Don’t worry if you missed Mindscapes the other weekend at Theater7. You can catch it in February when the show arrives in San Francisco. Or, thanks to the marvels of modern technology, you can watch a few of these cutting edge videos in the comfort of your own home right now. According to local event organizers and filmmakers Ginnetta Correli and Cassandra Sechler, this collection represents “a critical movement happening under the belly of mainstream culture.” They could be right. Video art installations are on the rise, a delightful offspring of the budding orgiastic romance between dozens of artistic disciplines.
Anthony Rousseau’s Climax: This reconstructed film turns images of domesticity into a collage from hell. Fantastic visual effects melt the physical universe while ethereal voices and analog synthesizers drive the curious navigator ever onward through a waking nightmare. Everything takes place in a world made weird, a completely average suburban home and lawn transformed into a toxic brain melt.
Cassandra Sechler’s Lovey (Trailer): Cassandra fearlessly exposes the secrets of her own body, reintegrating the physical and the emotional with dark images and the power of flesh. Lovey is drenched with the unrelenting and uncensored throb of sex, but it doesn’t try to sell it to you in the conventional sense. Don’t miss an opportunity to see the full version. This is a film you won’t forget any time soon.
Verónica Mota and Jon Evans’ The second Death of Reason.: “Electronic ears and eyes of the State have replaced the informer” the narrator announces, “You are now the informant.” A whirling collage of found footage chiseled with the hum of ambient industrial noise follows, culminating in high contrast black and white footage of eye surgery: the cornea is peeled back and various metal implements are successively poked into the iris and scraped across the unveiled orb. Not for the squeamish.
Ginnetta Correli’s Hippodrome Mime: An amply endowed woman teases the viewer with her pendulous breasts. Packs of wild horses are corralled by cowboys and unsuccessfully mounted by them in the rodeo arena. The woman continues to tease the viewer by removing her panties and displaying her posterior. “Why are you wasting your time trying to mount horses?” she seems to ask. The ending provides a somewhat chilling answer.
H.D. Lange’s Agnus Dei: Recurring scenes of teen drug abuse, grocery shopping, meat butchers, janitors, chemists and television salesmen become haunting components inside a cavernous mind-collage. The human eye is again a prominent emblem, the overseer of a complex interaction between ideas, emotions and images.
Craig Murray’s Johanna and Anna: Murray and his camera probe the domestic space occupied by two romantically involved women. Naked throughout the film, they spend their time performing domestic tasks and seeing how close they can get without actually touching. Too intimate and too personal to be considered pornographic, it’s a thoughtful portrayal of body relationships and the sharing of space.
Fabio Scacchioli’s The Big Picture: This film proves to us that the mind can take on an unlimited number of simultaneous impressions at once. It shows you in quick and easy steps how to follow several completely different, even contradictory, narratives at the same time. It’s easy, it’s fun and it fucks with your head in all the right ways. Salvador Dali would be piqued.
Jason Marsh’s Clot_7: a one minute piece which delves into a dirty garbage disposal and emerges in a swamp. A very skinny woman preens her ribcage like it were an insect exoskeleton. The scene fills with the sound of rattles as the girl-insect struts through the swamp. Cleverly, and in a very short time, this filmmaker shows us the beautiful in the grotesque and the grotesque in the beautiful.
ArtsVegas: Covering Las Vegas Art and culture since 2009.