratchadamnoen chronicles Prima Jalichandra-Sakuntabhai’s walk through Bangkok's historical and politically charged thoroughfare, as they observe how the COVID-19 pandemic and 2020’s pro-democracy movement altered its landscape and architecture. Weaving narratives of uprising and dictatorial repression with their own family legacy of revolutionaries and disgraced politicians, Jalichandra-Sakuntabhai reflects on the conflicting ideologies that shape a nation and one’s own sense of self. <img width="2016" height="1512" width_o="2016" height_o="1512" data-src="https://freight.cargo.site/t/original/i/f0f342d85fb0187ffaae909a5032b290bf33ed5c291a285d14f118cb69ab16eb/IMG_9694.jpg" data-mid="151865217" border="0" src="https://freight.cargo.site/w/1000/i/f0f342d85fb0187ffaae909a5032b290bf33ed5c291a285d14f118cb69ab16eb/IMG_9694.jpg" /> Prima Jalichandra-Sakuntabhai is a transdisciplinary artist, working across performance, video and installation, based in Los Angeles. Born in Thailand in 1989, they grew up in Europe before moving to the US in 2011. They received their Visual Arts Degree from the Ecole des Beaux Arts de Nantes Metropole and a License in Film Studies at the Sorbonne Nouvelle-Paris 3. They hold a BFA from the School of the Arts Institute of Chicago and a MFA from the California College of the Arts, in San Francisco. They are a recipient of the SOMA Summer Award, Mexico City in 2016 and the emi kuriyama spirit award in 2020. Recent projects include: Stranger Intimacy I &amp; II, at the ONE Archives at USC Libraries and USC Pacific Asia Museum (LA), Chloropsis Aurifrons Pridii, The Fulcrum Press (LA), Excerpts of Memories From the Screen, a Zoom performative lecture for BOOKSHOP LIBRARY, BANGKOK CITY CITY GALLERY (Bangkok), Irrational Exhibits 11: Place-Making and Social Memory, Track 16 (LA). They curated the MAHA Pavilion for the Bangkok Biennial 2020. https://marathonscreenings.com/Memory-War Fri, 05 Aug 2022 18:23:18 +0000 MarathonScreenings https://marathonscreenings.com/Memory-War Memory WarAugust 25 - 28, 2022 Vernacular Institute, Mexico City Basel Abbas and Ruanne Abou-Rahme, Lawrence Abu Hamdan, Sky Hopinka, Dana Kavelina, Gelare Khoshgozaran, Oleksiy Radynski, Vandy Rattana, Liu Shiyuan, Hito Steyerl Memory War is a film screening, exhibition and reading room that explores the power and threat of remembrance. Thirteen works investigate the mediums and mechanisms that form memory – from images to fascist rhetoric – and the powers that resist them. In light of Russia’s invasion in Ukraine, past genocides, and the recent proliferation of memory laws in the United Sates, Memory War prompts viewers to consider how they remember, and for whom. <img width="1417" height="945" width_o="1417" height_o="945" data-src="https://freight.cargo.site/t/original/i/43c4dd8752a3d4b7b76b1432eef45db4a782704230f9e60aa1931d3afd5b0d53/DSC0179-2.jpg" data-mid="152899749" border="0" src="https://freight.cargo.site/w/1000/i/43c4dd8752a3d4b7b76b1432eef45db4a782704230f9e60aa1931d3afd5b0d53/DSC0179-2.jpg" />Probing historical revisionism, myth-making and revolutionary ideals, the first half of Memory War traces the blurry boundary between expectation and exploitation. A protest in the Donbas region of Ukraine turns into revolt (Oleksiy Radynski, People Who Came to Power), while a German childhood friend becomes a Kurdish martyr (Hito Steyerl, November). Image appropriation and consumption further reveal modes of transference when a Hans Christian Anderson fairy tale becomes a propagandistic tool for the Chinese communist party (Liu Shiyuan, For the Photos I Didn’t Take, For the Stories I Didn’t Read), and an anonymous five-hour online documentary is recombined into a surreal anti-war film (Dana Kavelina, Letter to a Turtledove). Here, memory itself becomes the counter-insurgence. <img width="5000" height="3333" width_o="5000" height_o="3333" data-src="https://freight.cargo.site/t/original/i/06a209055016feaa89145ed18877fa1d17a7c7754b783764e4a0e0a29a319c21/7_MG_4337_5000_c.jpeg" data-mid="149926268" border="0" src="https://freight.cargo.site/w/1000/i/06a209055016feaa89145ed18877fa1d17a7c7754b783764e4a0e0a29a319c21/7_MG_4337_5000_c.jpeg" />Basel Abbas and Ruanne Abou-Rahme. The Incidental Insurgents: Unforgiving Years Part 2 of The Incidental Insurgents (2012-2015) Prompting viewers to consider their own role as memory-makers, Memory War also investigates methods of retrieval and embodiment. An artist invokes a group of men, from Edward Said, Roberto Bolaño to Khosrow Golesorkhi, that inhabited their life during the artist’s move from Tehran to Los Angeles (Gelare Khoshgozaran, MEN OF MY DREAMS), while another conjures an unknown sister, killed during the Khmer Rouge (Vandy Rattana, MONOLOGUE). A 50-year-old recording of a grandmother learning the indigenous Pechanga language (Sky Hopinka, Kicking the Clouds) overlaps with ruminations of forced forgetting, whereas an archive featuring artifacts of a past life is built entirely from the memory of a reincarnated PLA soldier (Lawrence Abu Hamdan, Once Removed). Rebels, novelists, rituals and myth emerge throughout, as sites of erasure become projections of a potential future (Basel Abbas and Ruanne Abou-Rahme, And Yet my Mask is Powerful Part 1, and The Incidental Insurgents (Parts 1- through 3). Collapsing past and present, these narratives create a new kind of archive where stories of loss, belonging, and revolt inform a psychic resistance against the powers of erasure. <img width="2048" height="1366" width_o="2048" height_o="1366" data-src="https://freight.cargo.site/t/original/i/7b03903708538f56aa6bf4bfb88e455765d80cefee66472a552fdcf282d3e560/DSC01991-2.jpg" data-mid="152899972" border="0" src="https://freight.cargo.site/w/1000/i/7b03903708538f56aa6bf4bfb88e455765d80cefee66472a552fdcf282d3e560/DSC01991-2.jpg" /> Together with the screening, Memory War featured a multi-lingual reading room presenting materials contributed by the artists and curator that expand on concepts of memory, erasure, and forms of resistance. The reading room and screening are accompanied by an installation organized by Mexico City-based writer Su Wu, featuring bronze “Memoria” stools by design collective EWE Studio, cast from a collection of vernacular objects, and a rug of fallen jacaranda petals designed by Casa Ahorita for txt.ure, a design research project founded by Regina Pozo, former director of Archivo Diseñó y Arquitectura. Memorias de guerraDel 25 al 28 de Agosto, 2022 Memory War (Memorias de guerra) es una muestra de películas que explora el poder de la memoria y lo amenazante que puede ser. Curada por Asha Bukojemsky quien vive en Los Ángeles y lleva el proyecto Marathon Screenings, la exposición de cuatro días presenta trece trabajos que investigan los medios y mecanismos que construyen la memoria – desde las imágenes hasta la retórica fascista – y el poder que los resiste. En el contexto de la invasión rusa en Ucrania, de los genocidios del pasado, y la reciente proliferación de leyes de memoria en los Estados Unidos,&nbsp;Memory War&nbsp;incita al espectador a reflexionar sobre&nbsp;cómo&nbsp;recuerda y para quién. <img width="1056" height="704" width_o="1056" height_o="704" data-src="https://freight.cargo.site/t/original/i/e46cc01de34ab5c6054c61aef8d3dd6697f6b4515546c1a508dae840916ebc32/feed_002_01_X1_0002-1.jpg" data-mid="151864945" border="0" src="https://freight.cargo.site/w/1000/i/e46cc01de34ab5c6054c61aef8d3dd6697f6b4515546c1a508dae840916ebc32/feed_002_01_X1_0002-1.jpg" />Dana Kavelina, Letter to a Turtledove, 2020 Indagando en el revisionismo histórico, la creación de mitos e ideas revolucionarias, la primera parte de Memory War, traza el límite difuso entre la expectativa y la explotación. Una protesta en la región de Donbás en Ucrania, se transforma en un levantamiento (Oleksiy Radynski,&nbsp;People Who Came to Power), mientras un amigo de la infancia de una artista alemana, se convierte en un mártir Kurdo&nbsp;(Hito Steyerl,&nbsp;November). La apropiación de imágenes y su consumo, más adelante revelan modos de transferencia, cuando un cuento de hadas de Hans Christian Anderson, se vuelve una herramienta propagandística para el Partido Comunista Chino (Liu Shiyuan,&nbsp;For the Photos I Didn’t Take, For the Stories I Didn’t Read); un documental anónimo de cinco horas de duración, es reconfigurado para crear una película surrealista anti guerra (Dana Kavelina,&nbsp;Letter to a Turtledove). Aquí, la memoria por sí misma, deviene en contrainsurgencia. <img width="710" height="473" width_o="710" height_o="473" data-src="https://freight.cargo.site/t/original/i/d81c5d3d486f518c5a7d1104816befa959d8086d240ceabc92b1929e3bebeb3f/B87DD7CA-E3D9-428C-A181-DC532A3D2F7E.JPG" data-mid="152899744" border="0" src="https://freight.cargo.site/w/710/i/d81c5d3d486f518c5a7d1104816befa959d8086d240ceabc92b1929e3bebeb3f/B87DD7CA-E3D9-428C-A181-DC532A3D2F7E.JPG" />Al incitar a los espectadores a considerar su propio rol como creadores de memoria, Memory War también investiga los métodos de recuperación y materialización de este proceso. Una artista invoca el recuerdo de un grupo de hombres, desde Edwar Said, Roberto Bolaño, hasta Khosrow Golesorkhi, que fueron parte de su vida durante su mudanza desde Teherán a Los Ángeles (Gelare Khoshgozaran,&nbsp;Men of My Dreams); mientras otro, evoca a una hermana desconocida, asesinada durante el gobierno de los Jemeres Rojos en Camboya (Vandy Rattana,&nbsp;Monologue). Una grabación con cincuenta años de antigüedad de una abuela aprendiendo la lengua originaria Pechanga, de los indios Luiseño, una comunidad desplazada en los Estados Unidos (Sky Hopinka,&nbsp;Kicking the Clouds), se traslapa con las meditaciones sobre el olvido forzado; mientras que un archivo que contiene artefactos de una vida pasada, es construido usando únicamente la memoria de la reencarnación de un soldado del Ejército Popular de Liberación en Líbano (Lawrence Abu Hamdan,&nbsp;Once Removed). Los rebeldes, novelistas, rituales y mitos, surgen en todo momento como lugares de borrado que se transforman en proyecciones de un futuro en potencia&nbsp;(Basel Abbas y Ruanne Abou-Rahme,&nbsp;And Yet my Mask is Powerful,&nbsp;Parte 1, y&nbsp;The Incidental Insurgents,&nbsp;Parte 1 a la 3). Al colapsar el pasado y el futuro, estas narrativas crean un nuevo tipo de archivo en donde las historias de pérdida, pertenencia, e insurrección, conforman una resistencia psíquica contra los poderes que buscan el borrado de la memoria. <img width="1600" height="1066" width_o="1600" height_o="1066" data-src="https://freight.cargo.site/t/original/i/25b73d36964580dfa1fa239d47dc238b429e4bc4258f898d8892d0ecc925a718/397dddad-1953-44ce-b506-600c5f4fb411.JPG" data-mid="151890798" border="0" src="https://freight.cargo.site/w/1000/i/25b73d36964580dfa1fa239d47dc238b429e4bc4258f898d8892d0ecc925a718/397dddad-1953-44ce-b506-600c5f4fb411.JPG" />Junto a este ciclo de proyecciones, Vernacular Institute presentará un cuarto de lectura multilingüe con los materiales aportados por la curadora y los artistas, que buscan ampliar los conceptos de memoria, borramiento y formas de resistencia. Este cuarto de lectura y la muestra de cine, estarán acompañados de una instalación articulada por la escritora Su Wu, quien vive en Ciudad de México, en la que destacan los taburetes de bronce "Memoria" del colectivo de diseñadores EWE Studio, fundidos a partir de una colección de objetos cotidianos, y una alfombra de pétalos caídos de jacaranda diseñada por Casa Ahorita para txt.ure, un proyecto de investigación de diseño fundado por Regina Pozo, ex-directora de Archivo Diseño y Arquitectura. https://marathonscreenings.com/Sofia-Cordova Wed, 04 May 2022 02:24:42 +0000 MarathonScreenings https://marathonscreenings.com/Sofia-Cordova Sofía Córdova dawn_chorusiii: the fruit they don’t have here coro_del_albaiii: la fruta que no tienen aquí 破曉歌聲 iii: 這裏沒有的水果&nbsp; &nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; video, color, sound, 1: 14 TRT 2021 May 15 Pan Pacific Park, Outdoor Amphitheater &nbsp; <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/7781a6234f83037c6ffffa7abaede31712750762361dd467e87286030606fd20/5unnamed.jpg" data-mid="141702824" border="0" src="https://freight.cargo.site/w/1000/i/7781a6234f83037c6ffffa7abaede31712750762361dd467e87286030606fd20/5unnamed.jpg" /> dawn_chorusiii: the fruit they don’t have here interweaves the stories of six women whose migratory paths led them to the US and eventually to California. Drawing on the birds, rivers, forests, people, and streets left behind, the film presents each of the six lives and the forces that led them to leave the treasured and familiar behind. The stories are told using various mediums, including What’s App audio recordings, phone interviews, and scripted lines over animation or large painted backdrops created by the interlocutor before them. Not all is told or told to conform with realism. As with all stories, there are holes and omissions, some with pointed intention, others without. This work concludes the 3 part dawn_chorus series. A docu-fantastical synthesis of personal narratives speaking to climate change; racialized, gender, and class-based violence(s); capitalism; technology; migration; empire and colony, and where they intersect through the lens of poetry - Julia de Burgos, The Kalevala, Clarice Lispector, Justo Betancourt, The Ghetto Brothers and other pop music - and the plurality of lived experiences on the face of our changing earth. <img width="1620" height="1080" width_o="1620" height_o="1080" data-src="https://freight.cargo.site/t/original/i/2eadf55872de817b5d411ef2f70dcef43b92c34956764ea99d74e24c3d996abb/Sofia-1.jpg" data-mid="144114685" border="0" src="https://freight.cargo.site/w/1000/i/2eadf55872de817b5d411ef2f70dcef43b92c34956764ea99d74e24c3d996abb/Sofia-1.jpg" /> Sofía Córdova is a Puerto Rican artist based in Oakland California, whose practice encompasses performance, video, music and installation. Her works consider sci-fi as alternative history, dance music's liberatory dimensions, colonial contamination, climate change and migration, and most recently, revolution - historical and imagined - within the matrix of class, gender, race, late capitalism and its technologies. Córdova is one half of the experimental music duo XUXA SANTAMARIA. She has exhibited and performed at SFMOMA; Yerba Buena Center for the Arts; Berkeley Art Museum; Arizona State University Museum; Art Hub in Shanghai; MEWO Kunsthalle in Germany; amongst others. Her work is currently on view as part of&nbsp; Sonic Terrains in Latinx Art at the Vincent Price Museum, Los Angeles, CA, and will be presented as a solo exhibition and newly commissioned performance video work at Tufts University Galleries, Boston, MA, this fall. https://www.sofiacordova.com This project was supported in part by a Foundation for Contemporary Arts Emergency Grant. https://marathonscreenings.com/18th-St Fri, 05 Aug 2022 19:02:06 +0000 MarathonScreenings https://marathonscreenings.com/18th-St Missing Parts: Alison O’Daniel, Pau S.Pescador, Kenneth Tam and Rodrigo Valenzuela 18th Street Arts Center Gala video program Alison O’Daniel&nbsp;Nyke and the New York Kite Enthusiasts, 2015 Pau S. Pescador&nbsp;The Founding of Los Angeles, 2018 Kenneth Tam &nbsp;The Crane and the Snake, 2021*This work was commissioned by The Shed’s Open Call Rodrigo Valenzuela&nbsp;Tertiary, 2018 Missing Parts presents the works of Alison O’Daniel, Pau S. Pescador, Kenneth Tam and Rodrigo Valenzuela, as they analyze established systems of representation and inclusion. Facial recognition technology, male archetypes, unknown Los Angeles history and musical gatherings reveal broader reflections on visibility and belonging, and how we collectively construct community. <img width="2234" height="1254" width_o="2234" height_o="1254" data-src="https://freight.cargo.site/t/original/i/1402fcbdc229d6c8cedaa21e4c660c45e99ea3930c5d41ccc94aed4838c3eb16/RV-Tertiary-2021-07-28-at-11.17.34-AM.png" data-mid="149729208" border="0" src="https://freight.cargo.site/w/1000/i/1402fcbdc229d6c8cedaa21e4c660c45e99ea3930c5d41ccc94aed4838c3eb16/RV-Tertiary-2021-07-28-at-11.17.34-AM.png" /> In Tertiary, Rodrigo Valenzuela presents a group of aspiring actors who call attention to the film and television industries' flawed method of diversity casting, and the discriminatory facial recognition technology that struggles to properly capture those with darker skin. <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/3117528f01fb51f76219bf51cf07f89c458ed12b51f5f2011af90fb4a33032bf/TheCraneandSnake01.jpg" data-mid="149729282" border="0" src="https://freight.cargo.site/w/1000/i/3117528f01fb51f76219bf51cf07f89c458ed12b51f5f2011af90fb4a33032bf/TheCraneandSnake01.jpg" /> The lack of inclusion in such industries naturally determines limited options for self-identification and reinforces traditional American forms of assimilation, a theme further explored in The Crane and the Snake by Kenneth Tam. Investigating the violent contradictions of Asian American fraternities, Tam uses Taoist principles of simultaneously opposing forces to explore how these antagonist cultural practices affect the body, especially those of young men as they search for self-identity and acceptance. <img width="1280" height="691" width_o="1280" height_o="691" data-src="https://freight.cargo.site/t/original/i/7cb2de21ac0fe2734c1bd369a60f2fa238702152505ee83a7b46edfd1f912efa/NYKEnyke_Nyke1.jpg" data-mid="149729348" border="0" src="https://freight.cargo.site/w/1000/i/7cb2de21ac0fe2734c1bd369a60f2fa238702152505ee83a7b46edfd1f912efa/NYKEnyke_Nyke1.jpg" /> In Nyke and the New York Kite Enthusiasts, Alison O’Daniel presents an intimate, musical gathering that further examines physical belonging through alternate modes of perception. Featuring the deaf performer Nyke Prince, the scene’s separation of visual and aural explores silence, deafness, sound, and hearing. The scene subtly reveals different realities existing side by side, as hearing people close their eyes while Nyke gazes on. As part of O’Daniel’s larger body of work, The Tuba Thieves, the work reveals the hidden politics of a culture that takes hearing for granted. <img width="1240" height="700" width_o="1240" height_o="700" data-src="https://freight.cargo.site/t/original/i/a428d2de82063bfeb5266eb021c50e14ef7968a0c56a3f22c35b5e6ba104ee35/PP-foundingla-cropped.jpeg" data-mid="149729418" border="0" src="https://freight.cargo.site/w/1000/i/a428d2de82063bfeb5266eb021c50e14ef7968a0c56a3f22c35b5e6ba104ee35/PP-foundingla-cropped.jpeg" />Unseen realities are further unearthed in The Founding of Los Angeles, a film by Pau S.Pescador. Bringing together interviews with 45 artists, writers, and historians, the film recounts lesser recognized moments, both historical and personal, that present alternative narratives presented in civic society and popular media. Juxtaposing these stories, Pescador presents a collaged vision of history that is adequately subjective, dynamic, and far more inclusive. BIOGRAPHIES Alison O’Daniel is a visual artist and filmmaker.&nbsp; She has screened and exhibited in galleries and museums internationally, including the Hammer Museum, Los Angeles; Garage Museum of Contemporary Art, Moscow; Centre Pompidou, Paris, FR; Centro Centro, Madrid, Spain; Renaissance Society, Chicago; Art in General, New York; Centre d’art Contemporain Passerelle, Brest, France; Tallinn Art Hall, Estonia; Bemis Center for Contemporary Arts, Omaha; Shulamit Nazarian, Los Angeles; Samuel Freeman Gallery, Los Angeles. She lives and works in San Francisco and Los Angeles, CA. Pau S.  Pescador  is a trans-nonbinary artist who works in film, photography, and performance. Select exhibitions and screenings include: Biquini Wax, Mexico City; Deslave, Tijuana;  LADRÓNgalería, Mexico City; UV Estudios, Buenos Aires; 5 Car Garage; 18th Street Art Center; Armory Center for the Arts, Pasadena; Angels Gate Cultural Center, San Pedro; Human Resources; Institute of Contemporary Art, Los Angeles; Los Angeles County Museum of Art; the Main Museum; The Pit; LAND at The Gamble House; Park View;  Tyler Park Presents; X-tra Online; all within Los Angeles County. Select performances include Guggenheim Gallery at Chapman University, Orange; LADRÓNgalería, Mexico City; Performa New York; University of California, Berkeley Durham Studio Theater; Los Angeles Contemporary Archives; Machine Projects; PAM Residencies; Hammer Museum (with KCHUNG TV); REDCAT; and ForYourArt at 6020 Wilshire Blvd. Their first collection of writing, CRUSHES: A NOVELLA, was published by Econo Textual Objects in Spring 2017. Rodrigo Valenzuela (b.Santiago, Chile 1982) lives and works in Los Angeles, CA, where he is the Assistant Professor and Head of the Photography Department at UCLA. Valenzuela has been awarded the 2021 Guggenheim Fellowship in Photography and Smithsonian Artist Research Fellowship;&nbsp; Joan Mitchell award for painters and sculptors; Art Matters Foundation grant; and Artist trust Innovators Award. Recent solo exhibitions include: New Museum, NY; Lisa Kandlhofer Galerie, Vienna, AU; Jordan Schnitzer Museum of Art, Eugene; Orange County Museum; Portland Art Museum; Frye Art Museum, Seattle. Recent residencies include: Core Fellowship at the Museum of Fine Arts, Houston; Skowhegan School of Painting and Sculpture; MacDowell Colony;&nbsp; Bemis Center for contemporary arts; Lightwork; and the Center for Photography at Woodstock. Kenneth Tam works in video, sculpture, installation and photography, using the male body as a starting point for discussions about performance, physical intimacy and private ritual. Tam received his BFA from the Cooper Union. He has had solo exhibitions at the Minneapolis Institute of Art; MIT List Center for Visual Arts; the Visual Arts Center at UT Austin, Commonwealth and Council, LA; Night Gallery, LA; Queens Museum, NY and at the ICA LA. Tam has participated in group shows at 47 Canal, NY; Hollybush Gardens, London; the Hammer Museum, LA; InPractice at SculptureCenter, Queens The Shed’s Open Call. He has participated in residencies including Artist Lab at 18th Street Arts Center; LMCC Workspace; The Core Residency Program at The Museum of Fine Arts, Houston; Pioneer Works; and at The Kitchen. Tam is a Lecturer at Princeton University, Visiting Lecturer at Harvard University and film/video faculty at Bard MFA. He was born in Queens, NY and currently lives there. https://marathonscreenings.com/Sarah-Rara Wed, 04 Aug 2021 18:14:10 +0000 MarathonScreenings https://marathonscreenings.com/Sarah-Rara Sarah Rara Lavender House (2021), 4k color video with sound, duration 24:08.&nbsp; Sept 24 - Oct 17, 2021 Oregon Contemporary, Portland, OR Oct 14 - Nov 21, 2021 Aldo Chaparro Studio and Espacio EDA, Mexico City *This installation will be accompanied by a dial-in audio work.* <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/18d2d92bb67aba6ef4cd45b91c38574df849bd8e9ecc2b4d6e3632d8250ddfdc/lavenderhouse10.jpg" data-mid="115407746" border="0" src="https://freight.cargo.site/w/1000/i/18d2d92bb67aba6ef4cd45b91c38574df849bd8e9ecc2b4d6e3632d8250ddfdc/lavenderhouse10.jpg" /> Lavender House explores housing justice within the cultural landscape of Los Angeles,&nbsp;through the lens of a female tenant and her evolving relationship to the empty house next&nbsp;door, a rent-controlled building left uninhabited for six years, held from the market by real&nbsp;estate investors. Lavender House delivers an embodied history of the tenant-landlord relationship, anxiety,&nbsp;motherhood, and resilience. Lavender House is part auto-fiction, memoir, and psychological&nbsp;thriller. Voiceover narrated in English by LA-based artist Nour Mobarak, and in Spanish by LA-based&nbsp;musician San Cha. Sound by Luke Fischbeck. Spanish translation by Blanca S. Villalobos. Sarah Rara is an artist based in Los Angeles and Western Massachusetts working with film,&nbsp;video, sound, and performance. She is a primary organizer of the ongoing project Lucky&nbsp;Dragons. Her work, solo and in collaboration, has been presented at such institutions as the&nbsp;Whitney Museum of American Art (as part of the 2008 Whitney Biennial), the Hammer Museum,&nbsp;the Centre Georges Pompidou, Walker Art Center in Minneapolis, London’s Institute for&nbsp;Contemporary Art, PS1 in New York, REDCAT and Human Resources in Los Angeles, MOCA&nbsp;Los Angeles, the 54th Venice Biennale, Documenta 14 in Athens, and the Smithsonian’s&nbsp;Hirshhorn Museum and Sculpture Garden, among others. Rara is a 2018 recipient of the&nbsp;LACMA Art + Technology fellowship. Rara is Assistant Professor of Moving Image at Williams&nbsp;College. Notes on Lavender House (2021): Eight years ago, I began recording accounts of every interaction I had with landlords and developers, compiling a substantial multi-volume binder of photographs, notes, documents. I&nbsp;never intended for these notes to form the basis of an artwork, I was collecting evidence to&nbsp;protect myself and fellow tenants from illegal evictions. But after years of observing and&nbsp;documenting, I began adding poems to the binder as a way of processing, as a kind of power&nbsp;reversal. The work poured out of me in the form of a video essay entitled Lavender House, orbiting the tenant-landlord relationship, a minor history of rent control, and the violence of&nbsp;real estate speculation and gentrification in Los Angeles. Lavender House embodies precarity,&nbsp;vulnerability, loss—but also the solidarity, resistance, agility, and resilience of tenants who are&nbsp;the heroes of this narrative. * TACTICS: Digging holes: taking stock of the moment of digging oneself into a hole (or&nbsp;occupying a hole that’s been inherited) without trying to get out for a moment. sensing the&nbsp;problem, the impulse, the discomfort, the situation, drawing the contours of this particular&nbsp;hole. What is the quality of experience in the present state of digging a hole, so to speak.&nbsp;Where is language and where is the mind in that state? *--- Sarah Rara July 2021 <img width="3073" height="2000" width_o="3073" height_o="2000" data-src="https://freight.cargo.site/t/original/i/2f9dc122ec71ca41e35943a991f8bfa1826993fe8557743cbe3900d7b3e78bfb/Ox-Rawa-Lavender-House-DSC_9402-web.jpg" data-mid="129452111" border="0" src="https://freight.cargo.site/w/1000/i/2f9dc122ec71ca41e35943a991f8bfa1826993fe8557743cbe3900d7b3e78bfb/Ox-Rawa-Lavender-House-DSC_9402-web.jpg" />Install image, Oregon Contemporary, Portland, OR, 2021.&nbsp; Sarah Rara, La Casa Lavanda (2021), video en color 4k con sonido, duración 24:08 Presentado por Aldo Chaparro Studio y EDA en la Ciudad de México. La instalación se complementa con una obra de audio de acceso telefónico que puede escucharse en cualquier momento de la exposición. La Casa Lavanda explora, dentro del panorama cultural de Los Ángeles, la justicia de la vivienda a través de la lente de una inquilina y su relación en evolución con la casa&nbsp;deshabitada que tiene al lado suyo: un edificio, controlado por el alquiler, que quedó&nbsp;deshabitado durante seis años y ha sido sacado del mercado por inversionistas del sector&nbsp;inmobiliario.&nbsp;Ofreciendo una historia encarnada de la relación entre inquilino y propietario, la ansiedad, la maternidad y la capacidad de recuperación, La Casa Lavanda es, al mismo&nbsp;tiempo, autoficción, memoria y thriller psicológico. La narración en inglés fue grabada por Nour Mobarak, quien vive y trabaja en Los&nbsp;Ángeles, y en español, por la artista San Cha. Ambas viven y trabajan en Los Ángeles. El&nbsp;sonido fue realizado por Luke Fischbeck. Traducción al español de Blanca S. Villalobos. Sarah Rara es una artista que vive en Los Ángeles y el oeste de Massachusetts y trabaja&nbsp;con películas, videos, sonido y performance. Es la organizadora principal del proyecto en&nbsp;curso Lucky Dragons. Su trabajo, individual y colaborativo, ha sido presentado en&nbsp;instituciones como el Whitney Museum of American Art (como parte de la Bienal Whitney&nbsp;2008), el Hammer Museum, el Centre Georges Pompidou, el Walker Art Center en&nbsp;Minneapolis, el London's Institute for Contemporary Art, PS1 en Nueva York, REDCAT y&nbsp;Recursos Humanos en Los Ángeles, MOCA Los Ángeles, la 54ª Bienal de Venecia,&nbsp;Documenta 14 en Atenas, el Museo y Jardín de Esculturas Hirshhorn del Museo&nbsp;Smithsoniano de Arte Americano, entre otros. En 2018, Rara recibió la beca LACMA Art +&nbsp;Technology. Es profesora asistente de imagen en movimiento en el Williams College. Notas sobre La Casa Lavanda (2021): Hace ocho años, comencé a registrar relatos de cada interacción que tenía con propietarios y desarrolladores, compilando una carpeta sustancial de varios volúmenes de&nbsp;fotografías, notas y documento3s. Nunca tuve la intención de que esta carpeta se&nbsp;convirtiera en la base de una obra de arte, pues sólo recopilaba pruebas para&nbsp;protegerme a mí y a mis compañeros inquilinos de los desalojos ilegales. Tras años de&nbsp;observar y documentar, comencé a agregar poemas a la carpeta como una forma de&nbsp;procesamiento; una acción para invertir el rol del poder. El trabajo salió de mí en forma&nbsp;de un video-ensayo que llamé La Casa Lavanda, el cual orbita la relación inquilinopropietario, una historia menor acerca del control de alquileres y la violencia de la&nbsp;especulación y la gentrificación inmobiliaria en Los Ángeles. La Casa Lavanda encarna la&nbsp;precariedad, la vulnerabilidad, la pérdida, pero también la solidaridad, la resistencia, la&nbsp;agilidad y la capacidad de recuperación de los inquilinos, que son los héroes de esta&nbsp;narrativa. * TÁCTICA: Cavar hoyos: hacer un balance del momento en que uno se mete en un hoyo&nbsp;(u ocupa un hoyo heredado) sin intentar salir ni un momento, sintiendo el problema, el&nbsp;impulso, el malestar, la situación; dibujando los contornos de ese agujero en particular.&nbsp;¿Cuál es la calidad de la experiencia en el estado actual de cavar un hoyo, por así&nbsp;decirlo? ¿Dónde está el lenguaje y dónde está la mente en ese estado? * --- Sarah Rara Julio 2021 <img width="865" height="1080" width_o="865" height_o="1080" data-src="https://freight.cargo.site/t/original/i/5f1e1e3f64cb7a335d8c868e43ac3c63125ad5345e938ee772d2a99e096b9af9/Sara-10-IG.jpeg" data-mid="129452392" border="0" src="https://freight.cargo.site/w/865/i/5f1e1e3f64cb7a335d8c868e43ac3c63125ad5345e938ee772d2a99e096b9af9/Sara-10-IG.jpeg" /> <img width="864" height="1080" width_o="864" height_o="1080" data-src="https://freight.cargo.site/t/original/i/84ef733fcce1937aba8ca91d08ad421935c17565a258fa7be82609b3d5004aa5/Sara-7-IG.jpeg" data-mid="129452389" border="0" src="https://freight.cargo.site/w/864/i/84ef733fcce1937aba8ca91d08ad421935c17565a258fa7be82609b3d5004aa5/Sara-7-IG.jpeg" /> <img width="864" height="1080" width_o="864" height_o="1080" data-src="https://freight.cargo.site/t/original/i/9cc93a67e59d3c2071c8bb2e34dd6e244641a8c94c2b21a920c95829a668b29d/Sara-1-IG.jpeg" data-mid="129452534" border="0" src="https://freight.cargo.site/w/864/i/9cc93a67e59d3c2071c8bb2e34dd6e244641a8c94c2b21a920c95829a668b29d/Sara-1-IG.jpeg" /> <img width="819" height="1024" width_o="819" height_o="1024" data-src="https://freight.cargo.site/t/original/i/a8348dc9da71e7399c1b7d2294628072ae85bc0bba486355500188bf747eb5db/Sara-12-IG.jpeg" data-mid="129452535" border="0" src="https://freight.cargo.site/w/819/i/a8348dc9da71e7399c1b7d2294628072ae85bc0bba486355500188bf747eb5db/Sara-12-IG.jpeg" /> Install images, courtesy Arturo Lopez, 2021 https://marathonscreenings.com/Jane-Chang-Mi Fri, 26 Feb 2021 00:41:29 +0000 MarathonScreenings https://marathonscreenings.com/Jane-Chang-Mi Jane Chang Mi ゴジラ /ɡɒdˈzɪlə/, 2020, Single-channel video, 96 min Online screening followed by a conversation with Tokyo-based artist, curator, and scholar Greg Dvorak. &nbsp;<img width="1500" height="939" width_o="1500" height_o="939" data-src="https://freight.cargo.site/t/original/i/ee24b47ab3f199c5c6633113823001d803ba995e7c4e8f6a1d730f8228aadf23/MaidenLA.jpg" data-mid="100190626" border="0" src="https://freight.cargo.site/w/1000/i/ee24b47ab3f199c5c6633113823001d803ba995e7c4e8f6a1d730f8228aadf23/MaidenLA.jpg" />On March 1, 1954, Daigo Fukuryū Maru (Lucky Dragon Five), a Japanese fishing boat, was contaminated by nuclear fallout as a result of the United States’ thermonuclear test, Castle Bravo, in Bikini Atoll. The first ゴジラ movie was released in November 1954, as a direct response to this incident, as well as, the bombings of Hiroshima and Nagasaki. The kaiju (monsters) are a metaphor for nuclear weapons, the American militarization of the Pacific, and environmental disaster. In total, 32 Japanese films were made by Toho Co., Ltd. ゴジラ/ɡɒdˈzɪlə/ (2020) is a 96-minute single-channel video that layers all 32 films simultaneously, but with all scenes involving monsters and humans removed. This erasure mirrors the United States’ policies and actions as a settler and colonial nation, leaving a wake of destruction in both the film and reality. We are the monsters and the monsters are us. <img width="1024" height="640" width_o="1024" height_o="640" data-src="https://freight.cargo.site/t/original/i/75973afc5bc27d5a7ac8fd818873854472c48fd457434227b2c635d5561736c6/Godzilla1.jpg" data-mid="100190625" border="0" src="https://freight.cargo.site/w/1000/i/75973afc5bc27d5a7ac8fd818873854472c48fd457434227b2c635d5561736c6/Godzilla1.jpg" /> As an artist and ocean engineer, Jane Chang Mi assesses the post-colonial ocean environment through interdisciplinary research. She examines the narratives associated with the underwater landscape considering the past, present, and future. Mi most often focuses on the occupation and militarization of the Pacific Ocean by the United States. This interest emerges from her background as an ocean engineer, a field that is inextricably linked to the American military complex.&nbsp; In 2016, Mi was the inaugural artist in residence at the World War II Valor in the Pacific National Monument, researching the pre-contact history of Pearl Harbor. The project concluded as a part of the first Honolulu Biennial in 2017. Her work has been exhibited both nationally and internationally, most recently at Te Uru Waitakere and ST Paul Street Gallery in Aotearoa (New Zealand) in 2019. She has been a scientist at the Arctic Circle Program (2010), a recipient of the University of California Institute for Research in the Arts grant (2014), and a fellow at the East West Center at the University of Hawaii, Manoa (2012). Mi is based in Honolulu and Los Angeles, where she is Assistant Professor of Media Studies at Scripps College. Greg Dvorak is Professor at Waseda University (Graduate School of Culture and Communication Studies / School of International Liberal Studies). Having grown up in the Marshall Islands, the United States, and Japan, Dvorak is an artist/curator/scholar who specializes mainly in themes of postcolonial memory, gender, militarism, resistance and art in the Oceania region. Founder of the grassroots art/academic network Project Sango, he serves as guest curator for Northern Oceania in the 10th Asia Pacific Triennial of Art (APT) and served as curatorial advisor to artistic director Fumio Nanjo in the inaugural Honolulu Biennial in 2017, having recently also advised other exhibitions such as the Yokohama Triennale 2020. Among many publications relating to decolonizing Oceania between Japan and the United States, he is the author of 'Coral and Concrete: Remembering Kwajalein Atoll between Japan, America, and the Marshall Islands' (University of Hawaiʻi Press, 2018).