[dis]CORPORATE BODIES #8

WHITE SUGAR is a surreal film that narratively and graphically elaborates archival material in the public domain. I selected this material in the course of careful research. I focused in particular on the female figure that is ubiquitous within this linguistic universe, as a sort of granite spokesman of a specific cultural model she apparently adheres without shadows and without uncertainty. A universe that has a very precise historical flavor and that, for some sort of magical projection in space and time, seems to actually tell our time. I've isolated these female figurines, literally cutting them out of their context as paper dolls, and then I reassembled them into a new digital space made in 3d. In this transfer the "dolls" lose their connection not only with the narrative context but also the spatial structure in which they "lived" originally, assuming new meanings that crack their role as ambassadors of a granitic and dominant culture. The video revolves around the spooky theme of hypnosis and lucid dreaming, as a representation of western cultural model that is "white sugar", an artificial and addictive chemical pleasure, altering taste and perception. The graphics are best with anaglyph glasses.

Francesca Fini is an interdisciplinary artist mainly focused on video art projects and performance art. With a deep training as a digital artist, she worked for 15 years in the field of television authoring and production.

Francesca Fini's Website

MEETING 1 shows a basic argument between two figures. It doesn't have a real development and ends just as it started, with nothing really said or set. As setting Biocca used a completely remastered view of the frescos in the Scrovegni chapel: the boost to cartoon-like stills reveals the undeniable animation and movement potential of the immobilized prerenaissance figures.It is part of a bigger work, MEETING 4D. The installation MEETING 4D is a spacial adaptation of MEETING 1. This translation of MEETING 1 in a life-size scale installation gives the spectator the possibility to actually walk through the represented animation as if he was part of it. It is an ideal upgrade for the animation as such, which is transformed into an involved physical engagement between object and viewer. The only animated elements left are two screens positioned behind the PVC print showing the moving mouths of the figures in dialogue. MEETING 1 and MEETING 4D are part of a recent series of works in which Biocca merges different levels of dimensions, reversing and swapping the diverse media she uses to generate an unfamiliar stage: a mix of animation/movement components, bidimensional and tridimensional elements perceived inevitabely as a whole by the viewer.

Catherine Biocca's Website

Kayle Karbowski is a human being, artist, writer, curator, Scorpio and self-informed cultural critic that was born and raised in the suburbs of Chicago and now resides in Milwaukee, WI. She actively traverses the line between DIY and institutional art scenes through participating in and organizing a diverse set of exhibitions and events.

In her personal practice, Karbowski uses the language and tools of film, video and theater to highlight the value placed upon masking, refining and performing as a way of existing in mainstream American culture.  Science fiction, the queer and satire become common themes in her work, as it navigates malleable modes of representation through both sculptural and digital means.  “It is only through happening upon the parallel of your homeland, meeting your doppelgänger, or knowingly engaging with déjà vu, that we can really confront who we are and where we come from.

ZAGREENOBOOFIA looks specifically at our relationship to fear, desire, and home décor. 

Kayle Karbowski' Website

Gifts in colourful wrappings can be a temptation. The need to fill up the gap left behind by unfulfilled desires often leads us to pile up all sorts of useless �things� that end up numbing our senses. We waste the precious time we have by remaining blind to more meaningful alternatives that can provide us with true inner peace. This excess of �things� is intoxicating; it hinders our ability to feel and think, it sooths the instant and then, leaving us feeling vulnerable and in pain. The sadness of seeing a defenceless person, naked, sightless, deaf, suffering the hard blows of daily life hangs in video art. However, in the end it moderates the self-destructing anxiety of the individual as a first step towards regaining control.

Manuel Granados on Tumblr

"The last frontier in art is complete sincerity & vulnerability" Lynn Marie Kirby

The Quantum potential of self, and a tendency towards contradictions in any position creates a pattern that repurposes beliefs as endless variables which can be measured ad nauseum in any circumstance. A pattern of negation collapses into itself like an accordion of infinite layers between two mirrors.

I'm a meta-cognitive individual, with political beliefs grounded in situationist philosophy, I have cultivated a personal freedom that has been dangerous, frightening, and lonely. Confrontation is a continuum for me. It�s a confrontation of soul against the hegemony of influences to the cultural psyche. It�s a confrontation against negativity, cynicism, sarcasm, corruption, apathy, and boredom. It�s a confrontation to engage with everyone in a present manner. It�s a confrontation to love without fear, and to receive love. Above all, it�s been a confrontation against myself , and the ego.

I�ve recently dedicated myself to develop performance characters that are fashioned from archetypes I pulled from a reference catalogue that is evident in the cultural spectacle. The characters I�ve been developing are intended to function as images, stereotypes and not multidimensional people tied to reality, they are like a cardboard cut-out. They function as vehicles that I step into to navigate situations under various assumed pretenses. My interest has been to study varieties in movements of male bodies that are caught within an existential freeze frame in public spaces. It�s important to understand the tensions & nuances that unfold in a bodies movement while caught in the act of loitering aimlessly without any real function in the context of a designated public space.

Visual/Performance/ Media Artist born in 1985, in Manizales Colombia. Received BFA in Media Arts from California College of Arts in San Francisco, graduated in 2009. Now conducts his practice as performer and visual media in the Los Angeles city scape.

Oscar David Alvarez' Online Projects