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Morgan Beringer

The Yud, 9:38, UK

A short document of abstract painter Xiana Wolfram's installation / perform-

ance in Highgate Wood last Autumn. The Yud is an ongoing work project revolv-
ing around the installation of a massive canvas in various contexts. This video
documents the Yud at a particularly playful halfway point in its overall develop-

Morgan Beringer is an American video artist based in East London. Having spent and continuing to
spend much of his life in transit between different countries, the thrust of his creative concern stems
from the dilemma of living in-between cultures. An academic background in both philosophy and art
pushes these concerns further into the realms of linguistics, performance, and film/video art.

Marianna and Daniel O'Reilly
Delivery, 14:00, UK, 2008

J-P Sartre once stated that the only free man is the man in chains. Stemming
from an attempt to develop this idea, the film Delivery wrests its suspense
structure from two cases of men seeking meaningful performances within con-
fined parameters; the now infamous chess game between Garry Kasparov and
IBM computer Deep Blue, and the case of Anthony Blunt; art historian and KGB
double-agent. Central to this attempt is the production of a synthetic universe
in which contrived scenarios, filmic devices, edits and sound loops constantly
refer back to the process of ‘reality production’ and the parameters by which in-
dividuals engage in producing images. Delivery consists in a deconstructed
journey of the image of free choice and the absurd quest for a meaningful exis-
tential performance both in front of the camera and behind it.

Marianna was born in Russia and Daniel in the UK. Having met undertaking their Master Degrees in
Fine Art in London (Royal Academy of Arts and Chelsea College of Art respectively) they have devel-
oped multi-media installations, published artist’s books, participated and curated art exhibitions,
screenings, debates and performances. Since 2008 they have worked exclusively in video using their
relationship as the basis for a series of protracted studies on subjectivity. These symposia focus pri-
marily on the relationship between human freedom and individuality, the operations of self-decep-
tion, frustration and alienation, and a critical re-examination of identity. By employing a variety of
incognitos and pseudonyms to articulate conflicting points of view, they have attempted to produce a
synthetic reality occupied exclusively by these characters, placing them in extreme situations in
which the dynamics of force and freedom enter into a critical relation

Wiracha Daochai
Meditation, 6:00, Thailand/UK

Meditation is mind contemplation. A holy Buddhist monk is approaching death

with a contemplated mind and eventually comes to the conclusion of his spiri-
tual journey, even when he encounters the sacred sin of commitment suicide.

Wiracha Daochai: “I spent my childhood as a Buddhist monk for 8 years. During which time, I had
to meditate for 8 hours per day. I had to imagine one circle in my body and looked fixedly at it. My
master told me, Buddha said that meditation is process of mind into wisdom. In this state of my life, I
seriously question this process and really want to show this piece to both Buddha and my master.”
Dustin Grella
Prayers for Peace, 7:38, 2009, USA

Prayers for Peace is a narrative stop-motion animation confronting the memory

of the artist's younger brother killed in the current conflict in Iraq. Drawn en-
tirely with pastels on a slate chalkboard, the materials used to create the anima-
tion become a metaphor for the impermanence of life.

Dustin Grella was born in North Carolina, grew up in Ohio and lives in New York City. In May 2009
he graduated from the School of Visual Arts with an MFA in Computer Art, having received scholar-
ships from the department and the Alumni Association as well as the Paula Rhodes Award for Excel-
lence in Computer Art. His animated short, Glimpse, won awards in international underground
festivals including Best Animation, Audience Choice and Best Experimental film. Dustin’s first solo
show, in 2007 at Summit ArtSpace in Akron, OH, was the first solo show in ArtSpace’s history. His
work is the subject of a documentary film scheduled for release in July 2009. Grella develops artifacts
and events that explore the human experience through the passage of time. His work focuses on the
design and creation of systems that gather the thoughts or feelings of individuals at particular mo-
ments. Through animation, installation, and even the postal services, Grella combines equal meas-
ures of sincerity and absurdity, structure and improvisation. By highlighting seemingly mundane
tasks, he focuses on the importance of the moment. Notes To Self [2002-], is a ongoing series of over
twenty-five hundred letters that he writes and mails to himself daily. These letters occasionally sur-
face as objects in his work.

Michael Marczewski
14.7 Metre Psycho, 4:40, UK

14.7 Metre Psycho is a redelivery of Hitchcock’s 1960 thriller; stills from the film
have been reconstructed into a long three-dimensional set,which has then been
filmed with an unedited tracking shot.

Monica Elkelv
KAOS, 3:48, UK

Kaos is a film based on the earliest condition of the Universe, before matter
and the lower atmosphere that surrounds the earth: the great void of emptiness
within the Universe. The film symbolizes the cosmic cycles of creation and de-
struction, and shows the relationship between the body and the natural envi-
ronment representing the extremes of emotion by the loss of the body. Kaos is
a paradox, between body and nature, and universe and matter: the space or
gap between heaven and earth.

Monica Elkelv combines dance and film as an art form, pushing the art of modern dance into the
forefront of the experimental film world. Movement and its manipulation enable her to create a
space, which has no reference to time, transforming the body in a depersonalized figure. Through her
films, she approaches the relation between the human and the natural world upon a metaphysical
level, exploring the connection between mind and matter and the transcendental state of conscious-
ness. In her dance films, we see the limits of the dancer’s body in contrast to the unlimited experi-
mentations the filmmaker can have by using the body as a material, as an object. As an object, the
body can be accelerated, without limits. The result is the creation of another imaginary space through
a multidimensional perspective, resulting into an impossible dance.
Alexandros Pissourios
Non-Fiction, 10:04, Cyprus, 2009

Does one ever stop remembering?

In Non-Fiction, the aim was to go back to a personal archive and excavate im-
ages from events in order to come to terms with, or even relinquish them. In a
sense, by remembering, what is remembered is then subjected to decay :
"Things in the past are in some ways nurtured if kept forgotten. Forgetting, like
burial is a preservative. A kind of storage". Perhaps what is at play is the contin-
gency of memory as it is enacted in a dialectical opposition between sound and
image. Truth and truthfulness become distinct from one and other, correspon-
ding to ideas around immediacy (the belief in what one is being presented with
as true) and mediation (the acknowledgement of art as art).

Alexandros Pissourios (born Cyprus 1982) graduated from the Royal College of Art in 2009, follow-
ing a BA in Performance (Music) and Visual Art from the University of Brighton, 2007. Recent screen-
ings and performances include Acoustic Images, BFI, London, 2009, Equator Project, St Lukes,
London, 2008, Ars longis vita brevis, University of Brighton, 2006 and Urban Soul Festival, Nicosia,
Cyprus, 2006. Alongside his practice he works as a sound and visual designer producing music
videos (Floating Points, Mr Fogg) and alternative performances (A Man to Pet).

Sarah Carrea
Petrella Tifernina, 17:00, UK

Sarah Carrea: “Petrella Tifernina is a short documentary exploring my romanticised view of Italy
and contrasts this with my grandmother’s stories of the country and her reasons for moving to Eng-
land. I travelled to Petrella, the village where my grandmother was born, to discover more about my
Italian heritage and to understand why she left. The film explores the struggle of Italy’s poor agricul-
tural workers, as there were many Italians that came to Britain in search of work in the late 1950s;
many later returned to Italy, but for her own reasons my grandmother did not.
The film begins with a letter which my grandmother wrote for me after she found out I was making
this film. As she could not travel with me, my gran sends a message to her brother in Italy, who she
has not seen for twenty years. The film combines moving image with still photography, black and
white with colour, and old with new, to compare my perceptions with my grandmother's memories.”
Vivienne Todor
Contact, 1:13, UK

This short animation aims to explore the idea of micro and macrocosms; how
details can be mistaken for being much larger structures than they are and vice

Vivienne Todor has been brought up in London. Her interest in creativity came from a consistent in-
fluence from both her parents who encouraged a love for fine art and music. It lead her to study Pho-
tography, Music Technology and later, Animation at the London College of Communication.
She continually strives to produce work that engages and entraps the audience with rich textures, in-
triguing lighting and concealed subject matter. There is an ongoing fascination with ideas of percep-
tion, both visual and cognitive but there is a particular interest in the relationship between sound and
Sebastian Lindberg
A Comedian, 7:40, Finland

A man practises for a stand-up comedy competition that will be boadcast on TV.
But he forgets his jokes and what was meant as comedy turns into something

Sound, camera, editing, actor: Sebastian Lindberg

Music: Dmitri Shostakovich, violin concerto no. 1

Sebastian Lindberg is an artist from Helsinki. He has graduated from the Finnish academy of fine
Arts in 2008, and has worked mainly with video and installations, in forms that are more or less nar-

Paul Kindersley
Star, installation

Star consists of hand made screenprinted cushions of a random womans face,

the way it is done and the Warhol references make her look like a famous per-
son allowing each viewer to have their own interpretation...is it Yoko Ono, is it
Sharon Tate Etc....It shows the stalker, obsessive nature of fandom, and the sat-
uration of popular culture in our lives. What we see on the cinema screen, be-
comes part of us, and we can no longer separate between reality and fantasy.
The 'star' becomes an empty vessel for us to project our fantasies onto.

Paul Kindersley is an artist and curator based in London. After having lived and worked in Berlin,
Cambridge and London, Paul graduated from Chelsea College of Art & Design with a First Class Hons
BA in the summer of 2009 and was awarded the Transition Gallery Prize which resulted in a solo
show, 'She wanted his soul, but he could only give her his blood', last October. He has exhibited
widely in London and Europe.

Tom Estes
STORM, installation

Estes' latest video work, STORM is a true companion piece to his existing prac-
tice of borrowed elements in the creation of a new work. STORM deals with the
Biblical tale of Noah and the Ark- in the style of the Keystone Cops on acid. The
work, is a re-recording of a film that is being projected onto a Bible. The Bible is
open on the page of the account in Genesis 6-9 which details how God sends a
great flood to destroy the earth because of man's wickedness and because the
earth is corrupt. Estes’ choice of projecting fast-motion slapstick comedy di-
rectly onto the Biblical text is a deliberate mitigation of surrealist shock. The
speeded action alters the tone of what seems a traditional childrens story- but
with the mad attention urges of a Play Station gamer.

Tom Estes: “As a creator of multi-media performance & installation, my work has been hung,
played, performed and installed in a few of the world’s right places and a couple of deliciously wrong
ones. I am interested in the role of Anthropology in the study of human behaviour. My area of re-
search is based on issues surrounding longing and desire, and so often intermingles elements of per-
sonal stories with wider historical and social narratives. Most scholars consider modern
Anthropology as the study of the 'other' and as an outgrowth of the Age of Enlightenment and the
first European colonization wave. I attempt to reverse this relationship, turning the anthropological
eye and placing particular emphasis on the perspective and impact of long-term, experiential immer-
sion, often known as 'participant-observation'. The central premise of my research is that fantasy and
illusion are not contradictions of reality, but instead an integral part of our everyday lives.”
Amy Brooks
With CD Ride you are the star, hijacked!, 2009, UK, installation

A theme park ride is displaced by two masked, stocking-balaclava-bandits! The

Ride is literally and abstractly hijacked; stolen and reclaimed illustratively as
well as conceptually. A jarring occurrence is captured, caused by disrupting the
absurd excepted norm of theme park rides with a subversive act of intercep-
tion. The footage parodies the hyper real of the everyday and in doing so be-
gins to unravel the bigger facade; Hanging on the idea that theme parks are
more real than 'reality' itself, as they do not claim to be any more than a lie.

A further hijacking, occurs within the technical production of this art work.
Whereby the novelty/ souvenir footage, which automatically records the ride
day-in-day-out, has captured this performative stir. The 'ready-made' evidence
has been appropriated, hacked, re-hashed, and put into slow-mo. These con-
sciously DIY inflictions footprint extra perversions onto the kitsch novelty home
movie. This not only further enforces the feeling of uncanny and unlocks
themes of hyper-reality, but also blurs the line of artistic authorship and craft.
Thus becoming part of the 'internet-video' soup, situating the film inside and
outside of the world it seeks to 'un-mask!'

Amy Brooks: “Using varied methods of realisation and superficial ‘surfaces’ my practice hints at a
life of lies, banality, poetry and hyper-reality. Rules, boundaries and philosophy thrown up by existing
conventions govern my practice. I recontextualise and reorder kitsch social artifacts in order to reveal
poetic truisms about our times."
Jungs & Technik

Kirk Simpson (Lemon Curd Lighting)
The Only Constant
We are The Only Constant, a collective of emerging video and filmmakers based in Lon-
don. Our ethos is to challenge visual taboos and create forward thinking moving images.
Our aim? To rant, rave and INSPIRE.

The Only Constant have joined forces with Corsica Studios for the monthly screening
event ‘VIDEO IS THE ONLY CONSTANT’. A new night of screenings followed by open dis-
cussions surrounding the realm of moving imagery!

Corsica Studios 4/5 Elephant Road London SE17 1LB

+44 (0) 20 7703 4760

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