Exh: 2006/04

MOVING IMAGE

April 9, 2006
Moving Image
Curated by Drew Ford

Part 1 – Beyond Performance
1. Jimmy Sadoski – A Star Is Born – 1min0sec (USA)
2. Takeshi Fukunaga – Blue Wall – 2min0sec (Japan)
3. Kata Mejia – Urban Rites – 4min0sec (Colombia)
4. Cai Qing – Bring Che Back To New York From Miami Beach – 8min0sec (China) 5. Nadine Norman – Darlings – 6min30sec (Canada)
6. Songyi Kim – The Visits – 3min40sec (South Korea)

Part 2 – Exercise in Abstraction
7. Artur R. Kummer & Lilka Hara – Joy – 3min0sec (Brazil) 8. Anders Weberg – 05.10.38 – 5min37sec (Sweden)
9. Bo Lee – Untitled One – 1min20sec (USA)
10. Juan Kasari – alkue_00 – 4min50sec (Finland)
11. Kenji Hayasaki – Confusion – 3min0sec (Japan)
12. Pat Aveoli – odj – 6min0sec (USA)

Part 3 – Capturing A Moment In Time
13. Rene Sultra – Manhattan/Souls – 6min0sec (France)
14. Jeeyun Kim – A Study (On Movement) – 3min34sec (South Korea)
15. Hayley Barker – Running Before the Darkness Falls – 7min0sec (USA)
16. Yangah Ham – Tourism in Communism – 6min40sec (South Korea)

Part4–Tell Me a Story
17. Kader Muzaqi – Balkan is Different – 3min58sec (Kosovo)
18. Ryan Seslo – tk – 8min0sec (USA)
19. Neal Zero – Absolution – 5min45sec (USA)
20. Eunsu Kang – Masked Girl – 4min12sec (South Korea)
21. Matthew Newman – And What We Move Is Dead – 14min0sec (USA)

Part 5 Meditative Motion
22. Unn Fahlstrom – Hundre Runner – 7min0sec (Norway)
23. Jayhyun Park – For Savrina – 6min0sec (South Korea)
24. Atsuko Tanaka – 1975-2001 – 7min11sec (Japan)
25. Oliver Lyons – Point – 4min51sec (USA)
26. Hiromi Iuchi – After the Rain – 15min52sec (Japan)

Links

 

>Exhibition Images

>Opening Event Images

>Video Documentation

About

From 1996-2006, the gallery at CAVE showed the work of over 300 artists becoming a locus for experimentation in all mediums. CAVE Gallery began as a venture of Shige Moriya and a group of artists in the mid-90’s. Fostered from an industrial rental, they transformed the 3,000 sq ft garage into a live-work space, which was considered to be one of the first recognized galleries of the neighborhood. Away from heavy commercial pressure, in an environment that supported exploration, artists were able to present ‘nakedly’ by offering completed and in-progress works and receiving feedback from peers. In addition to studio arts, openings often included music and other kinds of performances.