For the fifth consecutive year, the trinidad+tobago film festival and ARC Magazine present New Media, a collection of artists’ works that explore a range of themes and issues, while pushing and blurring the boundaries between film and art. This year, New Media takes the form of four nights of events, plus one work that will be available to view at MovieTowne Port of Spain for the duration of the Festival.
WEDNESDAY 16–TUESDAY 29 SEPTEMBER
11am–8pm daily | MovieTowne POS lobby
Jonkonnu / Gens inconnus
Olivia McGilchrist in collaboration with the Carlton Walters Jonkonnu Band. Jamaica / Canada / 2015
3 x 3 minute video sequences with sound, virtual reality headset, wooden structure.
A cube-shaped pine box with decorative engravings atop a wooden structure houses a virtual reality headset in which the viewer interacts with a three-screen video installation of traditional Jamaica Carnival “Jonkonnu” performers. As the viewer puts on the headset, (s)he enters a 3D space in which the audio-visual sequences reveal snippets of the performance from both sides of the mask by proxy of a GoPro head-mounted camera worn by the band members.
THURSDAY 17 SEPTEMBER
StudioFilmClub | Building Seven, Fernandes Business Centre
Tribute to Peter Dean Rickards
A tribute to the late, groundbreaking Jamaican artist, Peter Dean Rickards, who worked across photography and video to create a collection of gritty, lyrical and beautiful imagery from and of his native Jamaica. Featuring the videos: Ambush, Kingston 1996, Solaris, Proverbs 24:10, Stone, Ninjaman, I Had that Dream Again (TRT approx. 17 minutes). The evening will also feature a number of projected images from Rickards’ The Afflicted Yard series.
Ross Sheil, one of the managers of Rickards’ estate, will be present to introduce the work.
This event takes place as a part of StudioFilmClub; doors open at 7.15pm
FRIDAY 18 SEPTEMBER
7.00pm | Medulla Art Gallery
37 Fitt Street, Woodbrook. Tel: 622.1196
A collection of works that explore the relationship between the self and our varied internal and external worlds.
13 BITS, POWER TOOLS & ACCESSORIES
Trinidad & Tobago / 2013 / 16’ World Premiere
13 Bits, Power Tools & Accessories is an attempt to distill stowed content from the witnessing of Moonman’s music television landing to the array in online junk bonds of prepackaged, viewer friendly and eagerly consumed media.
THE NAKED TRUTH
The Bahamas / 2014 / 37’ Trinidad and Tobago premiere
The Naked Truth deals with the construction of race specific to the Bahamian context. This work shows a series of individuals being painted black or white. While one sees a black woman being painted white, one can hear a conversation of a white woman talking about her experience as a white Bahamian. This construct is then inverted.
Dominica / 2014 / 6’
Vivas creates a dance while hidden inside a black cloth envelope. Her silent dance is an abstract poetic reflection on women in art history, evoking landscapes, Madonnas, women in burkas, and makes evident the trap of invisibility women embody.
Trinidad and Tobago, Canada / 2015 / looped digital video
Pocket Lining is one of the works in Marsden’s “Ecstatic Time” series, which presents a set of short, looping videos and animated GIFs. It documents a brief gesture that portrays a sense of redundancy, futility and slowness in a local, cultual context.
WEDNESDAY 23 SEPTEMBER
7.00pm | Alice Yard
80 Roberts Street, Woodbrook
PROXIMITIES 2: DESTINOS POSIBLES
This selection of video works, first presented in 2014 as part of the groundbreaking exhibition Cuban-American: An Empire State of Mind at Lehman College Art Gallery in New York City, tackles tricky themes inspired by the United States: as the familiar homeland for second- and third-generation children of Cuban parents, or as the distant, imagined place that has historically empowered diverse ideologies in Cuba. The larger exhibition was co- curated by Yuneikys Villalonga and Susan Hoeltzel, while the video art programme, presented here, was organised by guest curator Meykén Barreto. This is the second in the Proximities series of video works presented by Alice Yard, exploring the Caribbean’s relationships to nearby regions.
Tony Labat’s Mayami: Between Cut and Action (1986, 14’) is an essay on identity, reality and repre- sentation. Using a crude portrayal of Latino drug dealers from an episode of the TV series, Miami Vice, Labat develops a complex theatrical performance including the participation of the artists Tony Ousler and Winston Tong.
Juan Carlos Alom re-edited the journey of Cuban thinker, Jose Martí, on the Eastern side of Cuba, which is described in his last diary. The artist toured the route for two months, filming the contemporary reality of the area and using the words of Martí. Diary (2009, 13’) is the result of this experience.
In Investment (2011, 4’) Glenda León reflects on the word inversión and its double meanings in Spanish: to invest money in something and
to turn something upside down. As a result of this reflection, the artist develops a performance in which she creates dust by scraping away the image from a one-hundred dollar bill, and then inhales it.
The Snow is Beautiful (2005, 8’) by Felipe Dulzaides explores the psychological concept of an individual who has been displaced. It uses a non-linear narration to describe an aimless journey, and the notion of ‘landscape’ as psy- chological context.
Under Discussion (2005, 6’) by Allora & Calzadilla is part of a wider project about the Vieques conflict in Puerto Rico. In this video, a local person takes viewers around the restricted area of Vieques, using a table-boat, and remembering the struggle of its people.
Luis Gárciga explores expectations in Possible Destinies (2009, 10’). This is the documentation of a public intervention on the streets of Havana, when the driver of an American 1950s taxi asks clients to pay him by responding to the question: Where do you want to get in your life?
In We Don’t Need to Tell Anyone the Way We Think (2013, 11’) Ana Olema studies the behaviour of Cubans from all over the world; she uses the Facebook identities of a group of people, extracting the statements given in the political ideology question in their profiles.
The Guardian (2007, 5’) by Humberto Díaz captures a segment of reality which turns both poetic and questioning at the same time. He highlights the relationship between a surveillance camera and a bird in what he calls “a sensitivity ratio.”
SATURDAY 26 SEPTEMBER
9.00pm | Big Black Box
33 Murray Street, Woodbrook Tel: 622.1001
Featuring works* by Rodell Warner (Trinidad and Tobago)
Warner will present a number of GIFs and tweets set to sound to create an immersive and engaging visual experience for the viewer.
*Works contain flashing images
An after-party will follow.
Technical support for all New Media is generously provided by North Eleven, official projection partners of the ttff.