Announcing Fall 2022
Posted by | otaper | Posted on | August 23, 2022
Join us for the fall 2022 season of Conversations at the Edge!
The series returns to the School of the Art Institute of Chicago’s (SAIC) Gene Siskel Film Center (164 North State Street) for in-person screenings with Jessica Bardsley (9/22), Tsai Ming-Liang (10/3), Marta Pajek (10/20), an animation program including Yoriko Mizushiri, Martina Scarpelli, Shoko Hara, Nadja Andrasev, Lénaïg Le Moigne, and Tal Kantor (10/27), Andy Warhol’s BATMAN DRACULA (11/3) and Tiffany Sia (12/1). Visit www.saic.edu/cate for season details.
Thanks to our partners Video Data Bank, the Gene Siskel Film Center, SAIC’s Visiting Artists Program, and DePaul University’s School of Cinematic Arts.
Jessica Bardsley, Goodbye Thelma, 2019. Courtesy of the artist and Video Data Bank
Tsai Ming-Liang, Goodbye Dragon Inn, 2003. Photo by Lin Meng Shan
Marta Pajek, Impossible Figures and Other Stories II, 2015. Courtesy the artist and Animoon
Yoriko Mizushiri, Anxious Body, 2021. Courtesy of Miyu.
Nádja Andrašev, Symbiosis, 2019, Courtesy Miyu
Andy Warhol’s Batman Dracula, 1964 unfinished. Courtesy the Andy Warhol Museum
Tiffany Sia, Do Not Circulate, 2021. Courtesy of the artist.
Tags: Andy Warhol > Animation > Experimental Film > Jessica Bardsley > Lénaïg Le Moigne > Marta Pajek > Martina Scarpelli > Nadja Andrasev > Shoko Hara > Tal Kantor > Tiffany Sia > Tsai Ming Liang > Video Data Bank > Yoriko Mizushiri
Thank you! 2021-22 Season
Posted by | Amy Beste | Posted on | May 27, 2022
Thank you to everyone who made this year’s program possible!
Tulapop Saenjaroen Notes From the Periphery 2021 Image courtesy of the artist
We are so appreciative of the outstanding artists who shared their works, time, and ideas with us: Renée Green, Lynda Benglis, Anocha Suwichakornpong, Pom Bunsermvicha, Tulapop Saenjaroen, Nazli Dinçel, Meriem Bennani, Andy Slater, Dani ReStack, Sheilah ReStack, and Nick Briz, as well as the artists and scholars who conversed with them: Jordan Carter, Molly Donovan, Melika Bass, Emily Martin, Deborah Stratman, and Zach Vanes.
We’d also like to thank our wonderful partners: Onion City Experimental Film and Video Festival, The Disability Culture Activism Lab in the Department of Art Therapy and Counseling at SAIC, Access Living, Gallery 400 at the University of Illinois at Chicago, The Renaissance Society at the University of Chicago, Open Practice Committee in the Department of Visual Arts at the University of Chicago, The Society for Contemporary Art, Video Data Bank, and the Gene Siskel Film Center. Our programs would not have been possible without your support.
And we’d like to thank you, our audience, for joining us virtually and in the theater this past year.
Make sure to follow us on social media (Conversations at the Edge is now on Instagram) for exciting news about our upcoming fall 2022 season!
Tags: Access Living > Andy Slater > Anocha Suwichakornpong > Dani ReStack > Deborah Stratman > Emily Martin > Gallery 400 at the University of Illinois at Chicago > Jordan Carter > Lynda Benglis > Melika Bass > Meriem Bennani > Molly Donovan > Nazli Dincel > Nick Briz > Onion City Experimental Film and Video Festival > Open Practice Committee in the Department of Visual Arts at the University of Chicago > Pom Bunsermvicha > Renee Green > Sheilah ReStack > The Disability Culture Activism Lab in the Department of Art Therapy and Counseling at SAIC > The Renaissance Society at the University of Chicago > The Society for Contemporary Art > Tulapop Saenjaroen > Video Data Bank > Zach Vanes
Nick Briz
Posted by | otaper | Posted on | May 7, 2022
Thursday, April 14, 6:00 p.m.
Join artist Nick Briz for this interactive lecture performance on surveillance, capital, and the internet.
Nick Briz, howthey. watch/you, 2021. Image courtesy of the artist
For the last 10 years, new media artist, educator, and organizer Nick Briz has produced an urgent and electrifying body of work that uses the tools of our digital age to illuminate its promises and perils. Taking shape through software, websites, video essays, and lecture series, Briz has examined the political and environmental implications of Apple’s culture of continuous upgrades, made an early case against Facebook and a series of computer scripts to help users quit it, and mapped the invisible geography of Wi-Fi networks. In this interactive, performance-based work, he expands on his recent award-winning hypermedia essay howthey.watch/you (2021) to underscore the myriad ways digital fingerprinting and tracking technology is built into our daily lives and to highlight its social, political, and psychic implications.
2022, USA, ca. 60 minutes plus discussion
Interactive lecture and performance, multiple formats
In English
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ABOUT
Nick Briz makes work with and about our digital ecosystem. He is an active participant in various online communities and conversations including glitch art, net art, remix culture, digital literacy, hacktivism and digital rights. His work has been exhibited internationally, including the Museum of the Moving Image, New York City; Museo de Arte Contemporáneo de Caracas, Venezuela; Museum of Contemporary Art Chicago; and Tate Exchange, London, among others. Briz is co-founder of netizen.org, a nonprofit focused on digital literacy and digital culture, associate professor, adj. at the School of the Art Institute of Chicago, lecturer at the University of Chicago, and a freelance creative technologist.
Dani and Sheilah ReStack
Posted by | otaper | Posted on | March 31, 2022
Thursday, March 31, 6:00 p.m.
Join Dani and Sheilah ReStack for the Chicago premiere of their feral domesticity trilogy. Presented in partnership with the 32nd Onion City Experimental Film and Video Festival.
Dani and Sheilah ReStack, Future From Inside, 2021. Image courtesy of the artists and Video Data Bank
The videos of Dani and Sheilah ReStack are radical explorations of queer desire, parenthood, and creative community. Formally and emotionally adjacent to their domestic lives, the Restacks’ works are exhilarating montages of home, artmaking, sex, parenting, wounds, viscera, animals, gardens, and wild open spaces. The two will present the Chicago premiere of their feral domesticity trilogy, including Strangely Ordinary this Devotion (2017), Come Coyote (2019), and the recently completed Future From Inside (2021), which brings together body doubles, animal synthesis, and expansive notions of family, all refracted through the beauty, cruelty, and promise of life.
2017–21, USA, ca. 58 minutes plus discussion
Digital video
In English
Videos courtesy of Video Data Bank
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PROGRAM
Strangely Ordinary This Devotion, 2017, 26 minutes
Strangely Ordinary This Devotion is a visceral exploration of feral domesticity, queer desire, and fantasy in a world under the threat of climate change. Utilizing and exploding archetypes, the film offers a radical approach to collaboration and the conception of family. Dani and Sheilah ReStack collect and arrange images and moments that are at once peculiar and banal, precious and disturbing, creating resonance and contrast through experimental modes of storytelling.
Come Coyote, 2019, 8 minutes
“The second in a trilogy of films about desire and domesticity, Come Coyote examines issues around queer reproduction, intimacy, and motherhood. Collaborators and partners Dani and Sheilah ReStack capture in fleeting, diaristic images the tender and terrifying feelings they have around ushering new life into the world, conveyed with both humor and a powerful immediacy.” — Projections at NYFF, 2019 catalogue
“A quixotic intimate portrait, Come Coyote portrays the reproductive challenges of same-sex couples with sensual poetry and humor, plus a pinch of despair.” — Ela Bittencourt, Hyperallergic, October 2019
Future From Inside, 2021, 19 minutes
Future From Inside is the last in the trilogy begun in 2016, by Dani and Sheilah ReStack. The work traces the ReStack collaboration, as it manifests in life and in work. The video utilizes body doubles, a continuing journey for answers and oracles, animal synthesis, queer desire, children and radical community to weave a fragmented future. This final offering of the trilogy does not offer answers to the personal and societal conflict, but continues the possibility of the feral domestic as a way to inhabit the space of living to yield surprising results.
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ABOUT
Dani and Sheilah ReStack have collaborated together since 2015. Their collaborative projects have shown at the 2017 Whitney Biennial; Iceberg Projects, Chicago; Toronto International Film Festival; Images Festival, Toronto; Lyric Theater, Carrizozo, New Mexico Leslie-Lohman Project Space, New York; Gaa Gallery, Wellfleet, Massachusetts; New York Film Festival; and the Columbus Museum of Art, Ohio. They have received grants from the Canada Council for the Arts, Ohio Arts Council, and Visual Studies Workshop and have held residencies at The Headlands in Marin County and the MacDowell Colony. Both artists have established individual careers. Sheilah received her bachelor of fine arts from the Nova Scotia College of Art and Design and master of fine arts from Goldsmiths College, London. She is an associate professor and chair of studio art at Denison University. Dani received her master of fine arts in sculpture from the University of Illinois at Chicago in 2003 and a master of fine arts in film/video from Bard College in 2009. She is an associate professor of drawing at Ohio State University.
Tags: Dani ReStack > Experimental Film > Onion City Experimental Film and Video Festival > Sheilah ReStack
Andy Slater
Posted by | otaper | Posted on | March 10, 2022
Thursday, March 10, 6:00 p.m.
Join artist Andy Slater for an evening of his evocative sound-based works. Presented in partnership with Disability Culture Activism Lab (DCAL) in SAIC’s Department of Art Therapy and Counseling, Access Living, and Gallery 400 at the University of Illinois at Chicago, in conjunction with the exhibition Crip*, on view from January 14 to March 12. This program is partially supported by a grant from the Illinois Arts Council Agency.
Andy Slater. Photo: Charlie Simokaitis
Andy Slater’s rich and evocative works combine distorted field recordings, alternative texts, and the singular rhythms and sonic colors of vintage accessible technologies. In a program designed especially for the Gene Siskel Film Center’s acoustic capabilities, Slater will present a selection of recent sound-based works inspired by research into Crypto Acoustic Auditory Non-Hallucination, a midcentury scientific theory hypothesizing that some blind people have the capacity to hear trans-dimensionally. Casting audiences into deep sonic drifts and waves of echoing repetitions, his compositions create the perception of ever morphing space, continually shifting between the sensual and psychic. Each work will be accompanied by an evocative set of alt texts, expansively building on ideas of access and accessibility. Slater will also discuss his recent work in virtual and augmented reality.
2019–22, USA, ca. 60 minutes plus discussion
Multiple formats
In English
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ABOUT
Andy Slater is a Chicago-based media artist, sound designer, and disability advocate. He is the founder of the Society of Visually Impaired Sound Artists and a teaching artist with the Atlantic Center for the Arts’ Young Sound Seekers program. Slater’s current work focuses on advocacy for accessible art and technology, alt text for sound and image, science fiction, spatial audio for extended reality, and sound design for film and video games. He has exhibited and performed at the Museum of Contemporary Art Chicago; Contemporary Jewish Museum, San Francisco; transmediale, Berlin; Ian Potter Museum of Art, Melbourne; Critical Distance, Toronto; Gallery 400, Chicago; Experimental Sound Studio, Chicago; Art Institute of Chicago; Flux Factory, New York; Walker Art Center, Minneapolis; and MOMENTA, Chicago. He is a 2022 United States Artists fellow, a 2022–23 Leonardo CripTech Incubator fellow, and was a 2018 3Arts/Bodies of Work fellow at the University of Illinois Chicago. In 2020, the New York Times acknowledged his work in the article “28 Ways to Learn About Disability Culture.” Slater holds a master of arts in sound arts and industries from Northwestern University and a bachelor of fine arts from the School of the Art Institute of Chicago.
Meriem Bennani
Posted by | otaper | Posted on | March 3, 2022
Thursday, March 03, 6:00 p.m.
Join artist Meriem Bennani for a screening of her works Party on the CAPS (2018), Guided Tour of a Spill (2021), and 2 Lizards (co-directed with Orian Barki, 2020). Presented in partnership with the Renaissance Society at the University of Chicago, in conjunction with the exhibition Meriem Bennani, and the Open Practice Committee in the Department of Visual Arts at the University of Chicago.
Meriem Bennani, Party on the CAPS, 2018. Image courtesy of the artist
In her genre-bending and often absurdly funny videos, Rabat-born, New York–based artist Meriem Bennani fuses the languages of reality television, social media, and 3D animation to explore such weighty topics as biopolitics, virtuality, and globalism. In conjunction with the exhibition of her latest film Life on the CAPS at the Renaissance Society at the University of Chicago, Bennani presents a selection of related works. Party on the CAPS (2018) and Guided Tour of a Spill (2021) introduce viewers to a speculative future where teleportation has replaced air travel and a small island in the Atlantic is a creolized megacity populated by detained migrants. 2 Lizards (2020), her collaboration with filmmaker Orian Barki, chronicles the early days of the COVID-19 pandemic as it unfolded in real time. Originally released bi-weekly on Instagram, the series captures the surreality of lockdown and the growing social fissures exacerbated by systemic inequities and racism.
2018–2021, USA, Morocco, ca. 64 minutes plus discussion
Digital video
In Arabic, English, and French with English subtitles
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PROGRAM
Party on the CAPS, 2018, video, 26 minutes
Narrated by an animated crocodile, Meriem Bennani’s recent film Party on the CAPS is a docunarrative exploring the robust, technologically advanced, and totally hybridized culture of a fictional island in the Atlantic Ocean called The CAPS. The film follows residents of a Moroccan neighborhood on the island–who, like all of the CAPS’ inhabitants, are refugees rejected by the United States—as they hang out, party, and otherwise go about their lives in this speculative society. Blending science-fiction and geopolitical realities, Party on the CAPS addresses immigration, surveillance, the real and the virtual, and globalized culture with humor and empathy. (Rhizome)
Guided Tour of a Spill, 2021, video, 15 minutes
Guided Tour of a Spill animates how the American Troopers snatch migrants from thin air and stash them on The CAPS. Meanwhile, the inhabitants have claimed their prison as their new homeland. Bennani’s work is gleefully fugitive in its own way, reveling in the space between animated and live, digital and analog, fantasy and documentary. And in her world, as in ours, the glitches and failures of tech produce new traumas alongside fresh freedoms. (Travis Diehl, Art in America)
2 Lizards, Co-directed with Orian Barki, 2020, video, 23 minutes
In spring 2020, during the COVID-19 lockdown in New York City, artist Meriem Bennani and filmmaker Orian Barki took to social media: the pair collaborated on eight episodes of 2 Lizards, releasing a short video every few weeks on Instagram. This animated series chronicled the socially disrupted lives of the eponymous reptiles, voiced by the artists themselves, through a collaborative, diaristic approach that reflected the unfolding of the pandemic in real time. Using a combination of 3D animation and real footage shot, for example, in an empty Times Square, the series perfectly captures the range of emotions particular to lockdown, from dreamlike detachment to anxiety and, eventually, impassioned protest. 2 Lizards is an artistic time capsule that uses humor and poignant emotion to explore the societal fissures that formed around the pandemic, and its intersection with systemic racism. (Museum of Modern Art)
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ABOUT
Spanning video, sculpture, multimedia installation, drawing, and social media, Meriem Bennani’s often satiric and humorous works draw from globalized popular culture and Moroccan history. Solo exhibitions of her work have been held at C L E A R I N G, Brooklyn; The Kitchen, New York; Fondation Louis Vuitton, Paris; Art Dubai; MoMA PS1, New York; and SIGNAL, Brooklyn. Her work has also been featured in numerous group exhibitions, including the Whitney Biennial, New York; Biennale de l’Image en Mouvement, Geneva/Turin; Public Art Fund, New York; Shanghai Biennale; Jewish Museum, New York; Saatchi Gallery, London; MANA Contemporary, New Jersey; and Palais de Tokyo, Paris. Bennani’s work is part of the collections of the Guggenheim Museum, New York; Whitney Museum of American Art, New York; Musée d’Art Moderne de Paris; Fondation Cartier pour l’art contemporain, Paris; Kadist, Paris; and FRAC Ile-de-France, Paris.
Nazlı Dinçel
Posted by | otaper | Posted on | February 17, 2022
Thursday, February 17, 6:00 p.m.
Join artist Nazlı Dinçel for a screening of their provocative handmade films. Presented in partnership with SAIC’s Video Data Bank.
Nazlı Dinçel, Between Relating and Use, 2018. Image courtesy of the artist and Video Data Bank
Nazlı Dinçel’s handmade films reflect on experiences of physical and cultural disruption, from intimate states of arousal to Dinçel’s own immigration from Turkey to the United States. By scratching, sewing, letter-punching, and hand-developing, they draw comparisons between the sensuous physicality of film and the body. Dinçel will present a selection of works, including Between Relating and Use (2018), Shape of a Surface (2017), Solitary Acts (4, 5, 6) (2015), and Instructions on How to Make a Film (2018), along with the rarely screened video Untitled (2016), and discuss their practice.
2015–18, USA, Turkey, Argentina, ca 66 minutes plus discussion
16mm and digital video
In English
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PROGRAM
Between Relating and Use, 2018, 16mm, 9 minutes
Borrowing words from Laura Mark’s “Transnational Object” and DW Winnicott’s “Transitional Object”, this film is an attempt to ethically make work in a foreign land. Transitioning from assuming the position of an ethnographer, we turn and explore inwards – on how we use our lovers.
Shape of a Surface, 2017, 16mm, 9 minutes
The ground holds accounts of once pagan, then christian and now muslim ruins of the city built for Aphrodite. As she takes revenge on Narcissus, mirrors reveal what is seen and surfaces, limbs dismantle and marble turns flesh.
Solitary Acts #4, 2015, 16mm, 8 minutes
The filmmaker films herself masturbate the object of debate. She hears others claim her body, her habits: those in her conservative surroundings as a child. The viewer claims her as well, by watching her in this private act. She is 9 years old, then 12. She observes popular icons, dismissing the agency of their body: with some teenage angst, denies climax to everyone else but herself.
Solitary Acts #5, 2015, 15mm, 5.5 minutes
The filmmaker films herself practice kissing with a mirror. She recalls teenage memories of overconsumption, confusing oral fixations (kissing and eating). She ends up eating the carrot she is masturbating with, and she feels a sense of cannibalism. The components of the background of the scene are broken down and filmed in extreme closeups. These wave and play with one another: when text over-consumes the image it transforms into the backdrop fabric where the filmmaker physically attaches the film together with fishing line.
Solitary Acts #6, 2015, 16mm, 11 minutes
This is a feminist critique of the Oedipal complex. The filmmaker recounts an abortion she had in 2009. The aborted child survives and becomes her lover. Her subject is filmed in a private act, complicating what could be an act of the solitary. There are three parts in the film. First is a recount of the child’s earliest sexual memory, similar to the filmmaker’s in Solitary Acts #4. The text is hammered on the film with letter punches. Second is a letter written to the filmmaker from her subject, being read by the filmmaker. The image is punched out with a leather puncher and carefully replaced into black leader with tweezers. A pop song from 2009 is used, the one the filmmaker heard while driving in the taxi from her abortion. Third is a letter that the filmmaker wrote, being read by the subject. In this third part the audio is broken apart and the letter is reversed, mimicking the reverse masturbation (the image).
Untitled, 2016, video, 12 minutes
Instructions on How to Make a Film, 2018, 16mm, 13 minutes
Shot at the Film Farm in Mt. Forest, this comedy is a quest about performance, educational voiceover, analogue filmmaking, ASCII, language, ethics of ethnography and narrative storytelling under a metaphor of instructions to farm land. Text by Barbara Kirshenblatt-Gimblett and Wikihow/shoot-film.
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ABOUT
Born in Ankara, Turkey, the artist and filmmaker Nazlı Dinçel currently resides in Milwaukee. While they are known for their films, they work across a number of mediums, drawing inspiration from Turkish weaving and rug making. Their work has been exhibited internationally, including at the Museum of Modern Art in New York, Walker Art Center in Minneapolis, International Film Festival Rotterdam, Hong Kong International Film Festival, and Buenos Aires International Film Festival, among many others. In addition to their art practice, Dinçel is building an artist-run film laboratory, part of a global network of collectives dedicated to exploring the possibilities of analog filmmaking in the wake of the photochemical film industry’s collapse.
Announcing Spring 2022
Posted by | ialber | Posted on | February 5, 2022
Join us for the spring 2022 season of Conversations at the Edge!
The series returns to the School of the Art Institute of Chicago’s (SAIC) Gene Siskel Film Center (164 North State Street) for in-person screenings, performances, and presentations with Nazli Dincel (Feb 17), Meriem Bennani (Mar 10), Andy Slater (Mar 31), Dani and Sheilah ReStack (Apr 14), and Nick Briz (Apr 14). Visit www.saic.edu/cate for season details.
Thanks to our partners Video Data Bank, Renaissance Society at the University of Chicago, Open Practice Committee in the Department of Visual Arts and the University of Chicago, Gallery 400, Onion City Experimental Film and Video Festival, and the Gene Siskel Film Center.
Nazlı Dinçel, Between Relating and Use, 2018. Image courtesy of the artist and Video Data Bank
Meriem Bennani, Party on the CAPS, 2018. Image courtesy of the artist
Andy Slater. Photo: Charlie Simokaitis
Dani and Sheilah ReStack, Future From Inside, 2021. Image courtesy of the artists and Video Data Bank
Nick Briz, howthey. watch/you, 2021. Image courtesy of the artist
Tags: Andy Slater > Artist's Film > Chicago > Dani ReStack > Experimental > Feminist > Meriem Bennani > Nazli Dincel > New Media > Nick Briz > Political > SAIC Alumni > SAIC Faculty > Sheilah ReStack > Video Data Bank
Fall 2021 Season Recap
Posted by | ialber | Posted on | February 5, 2022
We would like to thank all of you for joining us both virtually and in person for our screenings and conversations with the fantastic artists of the Fall 2021 season of Conversations at the Edge!
A big thank you as well to all of our presenting partners, including the School of the Art Institute of Chicago’s Video Data Bank, The Society for Contemporary Art at the Art Institute of Chicago, and the Gene Siskel Film Center.
Stay tuned to our page for exciting news about our upcoming Spring 2022 season!
Renée Green Partially Buried Continued (1997) Courtesy of the artist and the Video Data Bank
Lynda Benglis Now (1973) Courtesy of the artist and the Video Data Bank
Anocha Suwichkornpong By The Time It Gets Dark (2016) Courtesy of the artist and Kim Stim
Pom Bunsermvicha Lemongrass Girl (2021) Image courtesy of the artist and Square Eyes
Tulapop Saenjaroen Notes From the Periphery (2021) Image courtesy of the artist
Tags: Artist's Film > Chicago > Early Video Art > Experimental > Experimental Documentary > Performance > Political > SAIC Alumni > Video Data Bank
Tulapop Saenjaroen: Short Films
Posted by | Amy Beste | Posted on | October 28, 2021
Recent films by Thai artist and filmmaker Tulapop Saenjaroen.
Tulapop Saenjaroen Notes From the Periphery 2021 Image courtesy of the artist
Theatrical Screening
A Room with a Coconut View, People on Sunday, Squish!, Notes from the Periphery
Thursday, October 28, 6:00 p.m.
Gene Siskel Film Center
Virtual Screenings
A Room with a Coconut View, People on Sunday
October 29–November 4
Gene Siskel Film Center Virtual Cinema
Tulapop Saenjaroen’s darkly funny and breathtakingly original films offer incisive commentaries on work, leisure, tourism, and self-care in today’s relentless culture of self-improvement. Borrowing elements from social media, meditation apps, virtual assistants, and cinema history, Saenjaroen’s works also ponder the ways proliferating media imagery shapes our inner and outer lives. In the award-winning A Room with a Coconut View (2018), artificial intelligences attempt to explore the Thai resort town of Bangsaen through video tours and tourist snaps before going off the existential rails. In People on Sunday (2020), Saenjaroen considers the labor of leisure in this homage to the 1930 German film Menschen Am Sonntag. Squish! (2021) meditates on the self through lurid and liquid forms, filtered through the history of Thai animation. Notes from the Periphery (2021) explores the peripheral spaces of labor, trade, and everyday political resistance in the port city of Laem Chabang in Chon Buri, Thailand. In Thai and English with English subtitles.
2018-2021, Thailand / Singapore / United Kingdom, DCP, ca 80 minutes
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RELATED EVENT
Anocha Suwichakornpong, Tulapop Saenjaroen, and Pom Bunsermvicha in Conversation with Melika Bass
Friday, October 21, 6:00 p.m.
Virtual Event
Gene Siskel Film Center Virtual Cinema
Closed captions available
ABOUT
Tulapop Saenjaroen (SAIC 2009) is an artist and filmmaker based in Bangkok. His recent works interrogate the correlations between image production and production of subjectivity as well as the paradoxes intertwining control and freedom in late capitalism. Saenjaroen’s works have been shown internationally in exhibitions and screenings including the Locarno Film Festival, International Film Festival Rotterdam, International Short Film Festival Oberhausen, Image Forum Festival in Tokyo, Curtas Vila do Conde, 25 FPS in Zagreb, Kasseler DokFest, Vancouver International Film Festival, Bangkok Art and Culture Centre, Display gallery in Prague, and Moscow International Biennale for Young Art, among many others. He has won awards from Winterthur, Jakarta, Moscow, and Thailand. He holds a master of fine arts in fine art media from the Slade School of Fine Art, a master of arts in aesthetics and politics from California Institute of the Arts, and a bachelor of arts from the School of the Art Institute of Chicago.
About
Conversations at the Edge is a weekly series of screenings, performances, and talks by groundbreaking media artists.
CATE is organized by SAIC's Department of Film, Video, New Media, and Animation in collaboration with the Gene Siskel Film Center and SAIC's Video Data Bank.
Programs take place at the Gene Siskel Film Center (164 N. State / Chicago, IL / 312.846.2600), unless otherwise noted.
