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  • Anne McGuire Talks ‘The Freddy McGuire Show’ (Performance on Friday, 8 p.m.)

    Bay Area-artist Anne McGuire says she doesn’t mind when her performance partner tries to trip her up while singing live.

    McGuire, a prolific video and performance artist, sings original and often improvised lyrics while longtime collaborator Wobbly (Jon Leidecker) provides accompaniment with a synthesizer and sampler. Usually they perform alongside video McGuire has shot.

    While she sings, Wobbly likes to do his own thing, she said.

    “He usually starts off harmonious,” McGuire said. “And then he’ll throw a wrench in.”

    McGuire characterizes her partnership with Wobbly, known for his experimental electronic music, as enjoyably challenging. The two can riff off of each other while simultaneously developing a piece together, she said.

    Known as The Freddy McGuire Show, the pair will again team up as part of ATA’s set of four audio and visual presentations this Friday night starting at 8 p.m. (tickets are $10). Others showing work Friday include Kerry Laitala, Konrad Steiner, Paul Clipson and Joshua Churchill.

    While most performers would probably relish a perfect set, McGuire doesn’t seem to have a need or even a desire for everything to be even-keeled.

    Since the 1980s she’s created videos that play with imperfections, chronology and narrative rules.

    “Strain Andromeda The,” McGuire’s 1992 re-edit of the 1971 film “The Andromeda Strain,” earned her particular acclaim for the way she created an entirely new work of art by reversing the original film shot by shot, so that the last scene of the film is the first and the first scene is the last.

    Her piece with Wobbly, called “7 Lies,” is slated to be roughly about five minutes long, give or take a few.

    McGuire describes “7 Lies” as “kind of a tragic torched love song,” about the various deceits our partners tell us.

    She and Wobbly, who have collaborated since the late 1990s, first performed the song, appropriately, last Valentine’s Day at The Exploratorium. By performing the piece again, McGuire hopes she and Wobbly can continue to tweak it further.

    “If I feel challenged by something I keep playing with it,” McGuire said.

    She said she feels to the need to make art in various mediums. McGuire’s extraordinary breadth of work includes experimental videos, paintings, creative writing and performance art.

    “I think I’m working in different ways and telling different stories and just trying to figure things out, like most people.”

  • David Finkelstein’s “Suggestive Gestures” & Antero Alli’s “MOUVEMENT”

    glorious_gesturesTraveling along the path of a labyrinth, the viewer passes through a series of extremely diverse landscapes, which are created through lush animation, evocative orchestral music, and rich dialog, in which words are used as much for rhythm and texture as they are for meaning. A man and woman guide us on this trip, taking us past gently falling Mondrian paintings, violent car crashes and bombing raids, and a pair of dancing, multicolored boxes, among many other settings. Based on an improvised performance, ‘Suggestive Gestures’ leads us gradually and indirectly towards a mysterious animal, hiding in the center of the maze.

    Director David Finkelstein characterizes his film as a ‘landscape.’ Words, images, and music are all used to evoke a series of changing textures and an evolving inner landscape, which the viewer is free to enjoy in the same way one enjoys a captivating view: by savoring the spatial and color relationships, and becoming immersed in the mood and emotional flavor of each scene, without necessarily expecting the experience to make statements or tell a story. The words, all improvised by Finkelstein and actress Cassie Terman, become physical objects in the scene, where they literally create the landscape and generate the volatile, changing moods of the piece. ‘Gertrude Stein was the first one to suggest that language could be used to create a landscape, rather than tell a story,’ says Finkelstein, ‘and her idea is still proving to be a fruitful way to make performances and films.’

    Despite the abstract nature of the film, many viewers will still see implicit meanings in the imagery. The image of the labyrinth and multiple references to the myth of the Minotaur call to mind the Jungian notion of the need we have to confront the monster within us, in order to embrace our whole nature and become free. Created and performed by David Finkelstein and Cassie Tunick, Music, editing, and visual design by David Finkelstein, 75 min.

    Bio 

    DAVID FINKELSTEIN was recently invited to perform and show his work at the Traverse Video festival in Toulouse, France. His video work has been featured in one man shows at Artist Television Access (San Francisco), CRS (New York), Robert Beck Memorial Cinema (New York), Echo Park Film Center and LA Filmforum (Los Angeles), Medicine Show (New York), MSU Moorheard, and with Ross Wilbanks at Light Factory and Pura Vida in North Carolina. His work has been screened in the Brainwash Film Festival, Traverse Video (France), Leeds International Festival (UK), Cinesonika (Canada), Experiments in Cinema, Les Instants Vidéo, Les Inattendus, Denver Underground Festival, Brick Theater, 1078 Gallery, Arthouse Festival, Outer Film Fest, Free Form Film Festival, Ybor Festival, Rubric Video, WRO (Poland) Festival, New Vision Cinema, Athens (Ohio) Film Fest, Dahlonega Film Festival, VideoBardo, Exground, Valleyfest, Big MiniDV Festival, Park City Film Music Festival, the Puget Sound Cinema Society, the Downstream Film Festival, the Silver Lake Festival, EXP2, New Filmmakers, Bearded Child Festival, X-Fest, SinCiné, and Gemini CollisionWorks. Altogether, his video works have won twelve awards at five different Festivals, including the Grand Festival Award from the Berkeley Video and Film Festival for “Born in Mid-Flight” and “Best of Festival: Experimental” from the Brooklyn Arts Council Film Festival for “Earth and Moon in Love.” He has been commissioned three times to create videos for the Outmusic Awards, and these videos were subsequently shown on the PrideVision cable network and the PBS series “Under the Pink Carpet.” His work has been funded by The Fund for Creative Communities, The Field, Movement Research, Meet the Composer, The Brooklyn Arts Exchange, BACA, and other sources.

    preceded by:

    MOUVEMENTMOUVEMENT (2001; 4 min.; mini-dv)

    VideoPoem by Antero Alli with text by Arthur Rimbaud. This short was inspired by Rimbaud’s poetics of rearranging the senses to achieve a delirium of new visions.  With found footage of shipwreck, cannons, lightning.  Featuring Deanna Anderson and Nick Walker as the dancers, with costumes and mask by Lauren Raine, who first appeared in these roles in my two-act poem play “Hungry Ghosts of Albion” at Theatre of Yugen, S.F. in May 1999.

     

     

  • ” One Summer. Two Analog Views” (gallery opening)

    El suen?o de Luci?a FOTOHANNA QUEVEDO     In collaboration with    JOSHUA NISSEN KING

    Hanna’s photos will be hung gallery style spaced with slightly more breath between each image allowing for the continuation of the images by King’s intuitive site specific painting. King will extend the palette of the images captured by Quevedo until they meet the periphery of neighboring piece.

    Quevedo’s works successfully archive multiple moments passed in the same image by way of superimposed and multiple exposure techniques. The technique in which the works reference memory and nostalgia is by way of the combination of image and continuation of form.

    This mimics the clustering of our memory and the sometimes impossible attempt to separate one moment from the next, just as her images blur the lines that divide time and place, Kings addendum to her visual weight acts as an alternate means of communicating the same essential idea.  Some images will be framed and still have the continuation by King, while others may just appear to bleed, or fade out.

    Light and shadow, shape and form, these are the elements that make up the composition

    www.hannaquevedo.com