Open Saturday, July 11 through Saturday, July 18, daily from 2:00-9:00 p.m.
Common Street Arts, 16 Common St.
Featuring exciting and innovative work spanning decades of moving image history, MIFFONEDGE explores the intersection of film and art and pushes the boundaries of commonly accepted notions of cinema.
Many of the filmmakers in this year’s MIFFONEDGE make use of found objects: a grandfather’s diary, an enigmatic audiotape, assorted dishware and textiles, images clipped from old magazines. The overlooked, ignored, and discarded are made new and meaningful by cinema. Cinema – where objects dance, where collage has movement, where time and space are momentarily flexible – can often help us to see the world in strikingly new ways.
Opening Party for MIFFONEDGE
Saturday, July 11, 8:00 p.m.
Celebrate the opening of MIFFONEDGE Vol. 3 with delicious snacks, tasty beverages, and a special live performance by Audrey Harrer of her cinematic art songs for voice, harp, and electronics.
Performance to begin at around 8:30 p.m.
MIFFONEDGE Vol. 3 featured artists:
The Institute of Higher Nervous Activities, Department of Bioinformation, presents Film Studies 1.0 and 1.2
(2011), Video Loop, infinity
“These films are two examples of our research related to time, reality and delirium. We also present drawings generated in our research studies. ‘I have told you about the birds, the cyborgs, and the drawings and objects we found, but I have not told you of the awfulness, the smell, the monstrous wind, the lacerations, and what lies beyond.’”—Nancy Andrews. Nancy is currently on faculty at the College of the Atlantic where she teaches video making, animation, time-based arts and film studies. She works in hybrid forms combining storytelling, documentary, animation, puppetry, and research. Her characters and narratives are synthesized from various sources, including history, movies, popular educational materials and autobiography.
The North American premiere of Andrews’ feature-length film The Strange Eyes of Dr. Myes will be held on Friday, July 17, 6:30 p.m. at Railroad Square Cinema.
Dinner Music (2013, Haviland & Colagiovanni), HD Video, Stereo Sound, 13:00
Banaras (2015, Haviland & Colagiovanni), HD Video, Mono Sound, 6:00
Found Reel: history of operating the recording apparatus in Southeast Ohio (2013), HD Video, Mono Sound, 6:47
Dinner Music is described by the artist David Colagiovanni as a “smashing orchestration of visuals and sound that explores class etiquette through the act of dropping seven full sets of fine porcelain china.” Banaras, made in India and completed this year, follows a similar conceptual course. Found Reel puts a Dada-esque spin on oral history. An artist and composer who works with video, sound and space, Colagiovanni is a member of the North Carolina artist group Team Lump and a frequent collaborator with artist Melissa Haviland. He is currently the Director of the Athens Center for Film and Video, and the Athens International Film + Video Festival, and teaches experimental film at Ohio University.
XIBIPIO (2010), Video Loop, 5:22
Accompanied by Archival Images on Rag Photographique: SLIDE (2013); EMERGY (2015); FLOFIELDS (2015); TESLA (2014).
Larsen’s work incorporates the figure as an empty vessel which is then infused with a series of images from the History of Art and Science. The projected transparencies reference deep-time cultural markers and diagrammatic systems from the last 500 years. The final symbolically clad figures are a testament to the enduring vitality of the flesh and its fragile impermanence. Larsen’s XIBIPIO (gee-bee-pee-oh) video title comes from the Amazonian Piraha people and it translates into “If I cannot speak, will you hear me?” This tribe has broken a fundamental Universal Language law and still manages to communicate and thrive culturally. The video investigates incomprehensible language systems along with behavioral diagrams and rising/falling body movement progressions which consider our attempts to actually “hear” and illuminate the deeper language of existence. The fact that the beginning and end are a continuum is an inclusive temporal gesture. Larsen’s photographs infiltrate the figures with the gestural voice of calligraphy, mapping and alternating energy currents. Among other considerations, the creative energy of reversing direction is a potentially valuable undercurrent.
Larsen’s multi-media performance piece EDGE 2 EDGE will be presented Saturday, July 11, 7:00 p.m. at the Waterville Opera House.
The Archive of the Movements of Inanimate Objects (2015), HD Video, Stereo Sound, 15:41
Using a variety of tools and materials including drawings, collage, illustrations from equipment manuals and other ephemera, Chris Pearce’s meticulously animated film—inspired by the circumstances around the writing of the 1773 romantic era poem, “The Mouse’s Petition” by Anna Laetitia Barbauld—follows the decisions of a scientist discovering and investigating new life in order to discern its true nature. An animator and filmmaker, Pearce teaches at University of Colorado Boulder and, according to the artist, is currently “working on reviving the ghosts residing in the earliest 3D photography.”
Heddi Vaughan Siebel
Far, and Further (2011), Video Loop, 6:22
A multi-disciplinary artist, Siebel connects generations, cultures, and media to find a language that may enrich our understanding of our present and our future. She brings history and the creative process together in a single experience by drawing both on the memory created by visual and written records, as well as her imaginative memory of them, to animate a place as it exists through time. Part documentary and part fiction, Far, and Further imagines the moment when the dream of an arctic explorer collides with the disappointing reality of his endeavor. This film includes polar film by Anthony Fiala, commander and photographer of the failed Ziegler Expedition of 1903, on which Siebel’s grandfather Dr. John Colin Vaughan was Assistant Surgeon. Siebel does not tell us what might be the one true story of her grandfather’s adventure, but rather presents what he may have felt—as a hybrid accumulation of remembered, imagined, and experienced fragments occurring simultaneously.
Science Friction (1959), Video Loop, 9:46
Achooo Mr. Kerrooshchev (1959), Video Loop, 1:43
Throughout his career, film and mediamaker Stan VanDerBeek (1927-84) explored the frontiers of technological change. At an upstate New York
artists colony in the early 1960s he developed the “Movie-Drome,” a multiscreen geodesic dome. Collaborations with Bell Labs led to computer animated films in the mid-1960s. During a later stint at MIT, VanDerBeek embraced computer graphics and early video and he designed murals to be transmitted over telephone lines using an early version of what would eventually become a fax machine. This year we highlight two of VanDerBeek’s earliest films, examples of historic experimental cinema. He called Science Friction “a social satire aimed at the rockets, scientists, and competitive mania of our time.” Achooo Mr. Kerrooshchev makes light of the public persona of Soviet Premier Nikita Khrushchev. Despite their often whimsical mood and the playful movements of figures, both films simultaneously exhibit Cold War anxieties.