The IEA has two Experimental Project Residency Programs, one for Electronic Media / Film (Time-based) and one for Visual Art (Print-media).
Deadline: January 15, 2020
The IEA has two Experimental Project Residency Programs, one for Electronic Media / Film (Time-based) and one for Visual Art (Print-media).
Deadline: January 15, 2020
August 26-30, the IEA hosted Ziyang Wu for a NYSCA Electronic Media & Film residency. Ziyang’s week was marked by new research and shared research. Ziyang generously requested to present his research in a public presentation in Holmes Auditorium. The presentation was at the start of the academic year and was an inspiring academic kick-off for the Alfred Community. Ziyang shared his project and process including the moving image and screen-3D collage aspect of his practice, web-based recommendation algorithms, and chatbot AI used for the construction of narratives, all of which he uses in in arriving at his finished artworks.
In the IEA studio and Expanded Media studios, Ziyang had a productive time learning about real-time video-mixer and software processing, VR 3D sculpting and visual programming environments that support realtime video and VR processing. Finally, up in the Expanded Media Immersive Gallery, Ziyang did a documentation installation of a three-channel WIP featuring residency-remixed content from his projects.
Ziyang Wu has shown his work internationally in China, USA, and Europe including the solo exhibition at CO2 Gallery in Florence, the twoperson exhibition at Nancy Margolis Gallery in New York, and group exhibitions at the Medici Palace and the Milan Design Week in Italy, the Today Art Museum and the Times Art Museum in Beijing, the Powerlong Museum in Shanghai, the Walker Art Center and the Rochester Art Center in Minnesota, the Academy Art Museum in Maryland, The Hole Gallery and Microscope Gallery in New York.
Originally from Jiangsu, China, Ziyang Wu received his MFA from Rhode Island School of Design, and his BFA from Florence Academy of Fine Arts. He currently teaches at the School of Visual Arts in the Fine Arts Department.
August 19-23 was an action-pack, productive, Visual Arts residency week with the celebrated NYC artist team – LoVid, Tali Hinkis and Kyle Lapidus. LoVid’s 2019 resiliency marks the third time that LoVid has joined us at the IEA, previous residencies were in 2010 & 2006.
During their residency week Kyle Lapidus spent studio time generating new video recordings with both with the LoVid Synth and the Expanded Media Sandin IP. From this new content Tali Hinkis edited and collaged new images for prints. The prints were made on a number of different print-media including, large format dye sublimation prints on satin fabric, digital prints on IEA Xuan bamboo paper and digital prints on both matte paper and watercolor cotton rag. As well, LoVid printed on canvas and photo-Tex sticker paper! Another project for LoVid during their residency was a producing small a print edition of two-color silkscreen on digital prints. Thanks to Myles Calvert for working with Tali & Kyle on the silkscreen prints. Lastly Tali composited a selection of video footage that Kyle had recorded during the residency for a seven-channel video presentation on the TSI/Harland Snodgrass Gallery.
LoVid is Tali Hinkis and Kyle Lapidus. LoVid’s work includes immersive multimedia performance and installations, textile works, participatory projects, videos. Collaborating since 2001, LoVid’s projects have been presented at Real Art Ways (CT), Moving Image Art Fair (NY), Daejeon Museum (Korea), Everson Museum (NY), Smack Mellon (NY), CAM Raleigh (NC), Netherland Media Art Institute (Netherlands), The Jewish Museum (NY), The Neuberger Museum (NY), The New Museum (NY), and ICA (London), among many others. LoVid has performed and presented works at: Issue Project Room (NY), Museum of Moving Image (NY), Lampo (Chicago), International Film Festival Rotterdam (Netherlands), MoMA (NY), PS1 (NY), River to River Festival (NY), The Kitchen (NY), and FACT (Liverpool) among many others. LoVid’s projects have received support, awards, grants, and residencies from organizations including: NY Hall of Science, The Robert Rauschenberg Foundation, Cue Art Foundation, Eyebeam, Harvestworks, Wave Farm, Rhizome, Franklin Furnace, NYFA,LMCC, NYSCA, and Greenwall Foundation.
Double Real On View Friday, August 9–Sunday, November 24, 2019
Burchfield Penney Art Center – In The Front Yard Gallery
Work by Artists:
Peer Bode • Andrew Deutsch • Monica Duncan + Monica Duncan + Senem Pirler • Katherine Liberovskaya + Diane Ludin • Brian Murphy • Allen Riley • Rebekkah Palov • Eiko Otake • Linda Ryan • Anna Scime • Samantha Sloan • Eric Souther • Miatta Kawinzi
The exhibition features recent work from artists in residence at the Institute for Electronic Arts (IEA). The IEA media and film residency is about a space. A time-space that is open in rural western New York, without much to distract and a studio that features great technical complexity and potential. The studio is unruly and open, not easily presenting order, sometimes there is a sense of getting lost while trying to find your way. It’s an impure material system with technologies that span forty years, all together, not clearly yielding but inviting you to enter; to make a clearing, to make new thinking of the other and a new way of making the other exist. The work produced like the artists time in the studio is a restorative experience, a double real, changing time into perception – making time visible, creating a feeling of time that is something other than lived experience.
The IEA was happy to share part of our summer with Marco Scozzaro during his July 15-19 Electronic Media and Film Residency. Marco recorded HD performance footage with our Canon XF705 that engaged with what Marco characterized as the Brutalist architecture of Harder Hall. Marco made great recordings with the original Jones Frame Buffer c.1987. The Expanded Media, Jones Frame Buffer is an early digital processor. Marco used hardware only black and white frame buffer. The B&W frame buffer combines the statement tonal range of black and white camera signals with limited resolution of this early digital processing. Lastly Marco quickly mastered a number of the capabilities of another Expanded Media mid 1980’s video processor, the Fairlight CVI. The three different contents, HD camera footage, B&W digital processed video and early color digital processed footage were then assembled for a WIP three-channel video that Marco tested out on the Expanded Media, Immersive Gallery. Besides this project Marco also recorded a performance for multi-camera (five), multiple image processors (Jones MVIP + Fairlight CVI), multiple performers (4-5) and live mix (Marco Scorozzo). The performers included Vivian Wang, Niki Tulk, Samantha Sloan, Rebekah Palov and Marco. The performance resulted in over 70 minutes of footage, the mixer recordings were displayed across the six screens one the TSI/Snodgrass media Gallery, and was much enjoyed during its summer run on the TSI/ Snodgrass.
Marco Scozzaro is a NYC-based interdisciplinary artist, working in photography, video, music, and installation. He studied psychology at the University of Parma, Italy, and photography at SVA, NY. He has had solo shows at Baxter St, NY, Galleria Civica di Modena, Italy, Galerie Villa des Tourelles, Paris, and group shows at Aperture Foundation, NY, Lishui Art Museum, China, Unseen Amsterdam, and Mala Stanica National Gallery of Macedonia, Skopje. He is the recipient of a Workspace Residency from the Camera Club of New York, a PhotoGlobal residency, a BRIC Media Art Fellowship, and an AIM fellowship from the Bronx Museum of the Arts, NY.
Paloma Barhaugh-Bordas was a summer Artist in Residence for July 8-12, 2019. During her residency Paloma investigated a number of materials as she engaged in her current bodies of work. She worked with images of mesh/netting scans that she tested with dye-sublimation (dye-sub) transfers onto a number of different fabrics. For permanent and consistent results, the Expanded Media dye-sub transfers need to fused to a polyester ground. After test coating fabrics with polyester, Paloma set forth on projects where the application of polyester coating became foregrounded in the pieces. Projects included painted on fence/mesh like patterns onto Xuan bamboo paper, these prepared papers then went through the dye-sub heat transfer process. The prepared areas will archivally hold the image while the unprepared areas will eventually vanish as a result of UV vulnerability. Paloma used scanner-bed composed high resolution scans of local invasive species for the dye-sub images printed on the Xuan bamboo paper. Another project from this process was painting polyester-base onto very thin Xuan paper. In this project after drying, the paper shrank where polyester was applied turning the paper and the mark made into a sculptural form. Lastly Paloma made a small edition of large format dye-sub prints on polyester mesh, the dense palette of Paloma’s landscape images dialogs with the light and air of the thick mesh.
Paloma Barhaugh-Bordas is an artist living and working in Upstate New York. Originally from Denver, Colorado, she received a BA in liberal arts from Carleton College in Northfield, MN, and an MFA in Printmaking at Rhode Island School of Design in Providence, RI. Paloma’s work adapts and appropriates the vernacular of the many regions she’s called home and traces the self-conscious search for cultural roots as a first-generation American.
The IEA hosted choreographer, dancer and time-based-media artist, Eiko Otake for the two weeks of June 17 through 28. Eiko split her time between concurrent Visual Arts and Electronic Media and Film residencies. Projects for visual arts were printed by Aodi Liang and Joseph Scheer. Print series produced during the residency included digital prints on Huiji Cloud Dragon plus Xuan paper and Photo Gravure prints on Wangji 2ply Xuan Paper. The series printed were Hong Kong 2015, Moths, Mother, Moth Night, Hong Kong, and 200 Inch Scrolls. Eiko used one of scroll prints in performance. This performance was photographed, which then became images in the Mother and Moth Night series.
For the time-based part of her residency, Eiko finished editing “Fukushima” which is a a nearly three hour, four-segment film from the series of photos of Eiko in Fukushima after the disaster taken by photographer John W. John. She also edited a three-channel video A Body with Landscapes (14:34) featuring her performances with the spring waters and deserts of California. The California footage was shot by Alexis Moh. Eiko did a number of performances while at the IEA with video documents shot by Rebekkah Palov. Eiko performed two dance for camera pieces with the three-channel video, A Body with Landscape installed in the the Expanded Media Immersive Gallery. Lastly a memorable event during Eiko’s time at the IEA was an evening into late night series of location performances in the nearby Kanakadea State Forest. Eiko performed with a 200 x 39.25 inch print which featured a photo portraits of Eiko’s mother and a performance with forest moths lit by mercury vapor lamp.
Born and raised in Japan and a resident of New York since 1976, Eiko Otake is a movement– based, interdisciplinary artist. She worked first for over forty years with her partner Koma, creating 46 interdisciplinary performance works, two career exhibitions and numerous media works. Always performing their own choreography, Eiko & Koma usually designed and handcrafted all aspects of their works including sets, costumes and sound. They presented their works in theaters, universities, museums, galleries, outdoor sites and festivals worldwide but since 2014 has been performing her own solo project A Body in Places. These activities brought her a special Bessie citation, an Art Matters grant and the Anonymous was a Woman Award. . Eiko & Koma were the first collaborative pair to share a MacArthur Fellowship (1996) and the first Asian choreographers to receive the Samuel H. Scripps American Dance Festival Award (2004) and the Dance Magazine Award (2006). Eiko teaches Delicious Movement in communities, colleges and art schools. Using movement study as a means of inquiry along with readings and media studies, she also teaches interdisciplinary college courses about the atomic bombings and other environmental issues such as mountain top removal coal mining and nuclear power plants. Eiko is a think tank fellow in Wesleyan’s College of the Environment on the theme of “From Disruptions to Disasters: A Lens on the Human Environment Relationship.”
It was a busy week of June 10 – 14 with Heather Swenson as our AIR for visual arts. Heather came in with an impressive collection of security envelope pattern samples. She had been collecting samples for quite some time and was excited to produce a body of work from this assembly. With the help of Aodi Liang, Heather scanned the samples on our Eversmart scanner. Once she had source files in hand she started on ambitious projects that featured an intimate scale.
Heather started the week with a laser copier saddle-stich zine, “security envelope interiors”. Heather first imagined a book in a box project for the samples and made silk-screens proofs of the pages, but after experiments with the IEA large format digital printer and Xuan roll papers and excitement over our glue binder, she switched to an ambitious 91 page 5.5″ x 4″ artist book edition, “SECURITY TINTS a pocket guide to envelope interiors”. On the last day of her residency Heather made Trompe-l’œil envelopes, laser cut silkscreen on Xuan thee-ply (some with with acetate window).
Heather Swenson is an artist working and living in Rochester, New York. She is currently focusing on silkscreen and collage while exploring new uses of these mediums through building three dimensional structures. Heather has shown work in multiple exhibitions around New York and has had several solo and group shows in Rochester. She teaches silkscreen workshops through the Print Club of Rochester and is the Exhibition Manager of the organization. Heather received her BFA in Interdisciplinary Visual Arts with a concentration in painting and printmaking from Purchase College of Art and Design in 2012.
Linda Ryan was the IEA Electronic Media and Film resident for June 3-7, 2019. Linda initially started the week working on editing recorded performance content. After experiencing the Expanded Media exhibition galleries Linda made new works for multichannel video. She made a three-channel sync edit of “Triple A” featuring footage shot in Arizona and a two channel edit which included recordings made at the village of Alfred Bandstand. It was great to work with Linda and her robust performance practice and to facilitate expanded approaches to the media-art branch of her practice. One new piece featured Linda performing a dance for camera in the Expanded Media Immersive Gallery. She performed with her three channel “Triple A” piece projected on the walls behind her. The recordings were shot with the new Canon XF705 video camera. The footage was very exciting in terms of the content and image quality. Linda Also recorded practice sessions in the Miller Performing Arts Center thanks to the generous support of Performing Arts, Dance Professor, D. Chase Angier.
Linda Ryan is a dancer, choreographer, and technology performance artist. She works with movement and time‐based media to confront the simultaneously familiar and odd systems that govern the way we interface with the world around us. She has created choreography with velcro suits, heat‐sensitive floors, and GoPro action cameras. Linda holds a BA in dance from the GWU Corcoran School of the Arts & Design. Her previous performances include work by The Maida Withers Dance Construction Company, Vladimir Conde Reche, and I‐Fen Tung. She was a recent artist‐in‐residence at PlySpace in Muncie, Indiana ‐‐ where she taught at Cornerstone Center for the Arts and Ball State University‐‐ and is a cohort member with the 2019 Makers Space Experience at the Keshet Dance Center for the Arts in Albuquerque, New Mexico. While in residence at the Institute for Electronic Arts, Linda will be creating a short dance film derived from her GoPro action camera choreography.
Siew-Wai Kok was the IEA’s first Schein Joseph Endowment International Artist in Residence. Siew-Wai is an artist and curator from Kuala Lumpur, Malaysia. It was an important residency for the IEA as Siew-Wai shared with the local community and the School of Art & Design, (NYSCC Alfred University) many of the different facets of her practice.
Siew-Wai first had a day of studio visits with Electronic Integrated Arts MFA students and Expanded Media BFA students. As a co-founder and director of the KLEX independent, grassroots international festival of experimental film, video art and music, her feedback enlivened students as they headed into end of academic year projects. Siew-Wai then gave an artist talk plus screening “Gazing Into Infinity: Selections from The Kuala Lumpur Experimental Film, Video & Music Festival (KLEX)” in Holmes Auditorium which was open to the public. A second public event was “Siew-Wai Kok in performance: Sound-image collaboration with Alfred community”. The event was held in the lobby of Holmes Auditorium and featured undergraduate students, graduate students, faculty and IEA staff. It was a great event that brought together the Expanded Media program for a memorable audio video extravaganza. The evenings performers were Paloma Kopp, Siew-Wai Kok, Rebekkah Palov, Carrier Band (Andrew Deutsch, Peer Bode, Rebekkah Palov), Carly Moldow, Emma Hildebrandt, Joyce Miyake, Sam Schultheis and Leslie Rollins. Also during her residency Siew-Wai did audio field recordings and studio recordings for upcoming projects, and produced an intro bumper for a KLEX program to be screened at the Festival Accès Asie in Montreal.
From Kuala Lumpur, Malaysia, KOK Siew-Wai started out as a video artist, and now an improvised vocalist and artist-organizer. She received her B.A. in Media Study at University at Buffalo, and M.F.A. in Electronic Integrated Arts at Alfred University (USA). She has shown her works, curatorial video programs and performed in Asia, Europe, Canada and USA, including allEars Improvised Music Festival (Norway), CTM Festival (Germany), Asian Meeting Festival (Japan), International Film Festival Rotterdam (Netherlands), Les Rencontres Internationales (France), Singapore International Film Festival and many more. Siew-Wai has a deep passion for the experimental and improvisational arts. She is the co-founder and director of the Kuala Lumpur Experimental Film, Video & Music Festival (KLEX) since 2010.