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Parallel (work in progress demo) tells the story of the fissure–the modes of blindness and longing, of not seeing and being unseen, of being together yet also apart–at the heart of an intimate exchange. The installation is constructed of an elongated strip of portraits which can be viewed from both front and back. On either side of the installation are displayed close-up faces of a range of individuals. Each of the individuals stares at a parallel figure sitting across from them, their back to the camera. The parallel figure’s face is visible from the reverse side of the installation, as is the back of the person we saw on the front side. Beyond the more immediate scene of the gaze exchange between the figures, we can see, through cracks in the wall behind them, a hint of an open landscape. At an almost undetectable speed, the two rows of portraits–those who are facing us and those who are not–drift along, and then off of the edge of the screen. New pairs continue to slip in endlessly. The pace of the rows’ drift (front and back), however, is slightly mismatched. This gap in the rate of their movement results in a subtle dissonance: the parallel figures slip away from each other as well as away from us. As they drift, they intermittently obscure the individuals they face. Short texts–segments of online messages written to an unknown other–are, at irregular intervals, read out loud by one of the visible characters. The same text might be performed by different people. Several distinct texts might be read by a few characters at once. The link between who we see and the story we associate with them is, thus, like their image, unsettled, interrupted and displaced. The video attached is a work in progress edit demonstrating two possible scales for the project's display.

An experimental documentary maker for over twenty years, Even has produced work which ranges from feature-length documentaries to multi-channel installation and interactive video work, and which, relying on almost imperceptible digital manipulation of slow and extended moments, aims to depict the less overt manifestations of complex, and at times extreme, social/political dynamics in specific locations (e.g. Palestine, Turkey, Spain, the U.S. and Germany, among others). Even’s work has been shown at the Museum of Modern Art, NY, at the Whitney Biennial, the Johannesburg Biennial, as well as in many galleries, museums and festivals in the U.S., Canada and Europe, including Doc Fortnight at MoMA, NY, Rotterdam Film Festival, RIDM Film Festival, Montreal, New York Video Festival, Lincoln Center. It has won numerous grants and awards, including 3ARTs Visual Arts and Next Level Awards, Fledgling Distribution Fund, Artadia Award, Media Arts Award, the Jerome Foundation, Individual Artists Program Awards, NYSCA, and many others; and has been purchased for the permanent collection of the Museum of Modern Art (NY) and the Jewish Museum (NY) among others. Even has been an invited guest at many conferences and university programs, including the Whitney Museum Seminar series, the Digital Flaherty Seminar, Open Doc Lab at MIT, SXSW Interactive Conference, Art Pace annual panel, ACM Multimedia and others. Her work is distributed by Heure Exquise, France and Video Data Bank (VDB). Even is Professor at the School of the Art Institute of Chicago’s Film, Video, New Media, and Animation department.

An experimental documentary consisting of an immersive multi channel installation. The project depicts the fragmented experience of 6 immigrants to the US, by using body-worn cameras and volumetric capture.

Tirtza Even is documentary maker and video artist for over twenty years, Even has produced both linear and interactive video work representing the less overt manifestations of complex and sometimes extreme social/political dynamics in specific locations (e.g. Palestine, Turkey, Spain, the U.S. and Germany, among others). Even’s work has appeared at the Museum of Modern Art, NY, at the Whitney Biennial, the Johannesburg Biennial, as well as in many other galleries, museums and festivals in the United States, Israel and Europe, including Rotterdam Film Festival, San Francisco Film Festival, The New York Video Festival, Lincoln Center. It has won numerous grants and awards, including Fledgling Distribution Fund, Artadia Awards, Chicago (winner of top award); Golden Gate Awards Certificate of Merit, San Francisco International Film Festival; Best Experimental Film, Syracuse Film Festival; Media Arts Award, The Jerome Foundation; First Prize, L’immagine Leggera Festival, Italy; Individual Artists Program Awards, NYSCA, and many others; and has been purchased for the permanent collection of the Museum of Modern Art (NY), the Jewish Museum (NY), the Israel Museum (Jerusalem), among others. She has been an invited guest and featured speaker at many conferences and university programs, including the Whitney Museum Seminar series, the Digital Flaherty Seminar, SXSW Interactive Conference, Art Pace annual panel, ACM Multimedia, the Performance Studies International conference (PSI), the Society for Literature, Science, and the Arts conference (SLSA) and others. Even’s work is distributed by Heure Exquise, France, Video Data Bank (VDB), USA, and Groupe Intervention Video (GIV), Canada. Even is an Associate Professor at the School of the Art Institute of Chicago’s Film, Video, New Media, and Animation department. Nadav Assor: Nadav Assor (b. 1979, US / Israel) lives and works in Providence, RI. Assor’s work takes on systems of technological mediation that are frequently military-industrial in origin, from eye-tracking cameras to drones, telepresence-robots and mixed-reality environments. Low-fi versions of these are critically repurposed in his work to function as a means for creating communities, connections, intimate human dialog and visceral audio-visual-tactile experiences. Assor’s videos, installations and performances have been featured in film festivals, museums, galleries, and live venues across North America, Europe, and Asia. Recent venues include Arsenal Berlin, the Oberhausen Film Festival, Video Vortex XI at Kochi-Muziris, India, Hong-Gah Museum Taipei, La Casa Encendida Madrid, Edith-Russ Haus Oldenburg, Transmediale Festival Berlin, the Soundwave Biennial San Francisco, Residency Unlimited NYC, Julie M Gallery Toronto + Tel Aviv, Fridman Gallery NYC and more. Assor's work has been reviewed in publications such as Artforum, Vice Motherboard, Art Monthly UK and Haaretz, and recently featured in “Rêvolution Digitale”, an overview of international digital art by CANAL’s Museum TV channel. His single channel video work is distributed through Video Data Bank, Chicago. He is an Associate Professor of Expanded Media at Connecticut College’s Studio Art department and is the Director of the Ammerman Center for Arts and Technology there. He is currently a Fellow at the Open Documentary Lab at MIT.

"Icarus" was shot in Cartagena, Spain. The city of Cartagena, situated on the Mediterranean coast, has been the site of the rise and fall - and of manifestations of power and disempowerment - for an array of cultures and regimes, among them Roman, Byzantine and Islam, as well as the Episcopalian Church and the Spanish Republic. During these times the city served - between long stretches of decay, epidemics, war, destruction and subsequent recuperation - as a thriving port, a strategically valuable military base, and an industrial and commercial center rich in mineral, lead and silver mines. Currently a small peripheral town, inhabited in large part by an emigrant community of Moroccan day-workers, it is bent on extending the tourist and cultural appeal of its excavations of the remnants of a Roman theatre, of an Amphitheater situated beneath a bullfight ring, and of a large number of other historically pointed military, navy, and cultural sites, as well as of its renowned technical university (which resides in a renovated military hospital) - by means of a supervised series of house demolitions in sites intermittently dispersed in the town?s center, to be re-occupied in the near future by luxurious apartment hotels. At the time of Icarus? production, the various signs of power and of entropy, of centrality and marginality, whether military, political, ethnic, economic, cultural, or social, were eclectically displayed in the city?s layered and fractured architecture and human arena. The edited video for "Icarus" consists of a 12 min. reverse pan ? an impossible re-turn or "temporal wipe" - across circular sites shot in Cartagena, each stitched together out of patches, spatial and temporal, of the city?s urban landscape. The act of weaving in and out of scenes and moments betrays unseen cracks into which various characters slide, in which they converge, or even disappear. The landscape thus peels and unfolds, turning back but never arriving at some intact moment of aspiration and of origin. The piece is formally engaged in navigating a fragmented landscape, using the camera?s movement as a means to comment upon ? or occupy and thereby interrupt - this landscape?s social and political determinants.

A practicing video artist and documentary maker for the past ten years, Even has produced both linear and interactive video work representing the less overt manifestations of complex and sometimes extreme social/political dynamics in specific locations (e.g. Palestine, Turkey, Spain, the U.S. and Germany, among others). Her work has appeared at the Modern Art Museum, NY, at the Whitney Biennial, the Johannesburg Biennial, as well as in many other festivals, galleries and museums in the United States, Israel and Europe, and has been purchased for the permanent collection of the Modern Art Museum (NY), the Jewish Museum (NY), the Israel Museum (Jerusalem), among others. She has been an invited guest and featured speaker at numerous conferences and university programs, including the Whitney Museum Seminar series, the Digital Flaherty Seminar, Art Pace annual panel, ACM Multimedia, The Performance Studies International conference (PSI), The Society for Literature, Science, and the Arts conference (SLSA) and others.

The sonic fabric of 2nd Person, a multi-channel video installation, is formed through an array of women’s voices reflecting on topics such as coming of age, sex, aging and death. Visual shifts within nine images spatially strung together, correspond to the voices loosely, reactive to the scenes invoked by the women’s stories, and to the emotive range of the voices’ individual and combined music. The piece includes conversations with women of different ages, backgrounds and circumstances, who reflect on their past and current hopes and anxieties, on their understanding of the concept of love, on a de-centering of self that comes with parenting, on touching and inhabiting an aging body, on their discomfort with an imposed gender label, and more. The protagonists are documented performing distinct activities (e.g. producing art, walking, cooking, playing an instrument, exercising etc.) in locations ranging from Illinois, Michigan, Arizona, California and New York, to Egypt and Romania. Additional footage reflecting one of the women’s dreamscape, was shot in an underwater village in Argentina. The video is 55 min. long, and is composed of a concurrent display of short clips that focus on a specific topic, and are each told by a single participant. The clips are threaded to form a web of themes and motifs, both verbal and visual, together generating an ongoing conversation (without beginning or end) on growing up and aging, friendship, love, motherhood and the death of parents.

An experimental documentary maker for over twenty years, Even has produced work which ranges from feature-length documentaries to multi-channel installation and interactive video work, and which, relying on almost imperceptible digital manipulation of slow and extended moments, aims to depict the less overt manifestations of complex, and at times extreme, social/political dynamics in specific locations (e.g. Palestine, Turkey, Spain, the U.S. and Germany, among others). Even’s work has been shown at the Museum of Modern Art, NY, at the Whitney Biennial, the Johannesburg Biennial, as well as in many galleries, museums and festivals in the U.S., Canada, Israel and Europe, including Doc Fortnight at MoMA, NY, Rotterdam Film Festival, RIDM Film Festival, Montreal, New York Video Festival, Lincoln Center. It has won numerous grants and awards, including 3ARTs Visual Arts and Next Level Awards, Fledgling Distribution Fund, Artadia Award, Media Arts Award, the Jerome Foundation, Individual Artists Program Awards, NYSCA, and many others; and has been purchased for the permanent collection of the Museum of Modern Art (NY), the Jewish Museum (NY), the Israel Museum (Jerusalem), among others. Even has been an invited guest at many conferences and university programs, including the Whitney Museum Seminar series, the Digital Flaherty Seminar, Open Doc Lab at MIT, SXSW Interactive Conference, Art Pace annual panel, ACM Multimedia and others. Her work is distributed by Heure Exquise, France and Video Data Bank (VDB). Even is Professor at the School of the Art Institute of Chicago’s Film, Video, New Media, and Animation department.