Passages guest curated by David Dinnell

​The first program is centered on Madison Brookshire and composer Tashi Wada’s Passage, a work for two overlapping 16mm projections of slowly shifting fields of color accompanied by twin violin canons creating arcs of sound; and bookended by Neil Beloufa’s Kempinski, an “ethnological sci-fi documentary” and Greta Snider’s humorously reconstructed travelogue Portland. Other works include an animated journey into the psyche from Portland-based artist Laura Heit in The Deep Dark; a contemplative depiction of a seemingly unreal and ironic tragedy in Janis Rafa’s Requiem to a Fatal Incident; and from Ephraim Asili, parallel observations of Harlem, New York and Salvador, Brazil, set to jazz multi-instrumentalist Joe McPhee’s extemporaneous score in Many Thousands Gone.

​The second program begins with Charlotte Pryce’s work of alchemy Prima Materia; Mika Taanila’s dual 16mm projection performance work of 1945 scientific film footage in The Zone of Total Eclipse; Helmut Völter’s assemblage of early 20th century time-lapse films of the clouds over Mt Fuji in Masanao Abe-Cloudgraphy; and continues with personal observations of landscapes of Morocco in Terra Long’s 350 MYA; the Hudson Valley in the sublime Landscape (for Manon) by the late Peter Hutton; a vast solar array in the Mojave Desert in Irradiant Field by Laura Kraning; Water Department workers listening to leaks in the infrastructure beneath Cleveland in Sound That by Kevin Everson; a Ponderai Native American family hunting wild bison in Yellowstone in Elizabeth Lo's Bisonhead; a Vancouver harbor filmed over two years in the dual 16mm projection of Canadian Pacific I & II by David Rimmer; and the western landscapes a father and son separately traversed in Sky Hopinka’s moving Jáaji Approx.