Last Friday, I participated in the Expanded Strangelet Minus One ensemble at the Oakland Underground Film Festival’s Summer Salon.
The event took place in the cavernous space that used to be a Barnes and Noble in Jack London Square in Oakland. There was a large screening area as well as several installations arranged around the space. The most captivating installation was Tracey Snelling’s Bordertown. She created a series of models at different scales that one might see in a small town in rural California. The scales range from life size in the “Maria” ice cream cart to a miniature commercial strip with detailed buildings. The entire model fits on a large table, but when photographed up close, one loses the sense of scale and the town seems like it could be a life-size model. One could spend quite a bit of time examining all the details, the buildings, the objects inside of them, and signs on the sides.
[Tracey Snelling, installation views. Photos by CatSynth (click to enlarge)]
[Tracey Snelling, installation view. Photo by Michael Zelner (click to enlarge).]
Several of the pieces incorporate video, such as the “El Diablo Inn” with videos playing in each of the rooms. The larger apartment building had movies playing in each of the windows, and videos of scenes from U.S.-Mexican border were projected onto a full-size screen behind the installation.
Although Snelling’s installation captures a small border town rather than a large urban area, some of the elements that she focuses on, such as industrial buildings and somewhat seedy spaces are similar to those that drive my current interests in urban photography. Urban photography was, however, the central focus of Idan Levin’s photography, which included scenes of colorful city buildings in Japan, industral lots and highway overpasses. As he states, “I prowl the streets at night, seeking a unique vantage point from which I can capture an alternate view of the world…”. He describes this view “prying, mysterious, lonely, and sometimes resembling a sci-fi post-apocalyptic cinematic scene.”
[Idan Levin, Tokyo Scape #1]
Only a few of his images were on display, but I encourage readers to visit his online portfolio.
Michelle Lewis-King’s installation featured projected video onto two cut-outs of female figures.
[Michelle Lewis-King, installation view. Photo by CatSynth (click to enlarge).]
The combination of the video and the empty space of each figure made it seem like both the adult woman on the left and the young girl on the right were present in the environment of the video.
The Expanded Strangelet is an electronic improvisation group founded by Lucio Menagon. He was not with us for this performance, hence the “minus one.” But we did have myself, Matt Davignon, Wayne Grimm, John Hanes, Suki O’Kane, Jonathan Segel, and Michael Zelner. I have played with them before at last year’s Oakland Underground Film Festival, and once again I had my minimal setup if iPhone and Korg Kaoss Pad.
[Expanded Strangelet Minus One. Photos by Michael Zelner (click to enlarge).]
With Suko O’Kane conducting, we performed an improvised set of exactly 45 minutes, with various duos and solos, and sections with low drones and high staccato elements to provide some texture and an arc.
During the performance, we also projected videos onto the wall, and floor, and even onto people who walked by. We projected my video of Luna from the Quickening Moon Concert onto the floor, and at times it was appeared on the clothes of people nearby:
[Click images to enlarge.]
Our performance was preceded by a pair of bands from Bay Area Girls Rock Camp, including the band Poison Apple Pie. The local nonprofit program “aims to empower girls through music education, promoting an environment that fosters self-confidence, creativity and teamwork.”
There were numerous short firms and videos shown as well, including work by the Cinepimps and others.
[Cinepimps. Photo by Michael Zelner (click to enlarge).]
Please visit the event site for a full rundown.
