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water preserves draft 03

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State of the Art Gallery (SOAG), Ithaca, New York
Wednesday, February 4, through Sunday, March 1, 2009
Opening reception: Friday, February 6, 5:00-8:00 pm
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“Water Preserves” is a collaborative piece by ten international artists curated by the artist Jan Kather. The photo/video installation ” explores our complex and sometimes precarious relationship with water by visually and aurally examining its beauty, magic, terror, and poetry”.

Below artists’ contributions.
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Ain’t Got Long. Marty McCutcheon, United States 20
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Marty McCutcheon

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78 seconds of water.  Michael Chang, Denmark 2008
michael_s > Michael Chang. “Initially I was moved emotionally by all the qualities of water. I was moved by facts about water and the percentage of water on this planet. I wanted my work to reflect on both, but I didn’t know how to do that. So I started to create some basic rules. I set the duration of my contribution to 100 seconds. 1 second symbolizing 1 percent. Then it was obvious to symbolize the maximum percentage of water in a person, by showing water running from a tap for 78% of the video or 78 seconds. That became the title. Then I calculated how many litres were running from the tap in that period of time. I did that by filling up a jar, putting it on a scale and pushing buttons on a calculator. The 78% percent added up to the content of water in a child. (62 pounds or 28 kilos.)
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Snow Heart. Stina Pehrsdotter, Sweden 2008
stina_s

> Stina Pehrsdotter. Snow Heart

a quiet and quick piece –

slightly polluted water on metal

forms the shape of

a heart

made of snow

with some spots

………………………………………………………………………………….of blood.

………………………………………………………………………………….There are sacrifices

………………………………………………………………………………….we have to make

………………………………………………………………………………….to prevent

………………………………………………………………………………….global warming.

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Untitled. Brad Wise, United States 2008
brad2sBrad Wise. Bound by the covalent bonds of Hydrogen and Oxygen electrons, the flow of water is nothing if not the flow of energy itself.  It is, in fact, this dipole bonding property of H20 that informs, fills, and binds all life on Earth and, surely, infinite worlds within the boundless seas of the cosmos.  In mirroring the natural flow of water on Earth, and the effects of light and shadows across its surface tension, the Universe and its infinite potential is reflected endlessly within.
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Diving. Experimental film. Kai Lossgott, South Africa 2008
kayl_sKai Lossgott. A mature woman is stuck in a dream, a childhood memory of water, and an inability at least for the moment to move into the present. She covers her eyes, reminiscent of a childhood game, perhaps clairvoyance, yet also have a need to shut out the noisy world and absorb deeper realities.  Young children are known to shut their eyes and believe that this makes them invisible.  It is also a game of denial at times, a wilful forgetting and selective remembering, indicative of our contemporary middle class life and the habits, which form the basis it exists on.  Either way, in “diving” we are submerged in the suggestion that often we know irrevocably what lies beneath the surface, whether our eyes are open or closed, whether we speak out or not, and that we must engage with this part of ourselves.  The open and vulnerable look of the woman suggests that she is conscious of the possible consequences of her game and draws the viewer into complicity. It is a reminder of the consequences of sight and that even in the most momentary of the daily games we play, we are making choices that interrupt the flow of time and demand action.

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Performer: Monika Dillie

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Excerpt from Windmaker. Kika Nicolela, Brazil 2008
kikaKika Nicolela. A woman struggles to find her place in the relationship to the infinite nature.
Essay: The Ghosts of the Place, by Essay Alessandra Ribeiro.

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-direction and editing
Kika Nicolela
– performer
Luciana Canton
– director of photography
Ching C. Chang
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– music
Thierry Gauthier; Delphine Measroch

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Fluid transfer, Collecting Rivers. Niclas Hallberg, Sweden 2008
fluid_transfer_sNiclas Hallberg. The ampoule with water from the river Tamis, is part of Collecting Rivers, a project run now for several years by the artist Vera Stevanovic from Belgrade, Serbia. Vera distributes the ampoules to several people who can choose and document what they do with it as part of her project. Niclas has made the piece Fluid Transfer, using the body as ground, landscape, nature and the water from the ampoule as a water drop, waterfall, river, ocean in the shape of an erotic act.
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Rain. Simone Stoll, Germany 2008
rain3sSimone Stoll. Rain is an imaginary walk on a tightrope, a solitary performance of a woman in a white blouse walking barefoot under continuous rainfall. Slowly, setting foot after foot, trying not to loose balance, as she paces towards a concrete wall.
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Kato’s Sky. Junichiro Shindo, Japan 2008
jshindo3a>  Junichiro Shindo. TEXT
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Not Just Canaries. Jan Kather, United States 2008
janJan Kather. TEXT row 2, cell 1
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Not the Silent Sea. Video Animation.Alicia Felberbaum, England 2008
not-the-silent-sea_s1> Alicia Felberbaum.

Hearing is the primary sense for marine life, which uses sound for navigation and communication. Some scientists believe the spreading “acoustic smog” is essentially blinding marine life, affecting feeding, breeding and other crucial activities.

Forget the notion of the silent deep sea. The ocean is a noisy place filled with the sound of human activity – an aquatic wilderness that is becoming urbanized. Noise is a natural part of life in the oceans, but human activities have cranked up the volume blocking animals’ communication and disrupting feeding.

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There and Back. Alicia Felberbaum, England 2008
alicia_there>“There and Back” is a non-linear journey mixing multiple genres in a post-apocalyptic setting. A man is experiencing a world in severe trauma. Although we can see the consequences of the disaster, the cause for this situation are left to the viewer’s own interpretation.

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-direction and editing
Alicia Felberbaum
-music
Matthijs Vos

row 1, cell 1
row 2, cell 1
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row 1, cell 1
row 2, cell 1
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