|October 18 to November 1, 2014
five states of freedom
Christina Battle & Adán De La Garza
multiple video installation, 2014
five states of freedom operates both as documentation of performative actions and as a critique of larger political issues. By drawing attention to our distancing of military actions from our own geographical landscape, the work increases conversations about the physical byproducts our military engagements have on domestic spaces. With a high percentage of land contaminated by military development, five states of freedom draws attention to the mainly invisible residues that still preside over the land. Fireworks have a direct tie to the history of artillery and in turn to notions of perceived American freedom. As we continually distance ourselves from directly engaging in battles at home, the celebratory acceptance of fireworks seems almost a disengagement with the physicality of war.
Shot at various active and abandoned military installations in the United States, the work consists of a series of videos actively seeking out landscapes with histories of missile-based military presence. Focusing on visualizations of the residue of the military industrial complex upon the environment, five states of freedom is an ongoing project.
Originally from Edmonton, Alberta (Canada), Christina Battle is currently based in Denver, Colorado. Her works are often inspired by the role of nonofficial archives and our notions of evidence and explore themes of history and counter-memory, political mythology and environmental catastrophe. She has exhibited internationally in festivals and galleries including: The Images Festival (Toronto), The London Film Festival (London, England); The Toronto International Film Festival (wavelengths); the Festival du Nouveau Cinema (Montreal); The International Film Festival Rotterdam (The Netherlands); the Jihlava Documentary Festival (Czech Republic); the 2006 Whitney Biennial: “Day for Night” (New York); YYZ Artists’ Outlet (Toronto); White Box (New York); Deluge Contemporary Art (Victoria, BC),The Foreman Art Gallery (Sherbrooke, QC); MCA Denver; the Aspen Art Museum; Gallery 44 (Toronto); and the Ryerson Image Centre (Toronto). Christina is a contributing editor to INCITE Journal of Experimental Media and a co-curator and organizer of the media arts exhibition series Nothing To See Here in Denver.
Originally from Tucson, Arizona, Adán De La Garza holds a BFA in Photography from the University of Arizona and an MFA in Interdisciplinary Media Art Practices from the University of Colorado at Boulder. Criticism of authoritative figuresbe it human, institutional, ideological or weapons basedan investment in deconstructing hierarchy, challenging societal expectations, and subversion are the foundation for the terrain De La Garza navigates. His work has been shown both nationally and internationallyincluding exhibitions at the Boulder Museum of Contemporary Art (Boulder, CO), The New School (New York, NY), Deluge (Victoria, Canada), and The Future Gallery (Berlin, Germany). De La Garza is also a founding member of the sound and performance art collective The Flinching Eye, which has toured both the southwest and northeast regions of the United States performing in notable contemporary art venues including: Tucson Museum of Contemporary Art (Tucson, AZ); Vox Populi (Philadelphia, PA); and Silent Barn (NY).
|also at Deluge:
Dana Berman Duff
7:03 | USA | 2014
Catalogue is a silent black-and-white film that considers the time it takes to look at desirable objects, in this case, those presented in a successful furniture company’s catalogue of copied designer pieces photographed in staged rooms. The catalogue’s desaturatedphotographs are shot and printed to look like film noir movie sets. The products are popular designer furniture knock-offs sold at a much-reduced price in several catalogues by different manufacturers, but in these images they are indistinguishable from the originals.
The layering of representation is revealed as the surface quality of the pages becomes noticeable and tiny item identifiers appear (for example: a. sage, b. ochre, c. fig). Hence the film represents already-photographed objects, which are themselves representations of high-quality objects of original design. The film gazes at page after page of objects, each one exquisite and exquisitely photographed, aware of the time it takes for the rise of desire and its dissolution.
Dana Berman Duff lives and works primarily in Los Angeles and Mexico. Her object works are included in the collections of the Museum of Modern Art (NYC), the New Museum of Contemporary Art (NYC), the Phillips Collection (DC), Brooklyn Museum (NYC), The Carnegie Museum (Pittsburg), and a number of private collections. Her works in small-format film and video have been screened at the Toronto International Film Festival, the International Film Festival Rotterdam, the Edinburgh International Film Festival, the Biennale de l’Image en Mouvement (Geneva), EXiS Experimental Film Festival (Seoul), South London Gallery, Northwest Film Forum, (Seattle), and other programs. Duff is a professor at Otis College of Art and Design in Los Angeles.
2:30 | USA | 2012
This sculpture uses the digital picture frame as subject matter and as an animated video format. Photos of the frame itself are displayed on the frame and repeat until a tunnel is formed. Then the temporary wormhole recedes back to blackness.
Ryan Schmal Murray creates conceptually-driven artwork that combines media such as video, painting and sculpture. His work uses the aesthetics of psychedelia, fantasy and pop-culture to address the connections and disconnections between rationality and mysticism in the search for meaning. Murray was born in Pittsburgh, PA. He received his BFA from Carnegie Mellon University and his MFA from the University of Illinois at Chicago. He has exhibited in galleries, museums, and film festivals across North America and in Europe. Murray currently lives in Baltimore, MD and serves as an Assistant Professor of Electronic Media and Film at Towson University.
|in the Deluge transom window, dusk to 10pm:
humming, fast and slow
9:00 | Austria/Germany | 2013
humming, fast and slow is an interference between the analogue and the digital. It operates on the line that was defined as the absolute threshold of visual perception. 60 hertz, 24bit colours and a few million pixels should suffice to create the illusion of a continuous event. Kohlberger employs a buzzing, both visual and acoustic, that fills the whole range of this definition in order to make the threshold itself disappear. Analogue disparity and digital continuum merge. Eno Henze
Rainer Kohlberger was born in Austria and works in Berlin. His work is primarily based on algorithmically generated graphics seen during live performances, as parts of installations and as mobile apps. His work field won the ZKM App Art Award for artistic innovation and humming, fast and slow received the Crossing Europe Local Artist Award in 2013.
|October 17 to November 1, 2014
Antimatter [media art]
Screenings | Installations | Performances
Dedicated to the exhibition and nurturing of diverse forms of media art, Antimatter is one of the premier showcases of experimentation in film, video, audio and emerging timebased forms. Encompassing screenings, installations, performances and media hybrids, Antimatter provides a noncompetitive setting in Victoria, British Columbia, free from commercial and industry agendas.
|© Deluge Contemporary Art, 2014
Deluge Art Gallery, Victoria, BC, Canada
Canadian Art, Art Gallery Greater Victoria