NEW LINGO: The DIAP Group / Digital Interdisciplinary Art Practice – April 24th!

NEW LINGO

The DIAP Group / Digital Interdisciplinary Art Practice

Presents New Interactive Works, Installations and Performances

Friday April 24, 2015 7:30–10pm Free To The Public

Eight interdisciplinary artists from City College’s MFA DIAP program bring their new works-in-progress to the Outpost. Please join us for an evening of diverse and innovative approaches to the exponential binary of physical and digital expression.

Doors open at 7:30 for on-going installations and performances, followed by a panel discussion of these new works.

The DIAP Group – Bios and project descriptions

Krisia Ayala is a Puerto Rican­born and New York­based artist interested in digital mixed media, print design, printmaking and birds. Ayala focuses on concepts of human society that can compare with the survival skills and cultures that can also be observed in birds. The discussions surrounding her art are directed to migratory patterns and cultural backgrounds (in humans and birds alike), environmental awareness and the technical and metaphorical meanings of flight. She frequently collaborates with environmental activists, ornithologists, neuroscientists and designers of all kinds. In 2011 she developed an artist book that showcased the experience and wonder of bird watching. The book, Bird watching Through Puerto Rico, contains sound modules of 40 of the most common birds you can find in the Island and was also created using the xerography transfer technique. Currently, she is focusing her research in the development of workshops and customizable devices, dedicated to the wonders of flight and self-expression. In 2014 she was awarded the Connor Study Abroad Fellowship, to undergo an extensive research of the migratory behavior that occurs around the Mediterranean Sea. Ayala has also participated in numerous exhibitions in Puerto Rico, including the National Gallery of Puerto Rico, The Center of Cultural Arts of Puerto Rico and Área: Lugar de Proyectos. Currently, she works as a freelance graphic designer.

Migratory Contraption (interactive installation) I am interested in creating a hand-held contraption  (a machine or device that appears strange or unnecessarily complicated, and often badly made or unsafe) that depicts the migratory route of a bird. In detail, there will be a ball, sliding through a maze. The ball will have a bluetooth device that will sense sound and light, and will play bird sounds from the inside of the device. 

I’m on call (sound installation) A series of voice messages that show men responding to an craigslist add, posted by a fictional girl called Lauren. Lauren is interested in hearing a man’s voice; she is looking to be aroused in experimental ways. Each caller tries to convince Lauren to meet with him. Please note: these messages contain explicit language.

Zoe C. Berger is a digital artist using live interactions to highlight our experience of time, dimension, and materiality. Live video mixing, lighting design, and interactive programming provide a diverse arsenal for creating phenomenal art pieces and environments. Holding a Bachelors of Science in Physics from Stony Brook University and a Bachelors of Art in Studio Art from the City College of New York.

Second Market(installation) I will construct an installation of ‘frames’ from a recycled source. Between each frame, a moving light source swings like a pendulum, causing the shadows to move in time. Each frame represents a moment in time. The addition of a moving light source represents time as a fourth dimension within the moving shadows on the floor.

Lori Brungard, BFA in Dance with Honors, SUNY Purchase, was a professional modern dancer and choreographer/filmmaker from 1987-1997. An early job as a dancer in a choreographers’ and filmmakers’ lab at the Sundance Institute sparked her interest in film and video as a way to break the “fourth wall” imposed by the stage. She earned a certificate in Film/Video Production from Pittsburgh Filmmakers while working as a full time dancer in the repertory company, Dance Alloy. She has performed in the work of choreographers as diverse as Victoria Marks, Merian Soto, Ann Carlson, Mark Taylor and Eiko & Koma. She received grants from Pittsburgh Dance Council for her choreographic works, PA Council on the Arts Interdisciplinary Project grants for collaborations with other artists, and an NEA New Forms regional grant for her first film, Bowl Dance. Her work has been shown in theatres in Toronto, Buenos Aires, Mexico, and throughout the US. She took a ten year hiatus from the arts while spending time in India studying Ashtanga Yoga with Sri K. Pattabhi Jois, and raising her daughter. Always a teacher, she has been sharing what she learned in dance, film, and yoga with students for over 25 years, most recently in the Dance Program at Hunter College.

Camera Obscura (The Dark Room) (video installation) reveals the particulars of “the gaze”, and how that impacts sexual power dynamics in general, by juxtaposing images of both genders on the ‘rear’ and ‘side’ walls of a virtual installation room created in AfterEffects. The video is viewed on an iPad mounted on a tripod. A focusing cloth over the head of the viewer enhances feelings of privacy, voyeurism, and invokes the feeling of an old large format 4×5 camera. The title refers to the actual camera as well as to the fact that people feel freer to explore the psychological terrain of these types of images in a dark room.

My Secret India(dance with video)choreographed and performed by Lori Brungard;music by Cornershop, Elizabeth Mitchell, traditional Indian bhajans, tamboura, and nagaswara; costume: Danielle Cadorette; special thanks to Sean Curran, Maja Rajenovich, Amy Santos, and Sarah Melot.

Lisa Karrer is an interdisciplinary performance artist, vocalist, composer and educator who creates hybrid multi-arts projects and museum installations in the U.S. and abroad. She frequently collaborates with performing and visual artists, and also with her husband, composer, multi-instrumentalist and interactive media creator David Simons. For many years, Karrer composed for the ensembles Gamelan Son of Lion and Music For Homemade Instruments. Her wide range of interests take the forms of operas, music-theatre works, scores for chamber ensembles soundtracks, conceptual videos, digital stories and documentary films. Karrer has produced, directed and toured her solo and ensemble projects internationally and at NYC venues including the Kitchen, Roulette, Galapagos, Merkin Hall, LaMama, Dixon Place, The Living Theatre, Rockland Center for the Arts, Garnerville Art Center and the Hudson Valley Center for Contemporary Art. Awards include two CEC ArtsLink grants, two Greenwall Foundation grants, two Arts International Festival Fund grants and various Meet The Composer awards, as well grants from the Mary Flagler Cary Charitable Trust, the Jerome Foundation and The Aaron Copland Fund.

There But Not There (performance / installation) In this new work I will construct a series of unique yet iterative multi-disciplinary environments that explore and illustrate how individuals experience and demonstrate a range of dissociative and depersonalized behaviors. Examples of these behaviors will be taken from literary works, personal experience, psychological publications, case studies, essays, and observations of individuals in public. The project will incorporate live performance, looped installation video, and featured videos and soundtracks that incorporate various software technologies.

Juliana Ortegon is a New York City based interdisciplinary artist working across platforms in both IRL + digital realms. Using video, photography and assemblage, she dissects angst caused by power relations, class imitation, social hierarchies, cultural capital, empathy, immigration and femininity. Her current research focuses on the transformation of the self, joined by scrutinizing the ways technology and Internet platforms have revolutionized the way we conceptualize truth, communication, and relationships. She was born in Bogotá, Colombia and grew up in Illinois and Arizona, USA. During her undergraduate years, she was awarded grants to study abroad in Montpellier, France (2006-2007) and Siena, Italy (2009) for language, studio art and cultural studies. In 2009 she received her bachelors from Northern Arizona University and is the 2014 recipient of the Therese Ralston McCabe Connor Fellowship at The City College of New York. She works at the Metropolitan Museum of Art, assistant teaches Critical Issues in Design, Technology and New Media at The City College of New York – CUNY, and currently lives in Brooklyn, NY.

Frames + Vidz : (installation / exhibit). As my interest in the manipulation of social networking platforms as a canvas and the curation of images as a medium deepens, I find myself trying to find reconciliation between the digital and tangible worlds. It concerns language and communication. It is about what we might think of the ‘truth’ and how we accept what we see within the complex 2d layers and filters of our screens. For the Outpost I will exhibit wall-hung image composites and a compilation of videos, as representative byproducts of my networked narrative.

Searra Sasawan is a 24 year old Bangkokian who recently moved to New York. She has turned to the art field after graduating with a Bachelor’s degree in Communication Arts from Chulalongkorn University in Thailand. Sasawan has a deep passion for taking photos and recording videos. Her video works examine subjects that are informed by her natural sense of humor. Sasawan keeps exploring New York City, while at the same time she is discovering new projects.

Have I ever existed? (video) As far as I have been staying in this New York City for half a year, everything is so new to me; no one knows me and vice versa. Wandering around the city on my own makes me feel like I am invisible, and this leaves me with a question that I cannot stop asking myself: “Have I ever existed?” I have accidentally discovered a new video effect that perfectly fits the feeling of my life here. This video project is a story of my invisible life in New York City, and shows how I spend my day-to-day life as an invisible girl. This is how I see myself, and I think this is how other people see me too.

Sarah Cameron Sunde has been making theater and interdisciplinary live art performances in New York City since 1999. Her work revolves around questions of time, bodies-in-space, efficiency and awareness. She leads the interdisciplinary live art collective Lydian Junction and recently was a Resident Artist at The Watermill Center (Robert Wilson’s Laboratory for Performance). Sunde is known for her theatrical work as Jon Fosse’s American-English director/translator (five critically acclaimed U.S. debut productions since 2004) and for directing and developing the original productions of Jessica Dickey’s THE AMISH PROJECT and Marielle Heller’s THE DIARY OF A TEENAGE GIRL, now an indy film, upcoming release with Sony. She is also the Deputy Artistic Director of New Georges, co-founder of Oslo Elsewhere, and Core Member of Theatre Without Borders, recently invited to speak about her work at Iraqi Kurdistan, Uganda and China. Current projects: BORN FOR NOTHING with Lydian Junction and 36.5 / A DURATIONAL PERFORMANCE WITH THE SEA. 

WE DO. SOMEHOW. WE SURVIVE. (performance / installation) Drawing on inspiration from survival manuals, everyday routines and my personal rebellion against them, I will create a site-specific installation and performance experiment in direct response to my first encounter with the space and the binary of “doing” versus “being.”

Saori Tahara is a Japanese artist who lives in Brooklyn. Born in Hiroshima, she moved to New York City in 2012. Her career began as a graphic designer with a focus on package graphics, layouts, themes, and promotions. Her passion has always been in making digital images and the majority of her work is now exploring programming language for visual and interactive arts.

Humanistic Language (interactive communication following human gestures) Hands feel things, and hands manipulate things. I believe in the possibilities of hands, which will continue to grow with future interfaces. We control objects by hands: eating, drinking, writing, drawing, and cooking. Hands are smart, since they can feel and touch things gently, precisely, and powerfully. If we do not have the option to speak English, we rely on body language and gestures; a second language for everyone. I want to create a humanistic language following gesture recognition outside of the language system in the coded world.