Indeterminate Landscapes
Stills from Indeterminate Landscapes: After Now . Liz Walsh; Improbable Constellation. Eric Martin; Artificial Biophilia. Kris Timken

 Sunday, April 12, 2009

  • 01:00pm

    Indeterminate Landscapes

    Timken Hall, CCA SF Campus

    Indeterminate Landscapes consists of nine short pieces by nine artists, ranging from canonical 16mm films rarely seen in their original medium, to recent digital video work by emerging Bay Area artists. The program takes as its starting point filmmakers’ relationships to the landscape and the seascape. It engages questions related to aesthetics, ethics, and environmentalism and, through a highly abstracted and non-narrative language, encourages us to revisit our perceptions of nature and the way we see ourselves in it.

    In the program, filmmaker Vanessa O’Neill uses simultaneous, overlapping projections to create a seascape of shimmering beauty. Stan Brakhage shares “a gift from the edge of doom,” shooting footage of a running stream on the eve of his admission to the hospital. David Gatten physically transposes nature to moving image by immersing unexposed film stock in the Atlantic and developing it. Peter Hutton revises the vocabulary of natural sublimity through a series of abstract and lonely fixed shots made in northern Iceland. Lynn Marie Kirby exposes film stock to ambient light in a California botanical garden and breaks up its hypnotic flicker as she transfers it to video.

    Using video, Susan Chen revisits the mythical notion of Arctic Eden, a tropical paradise in the middle of a world of frozen oceans and glaciers. Eric Martin etches lines between flocking seabirds to question how we construe relationships in the natural world. Liz Walsh searches for enchantment in the natural and artificial landscapes of Northern California, and Kristin Timken reflects on the manipulation of our natural love for nature. -- Eric Martin

    Suspension (2008)
    Vanessa O’Neill, San Francisco, CA
    10 minutes / Black and White and Color / Silent / Double 16 mm Projection
  • Commingled Containers (1997)
    Stan Brakhage, USA
    5 minutes / Color / Silent / 16mm
  • What the Water Said Nos. 1-3 (1998)
    David Gatten, Brooklyn, NY
    17 minutes / Color / Sound / 16mm
  • Skagafjördur (2004)
    Peter Hutton, USA
    33 minutes / Black and White and Color / Silent / 16mm
  • Huntington Gardens, Giant Stipa Exposure: California Native (2004)
    Lynn Marie Kirby, San Francisco, CA
    4 minutes / Color / Silent / High-definition video
  • Arctic Eden 2 (2007)
    Susan Chen, San Francisco, CA
    3 minutes / Color / Silent / Standard-definition video
  • Improbable Constellation (2008)
    Eric Martin, Oakland, CA
    1 minute / Color / Sound / Standard-definition video
  • After Now (2009)
    Liz Walsh, San Francisco, CA
    4 minutes / Color / Sound / Standard-definition video
  • Artificial Biophilia (2009)
    Kristin Timken, Oakland, CA
    2 minutes / Black and White / Silent / 16 mm. film transferred to DVD

 Monday, April 13, 2009

  • 03:00pm

    The Cape Farewell Project

    Timken Hall, CCA SF Campus

    Between 2003 and 2005 filmmaker David Hinton traveled 2,500 nautical miles on three expeditions aboard the schooner Nooderlicht filming artists, scientists and educators exploring the pristine environment of the High Arctic as part of the Cape Farewell project. Witness the artists’ response to the harsh environment and their take on the very visible impacts of climate change on the extraordinary yet vulnerable Arctic landscape. -- capefarewell.com

    Art from a Changing Arctic (2005)
    David Hinton, UK (Director) and David Buckland, UK (Producer)
    60 minute standard-definition video

 Friday, April 17, 2009

  • 08:00am -08:00pm

    Indeterminate Landscapes (continued)

    Media Arts Production Space, CCA SF Campus

    Trees, Wind, Light, and Shadow Megan McLarneyStill from Trees, Wind, Light, and Shadow. Megan McLarney

    In her continuously looping media installation Trees, Wind, Light, and Shadow, Megan McLarney explores the incidental treatment of nature in feature film, re-rendering the landscape setup shot and other quiet, interstitial moments of commercial cinema in an exquisite series of wide shots and long pans.

    Trees, Wind, Light, and Shadow (2007)
    Megan McLarney, Brooklyn, NY
    53 minute, single channel, high-definition video installation (continuous loop)

For more information, email us at: info@risingtideconference.org

CCA, SiCA, Stanford