Lucy Kerr

The Fourfold, Alisi Telengut, video, 7 min, 2020
Other Talking, Dovile Aleksaite, video, 5 min, 2019
Beneath The Pressure Of The Sky, Evan Meaney, hacked video files, 10 min, 2008

The three works explore various approaches to the animated, enchanted nonhuman – one in which we are in a multifold relationship with, always affecting and affected by, transforming collectively – sympoetically. Through mesmerizing experimental techniques, the films render objects, living entities, environments, and technologies as active agents with whom we share a larger system.

Based on the ancient animistic beliefs and shamanic rituals in Mongolia and Siberia, , by Alisi Telengut, is an exploration of the indigenous worldview and wisdom. With hand-crafted imagery, it is a testament of reclaiming animism for environmental ethics and non-human materialities. In Dovile Aleksaite’s work, , Aleksaite creates a point of view from an enchanted other whose identity and wishes are hard to grasp. It is a narration about people and nature correlation, climate change, coexistence with the other, refusal of anthropocentric thought, and a wish to live longer. Meaney’s work, , elicits its own alien, yet familiar, presence that has emerged from a network of surveillance into a robust technological subjectivity. The film is composed of impressionistically shifting images of the sky and the corporations that exploit it – hacked video files from airports.

James Benning, two moons, 42 min, USA 2018

James Benning is an independent filmmaker from Milwaukee, Wisconsin. Benning has been making films and installations for over 40 years and has made a considerable contribution to American experimental cinema.

Prior his REDCAT screening in 2019, Benning gave a sneak preview to the audience:“For two moons, you see the same thing twice. But it’s not the same.”

This isn’t the first time Benning, who studied Math prior to Filmmaking, has captured a repeated phenomena. Benning’s films have included, 10 Skies, 13 Lakes, and Two Cabins, among other collections. In two moons, Benning films both a gibbous and a full moon rising. Though filmed only one night apart, the first gibbous moon rises in an initial cloudy blue and a concluding lilac twilight and the full moon rises, more directly, up through darkness. Benning described in an email to us:

“Each night the moon on the average rises 45 minutes later than the night before. And each night the moon rises in a different place, as much as 30 degrees. The two shots were filmed from the exact same location, but the camera was pointed at slightly different angles due to the moon’s shifting positions.”

Though the moon, dependable, rises according to schedule, Benning’s film illuminates how the moon is constantly transformed by the nebulous environment that cradles it. Claude Monet painted, twenty five times, haystacks at different times of day and in different seasons. In Les Meules à Giverny, this constant subject, without variation, is portrayed through endless variation in its surrounding light and weather.

The moon is also an object dependent on forces outside of it, in order to rise and fall according to the mathematics described by Benning. Perhaps, now, during the time of the pandemic, this constant cycle of sun and moon rising and falling in our day to day life feels repetitious and relentless. However, cosmic relationships are no doubt more complex and fragile than they seem. We know now more than ever that cannot underestimate our interconnectedness.

All The Little Souvenirs was presented at Now Instant Image Hall in Fall 2019, featuring Blue and Cedar Rose by Kersti Jan Werdal, The Present by Robert Frank, and Palms by Mary Helena Clark. Curated by Now Instant, Kersti Jan Werdal, and Lucy Kerr. With a talk by Lucy Kerr on the program.

Zine: https://now-instant.la/all-the-little-souvenirs

Ever-multiplying ways to touch and transmit during a global pandemic, Time is Out of Joint is a three-part exhibition that iterates across three different platforms: internet (digital), building (physical), and box (postal).

building: The physical exhibition took place at MAK Center for Art and Architecture’s Mackey Apartments, and was fractured into three different shows that spread across nine weeks from September 3 -- October 31, 2020. Every three weeks, an entirely new exhibition, featuring ten different artists, was installed for public viewing.

internet: An interactive digital exhibition was published alongside each new installation at MAK Center for Art and Architecture. The digital exhibition hosted launch events, film screenings, and complex digital translations of each participating artists’ work.

box: A limited edition “unbound publication” was produced in conjunction with each of the three Time is Out of Joint exhibitions. Each “unbound publication” contains ten artworks, many of which are sculptural and were created as either multiples or limited edition originals, in relation to the work exhibited at MAK Center for Art and Architecture. The box set, which was produced in an edition of 30+10 AP, blurs the line between exhibition catalogue and experimental mobile group show.

Dance Film; Deconstructed 

A 7 week performance and film festival at Brooklyn Studios for Dance curated and presented by Lucy Kerr and Emily Smith in partnership with BkSD with collaborating organizations Mono No Aware and Dance Films Association. This program questioned necessary conditions for a genre of dance film and fostered a dialogue around the potential of performance and dance in cinema to reflect on the body as a multifaceted social, political, and temporal vehicle of human experience.

September 30th 2017: OPENING NIGHT PROGRAM AND PARTY
Program included:
‘House Fuck’ (16mm) by Lyra Hill
‘The Insides of the Body in Grief’ (16mm, Super 8mm) by Lucy Kerr
‘Plush’ (digital video) by Emily Smith
‘Definition of an Extra-Vehicular Mobility Unit’ (16mm) by Jessie Wright

October 14th 2018: LOCAL ARTISTS PROGRAM
Program included:
‘Enduring Ornament’ (16mm) by MM Serra and Josh Lewis
‘Full Music Video’ from ‘Another Fucking Warhol Production’  (digital video) by Raja Kelly a.k.a. The Feath3r Theory
A Story About A Sweater I Wanted’ (digital video) by Christopher Watkins
To The Deep’ (digital video) by Stefanie Koseff
‘MEMORY KEEP(H)ER: Claudette I’ (digital video) by Jasmine Hearn and Paul Kruse
‘Fake’ (digital video) by Alex Romania
‘Anchors of Iridescence’ (digital video) by Kayla Farrish
‘Gravitas’ (digital video) by Arantxa Araujo
‘Slow Shapes’ (digital video) by Kersti Jan Werdal
‘Josephine Marilyn Ana Bey’ (digital video) by Brittany Reeber and Lucy Kerr
‘kym and laurel’ (Super 8mm) by Laura Bartczak
‘Religion’ (digital video) by Qween Amor 

 

 October 21st: INTERNATIONAL ARTISTS PROGRAM

Program included:
‘My Body Is My Home’ by Sara Madandar (video and performance piece)
‘O, Persecuted’ by Basma Alsharif (digital video)
‘Her Silent Seaming’ by Nazli Dinçel (16mm)
My Tears Are Dry’ by Laida Lertxundi (16mm)
‘Nobody Here But Me: Autospectre Sector’ by Eryka Dellenbach (16mm)
‘Interrupta’ by Carla Forte (digital video)
‘Mama’s Boi’ by Local Honey (digital video)
‘Miles’ by Roza Savelyeva (01.21.17.) (digital video)
Alexa‘ made for Monika Czyżyk’s BOdyssey project by Charlotte Forsgård (digital video)  

 

October 29th: MASCULINITY IN CRISIS
Program Included:
‘Fiorucci Made Me Hardcore’ by Mark Leckey (1999)
‘Beau Travail’ by Claire Denis (2000)

 

 

November 4th: BKSD x MONO NO AWARE

“Based in Brooklyn, NY, MONO NO AWARE presents monthly artist-in-person screenings, organizes affordable analogue filmmaking workshops, facilitates equipment rentals, operates a film distribution initiative, plans cinema field trips, and hosts an annual exhibition for contemporary artists and international filmmakers whose work incorporates Super 8mm, 16mm, 35mm or altered light projections as part of a live performance or installation.”

Program Included:
‘Muerto Por Favor’ by Chantal Calato (16mm to digital)
‘SSS’ by Henry Hills (16mm to digital)
‘All The Beautiful Girls’ (VHS to digital) by Amanda Justice
EIGHT’ by Juliana Cerqueira Leite (projected in 16mm)
live-evil’ by Mads Kristian Frøslev (16mm to digital)
‘Fantômas’ by Shane Fleming (projected in 16mm)
A Letter to M’ by Ellie Parker (16mm to digital)
Stress Drop’ by Brighid Greene (projected in Super 8mm)
‘Naiads’ Silver Hour’ by Columbine Macher (16mm to digital)

 

 November 11th: BKSD x DANCE FILMS ASSOCIATION

Featuring a program of artists from the DFA archive co-curated by Kerr and Smith.


NAKED’ by Eiko and Koma (digital video)
Teresa Is Not A Mermaid’ by Yara Travieso (digital video)
The Sleepers’ by Kathy Rose (digital video)
Orange Trill‘ by Anthony Svatek (16mm)
Laid in Earth’ by Yara Travieso (digital video, installation)
Villanelle’ by Hayat Hyatt (digital video and archival footage, documentary)
A Body on Wall Street‘ by Eiko Otake (digital video)
SHE’ by Kathy Rose (digital video)
‘Dizzy’ by Frank Conversano (digital video)
Ballroom Boys’ by Michael Stylianou (digital video, documentary)
‘SAMBA #2′ by Rosane Chamecki and Andrea Lerner (digital video)   

 

November 19th: RECONFIGURING THE APPARATUS

Program included:

Prologue to BOdyssey’ by Monika Czyzyk (digital video)
‘the sky too thinks of you’ by Lucy Kerr (digital video and performance piece)
The Quivering Sun’ by Christopher Watkins



STUDENT INITIATIVE: FILM/VIDEO CURATING

PRESENTS
Fri Jan 18 |4:00-7:00 PM|
Bijou Auditorium, California Institute of the Arts
Free and Open to the entire Institute

Our house:
So rebellious an object

A first of two student-curated programs to be presented during the Winter Break in Film Today, Our House explores ideas around the question of what is film, today? By taking to parallel roads (that will, of course, cross at infinity). One of the paths goes inside and out the house to apprehend everything that is in it, visible and invisible. The other one bumps into a series of beings mistaken as objects, and to this they resist. The selection for this session brings an eclectic group of filmmakers including Octavio Cortazar, Sara Cymwar, Kevin Jerome Everson, Oskar Fischinger, Laida Lertxundi, Ted Fent, Nazlı Dinçel, Lilli Carre and a mysterious family.

Nazlı Dinçel:
Between Relating and Use
(Argentina/USA, 2018, 9 min)

Kevin Jerome Everson:
Brown and Clear
(USA, 2017, 7:40 min)
Kevin Jerome Everson and Claudrena N. Harold:
Fastest Man in the State
(USA, 2017, 10 min)
Lilli Carré:
Jill
(USA, 2016, 6:49 min)

Ted Fendt:
Broken Specs
(USA, 2012, 6 min)

Oskar Fischinger:
Walking from Munich to Berlin
(Germany, 1927, 5 min)

Laida Lertxundi:
Cry When it Happens
(USA, 2010, 14 min)
Sara Cwynar:
Soft Film
(USA, 2016, 7 min)
Octavio Cortázar:
Por primera vez (For the First Time)
(Cuba, 1967, 10 min)

My House
( 4 min)
What seems to be a family is gathered in their living room to sing a song about, perhaps about their lives.

Note From the Curators
As we once were strangers to one another (and then we got together in a room and started to think) we invite you now to our house to get acquainted. The house is made out of nine films and has two rooms. In the first one you will sit down and stop trying to imagine how it was to watch a film for the first time, as you are actually going to see it happen, you can take an extremely long walk that will let you be a part of everything you come across in it, you can go back to where you never were and run as fast as you will ever run and see what the sunset reveals and hides in close but far locations (if you want, you can cry during). In the second room you will find a group of beings that have been mistaken by objects and are starting a revolt, first silent then pretty loud. Empty will become full of community-building liquids, a rude order will be resisted with a full body and silently answered with perhaps a “fuck you”, softness will become sharp and the past will be interchanged with the future, a pair of glasses will break your hart and, while you think, plants will have opportunities for orgasms. The house will be warm and you are invited.

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