YACHT: Young Artists Challenge High Technology (for a Total eclipse of the heart). These new videos from America and Europe have tying threads of: the use of high (?) technology or the idea of “future” in a lo fi way, dopplegang/replication, instant nostalgia as the residue of planned obsolescence, states of limbo. High and low (fidelity and culture).
Tag: 2001
Shakenstir review of Boxhead Ensemble
“Compelling, magnetic, perfectly imperfect. This is performance art at the cutting edge but eminently accessible and personal. It is relevant, it is wonderful.”
THE BOXHEAD ENSEMBLE: Stories, Maps and Notes from the Half-Light
Musicians improvise live to an international program of new short films on a six-country tour.
Kurtzfilmmagazin on Dirges & Sturgeons
“Following the resounding success of her programme at the Anthology Film Archives (NYC), curator Astria Suparak is now taking Dirges and Sturgeons on a tour of five American cities. In New York the programme… received accolades from both filmmakers and the press.”
Cashiers du Cinemart reviews A New Romantic T.V. Sound
“Peripatetic curator-at-large Astria Suparak presented an excellent program of ephemeral and often willfully hermetic short films and videos titled A New Romantic TV Sound.”
The Stranger reviews Broken Music
“strong of theme, and a must for visual music fanatics.”
BUST on Some Kind of Loving
“If you have any interest at all in women in film and video today, you should definitely get this tape.”
A NEW ROMANTIC T.V. SOUND
Video art, experimental film, and audio composition with an art-school edge, reinventions of 1960s body/performance art and 1980s New Wave aloofness.
Other Writing
Publications and publishers include: NY Arts Magazine, CEPA Gallery, Concordia University, Fusebox Festival, Heeb Magazine, Offscreen Film Journal, Wolfman Books
SOME KIND OF LOVING
This videotape compilation explores sexuality from its formulation in childhood, through adolescence and into adulthood, referencing psychoanalytic theory as easily as pop culture.
BROKEN MUSIC
Musical instruments are destroyed and technology is applied in peculiar ways. These de- compositions are made for video by both contemporary and historical figures, with a nod to Jimi Hendrix and the Fluxus movement.