The ferry, the bus, the subway. Walk, too. Walk around the neighborhood in the early morning hours, especially, when few people are up and about and you can occasionally take off your mask and enjoy the air, the colors of dawn, and the fragrance of the fall.
Announcing the launch of my new web-based essay, RIDE, about what it feels like being in public and being on public transit in New York. A complete environment for daydreaming, people-watching, and finding your place, your role, in the city.
Interweaving archaeological evidence with speculative fiction, Cecilia Dougherty’s web-based drama Time Before Memory (2019) interrogates the origins of our species and prompts reflection on its present state. Set during the Paleolithic Age (29,900-40,000 years ago) the multimedia play unfolds in three acts, each containing an indefinite number of scenes. The multimedia work was created with Twine — an open-source, engaging story generation platform — and combines elements of video games, literature, photography, and video. The tension between individual autonomy versus collective action, alongside interrelated issues of land, migration, and competition, is a major theme throughout Time Before Memory. Given such motifs, Dougherty’s inventive work of electronic literature resonates in our immediate moment, one marked by toxic individualism, scarcity of resources, and widespread fear stoked by nativist rhetoric.
Read the entire review HERE – it’s a really good read. Tony Huffman understands this piece.
Today, fundamental changes are taking place on our planet, and our entire lifestyle is being re-examined. We’re seeing other forms of life existing in what feels like a parallel universe – which we used not pay such close attention to – now invade our lives. Such inalienable rights as freedom of movement, meeting friends, socializing, and saying our last farewells have suddenly become impossible. The pandemic caught us unaware. Like in Noah’s Ark, we are locked up with our families and pets, or on our own as we move towards a new technogenic life. Virtual reality has suddenly crept into our lives and is asserting its rights. Social networks are becoming the only form of contact with the outside world, with friends and family. If personal QR-codes contain all the information about a person, including biological data, then where will the boundary of state interference in our private lives be? Perhaps, this crucible of changes will change society and our everyday reality drastically, help us to shed the unnecessary and superficial things in life, and to gain a better understanding of ourselves and the people around us. –theme description from the Cyfest/Cyland site
Francesca Fini (Italy), /S)CONFINAMENTO — first chapter, 2020
Announcing my new mobile and web-native story game, which I produced in Twine and which has just been launched (Dec 8, 2019) by Microscope Gallery in Brooklyn as the first project in their new web-based artspace, Platform. Thank you, Andrea and Elle!
You can play the game online here, or here. Play the story on your phone, your iPad or tablet, laptop, or computer. It’s Paleolithic!
On Saturday, June 15, 2019, Kevin Killian passed away. I shot this video of Kevin and Cedar Sigo in 2004, Kevin is reading one of Cedar’s poems, Theme, and his own poem, Who.
Kevin played the demanding and unforgiving father in my 1991 video, Coal Miner’s Granddaughter, and he played Peggy, the enterprising literary agent of Joe Orton, in the collaborative bio-pic, Joe-Joe, which I created with Leslie Singer in 1993. Kevin was not an interpretive sort of actor. He created his characters from a sense of the total intention of the communicative enterprise and his contributions were enlightened and enlightening.
In the letter I received with Mirage Period(ical) #5, Kevin said he would like to talk to me on the phone. I emailed him saying I’d love to talk and when would be good for him. I was definitely completely out of it, didn’t know that he was dying, and had no sense of his invitation for one last conversation as a wish that he knew would not be granted. Not a wish from me, but just from time itself.
Kevin Killian and Dodie Bellamy edited two more issues of Mirage Period(ical). Issue #5 December 2018, cover above, finally brings my 1997 conversation with Yvonne Rainer to light. Thank you! You can read the conversation here. Read about Mirage here.
Film-Makers’ Cooperative, NYC New Year New Work 2019 4 programs of experimental and avant-garde films Friday Jan 25 – Sunday Jan 27, 2019
This is the 6th year that the Coop is holding a weekend of screenings to showcase work that’s come in over the previous year. My video portrait of Joe Westmoreland, called Joe, was screened on Friday, Jan 25 as part of the new works event.
Many friends were there. Joe Westmoreland, of course, and Charlie Atlas, with Lori E. Seid. And Elise Gardella, Phyllis Baldino, Amanda Trager, and Jim Hubbard all arrived. Sheila McLaughlin was there as well and introduced herself to me at the end. These people are all amazing!
The other work showcased: KG by Cynthia Madansky; Valeria Street by Janie Geiser, Carmel/Washington Heights/Home by Maia Liebeskind; Yem’s Place by Aaron Kelly-Penso; The Way Home by Erica Sheu; Soul Train by Carolina Mandia; Kendo Monogatari by Fabian Suarez; An Empty Threat by Josh Lewis.
What a fantastic screening! Makes remember why experimental filmvideo work is so important. It’s radical, it shows things in a new light, it asks lots of questions and many of those are visually-oriented.
Altogether, the events featured works by Ken Jacobs, Diana Barrie, Janie Geiser, Jack Waters, Josh Lewis, Cecilia Dougherty, Cynthia Madansky, Marie Losier, and more!!!
Curated by: Emily Apter, Ladya Cheryl, and Devon Narine-Singh.
Community in den Filmen von Peggy Ahwesh, Cecilia Dougherty und Hannah Quinlan & Rosie Hastings DONNERSTAG, 23. AUGUST 2018, 19 Uhr
Here’s the description of the complete show, if you’re in Bern mañana:
In the late seventies, the filmmakers Lis Rhodes, Jo Davis, Felicity
Sparrow and Annabel Nicolson founded the feminist film and video
distribution network Circles in London. Circles was
created in response to the need to have a platform for films by women.
Previously, its founders had all been members of the London-based
Film-Maker’s Co-op, and Circles was also a response to the lack of representation of women filmmakers in that co-op. The
screening at the Kunsthalle is part of a series of events and
screenings focusing on filmmakers since the 1970s. The films screened
are by Peggy Ahwesh, Cecilia Dougherty as well as by Hannah Quinlan and
Rosie Hastings. They look in different ways at queer communities,
playing with stereotypes, exploring the autonomy of community spaces and
looking for individual forms of expressions within the communities.
With an introduction by the organizers Ann-Kathrin Eickhoff (Author
& Art Historian, Zurich) & Geraldine Tedder (Assistant Curator
Image: Hannah Quinlan & Rosie Hastings, UK Gay Bar Directory, 2016, Still from Film
Mit einer Einleitung von den Organisatorinnen Ann-Kathrin Eickhoff
(Autorin & Kunstwissenschaftlerin, Zürich) & Geraldine Tedder
(Kuratorische Assistenz Kunsthalle Bern)
I’m showing two videos, Eileen, from 2000, and Joe, from 2018 in Circles.