Haverford artists Dylan Ravenfox, Rose Kaplan-Bomberg & Goda Trakumaite, Robin Riskin, and Jane Holloway and Bryn Mawr artist Samantha Salazar have created short video works for the installation apparatuses that make up Imaginative Feats Literally Presented. They broke it. Let them fix it.

At the Cantor Fitzgerald Gallery beginning at 9pm on Thursday, December 10th, each of these pieces will be publicly presented, partied, and chatted up and down.

Dylan has entitled his piece for the Guarded and Flat Land apparatuses To See or Not See (and Hear): On The Physical Impossibility of Beauty In the Mind of Some One Living.  He writes that it is “on the semiotics of inter-specific screams, hollow caustic consumption of meaning, and a search for asylum in the extraction of a reel.”

Here’s a clip of one channel of Dylan’s piece:

For the Lost screen Robin has modified a work she performed and recorded last year entitled, Give Me / Tell Me.  She created assignments that required introducing herself to not-so-perfect strangers.  She writes,  “in these works I highlight my encounters by asking questions I am not supposed to ask.  I break the mold of polite interaction and create awkwardness so that people reconsider their actions, relationships, and expectations.”

Samantha has entitled her piece for the rotating platform Craving.  She writes, “this piece explores the anxiety formed through desire, how the senses impact the change of one’s mood or body language, the craving for something that isn’t necessarily good for you, and how you come to find what is good for you.”

Craving by Samantha Salazar

Rose & Goda have created a piece entitled Thinking Through Photographs for the Flat Land apparatus.  “The work attempts to understand the communicative possibilities of collocated still images.  We use the slide show as a structure through which to explore various topics of personal significance”  The work isn’t just personal, it’s about the “personal” that we look for and even sometimes find when we look at, collect, and archive pictures.

Jane’s work for the Flat Land apparatus is called Quiché Translations.  She writes, “This piece explores the politics of translation and the presences/absences of meaning translation produces.  The source material (the film stills and the audio) belongs to Luisa Hernandez Zapeta.  I heard her testimony while working in Guatemala this past summer with a group of students; we compiled an archive of oral histories about Guatemala’s internal armed conflict in the early 1980s.”