Hotel Pupik

noising with the residents

biking on the mountain

animation stand and animating

the drama of snails, bees, and cows


made a new series of loops that premiered on my last night at Hotel Pupik,
accompaniment to Heimo Wallner on trumpet, Llewyn Máire on sampler, and Lisa Newman chiming in occasionally with spoken word

Passau Gigs

1. Josh Amrhein directs McSweeney's Readers Theater with students at the University of Passau
Images and sounds accompany short stories adapted for reader's theater in this production that is the brainchild of Josh Amrhein. I contributed a series of images for 'The Ceiling,' by Kevin Brockmeier.



Josh Amrhein at the door of the Ambulante Gallery

2. Freestate Freestyle: Texas meets Bavaria
an A/V performance improvisation by me and Albert Dambeck






Ambulante Gallery and Joshua Amrhein present an audio-visual evening with the electronic sounds of Albert Dambeck and video images of Leslie Raymond.

Imagine a DJ with a video mixer instead of two turntables. With two crates full of moving pictures instead of records.

What you get: moving tapestries.
And every musician Leslie Raymond works with adds a new soundrack.
And every performance is the first and last of its kind.

Albert Dambeck is a composer and musician. His main theme is music in Just Intonation. That is the creation of sounds and tones according to the overtone series. His instruments are contrabass, guitars, voice and electronics.

Leslie Raymond is an artist from San Antonio, Texas working in live cinema and video installation forms. She is one-half of the A-V group Potter-Belmar Labs, whose video work screened during Kunstnacht in Passau in 2005.


Ambulante Galerie
Große Messergasse 2/Residenzplatz, D - 94032 Passau
Tel.: 0851/85 164 165, Mobil: 0160/843 1662
ambulante gallery
4-in-1

Documenta FILMS

There is an excellent film program-- I saw work by Kubelka, Connor, an early Breer, Debord (I've been wanting to see for years now!) and a Burroughs-Gysin-Balch cut-up that had the audience super-charged. In another screening, I was able to take in the classic "The Sun Shines Bright" by John Ford--WOW.

DOCUMENTA

Documenta was really swell. The BBB hostel where I stayed made the experience really special. A hard-working young woman named Wina has creatd this just for Documenta this one time. She is using her father's house to host 20 people a night-- everyone there for the exhibition. 20 E per night includes a solid breakfast to get you off on the right foot each day.


my picks:

the beautifully shot and editied video from the Simon Wachsmuth installation "Where We Were Then, Where We Are Now," documenting what appears to be a trainnig session for the whirling dervishes

the placement of the Paul Klee painting "Angelus Novus" on the first landing of the main stairs into the main exhibition

Tanaka Atsuko's Electric Dress

the photograph of Dobromierz sitting in the toilet from the series "Activities with Dobromierz" by KwieKulik, Thseng Yu-Chin's "Who's Listening" video, and the dialogue created by situating these works across from each other

Guy Tilliam's "Congo Democratic" series

the Lu Hao scroll of Chang'An Street, which brough to mind Ruscha's "Every Building on the Sunset Strip"

Yang Fudong at the Venice BIENNALE

My favorite work by far came from China: "Seven Intellectuals in Bamboo Forest" by Yang Fudong (Shanghai). Interspersed throughout the show curated by Robert Storr in the Arsenale exhibition hall were 5 small screening rooms, each showing one of five parts of the film. The series of black-and-white films were originally shot on 35mm film, but projected from DVD.

"Seven Intellectuals in Bamboo Forest" comes from a traditional theme in Chinese art about a group of seven Taoist sages taking respite in the forest as they pursue anti-Confucian ideals such as individualism and personal liberty. Yang substitutes the word 'intellectuals' for the traditional terms 'sages' and 'worthies,' perhaps a comment on the evolution of the idea of wisdom in China in the 20th century.

Each part of the film is situated in a different location, and each of these five visually rich backdrops has a complex relationship with the mental and emotional climate of the characters-- both impacting as well as reflecting their inner states. And, like Matthew Barney's Cremaster Cycle, Yang uses these settings to wordlessly transport the viewer into various aesthetically charged netherworlds. Unlike Barney, however, the work goes beyond an expression of the artist's ego, depicting a representation of the history of intellectualism in China in the 20th century.

Because of the way these films were presented at the exhibition, the viewer could enter and exit at any point. Although there were beginning and end titles, the structure of the films worked well with this presentation format. Time seemed endless, unchanging, and uniform throughout the film, imbued with a sense of waiting and drifting in a manner not unlike the films of Andrei Tarkovsky.



other picks from the Biennale:
Joshua Mosley's (NY) video "Dread" and the rapid-prototypes sculptures that inhabit the video as 3D-animated characters.

El Anatsui's (Ghana) magnificant and gigantic tapestries crafted from the foil on wine bottles.

Also noteworthy: David Altmejd in the Canadian Pavilion (installation) and Emily Prince (SF) in the Arsenale

The Loop FAIR

The quality of the work in the fair was excellent, with overall production values very high, and the work generally strong even if I didn't particularly like it myself. The fair took place in the Hotel Catalonia Ramblas over a three-day period, and featured over 40 international galleries, each representing one (or two) video artist(s). It was a great atmosphere in which to see the work, with projection screens and projectors, flat-panel monitors and dvd players in the hotel rooms. The batallion of presenters and organizers became chummier, and more relaxed over the course of the fair. I won't name any names, but on the last "morning" (noon) that the rooms opend up as exhibition spaces, there was one that needed a real airing out-- an overwhelming hormonal scent of sex lingered there, causing me to cut short my viewing time.

My picks for Loop FAIR:

Janet Biggs (USA) "Airs Above the Ground" and Stephanie Lempert "Read My Lips" - represented by Claire Oliver Gallery (NYC)

Javier Téllez (Venezuela) "Oedipus Marshall" - represented by Figge Von Rosen Galerie (Cologne)

McCallum & Tarry (USA) "Exchange" - represented by Caren Golden Fine Art (NYC)



Now that video art has been accepted as a valid medium in the privledged world of the art market and museum, issues of ownership are being sorted out. One newer convention is that of the edition. Like printmakers, many videomakers are now creating editions of their works for sale. This raises the issue of the copy in the digital age. Copying a digital file is a very different enterprise than being able to make an infinite number of exact copies of a lithograph or an oil painting. MOMA curator Barbara London spoke of the sale of a video artwork as embodying the sale of a bundle of rights-- the right to own, exhibit, copy, archive, etc., each contract specific to that particular artist &/or video.

Also of longstanding interest to me is the history of moving-image art, with its rich tradition of screening-room and theater-based exhibtions. The type of social dynamic that grows out of this context makes it more than a simple back-drop for the viewing of art-film and art-video. There is also a political premise that runs through the history of (especially) video art, in that it has been used as a means to take control of the dominant storytelling medium in order to tell the stories not told by the establishment (whether they be network news or Hollywood). How these issues do or do not jive with the current developments of video in the art world is telling.

The Loop FESTIVAL

Loop Barcelona was divided into two sections: the festival and the fair.

The FESTIVAL was a massive, sprawling, chaotic organism.

Time and time again, I set out with high hopes, but low expectations. Oftentimes the venue was closed, other times it was open but had no video art, and when the advertised time and place came together in an actual event, the presentation was mediocre to poor. I kept dreaming about Peter Kubelka's Invisible Cinema.



Nevertheless, there were jewels to be had:

1. Monserrat Soto "Lugar de Silencios"(Barcelona) at Centre D'Art Santa Mónica:
The exterior setting of several rooms of an old concrete structure going to ruin is rear-projected onto an array of 7 or 8 large screens. This is a place being reclaimed by the foliage, a place receeding from the physical upkeep, and thus consciousness, of mankind. The poet Dionisio Cañas is heard and/or seen wandering from room to room, screen to screen, depicted in a process of ruminating and composing outloud, to himself.
This ground-floor installation by Barcelona artist Monserrat Soto blew away the other work on view at the art center-- other work brought in from the states and the UK. This is an interesting phenomenon I have noticed back at San Antonio's Art Pace, where cycles of three residents create new work for exhibition. One is always regional (from Texas), one national (from the States), and one international. Whenever the regional artist is from San Antonio, you can be sure that they are going to labor 10 times harder than anyone else, creating work that will give the work of the visitors a run for its money.

2. A Breif History of the Video Data Bank (Chicago) at the MACBA auditorium:
Brigid Reagan, VDB distribution manager, presented an overview of the history of the Video Data Bank with a focus on the main themes and genres in the collection. The VDB is a resource close to my heart. I took great advantage of my privledge to browse and screen work at the VDB when I was a student at the School of the Art Institute of Chicago, home to the collection. This program positively affirmed the foundations of my education in experimental moving image practice.

Early Interviews with Underrepresented Female Artists visiting SAIC (Lee Krasner interview)
Early Video and the Womens' Movement (Martha Rossler - Semiotics of the Kitchen)
Video as Activism (Videofreex)
Filmmakers Who Made the Move to Video (John Smith - Girl Chewing Gum)
Mastering the Technology (Paul Garrin - Free Society)
the 1990's (Miranda July - The Amaturist)
Diary Video (George Kuchar - Weather Diary)
Scratch/Found-Footage (Animal Charm - Stuffing)
Tributes and Remakes of Earlier Video (Anne McGuire - After Wegman)
Remix of Classic Films (Nicholas Provost - Papillion d'Amour)
New Work from Europe & the Middle East (Hester Scheurwater - Mama)

Visit the VDB website to see samples of all of these videos, and more!

3. STRIP Film Festival (Paris) presentation
Though riddled with severe technical difficulties, the presentation by Marc Audí and Marianne of STRIP Film Festival featured some work that I was really happy to see: "Money" by Henry Hills (NYC), and "Descent" and "Mi Casa, Su Casa" by Pierre Reimer.

4. Jeremy Shaw "Best Minds" (Vancouver) at Galeria Dels Ángels
On exhibit were two sublime video projections of imagery shot at punk shows. The super slow-motion made it possible to observe each scene in great detail. The first was of group of young men in the mosh pit, thrashing their bodies around with facial expressions full of rage. The second documented an altercation between three young women which evolves into a fist fight. I was transported beyond simple observation, though the warp of time and into the projected psyches of the individuals in the work.

5. Interancia Videobrasil 2006-2007 at El Mercado Del Borne

6. Videotape Hong Kong at Red03

7. "Vive la Mort"at the Fundació Suñol, video art from the collection of Marc & Josée Gensollen.
The perspective of the private collector is what interested me most. The theme of the body is what distinguished this group of videos. Some of them were documents of the body in action, such as Carlos Amorales' (Mexico) "Interim," a tight close-up of two masked wrestlers head-to-head against a white backdrop, and João Onofre's (Portugal) "Sin Titulo" which used digital tools to reorient two falling bodies to work against gravity and fall against the sides of the frame, repetitively, making a strong rhythm.
Though not documentary in the traditional sense, there were some videos that could be categorized as documentary for their use of straight recordings of small events in the world. "Uomo Duomi" by Anri Sala (Albania) was recorded in a church frequented by tour groups and featured a tripod shot of an old man sitting in a pew, alternately praying and sleeping. "Coffee" by Hand Op de Beck (Belgium) used the same technique to observe and capture the scene of an elderly couple having coffee at a restaurant.

8. Johanna Billing at Galeria Joan Prats

9. China Vision - Yang Zhenshong at Holmes Place Balmes Fitness Club, and Miao Xiaochun at Keihl's Since 1851

LOOP Barcelona: Buried Treasure

The city has become the backdrop for a giant scavenger hunt. Each day I follow clues in search of precious booty. Somtimes the signs lead to genuine gold, sometimes to costume jewelry, and sometimes to a dead end. Three ingredients contribute to the enigmatic nature of this undertaking. First, major portions of Barcelona are simply inscrutable, such as the old city. Its a maze of small and crooked streets leading to even smaller and crooked-er ones, which are often depicted on the map with the wrong name or without any name at all. Second, the Spaniards are not known for punctuality, or for necessarily holding to any time-frame, published or otherwise. And finally, the printed LOOP program, besides being 60 pages long with no index or all-encompassing organizing principle, is all in Castilian, which I have studied for one semester only.

Moored in a state of disorderly pursuit, at least I have an anchor!

Tune in for more about the video art soon!

Films at Caíxa Forum, and an Excursion to the Hospital Sant Pau

Last Tuesday night, I took in a program of films at Caíxa Forum by the Montjuïc park "Documento y Ciudad," curated and presented by David Reznak. All in all a good selection of experimental documentary that anchored itself in images of "the city." For me, each piece presented a different vantage point from which to focus and process the visual information absorbed in various urban environments. For example, "Sea Change" by Joe King and Rosie Pedlow (2004) interwove various times of day into a very long tracking shot of a manicured trailer-home neighborhood. "Din 16538/39 (Paris)" by Augustin Gimel (1999) based the organization of its documents on color, beginning in reds, moving into oranges, and making its way through the rest of the rainbow. And "Blight" by John Smith (1994-6) hung itself on a structure of fragmented storis and rememberances relating to the destruction of homes in a particular neigborhood in East London.

Woke up the next morning feverish with a sore throat and spent the next 3 days in bed, riding the dreamstate to regions father and farther from consciousness. Around the time my system should have been kicking the virus, I had a night of fitful sleep complicated by breathing difficulties. I thought: tomorrow is the day to go to the clinic, and while waiting for Dr. Sobre to rise on Saturday morning, decided to look up my symptoms on the internet-- the worst possible place to go for any kind of medical consultation. Googling "flu-like symptoms, difficulty breathing" brought up SARS!

Well, Dr. Sobre, fluent in both Catalan and Castillian, looked over the listing of Barcelona hospitals and clinics from the American Consulate webpage. Leave it to her to pick out the great Modernista Hospital de Sant Pau, designed by Domènech i Montaner! We hopped a cab by the bus station & were off.

Still fairly hazy from the illness, but not too out-of-it to notice the fantastic structures and tilework, we jumped out at the emergency entrance. Shortly after signing in we were led to a small office where a young and very kind doctor asked a few questions, then sent us up the block to the emergency room that handled lesser-emergencies, where I could be attended to rather quickly. He was practically beaming as he lead us to the street, pointing the way with directions in Catalan.

I recommend travelers' health insurance for anyone taking a trip out of the county-- I didn't get it, but since this incident have learned that is it really cheap-- like $30. Thinking that I'm still young and invincible along with a strong disdain for the traditional US health system factored into my "overlooking" this detail. All things considered, though, I fared well. The emergency room consultation, an x-ray, 3 medications and cab ride only set me back about $165 USD-- can you imagine what this would have co$t in the States without insurance?

Well, the infection had turned to bronchitis which in turn had triggered an asthmatic episode (not that I normally have asthma). All of the doctors and technicians who worked with me were were quite personable yet professional, seemed to have the time to hear about my illness, talk to me (one in fairly good english, another who slowed his Castillian w-a-y down, and the other spoke Catalan while Dr. Sobre was present), and examine or perform labwork (in this case an x-ray). The paperwork took almost more time than the one-on-one, and the waiting was about equivalent.

Medicine is socialized here in Spain, so eveyone has access to decent healthcare any time. One other thing I appreciated was not seeing any clocks with the name of a phamaceutical drug company on its face. We ambled back over to the Modernista complex for a look around. Dr. Sobre may be small, but is she fast! That woman can walk! In my condition, I couldn't keep up, and so we agreed to come back another day and caught the metro back home.



Dr. Sobre said gee, you could probably do a pretty cool video with x-rays!
This pleasantly brought to mind Barbara Hammer's 1990 16mm film "Sanctus."

Wandering the Barcelona Night

In this barely affordable apartment here in Barcelona, amidst the many dozen turtle nicknacks, lives a most unstable internet connection, non-functional since our arrival at the end of the business-week. Sit with the rental agency's pro-IT practitioner for 3 hours as he resets the settings a million times while Dr. Sobre tours the students around old Roman Barcelona-- a real shame to miss the first class session.

Spend the next 6 hours playing catch-up on my contribution for the class, honing in on all of the video-art coming down the pipeline due to Loop Barcelona. Dr. Sobre returns, and after a typical meal of salad, cheeses, meats, fresh bread, and wine, we put the finishing touches on the syllabus and I set out looking for a copy-shop, though it's really too late for such business.

Hoof it up Carres Ribes intending to walk it to a dead-end, but see the Sagrada Familia off to the west-- no way to get out from under its spell. It beckons. And after another little while it pops out from behind the many city blocks I had traversed. For reasons beyond mentioning in the scope of this blog, I was prepared for disappointment. But the Sagrada Familia IS glorious-- if you've ever seen it, you know. For me it is an outrageous display of the glory glory glory of a contemporary (20th c.) expression on a scale of immense grandeur. Why the world I generally live in doesn't seem interested in high craftsmanship infused with a deep articulation of the living moment is beyond me.

And so I meander back to Ribes 13, zigzagging through the Eixample, daring myself to get really lost. But then there's that old redbrick Arc de Triomf that Dr. Sobre practically spits at for its ugliness every time we pass it by. I cut around some sidestreets gambling on one last shot at dematerialization, see the 'copiteria' I had originally set out in search of, then 3 blocks later am back on Ribes, and "home."

It'll be an early one tomorrow, with a stop at the newfound copy-shop on the way to meet the students at their dorm on the other side of the Gothic Quarter.

Time has flown since the lightbox project.
Here is a link to the projecitons I have been up to since that time.

Last night Jay and I performed at the Current's Best of San San Antonio shin-dig at the San Antonio Museum of Art.







Hey, and guess who won Best Fresh Face!

New Lightboxes!

The Morphon Delegation (Third Order)
is a discovery of organic formations in the digital substrata.
Third order morphology refers to symmetry
in the 2 halves of the body.

lightboxes of varying dimenstions
by Leslie Raymond, 2005-2006

on exhibit at Salon Mijangos
August 12 - September 1
closing reception Sunday August 27, 4-6pm

1906 South Flores, San Antonio TX
210-271-9592

Potter-Belmar Labs at Salon Mijangos

Saturday August 12, 2006
Salon Mijangos
1906 S. Flores, San Antonio TX
6-9pm

"Potter-Belmar Labs has already shredded the contemporary-videoart envelope beyond recognition, but the San Antonio duo will try to top their previous accolades ("blows away your expectations of new media" is oft-quoted) Saturday at Salon Mijangos with an improvised video-and-music performance narrated by the audience's collective (sub)conscious".

- Elaine Wolff

click to read the rest of the article




PBL played 2 sets Saturday night to full houses, albeit an intimate space.


We solicited & projected (on an overhead projector)* intertitles from the audience on which we then based the structure of each set.

It was a great challenge, forcing us to find new ways of connecting our materials together that we never would have thought of.

Audience members became engaged beyond the level passive observer, more committed due to the direct input, and never quite knowing when/if/how thier contribution might be used.

*note the second photo below; the intertitle is visible in the upper-left: "On a reluctant persute (sic) for closure"


Shots courtesy of Justin Parr of Flight Gallery

Green Eggs and CAM Video Lounge

images shot by Michelle Monseau
inside the Green Eggs & CAM video lounge

Sunday July 30, 2006
Cameo Theatre
1123 East Commerce
San Antonio TX






this is a project I conceived of as my contribution to San Antonio's Contemporary Art Month, aka CAM



ART DOX program -

Buster Graybill / Poking Around / 2006 / 4:04

Bunnyphonic / Endless Capacity For Joy / Performance at Cactus Bra / First Friday, July 2006 / 2:34

Artpace / July 6, 2006 / :11

Juan Ramos / Gut Pillar / 2005 / 5:08

Leslie Raymond / Jimmy Kuehnle's Tell Me a Story / Performance at Bluestar / July 28, 2006 /1:26

Derrick Durham / Cheese Food Is Neither / Installation at 3 Walls / First Friday, July 2006 / 2:43

Deborah Keller-Rihn / The 21 Apects of Tara / 2006 / 3:59

Leslie Raymond/ Matt Tells Me Nam June Paik's Last Story / Bluestar / July 28, 2006 / 3:08

Leslie Raymond / Judith's Lemonade / 2006 / :53 / silent

Ed / Justin Parr / :15

Glass Tire Talent Contest / Suede Lounge / July 12, 2006 / 2:10 / silent

Justin Parr / Andy & Ben / :21

Jimmy Kuehnle / Painting In A Day / 2006 / 4:55

Justin Parr / Pink Lemonade / Installation at i2i / July 14, 2006 / :38

Laura Robles / Under Social Reconstruction / Porto-Potty-Posse / July 6, 2006 /6:48

Leslie Raymond / Jimmy Kisses the Sky / Performance at C-Art / July 12, 2006 / :17 / silent

Trent Harkraker / Trent's CAM / 2006 / 5:08








BODY LANGUAGES


monitor 1:

Julia Barbosa-Landois / Red Hot Salsa / 2006 / 15:05 / silent

Scott Stark / More than Meets the Eye / 2005 / 19:43


monitor 2:

Sabra Booth / Devil Girl / 2006 /2:24

Ricky Yanas / Conflicts and Resolutions / 2006 / 3:36








LYRICAL


Joan Fabian / Morph Pity Pattern / 2006 / :59

Mike Ramirez / Broken Signal / 2006 / :54

Buster Graybill / Poking Around / 2006 / 4:04

Heather Davis & Ben Judson / Burn / 2006 /2:02

Bryan DeLaGarza / Super Farmer / 3:21

Josue Morales Urbina / #6 / 2005 / 2:24

Neal Cox / Composition for Two Lengths of PVC Pipe for Four Performers / :20

Potter-Belmar Labs / The Edge of Elysium/ 2005 / 8:14

Rabbit Less / Parable / 2002 / 9 min / silent








PROJECTIONS, INSTALLATIONS, AND SPECIAL PROGRAMS


Rabbit Less / Parable / 2002 / silent

Justin Boyd / Shotgun Series: Drifting Mix

Node 101 / Michael Verdi / video blogs

Supersonic Screen / curated by Antony Flackett and Leslie Raymond

J Derrick Durham / The Roman Empire Never Died / 2006 / 20 min

Jason Barnes / Somewhere Between Here and There: A Dream Sequence / 2006 / 3-channel installation / silent

John Mata / Surprise Surprise Surprise / 2006 / 5 min

Karen Mahaffey / Still With Reflections / 2006 / infinite








MORE WORK SCREENED:


Bill Colangelo / Water Music / 5:10

Bryan DeLaGarza / Basquitball / 1:02

Mimi Kato / I am: Berlin / 2006 /9:11

Deborah Keller-Rhin /The 21 Apects of Tara / 2006 / 3:59

Deborah Keller-Rhin / El Jardin / 2006 / 3:43

Jimmy Kuehnle / Water Movie / 15:06

Andy Miller / Pool Day / 2006 / 1:36

Michelle Monseau / Puff (Snapshots) / 2006 / 3:44

Justin Parr /belgie 919.avi

Justin Parr / ketch up 061.avi / :44

Justin Parr / gaucho 058.avi / :30

Justin Parr / blue crayon 016.avi / :12

Justin Parr / flight to 288-Untitiled.avi /:22

Potter-Belmar Labs / Shack in the Middle of Nowhere / 2005 / 7:08

Potter-Belmar Labs / Moscow 1916 / 2005 / 8:14

Potter-Belmar Labs /Rushes / 2005 /13:20

Chuck Ramirez / Is That All There Is? / 2006 /2:54

Robbie Ramirez / Gay Life In Berlin / 2006 /5:22

Laura Robles /MP Talking / 2006 /1:24

Laura Robles / Faces & Places of Texas II / 2006 / 7:27

Laura Robles /TZA / 2006 /4:00

Eric Sanden / Soap Opera / 16:37

Misty Sweets / The Last Man on Earth / 2006 / 9 min

Joey Vichareli / dot com / 2006 / 3:13

Second Saturday in July 2006

SITE STUDY 0
Date: Saturday July 8, 2006 9pm-12am
Site: 1906 Complex, Loading Dock
Occasion: Second Saturday at Andy's Building


Potter-Belmar Labs' first performance in San Antonio, and first performance in almost exactly one year to the date; we set up in Andy Benavides' warehouse, aiming a projection of audio and video jazz up onto the rear-screen to be seen by the audience on their folding metal chairs in the parking lot. Our tech-station lies on the path between Jessica DeCuir's Mash-up record cover collages at Salon Mijangos, and the new CAM shows at Flight and 1906.

Site considerations included
audience seating and traffic flow
the social nature of the event (multiple receptions) and its impact on attention-span

Beantown

View this clip on Vimeo

February 20
BEAT RESEARCH at
the Enormous Room
Cambridge, MA

First San Antonio Gig

early November
Medusa Lounge
downtown San Antonio

a Saturday night in November
with DJ Eric Ross of soniquarium.net
who built a groove and kept it all night.

The booth was so small that evolving to Arkaos+laptop is a consideration.


angling for a regular gig there
and perhaps eventually an exhibition of lightbox work
could contribute some web presence
by posting about them on here

First Gig Since Leaving Ann Arbor

early October
21 Grand
Oakland CA

improvising to the electronic freeform of
- Tara Rodgers (Analog Tara)
- Chris Kubick
- Marielle Jakobson + Agnes Szelag
- Ben Bracken + Luis Maurette + Gregg Kowalski

Chris set up the gig.
Me in town to visit Anne & Chris,
& see their Joseph Cornell talk at Yerba Buena!
show & tell in Anne's class at UC Berkeley
and Craig Baldwin's class at SFAI
plus performing in Oakland.
It was a great trip.

no pix from the gig... but here's one of me & Craig.

Pandora's Unicycle

Friday 8 July 2005



This was the last Potter-Belmar Labs performance in Ann Arbor.
It took place at the University of Michigan Digital Media Commons, and consisted of a loose narrative in 4 movements:

I. Exposition: the Gift of Fire
II. She Opens the Box
III. Trouble
IV. the Return

Big thanks to the DMC folks who ran tech and documented our piece:
Jacques Mersereau & Ryan Wilcox

43rd Ann Arbor Film Festival

jumping back in time a few months...

March 2003
vjFutureWorkerGirl
with dj Bob Moir at the Firefly
Friday night salon





Potter-Belmar Labs
performs Characters
Saturday night on the Michigan Theater main stage