THROUGH THE PRISM: Videos by Hannah Piper Burns
Saturday, Feb 21, 7pm, @ Ace Art
Pay What You Can
i bend my truths through the prism of appropriation
and knit the shards together with rhythm.
Adroitly choreographed and cleverly edited, Hannah Piper Burns’ videos are brainy but for the body. Reflecting and refracting the spells and charms of popular culture, her work is seductive and unrelenting. Fluent in the languages of pop music, dance and reality television, the works are crisp and communicative, political in their poetics and personal in their polemics. Their tautness and rhythm uphold what music videos promises and all too rarely deliver: a multisensory reënvisioning of the bodily and intellectual experience of music. Polyvocal texts read like cyborg zines, as riotous and they are rigorous in their media anthropology. And youdia anthropology. Come for Gene Kelly, leave with synchronized swimmers, bach exports, media imports and radical reorderings. For filers: fun, funny, feminist, physical, “found” footage, figuring it out. – Jesse Malmed
pleasure, babe (18:30, 2009)
it’s not that hard. (my mfa thesis)
hpb vs. everyone
lacquered night (1:58, 2010)
and still the demons of our pity spoke: no lips would share the lipstick of her smoke; the telephone that rang before a ball every two minutes in sorosa hall for her would never ring; and, with a great screeching of tires on gravel, to the gate out of the lacquered night, a white-scarfed beau would never come for her; she’d never go, a dream of gauze and jasmine, to that dance.
- vladimir nabokov, pale fire
hpb vs. the hills vs. brian yazzie
if i were a man (4:27, 2008)
hpb’s first mashup.
hpb vs. west side story vs. ratatat/e*vax
over the anvil (4:23, 2011)
an ode to flirting with the implications of one’s own darkness and personal velocity.celebrating an exquisite moment: personal, cinematic, and universal.
hpb vs. gene kelly vs. kavinsky
outer darkness: the rite (ongoing, dimensions variable)
there is a murderous violence of banality that, precisely due to its indifference and its monotony, is the subtlest form of extermination. a veritable theatre of cruelty, of our cruelty to ourselves, completely played down and without a drop of blood. a perfect crime in that it abolishes all stakes and erases all traces- but above all in so far as in the murder, we are both the murderers and the victims.
- jean baudrillard, telemorphosis
hpb vs. the bachelorette feat. music by kevin macleod
mermaid blues chapters 1-5 (18:05, 2009 – 2013)
these pieces are about existing between worlds.
these pieces are about the inexorable draw of uncertainty.
these pieces are about the lifecycle of an identity.
these pieces are about the unnameable unfathomable inside.
hpb vs. esther williams vs. john frusciante, health, prefuse 73, daft punk, and modeselektor
Hannah Piper Burns is currently based in Portland, Oregon, after previous lives in the Bay Area and suburban-rural Maryland. This past year, she has screened work in New York, Asheville, Chicago, Los Angeles and Toronto and is in the midst of the “freezeyrburnsoff” tour, showcasing her work as an artist and curator with stops here, in Milwaukee, Minneapolis and Winnipeg. Most recently, she screened “Outer Darkness: The Rite” at the Dallas Medianale, presented with Kaia Sand and Catherine Egan at the Pure Surface performance series and beat Chris Freeman in six rounds of boxing as part of “Chris Freeman Fights a Girl” at HQHQ Project Space in Portland. She founded and co-directed Grand Detour and Experimental Film Festival Portland, and beginning in March 2015 she will co-direct “Compliance Division”, a project space in Old Town Portland. She earned her MFA from the San Francisco Art Institute and a BA from St. Mary’s College of Maryland.