Upcoming Arts Festival wraps up this Sunday – Don’t miss these two great experiences – Blogtown


The Drift is a virtual reality experience and the post is described as “a visual archive of the future”. GARRICK IMATANI WITH TRAVIS STEWART AND THE CONFEDERATE TRIBES OF GRAND RONDE.

This year’s Time-Based Art Festival (TBA) featured a host of virtual offerings, from video performances to artist talks and panels, most of which are available to stream online anytime throughout the festival, which takes place. ends this Sunday. The flexibility of virtual offers makes this year’s TBA accessible and comprehensive.

The drift by Garrick Imatani with Travis Stewart is a 15-minute virtual reality video that tells the story of a reinvented future. Imantani and Stewart worked together on The Drift, culminating in a VR post and installation. The video begins at the American Museum of Natural History in New York City, where the sacred Grand Ronde Tribes meteorite is located. Viewers are transported to this site. Slowly, the screen fills with the meteorite which is confined by a round metal barrier. Without too much pretension, the meteorite levitates out of its enclosure and the American Natural History Museum. Then a subway car descends the tracks and stops at 14th Street station. The meteorite then tries to get into the metro car but cannot get in and exits the metro and downtown. Once the meteorite rises and comes out of the underground, it hovers above a flooded Times Square. Cars are submerged in water all over the street. This scene, unfortunately, looks more strangely like the present and not a potential apocalyptic future. It is a blatant reminder of the inevitable aspects of climate change that we are currently facing.

The meteorite travels to the Statue of Liberty, Harvard, the Field Museum and apparently Portland. Image files of Native American wickerwork, ceramics, and tools overlap the meteorite’s journey to each location. It is a visual representation and a reminder that these pieces are often amassed in museums instead of their own communities, cataloged and held in institutions in the name of preservation for the supposed public good. This comes at a cost to the indigenous communities who consider these cultural and historical objects. The drift offers viewers multiple instances, through this virtual reality experience, to consider failed Indigenous repairs. Video offers an aspiration that what has been lost and stolen can be legitimately returned.

A projection of comrade felt.

A projection of Felt companion. Courtesy of Eileen Isagon Skyers and Cult Classic

Felt companion by Eileen Isagon Skyers is a multi-channel video series on an interactive webpage. The viewer is invited to log on to the website showcasing the flora and fauna, which bloom and develop on the web page. Viewers must agree to permissions that will allow them to access the site or “garden” and access the microphone and camera on their phone, tablet or computer to get the full experience of this archiving project. Once these permissions are accepted, the viewer’s face then fills the browser’s circle. This reinforces privacy through the viewer and the shared videos, in a deliberate addition to the site that seems to cultivate ‘kapwa’, which can be understood as a ‘shared inner self’. This is relevant, as all site content, videos, text, and website design review the Filipino diasporas / a. The site lists ten sections; kapwa, Room, Chair, Song, Taguig, Church, Horizon, Robe, Palawan and Guestbook. Videos on the site are created from “original and found footage, archival photographs and obscure historical events” interspersed with pop culture and internet references. This contextualizes the relationship between historical aspects today. This can clearly be seen in the “Chair” section, which features a thirteen-second video compilation of rapidly blinking views of earth, sunsets, heat maps, space, airplanes and farms. on the screen.

A GIF that says “I’m having fun on the Internet” bounces off the screen as images of musicians and celebrities in the rattan peacock chair. Text accompanies this section of the archives, which explores the origins and history of the rattan peacock chair, how they were constructed from bamboo by prisoners at Bilibid Prison in the Philippines. The chair gained popularity in the 20th century because it became a popular backdrop for portraits of famous and influential people. The rattan peacock chair can be seen recently in popular culture today on the cover of Drake’s “More Life” album (2017). The chair embodies an aesthetic of excess with its opulent form, its share, its design and its pattern. But this section of the site reminds viewers that the pop-cultural reframing of objects like the chair as an image of prominence can make the “sitting ghosts of our sordid past” quieter. Other highlights on kapwa – common. the gardens are Dress and Church. However, the whole site does provide insight into the “awareness of interdependence with others” conceptualized by Skyers and the “contemporary struggle to make sense of our social conditions” related to the Filipino diasporas / To.

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There are only a few days left of TBA, closing on Sunday October 3. This year the artists asked the audience questions about our own circumstances regarding the environment, social and racial justice, but they also encouraged the deeply personal; merged interdisciplinarity. Both physical and virtual performance installations inspired viewers to interact with the work, whether it was physically moving and walking with an artist in and with their performances, logging into a computer to press play, or connect to a website. In this way, the combination of the vast and the intimate stimulates the contemplative.


Ashley Gifford is a writer, photographer and tech professional based in Portland, Oregon. She is the founder / editor of Art & About—Art blog part, publication part, resource part — documentation of art in the Pacific Northwest since 2014. She has written for Practical Art, Oregon Arts Watch, and many other publications.

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