Off the Screen! 2019

Off the Screen 2019

Opening Reception: Thursday, March 28 3-5pm

Opening Reception Generously Presented by O&W Beer.


Sara Bonaventura

As if the color was looking at you

Triptych version of a choreography performed by Annamaria Ajmone, the same sequence had been processed with analog synths during a residency at Signal Culture. Exhibited site specifically for my solo show, Come se il colore stesse a guardarti, at Adiacenze gallery in Bologna

The video presents a body that has been triplicated and entangled in a network of exterior conditionings. The perceptual value of the same choreographic action changes as the colour changes. Especially this disturbed and glitchy colour which consists in a spectrum of possibilities in which the body is immersed.

This colour is involved in a choreography that draws an interaction that starts from simple and minimal geometric gestures and eventually rise to  a small climax, in which the movements are been fluidified and it is also affected by a porous, wrinkled and always in movement reality, in an endless flood of small folds.

“It is a multiplicity that is being bended and explained, and it is up to us and our ability to conceive it and to try explaining it” (Deleuze)

The video shows, choosing the triptych as a display, a device that is a reference to the sacred art and is referred etymologically to the fold: the truth lays between the folds which are replicated to infinity. According to Deleuze the fold is a metaphor, of the formation of a soul and a contemporary consciousness.

McLean Fahnestock

Drum Solo: Hyperbole for the Undiscovered Country

Drum Solo: Hyperbole for the Undiscovered Country is a reconfigurable looping installation of interconnected monitors. Water spills from one screen to another, cobbled together into a giant impossible waterfall. The sound generated is not the roar of water but is instead rolling snare drums. The piece considers the desire for paradisiacal locales such as the isolated waterfall and the lengths to which we will go to attain them – even violence. The footage was sourced from YouTube relaxation videos. They are idealized places whose job is to give us relief through escape. Beyond being unreal, they most likely belong to someone else. The title alludes to this ownership and to the colonialism that seeks to claim them with the backing track of the drums of war.

Peter Bussigel & Stephan Moore

Chorus for Untrained Operator

Chorus for Untrained Operator is a collaboration between Peter Bussigel and Stephan Moore. The piece is comprised of a collection of discarded quotidian objects. Each has been relieved of its original responsibilities, rewired, and transformed to emphasize its musical voice. The ensemble is controlled through the patchbay of a 1940s Western Electric switchboard. Chorus for Untrained Operator was created with support from Brown University, and developed at the Granoff Center for the Creative Arts in 2015-2016, where it premiered in March 2016.

James Snazell

Milk Drops 2

A live cinema work; a duel between a 16mm projector and a digital recording from a 16mm analytic projector.

‘Milk Drops’ explores using milk as film emulsion. Drops of milk are placed on clear leader by a pipette and a sequence of single drops along the leader is formed. Two loops of milk drops give the sense of a dynamic, organic, animated dance when double projected.

The work is a palindrome. Begins as it ends with the digital projection of a black blank image. In-between there is the analytic projector which builds from still frame to short 30 second phases of 2, 4, 8, 12, 16 frames, to a midpoint of 24fps and then back 16, 12, 8, 4, 2 to a still frame.

Sarah Friedland


A 3-channel video installation of a durational dance, CROWDS investigates the choreography of crowd typologies and the slippages between them. Much like a flock of murmurating birds, the thresholds between these crowd types are blurred and distorted: the rocking of bodies in prayer slip into the shaking of raving dancers, the training exercises of sports teams slide into the structured formations of fascist spectacles. Focusing on these collective formations, movements, and gestures, CROWDS uses dance to interrogate the distinctions we make and to destabilize the relationship between ideologies and moving bodies. It attempts to articulate the embedded choreographic register of our political discourses and polemics, reflecting what is amassed and what is lost as we gather and disperse.

In partnership with