Animate Landscapes: Media Art About Ecology, Politics, and Agency In A More Than Human World – POSTPONED

Saturday, April 11 at 8 pm

Doors 7:30 pm; $5 admission


The escalating climate crisis is making visible what was always true: no neat boundary exists between human and more-than-human worlds. “Nature” is a social fiction turned material fact, used to justify everything from resource extraction to wilderness preservation to racial hierarchies. The land and organisms we shape become the contours of our world. They form the basis of all sustenance, imprint themselves in our psyches, undergird the built environment, and enliven cultural narratives. This film program explores the bio-geo-social lives of the land and its actors, both human and more-than, through a range of experimental approaches. FILMMAKERS IN ATTENDANCE!


Grassland – Sarah Kanouse, 2019, 19:20. Grassland excavates the stratigraphic layers of belief, ecology, practice, and geology that form a northeastern Colorado landscape. Meditative original footage of the grassland merges with handmade collage animation in a poetic and unsettling portrait of place.

There’s Something in the Water – Tia-Simone Gardner, 2018, 6:12, An experimental documentary that looks at the relationship between Blackness and the Mississippi River as a collision of ideas, cultural practices, political geographies, and intimacies.

Mountain Castle Mountain Flower Plastic – Annapurna Kumar, 2017, 3:08. Small pieces of information can be stored separately within a shared container. The most efficient containers can house multiple pieces of information in the same location, intersecting from different angles.

In The Tree – Anna Luisa Petrisko, 2017, 3:48, The lifeforce of trees and humans are interconnected. Through otherworldly concepts, science fiction, and holistic healing practices—we can imagine and achieve transcendence, and find new ways to heal the marginalized body.

The Bear in the Valley – Deke Weaver, 2019, 38:00. Why do we always put ourselves in the picture? Human beings are drawn to powerful places, but most of us don’t have the patience to learn from them. A cinematic essay of selfie sticks, climate collapse, ecotourism, seeing, and the sublime: a wry call to arms.

Hydrocarbons – Marina Zurkow, 2011, 2:32. Hydrocarbon chains are the base material for all plastics. They know not what they become, they simply proliferate. Extracting and manipulating a clip from The Inside Story of Modern Gasoline, a 1946 industrial film, endless chains of anthropomorphized (and uncomfortably racialized) hydrocarbon molecules dance until they blot out the screen.

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