JESSE MALMED — UNTITLED (JUST KIDDING)
A program of recent experimental videos with performative interventions.
The works play in creative reading, studied density, the one-(hundred)-liner, choirs, screen texts, the bootleg, the cover, jokes, speculative etymologies, accents, loops, the cinemagic, body swaps, poetry, citation and human voice. Conceptually engaged, language-intensive and visually mesmerizing, the suite scrambles somewhere in the intersects of conceptual comedy, dizzying illogics, the poetic plu-future and sustainable sourcing. Through deliberate mistranslation and strategic denaturing of languages and codes, Jesse revels in and revealing their extra-communicative potential as sound, as image, as object, and shift audiences’ concepts of the show, of the cinema.
Jesse Malmed is an artist and curator living and working in Chicago. His work in moving images, performance, text and occasional objects has exhibited widely in museums, cinemas, galleries, bars and barns, including recent solo presentations at the Museum of Contemporary Art Chicago, Microlights, Echo Park Film Center and the University of Chicago Film Studies Center. His platformist and curatorial projects include the Live to Tape Artist Television Festival, programming at the Nightingale Cinema and as the Deep Leap Microcinema, instigating Western Pole, the mobile exhibition space and artist bumper sticker project Trunk Show (with Raven Falquez Munsell), programming through ACRE TV and organizing exhibitions, screenings and performance events both independently and institutionally. Born and raised in Santa Fe, Jesse earned his BA at Bard College and his MFA at the University of Illinois at Chicago. His work has been discussed in publications and platforms like ArtReview, the Chicago Tribune, Chicago Reader, Incite and Newcity, where he was named a "2014 Breakout Artist". CV here.
Untitled (Just Kidding), with alteration and iteration, has screened at the Museum of Contemporary Art Chicago, Artists' Television Access (San Francisco), Echo Park Film Center (Los Angeles), University of Chicago Film Studies Center, Spectacle Theater (Brooklyn), CAVE/Mothlight Microcinema (Detroit), Cincinnati Art Book Fair, Skylab Gallery (Columbus), Center for Contemporary Art (Santa Fe), Big Mama's Cinematheque (Philadelphia) and Sight Unseen (Baltimore). Constituent works have also found temporary homes at Crossroads, Chicago Underground Film Festival, Milwaukee Underground Film Festival, Experimental Film Festival Portland, Portland Underground Film Festival, Festival des cinémas différents et expérimentaux de Paris, Dallas VideoFest, Transient Visions, among other festivals and galleries. The program runs around 70 minutes with three short performative interventions detailed within.
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THIMBLERIG (2012), 11 minutes, color, sound, video
Body swaps, time manifest and made literal, multiverse tears, two minds to a body, dream babies, singtalk, represented realities.
CONQUE (2012), 8 minutes, color, sound, video, performance
(during the black section just after the title, a flashlight's beam appears in the cinema space and dances around the screen, searching)
Sixteen—at least—ideas and images in search of a trajectory. The voice you hear is your own, interrupted and ruptured, while a little real-life actualizing is all they need. Frank Stella, Phreak Headroom, Robert Creeley, Quixotic Tivoli, the demography of the Sitcom Set, Pizza Burger Covers and and. My favorite parts are when the permeability of the screen is made clear: when the diegesis becomes our world and when cinema's prosthetic memory becomes a site for immortality. For Jonah Adels.
SUPERNYM (2013), 13 minutes, color, sound, video
The wave is simultaneously distinct from the ocean and a part of it. A part and apart. The piece and the whole. Constituency and contingency. The difference that makes a difference and those that don't. Loop. Stella. Please call Stella. Tell me where accents come from. And more than just that they come from places. The morass of sound and image and data from which language emerges, from which the crisis emerges. Please call Stella. The wave is simultaneously distinct from the ocean and a part of it. A part and apart. The piece and the whole. Constituency and contingency. The difference that makes a difference and those that don't. Loop. Stella. Please call Stella. Tell me where accents come from. And more than just that they come from places. The morass of sound and image and data from which language emerges, from which the crisis emerges. Please call Stella.
GOTH MOVIE (CHEMIROCHA) (2013), 3 minutes, color, sound, super-8 on video
Goth breakfast, flying lanterns, alien landscapes, mirrors and seeings. Séance Nonfiction.
WREADING (2012), 18 minutes or so, color, sound, video
Reading as writing. A romp through meaning-making and diffuse divination. The clouds hold secrets. Tuli Kupferberg is not the beluga, but the beluga sings human. Charles Bernstein. The world is a word is a world. Cloud covers.
IN3DIA (2007), 3 minutes, color, sound, video
Exercise in emergent field of memo-dromology. Reprivileging of our four favorite dimensions. 3D illusionism gets tricked bad: one eye perceives progressive acceleration towards indecipherable bliss-mash; one eye perceives a distancing, concretizing return to recognizability. A dozen hundred images collected over a few months in India merged, melded and morphed.
DO VOICES (2014), 15 minutes, color, sound, video, performance
Choirs, choirs, Robin Williams, the contemporary folk art ensemble of youtube, George Mason University’s English Accent Archive, Shamuel Beckett and others come together for a We Are The World / We Arendt -style movie/concert/concert movie. Highly recommended for those already there, those on their way. Topics include: where you’re from and how you sound, the imaginative space of the bootleg, the morass of language, the virtuosity of a radio on scan and typing in stereo.
In performance, I conduct during the first section: standing between the projector and screen creating a shadow puppet conducting to an absent (or elsewhere) choir. During the final section, a choir emerges from the audience (each standing as their color hits the screen), encouraged to perform their own accent and channel the raw ego of the original We Are the World sessions. The ____ Choir changes names based on its venue and requires the (practiced) participation of 6 audience members.