His work has been presented in festivals and museums in Europe and other countries, such as the FLEX festivals in Florida, Antimatter in Canada, Mexparismental and Cinema des Different in Paris, The Museum of Fine Arts of Santiago de Chile, L’Alternativa, in Barcelona; in addition to the Museums Quartier and the Samlumg Essel Museum in Vienna, Austria. He has also performed on tours around the world such as the Festival Signés de Nuit, where his work Sinfonía Insanía (Mexico) was presented at an international retrospective on Fine Arts in Beirut, Lebanon, in 2004; and at the Eksperimento Festival held in the Philippines. In Mexico, it has been presented in places such as the Alameda Art Laboratory, the City Museum, the Carrillo Gil Art Museum, the Tamayo Museum and the Aural Festival among others.

In 2010, Morris was coordinator of the Latin America tour that his project Trinchera Ensamble realized with the supported of institutions such as the BBVA Foundation – Bancomer, CONACULTA, Contemporary Art Foundation of Uruguay and the Cultural Center of Spain in Argentina.

He has been a collaborator of different independent film and image festivals, programming international cycles such as “Perimeter” at the Digital Culture Center, ANIMASIVO Festival, Loop Cinema at the Tamayo Museum, a retrospective of contemporary experimental cinema for the Video EX Festival of Zurich Switzerland, among others.

He has also taught Art and Film workshops at the UNAM-Artistic Linkage Unit (UVA), the Autonomous University of Mexico City (UACM), the Contemporary Art Foundation of Montevideo, Uruguay, the Student Foundation 47 and in community projects on visual culture in different cities.

And now, time to go check out Morris’s film Dreams: https://vimeo.com/46061729

Jazmin Jones – missjonesmedia.tumblr.com
DAPS
2016
https://vimeo.com/161649581

What happens when nothing happens? We explore 4 films that resist the heroic and spectacular which are so foreign to our experience of the everyday. They are unconcerned with epic obstacles, bookends and grand conclusions. These films use documentary techniques to tell a fiction, blurring the lines of true and false and searching for the miraculous in the average. Often they involve non-actors and the means of production are minimal with filmmakers utilizing the resources available to them to imitate what they would consider an ordinary day. We shine light on the everyday because it is common ground for audiences to consider the effects of political and historical circumstance on the private lives of ordinary people.

This week a short by Brazilian filmmaker Kleber Mendonça Filho — a master of showcasing beauty in subtle human moments. The rhythm of this short is in tune with the sounds of domestic appliances — timers ticking, microwaves beeping, fans lulling. Watch until the end to see what our protagonist’s watch timer is counting down toward!

The simplicity of his synopsis says it all: “The middle class. Brazil in the 90s. At 220 volts.”

https://vimeo.com/10022944

A significant body of contemporary feminist work explores questions of adaptation, reiteration, and change through formal, temporal, and aesthetic means. Queer and feminist makers are re-writing the historical narrative while pushing the boundaries of multiple mediums. From Laleen Jayamanne’s A Song of Ceylon, Cecelia Condit’s Oh, Rapunzel, and Midi Onodera’s Ten Cents a Dance, to Elisabeth Subrin’s Shulie, Jennifer Montgomery’s Deliver, Amy Ruhl’s How Mata Hari Lost Her Head and Found Her Body, and Pauline Boudry/Renate Lorenz’s Salomania, to Ja’tovia Gary’s An Ecstatic Experience, Christina Corfield’s Petticoat Nation, Kate Lain’s friskies paté (for joyce wieland) and Irene Lusztig’s Yours in Sisterhood— these makers masterfully reiterate, reinscribe, and reimagine the past in order to transform the present. Every Monday this month I will post a video exploring this growing body of work that queerly questions the possibilities of re-production in the digital age.

Irene Gustafson’s 2009 55 minute video Portrait of Turner re-stages Shirley Clark’s challenging 1967 classic Portrait of Jason. In Gustafson’s experiment, her camera is turned upon performance artist Scott Turner Schofield, raising a series of questions about the nature of performance, experiment, and repetition. This obscure gem formally connects contemporary queer video practice to feminist film histories, insisting on comparison and re-vision that demands continued debate.

Enjoy!

https://vimeo.com/102774623