a summer evening with sheri wills

Amazing musicality and intensity in color are the foremost impressions of Sheri Wills' films. At the same time they speak about the beauty and fragility of the microcosm that surrounds us, and in our daily life, barely catches our attention.

Having started off with super-8 and 16mm films, and the endless possibilities of an optical printer, Sheri Wills still uses photograms as starting point of her films, however, she now also uses found footage, lens-based images and digital technology in combination with this "earliest and simplest photographic technology".

On a closer look, one could also say, the films of Sheri Wills evoke memories, illuminated memories without pointing to a specific time, or reference in the past. Rather, they are passageways in a territory of synthesized memories. If there are (according to Roland Barthes) signifiers without significants in language, one could then say, Sheri Wills' pictography is an artistic mnemonics without significants in the past. The colors and shapes, as abstract as they may appear still maintain a reference to the physical world. Their mere beauty and rhythmical structure, though, give them the quality of unresolved deja-vues. Bergson's view of a simultaneously present existence of the past and the presence comes into mind. In this concept, Sheri Wills' image making would be the presence of memories, which extend into the future while ignoring the logic of a time axis. Her films evoke memories of forgotten dreams, of childlike awe, of the "earliest cinema" of Brakhage, while rubbing your eyes. Even the used found footage does not point to a specific time period, although we can read traces of a timed fashion. Thus, Sheri Wills, in her own genius way, has made the leap from "movement-image" to "time-image" (Deleuze). Memory does not have to talk about past; memory and image associations may as well be about the present or the future. However, they definitively live on in a different time mode.

Sheri Wills deep interest in contemporary music has also led to congenial collaborations with young modern composers. Viewing her films thus becomes a synesthetic experience of color, form, rhythm and music.

The program will consist of 16mm films and digital video projections.


a summer evening with sheri wills
curated by Klaus W. Eisenlohr
Friday, 21 September 2007, 9 pm Z-Bar, Berlin, Bergstr. 2

Xu Yong

from his folio at FotoFest Beijing 2006



















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The Last Duck Race in Singapore

Tens of thousands of rubber ducks take part in the last Great Singapore Duck Race in Singapore September 9, 2007. The race with 85,000 rubber ducks, which raises funds for seven charities in Singapore, will be the last one down the Singapore River before it is turned into a reservoir as part of the Marina barrage project.

Tens of thousands of rubber ducks make their way toward the finish line in the last Great Singapore Duck Race in Singapore September 9, 2007. [Reuters]


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How To Melt My Heart

Carrie Fucile at Artifact + Metafact

Carrie Fucile describes her work How To Melt My Heart as a sound-sculpture. She cast 17 molds in ice from a human-sized heart model - one for every day of the show. Every day, one is hung from the chain in the middle of the gallery and melts onto a new sheet of paper under which is a contact microphone connected to an amplifier. Every time a drip hits the sheet of paper, the sound is amplified throughout the room. By the end of the show, there will be 17 drawings from the 17 hearts.

Artifact + Metafact: artists exploring the transformation of visual symbols

13 artists, working in a variety of mediums, interpret iconic imagery into a contemporary visual dialog with the viewer. Flags, video game imagery, famous artworks, geometric forms, and surreal dream imagery are all subject to critical, yet beautiful, dissections. Specifically, the artists will explore a symbol’s potential to exist both in physical reality (artifact), and in our collective memories (metafact). What are the conditions surrounding this transformation?

Curated by Tamas Veszi and Carla Aspenberg, this exhibition serves as a follow up to the 2006 Brooklyn College MFA show, Plan B, which sparked wide media coverage after it was censored and then improperly shut down by NYC Parks Department (last month the artists were issued a formal apology and cash compensation). Plan B Prevails, was eventually reopened, although greatly changed by the new context of a different venue, and media exposure. Sarah Nicole Phillips turned a Parks Department logo upside-down in quiet protest, and born was the concept that would become Artifact + Metafact, where context dictates the meaning of an image. How can the most widespread of all imagery also be that which is most open to interpretation of meaning?
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September 8 - 30

Repetti is open Wednesday to Sunday from 12 to 5pm, and is located
at 44-02 23rd St. Long Island City, NY, 11101, (718) 670-3226.
Subway:E,V to 23rd st. Ely. 7,G toCourthouse SQ.

memory in motion

MEemory in motion, art in the public space takes place in Munich these days. Unfortunaly I am having much problems to post at all. To give you a little idea about what´s going on in rainy Bavaria I add this feed that should serve some snaps from the show.

TXTual healing hits Munich

Paul Notzold, a well known name for readers of the Katz, did a spontaneous performance of TXTual healing at September 6th. Even so the bubbles enlighted again a rainy Munich it was a vivid event, partly because guests of a nearby club participated with passion from indoor safety.

See a short video of this wonderful evening after the jump