December tth – TIFF CINEMATHEQUE The Free Screen at Bell Lightbox Theater, Toronto
October 3rd – VIA fest 2013, Pittsburgh Filmmakers' Melwood Screening Room, Pittsburgh PA
September 28th – Headroom at Bijou Cinema, Iowa City IA
September 17th – Experimental Tuesdays at the Union Theater, Milwaukee WI
Thursday, April 18, 6:00 p.m.
Gene Siskel Film Center, Chicago IL
twohundredfiftysixcolors (2013) by Eric Fleischauer & Jason Lazarus
digital file, 72 min + discussion
Crafted from thousands of animated GIFs (the file format used to create simple, looping animations online) twohundredfiftysixcolors is an expansive and revealing portrait of what has become a zeitgeist medium. Once used primarily as an internet page signpost, the file type has evolved into a nimble and ubiquitous tool for pop-cultural memes, self-expression, and considered artistic gestures. Chicago-based artists Eric Fleischauer and Jason Lazarus chart the GIF’s evolution, its connections to early cinema, and its contemporary cultural and aesthetic possibilities, archiving this particular moment in the history of the motion picture and internet culture and reflecting on the future of both.
muybridgelinkrot by Mark Beasley, 2012
Visit the Conversations at the Edge blog for a complete listing of the season's programming
DOCUMENT is pleased to present In Circulation by Eric Fleischauer. The exhibition features a video installation, a series of animated gif’s, and custom screensavers. Together, the three works in the exhibition explore the malleability of the moving image, shifting modes of viewership, and the ways in which digitization has changed the dissemination, legibility, and reception of media.
In Circulation is a dizzying portrait of Expanded Cinema by Gene Youngblood, a book widely acknowledged for its insights into technology's impact on cinema, attempting to broaden and liberate the medium from tradition, conventions, and standardization. Currently the book is out of print. However, the text has been made available by its author for free online. Eschewing profit for proliferation of ideas, this emblematic gesture extends the author’s philosophy beyond cinema into other realms of digital media and distribution prevalent today. Inspired and informed by Youngblood’s concepts, this installation creates an environment that holds the video-mirror up to Expanded Cinema, allowing viewers to reflect on its ideas and witness its impact. In essence, the text becomes a living example both articulating and celebrating Youngblood’s vision of how “technology is reshaping the nature of human communication.” // Internet Nostalgia consists of twelve animated .gif’s that manipulate the semiotics of digital imagery. Disrupting our expectation with immediacy, playboy centerfolds perform stripteases that provoke tension around our experiences online. // Finally, installed on the computers in Document’s adjacent print space is Screensaver Library. This work uses the screensaver's utilitarian function to increase access to, and engagement with, video/art. By embracing this underutilized mode of dissemination and exhibition, the idle computer screen is transformed into a dynamic venue, where an unattended laptop creates an impromptu installation, or an office cubicle becomes a micro-cinema.
Opening reception Sept 7th, 6 – 9 pm /// gallery open Thu, Fri, Sat 12 – 6pm or by appointment
DOCUMENT /// 845 W. Washington Blvd, #3F /// Chicago IL 60607 /// firstname.lastname@example.org
Pixar's latest box office starling, is Wall-E. A robot, environmental sage, post apocalyptic janitor, and the earth's last art curator. Wall-E embodies our universal need to rummage, collect, and string meaning between the seemingly random artifacts of our culture and our fetishes. Wall-E's junk pile schlep has inspired While We Were Working, a new curatorial endeavor that attempts to order YouTube, our culture's own looming tower of Trash.
The internet's unwanted or digital detritus is constantly being scraped off the web's cluttered floor and being broken apart and frankensteined into the new. Definitions over ownership and authorship are being elasticized and altered by this constant meddling and re-arranging, and In the process, the line between viral video, Art Art, and just plain unwanted is being happily smudged.
So how do we culture-makers address our new medium, venue, and potential audiences? How do we incorporate and process this superstructure of meaning, whether we are dilettantes, starry-eyed devotees or television-loyalists? And how can you find that good, weird shit out there when there is so much to look at?
Internalizing media's place in our everyday lives is already assured, but thankfully these videos go above and beyond to perform the inevitable. By extricating the banal and taking it to its logical end, these artists create bizarro worlds of displacement and repetition.
As those who stare at computers all day, we feel guilty about this misspent time wandering the internet. By creating a perpetual side project of cataloging, archiving and presenting the best the internet has to offer, we are slowly turning procrastination into productivity.
While We Were Working is exemplary for using our time wisely so you don't have to.
While We Were Working is curated by Robert Snowden and Eric Fleischauer
SILVER GALLEON PRESS SCREENING
Wednesday October 29th 2008 8:30 pm
at InCUBATE, 2129 Rockwell, Chicago, IL 60647
In conjuntion with Brandon Alvendia’s "The Silver Galleon Press" at InCUBATE, we will
present the work of a number of video artists engaging the notion of text and printed matter as a physical and structural material. Deconstructing this material the artists explore textual form in a variety of ways, exhibiting the malleable nature of language and meaning. Forcing a connection from Gutenberg to Lumiere, the works explore the possibilities of video to complicate the division between the solidity of books and ephemerality of the moving image.
Featuring the works of: Basma Al-Sharif, Eric Fleischauer, Drew Pavelchak, Steve Reinke, Michael Robinson and Todd Simeone.
This screening is curated by Eric Fleischauer and Brandon Alvendia.