July 8th, 2016
@ Squeaky Wheel
$7 General | Free for Members
Squeaky Wheel presents a screening by our first Workspace Resident of the summer!
Carl Elsaesser is a film maker from Maine currently residing in Iowa. His short films have screened internationally at festivals such as Antimatter and Ann Arbor where he won the Barbara Aronofsky Latham Award for Emerging Experimental Video Artist. His work is concerned with how images are constructed, encountered and interpreted. While these questions of representation are steeped in that age-old, impossible “art question” of what is real and fantasy, his work is far more interested in what is allowed to be real, and who is allowed to speak for this real.
7 min, digital video, sound, 2014
I reconcile the violent act.
Project Gasbuggy is the name of the site where the first of three nuclear bombs were dropped a mile into the earth as part of a government collaboration with natural gas companies to see if nuclear energy could be used to free up natural gas in the earth. As a result of the radiation from each explosion the land was labeled a dead zone where no harvesting or development of any kind is allowed.
The Misbehaving Image
15 min, digital video, sound, 2016
A suspended portrait.
The Misbehaving Image places the immateriality of body representations with acts of interpretation in order to pull together and put at play the construction of image making with modes of addressing, speaking and labeling their connotative make up.
Vague Images at the Beginning and End of the Day
9 min, multiple formats on digital video, sound, 2015
A hug/punch eulogy for all things impossible now.
Vague Images is a sketch book of images and sounds from the year wrapped around a trip out to Loomis, South Dakota to find the abandoned farm where my grandfather grew up. At the same time the film is a travelogue of my frustrations and understandings of gay sexuality. The two are connected.
Work in Progress
8 min, digital video, sound, 2016
Still unfinished short film positioning whiteness and the self (myself, a body) stripping, rubbing, and framing up against history’s propensity towards archival totality, i.e. the history of Maine colonizing land/bodies/ideas. This haunting comes in the form of ascending direct actions, direct voices, and direct representations into abstract correlations and spectacular associations so that they can no longer simply be, but must exist like ghosts in the world. The film is just as much about the haunting that occurs when the materials are put in conversation with each other as to the subject matter behind them.