IN THE SCREEN!
Expanded cinema, salons, performances, and intermedia art. Free and open to the public unless otherwise noted.
Previously known as, Off The Screen!, In the Screen! features a virtual gallery space presented by Saganworks, live expanded cinema performances streaming worldwide, engaging salon sessions to help audiences learn and connect, and installations viewable from the street in Ann Arbor. In The Screen! installations, both virtual and in-person, will be up starting on March 3 while the rest of the series will be presented during festival week (March 23-March 28, 2021). This series aims to foster meaningful conversations about the culture of the moving image.
Featured artists will showcase their work through performances, installations, and salons. Salon sessions include a variety of workshops, discussions, and demos pertaining to experimental art and film. Registration is required for salons and workshops unless otherwise noted. Once you register you will be sent the link to attend.
Virtual Gallery in partnership with Saganworks
Alice Inside by Claudia Hart
Bamboocene: Memories of Synchronicity - Part 3 WebGL by Monika Czyzyk
Bot, by Aaajiao
Darling, Work 1 and Darling, Work 2 by Michele Monseau
Flipped Books by Marie Paccou
On a clear day you can see forever by Ian Haig
Installations viewable from the street
Coming March 3
For Your Eyes Only by Yasmine Nasser Diaz
U-M Institute For Humanities
For Your Eyes Only is the latest iteration of multidisciplinary artist Yasmine Nasser Diaz’s bedroom installation. At first glance, the constructed space is a shimmering homage to the bedroom disco—a sanctuary for uninhibited dance and self-expression. It has also become the setting from which many personal videos are made and shared widely on social media, where platforms such as Instagram and TikTok have blurred the boundary between public and private. Projected into the space is a montage of casual videos shared by female-identifying and non-binary persons of SWANA (Southwest Asian/North African) origin dancing solo in their rooms.
To some, the videos may seem innocent and innocuous, but they can also be seen as acts of defiance that assert the autonomy of bodies that have been surveilled, scrutinized, and censored throughout history. Alongside these intimate moments is a separate reel showing political figures and protest movements from the SWANA region. The images demonstrate the fluctuating attitudes and regulations impacting human rights and freedoms based on gender, and exemplify how—whether we are physically at a protest or sharing our physicality in virtual spaces—our bodies are engaged in some level of risk.
One Man’s War by Li Binyuan
111 South 4th Ave.
In performance art terms, “man breaks 301 hammers” seems to be a straightforward enough concept. But Li Binyuan’s One Man’s War transcends the form. A man does what he has to do, which seems impossible to accomplish. So much so that he is showing fatal fatigue after performing repetitive actions; but at the same time, those invisible rules and regulations wrapped outside of the body are forced to appear. It eventually turns into a historical fable that concerns the individual’s life.
Li Binyuan was born in 1985 in Yongzhou, China. He graduated from the Sculpture Department at the Central Academy of Fine Arts in 2011. Currently living in Beijing, Li is an active contemporary artist, as well as a documentary and experimental filmmaker. His work has exhibited throughout the US, Europe, and Asia, and is in the permanent collection of the
Museum of Modern Art.
An Undue Burden by Jex Blackmore
Ann Arbor Art Center (Aquarium Gallery)
An Undue Burden is an endurance work that follows the experience of a pregnant woman as she awaits her abortion procedure in a hotel room over the course of twenty-four hours. Striking a balance between the public and private domain, the film draws parallels between a political discussion involving a woman’s intimate, personal life and the public square. Veiled by the private room, we see the female body as a contested site, as her isolation transforms the mundane into a living taboo.
With minimal spoken dialogue, her gaze and actions function as a narrative driver, allowing the story to unfold of a woman in negotiation between her independence and confinement. We are reminded of what is sacrificed in putting one’s life on hold for twenty-four hours (or more) and see ourselves in nuanced familiarities—a call to reconsider the burden of mandated abortion waiting periods in a political climate which dismisses the lived experiences of those directly impacted by these regulations.
Jex Blackmore is an artist whose work addresses the relationship between moral religious rhetoric, sexuality, and political policy. She has been featured in numerous publications such as Time, Vanity Fair, The Washington Post, NPR, Cosmopolitan, and Salon. Her work is featured in the Magnolia Pictures documentary Hail Satan?, which was an official selection at Sundance 2019.
The Well by Deb Todd Wheeler
Ann Arbor Art Center
Following the sudden deaths of her vibrant and beautiful son Lucas and her brother, the lyrical filmmaker Rob Todd, Deb Todd Wheeler fell into a state of deep mourning that involved hunting for grief rituals across the country. Situated in the running waters of Southern Vermont, The Well invites the camera into a grief ritual between flowers and friends. Each of these women is grieving, filming, collaborating. This is Deb Todd Wheeler’s edit of the communal footage. It's a conversation with Rob, a cry for Lucas, and an out-of-body experience of surrender.
Deb Todd Wheeler generates discreetly intimate experiences through interactive installations, objects, and participatory gatherings. Raised by musicians, and trained as a material craftsman, she has an interest in both antiquated and new technologies and an attitudinal nimbleness that spawns collaboration across disciplines. Her projects act as a vehicle for processing both material and emotion.