Eco-Social Salon, Site-Seeing, and Screening Series: Deep Time, Body Time
"Deep Time, Body Time" is a screening of short videos Carolina Caycedo, Federico Cuatlacuatl, J. Louise Makary, Kristen Neville Taylor, Brian Holmes & Jeremy Bolen, and Ricky Yanas.
Stills in this image include J. Louise Makary's “DOOSAN, SEA-DOO” (top) and Carolina Caycedo's "Thanks For Hosting Us, We Are Healing our Broken Bodies / Gracias por hospedarnos. Estamos sanando nuestros cuerpos rotos."
Program Notes
Kristen Neville Taylor
“End of Days”
(TRT: 3:30min)
2022
End-of-Days takes place at a former sand mine at the Manumuskin River Preserve in Cumberland County and illustrates the otherwise invisible intersections of power, labor, leisure, and aesthetics within glass production and the way local culture shapes how place lives in collective memory. Silica sand is the second most exploited resource in the world and one of the primary ingredients in glass. “End-of-day” is an affectionate term for objects made by glass factory workers off the clock at the end of the work day and takes on dual meaning here as it refers to the dire consequences of extractive economies and environmental degradation while celebrating the imaginative possibility of endings.
Credits: Kristen Neville Taylor (director, co-producer, story), Rich Hoffmann (video, editing and co-producer), Jamey Robinson (sound design and mix), Philip Glahn (narration) and featuring a former sand quarry in Cumberland County, NJ
J. Louise Makary
“Doosan, Sea-Doo”
(TRT: 17:38 min)
2015
Shot at RAIR in 2015, Doosan, Sea-Doo is an experimental doc that sets the aesthetic processes of labor against formal studies of dust, the plant’s ample and oppressive byproduct.
Ricky Yanas
Working Title: “A Solar Garden Grows”
(TRT: 10min)
2023
A new work being produced for this event focused on Iglesias Garden and Philadelphia Holobiont Laboratory
Jeremy Bolen & Brian Holmes
“If This River Could Move”
(TRT: 17:38)
2023
"We set off to discover the place where modernist engineering makes time stand still: Old River Control in central Louisiana. Alongside the engineering works that hold the Mississippi in its course, what we found was a vast colonial history anchored by Angola Prison. Today's coastal land-loss crisis has a pathological tie to this double origin. To understand, we spoke with Dr. Ibrahima Seck of the Whitney Plantation Museum, at the heart of Cancer Alley. And we followed the Mississippi to the sea."
The video is accompanied by the online map, Hourglass River (https://hourglass.rivertoday.org/). Both works were developed in collaboration with the Max Planck Institute for the History of Science and the Mississippi River Open School for Kinship and Social Exchange.
Federico Cuatlacuatl
“Teles Tiemperos Del Antropoceno: TOLCHIKAUALISTLI (Timekeepers of the Anthropocene:
TOLCHIKAUALISTLI)”
(TRT: 9:69)
2021
Tiemperos del Antropoceno:Tolchikaualistli is a short experimental film addressing Nahua indigenous migrant experiences, Nahua futurism, and transborder indigeneity. On the sacred hill Tlacuaquilo, two time travellers materialize while a disembodied voice speaking Nahuatl reflects on the disastrous rippling effects of colonialism, the resistance and resilience of Indigenous people and cultures, and the complexity of navigating imposed borders (state, identity, linearity etc.). To exist simultaneously in two places and dimensions of time is an immigrant’s ability to embody a transborder life, navigating the past, present, and future at once. To (be)long is to reclaim territory, in this case it is a transcendence of time and space as a means to reclaim a new dimension of territory or place that must exist in between two worlds, between the past and the future, between two identities, between ones many selves. Smuggling traditions are acts of resiliency, self-preservation, resistance, and self-rematriation in a dimension of transborder indigeneity and within one’s many selves: to be an alien; to be the other; to be the threat; to be the dream; to be the backbone; to be the invasion; to be a cultural nomad; to be (in)visible; to be 500 years of historical weight; to be a ‘pinche indio’ ; to be hope…
Credits:
Performed by Borrego – Omar Xique Cuautle, Birija – Adrian Xique Trinidad
Photography Director: David Morales
Carolina Caycedo
"Thanks For Hosting Us, We Are Healing our Broken Bodies / Gracias por hospedarnos. Estamos sanando nuestros cuerpos rotos"
(TRT: 8:48 min)
2019
Filmed on location in the San Gabriel River and the Wanaawna (Santa Ana) river mouth, this video is the first step towards building a healing relationship with the land and the waters of the unceded Tongva and Acjachemen territories, known by many as Orange County. We are grateful to our human and natural indigenous hosts who have sustained us, despite being submitted to violent processes of colonization and extraction. Human bodies appear incomplete, divided by water and fabrics as a way to address the impoundment and fragmenting of local streams and rivers. The body parts search for each other in an attempt to reconstitute as a collective body. Towards the end of the film a complete human body is revealed, suggesting that if we dismantle infrastructure that splinter bodies of water, riparian ecosystems might stand a chance to become whole again. This video was commissioned by the Orange County Museum of Art.
Credits, With: Marina Magalhaes (Choreography), José Richard Aviles, Tatiana Zamir, Belle Alvarez, Bianca Medina, Isis Avalos, Patty Huerta, Celeste Tavares.
