Neustadt a.d. Aisch

Marla Elisabeth Heid

The historical reappraisal of the German past is a continuous process. The concept of Vergangenheitsbewältigung is an integral part of the society, especially considering the political climate drifting slowly but steadily toward right-wing belief. However, there is a noticeable difference in approaching the past on the collective level or the individual level. While the collective is constituted and established in the public sphere, the individual is operating within the private realm. The work depicts the process of uncovering unexpected facts within the family. The three-channel audio-visual installation conceptualizes the revelation of an uncomfortable truth inside a family in two separate conversations, held between the wife and granddaughter, and the daughter and granddaughter of the deceased family member. Both conversations are captured in alternating audio tracks over the same visual.

Click this link to access Marla Elisabeth Heid’s full artist statement.

MARLA ELISABETH HEID is a PhD candidate at the University of Fine Arts in Vienna, working in curation and production. She is also enrolled in the post-master’s course Of Public Interest at the Royal Institute of Arts, Stockholm, where she critically engages with artistic value in public spaces. She received an MA in Art and Politics from Goldsmiths, University of London, after studying art theory in Berlin and Beijing. She is cofounder of the exhibition project Kunstbüro Hohmann und Heid in Berlin.


Grandmother’s Garden, Artist Statement

Amy Reid

Stitched together, Grandmother’s Garden is an experimental documentary that examines women who quilt as well as quilting’s history in the United States. Questioning representations of the American woman, Grandmother’s Garden looks at how quilting practices work against and fit into traditional narratives of race, gender, and class. From quilts produced by enslaved individuals to feed sack quilts in the Great Depression, to newly retired baby boomers quilting in the present, this film considers America’s history and economy as it runs adjacent to quilting.

Click this link to access Amy Reid’s full artist statement.

AMY REID is a filmmaker whose work examines the intersections between gender, national identities, and labor. By exploring observational approaches and expanding on formal cinematic notions of time, structure, and narrative, Reid’s work questions how labor is constructed in the filmic form. They have participated in selected screenings nationally and internationally including in New York, Shanghai, and California. Reid received a Bachelor of Fine Arts from the Cooper Union before graduating with an MFA in Visual Arts from UC San Diego. Residencies include the Whitney Independent Study Program, Snug Harbor Artist Residency, and Seniors Partnering with the Arts Citywide. Reid is currently pursuing a doctoral degree in film and digital media at the University of California, Santa Cruz where they have been awarded a multi-year fellowship through the Feminist Media Histories Initiative.


A Catalog of American Things

Marisa J. Futernick

A Catalog of American Things, 2021 Single-channel video with sound

Presented as a video slideshow, the ongoing work A Catalog of American Things borrows the notion of the encyclopedia—an “exhaustive” record of the world. Alternately sardonic and deadpan, the work consists of original photographs overlaid with text and is itself an active archive with the potential to be continuously added to and updated. The attempt to catalog “American things” (from government policies to consumer goods) highlights the impossibility of including everything. What is intentionally omitted or missing due to the subjectivity of organizing material? What are the limitations of a catalog and its presumption to be an “official” document?

Click this link to access Marisa J. Futernick’s full artist statement.

MARISA J. FUTERNICK is an artist and writer who tells stories about the promise of the American Dream and expressions of “Americanness,” intertwining the personal with the historical and fact with fiction. Through the combination of text and images, she explores the less visible social and political histories of the United States and its complex mythologies, from the Hollywood Sign to home ownership in Detroit, the corn industry to the 10 missing floors in Trump Tower. Taking an interdisciplinary approach, she uses a variety of media including photography, film/video, installation, writing and artist’s books, radio, and painting. She weaves rigorous archival research together with fictional narratives filled with deadpan humor and the poetry of the everyday, in an ongoing effort to understand and humanize history. Her work has been presented at venues including the Whitechapel Gallery, London; Royal Academy of Arts, London; ICA, London; The British Library, London; Arnolfini, Bristol, UK; Oxy Arts, Occidental College, Los Angeles; Monte Vista Projects, Los Angeles; Orange Coast College, Costa Mesa, CA; Harvard University; and Yale University. She is a recipient of the prestigious Deutsche Bank Award and holds a BA from Yale and an MFA from the Royal Academy Schools. Books by the artist include 13 Presidents (Slimvolume, 2016), How I Taught Umberto Eco to Love the Bomb (RA Editions and California Fever Press, 2015) and The Watergate Complex (Rice + Toye, 2015). Her work has been featured in the Los Angeles Times, LA Weekly, Die Tageszeitung (taz), and Art Papers. She lives and works in Los Angeles.


Floodplain (126)

Montana Torrey

In Floodplain (126), I investigated the paleo-flooding of Wiang Kum Kam in the Chao Phraya River Basin in Northern Thailand. I am interested in the diverse human activities that have existed on floodplains since antiquity. Made of bricks with the very silt and sediment, mud and earth of the floodplain below, this archeological site offers a deeper sense of time, of the dynamic cycles of river systems, and of the movement of civilizations. The brick itself is as much a temporal object as it is a spatial one, suspending the alluvial material that took thousands of years to break down, only to become subsumed once again by the river. I exhume these histories as a way of reconstructing the fleeting passages of natural phenomena and the built environment, with the dynamic anthropogenic changes of the Mekong River Delta today.

Click this link to access Torrey’s full artist statement.

Montana Torrey received a BFA from the School of the Art Institute of Chicago and an MFA from the University of North Carolina at Chapel Hill. She has been an artist-in-residence at Skowhegan School of Painting and Sculpture, Headlands Center for the Arts, Vermont Studio Center, Catwalk Institute, and the Frank Lloyd Wright School of Architecture, among others. She has exhibited in the US and abroad, including Mississippi: An Anthropocene River, Anthropocene Curriculum; the Center for Art and Culture in France; D.U.M.B.O. Art Under the Bridge Festival; Paul Robeson Galleries; Doris Ulmann Gallery; SG Gallery in Venice, Italy; and Trükimuuseum in Tartu Estonia. Torrey is currently a lecturer at Chiang Mai University in Chiang Mai, Thailand; she has also taught at Lane College, Moore College of Art and Design, and UNC Chapel Hill. She has been the recipient of many grants and awards, including a Joan Mitchell Foundation Residency Grant, Tennessee Arts Commission Individual Artist Grant, the North Carolina Arts Council Individual Artist Grant and Residency Grant, Skowhegan Fellowship Grant, and a teaching fellowship from the Samuel Kress Foundation..


Languages of Violence

Ansel Arnold

Languages of Violence is a gaming/sound performance mediated by the streaming service Twitch. The visual elements represent the active key registrations and inputs being made during a video game, while the sound is of the game as it’s played and mixed through analog pedals and feedback loops. The context of the game and the event that it produces are obscured by this interpretation. What’s left is an impressionistic gesture that mediates a fact of violence. At the outset of this work, I was exploring what I saw left open by realistic digital violence, in that it can be directed beyond its actual origins. Gunfire is made indistinguishable from a real life event, but its context as a video game rescues it or makes it acceptable.

Click this link to access Arnold’s full artist statement.

Ansel Arnold is an artist and writer who is broadly interested in the way that media representations structure knowledge and guide our everyday experience. By re-presenting these media, his work is critical of the knowledge that those representations produce. Through this critique, he rejects monolithic preconceptions of the world by reconstructing narrative space.


Untitled (Speech Poem #2)

Marrok Sedgwick

Closed captions often do not fully convey the meaning, emotion, or even the full dialogue of spoken English to a d/Deaf audience. They are often incomplete, whether due to audist assumptions about the ability of d/Deaf to understand content (such as with captions that present allegedly less lofty language than that spoken by the actors on-screen), or the technological failure whereby caption decoders in televisions and in the devices cinemas use drop a line of dialogue. Other times, the failure of closed captions relates to the more subtle inability of formal written captioning protocols to capture tone of voice, or to really represent what emotional information is portrayed by a soundtrack. What does it mean to have “upbeat music” or to name the instrument itself? My work subverts this obfuscation of meaning, turning the tables to privilege disabled communities over non-disabled communities.

Click this link to access Sedgwick’s full artist statement.

Marrok Sedgwick is a disabled trans educator using artmaking as a tool for challenging society’s injustices. As a creative producer and documentarian, Sedgwick’s work has screened internationally. His film Stim won the PK Walker Innovation Award at the 2018 Superfest International Disability Film Festival. As an educator, Sedgwick has worked in general education and special education classrooms, as well as with a drama program for youth with disabilities.


BLAST RADIUS: No. 4 in a Series of Data Humanization Performances

Adriene Jenik

At around 7:30pm on April 13, 2017 the US government dropped the Massive Ordnance Air Blast (MOAB) bomb near the Moman Dara Village in the Asadkhel area in the Achin district of Nagarhar province in eastern Afghanistan. Nicknamed the “Mother of All Bombs” the weapon is the largest non-nuclear weapon in the US arsenal, with a blast radius, meaning the area in which serious effects on people and structures can be felt, of a mile. While the MOAB was the largest weapon released, it was but one of 4,361 air weapons that targeted Afghanistan during 2017, according to US Air Forces Central Command declassified airpower summaries.

At 7:30am on April 13, 2018, the anniversary of this event, I walked a path equivalent to the blast radius of MOAB on land in Arizona. This walk memorialized the civilians killed, the villages terrorized, the populations forced to migrate, and the lands scarred as a result of the endless wars being carried out in the name of protecting US citizens.

Click this link to access Jenik’s full artist statement.

Adriene Jenik is an artist and educator who resides in the desert. Her computer and media art spans 3 decades, including pioneering work in interactive cinema and live telematic performance.  Jenik’s current creative research projects include “data humanization” performances, immersive learning experiments and street performances reading “climate futures” with her ECOtarot deck. At Arizona State University, she serves as Professor of Intermedia in the School of Art..


VOLTA VOLTA: An Artist’s Statement

Erick Msumanje and Alexis Hithe

Collective memory as an essential component to the survival of African people, enslaved and brutalized, dispersed and disoriented, finds an expression in VOLTA VOLTA. This expression begins quietly, gently, as we see images of Black bodies engaged in ritual spaces, such as young women dressed in white for a church ceremony, and ritual exchanges, like a man shaving himself in a small handheld mirror. These moments of the first half of the film are treated with a delicacy and patience to match their reverence, allowing for the viewer to sit through any restlessness that surfaces as the camera observes with a steady gaze, and to arrive at a place of knowing.

Click this link to access Msumanje and Hithe’s full artist statement.

Erick Msumanje is an award-winning hybrid filmmaker and visual artist. He holds a Masters in Fine Arts from the University of San Diego. His work primarily focuses on telling meditative and poetic stories that blur the lines between fiction and non-fiction. Currently, he is a Ph.D. student in the Film and Digital Media program at University of California, Santa Cruz.

Story-making and history-telling, Alexis Hithe creates conceptual and experimental work that focuses on the Black experience and its imaginings. A graduate of University of California, San Diego’s Visual Arts program, Alexis draws inspiration from her childhood in the Mojave Desert of southern California and takes a non-traditional approach to filmmaking; she believes that truth emerges somewhere between doing and dreaming, and practices radical patience as a part of her art process.