MTV: Momentum Technology Videos
October 1, 2014 - April 1, 2015

Joeun Aatchim, Hiba Ali, Renae Barnard, Sarah Berkeley, Sheri Cornett, Sam DeMonte, Simone Doing, Lacie Garnes, Julie Harrison, Hästköttskandalen, Sarah Hill, Alex Hovet, Claire Jervert, Kathleen Kelley and Sarah Rose Nordgren, Elizabeth Leister, Christie Neptune, Sarah Oneschuk, Roberta Orlando, Cindy Rehm, Ela Shah, Loren Siems, Julia Kim Smith, and Jing Zhou

MTV: Momentum Technology Videos, an online film festival, was on view from October 1, 2014-April 1, 2015. 

MTV presented video works by women and transgender artists in a juried online film festival playlist, giving viewers six months of continuous access to a gallery without walls. MTV highlighted screen-works that utilize and embrace technology in their production.

Below are images and bios from the artists that participated in MTV: Momentum Technology Videos.


Please visit the Momentum Directory for links to other artists, arts professionals, and organizations that engage in critical explorations in the field of gender, feminism, art, and technology.

image Joeun Aatchim

Your Poetry Reader #RedRibbon, 2014, 04:54 minutes

My impromptu allegory and poetry are read in 'Internet Computer Voice Reader' with its own awkward robotic rhythm. The 'Your Poetry Reader' project bridges foreigner's voice and post-digital persona in unstable language construction; foreigners' misspelled English and Computer voice's robotic pronunciation are resemble in their straightforwardness and awkwardness. Automatism of improvised writing and digital personal are also alike in their manifest content. 

image Hiba Ali

Untitled(grls), 2014, 05:51 minutes

This video deals with social construction of femininity translated through digital fluid. It inverses Marcel Duchamp's Fountain as a functioning object, envisages the multiple ideation of the feminine with the subtext of poetry and confers to the constructed interstices created by the notion of identity and the gaze. 

Renae Barnard

Makes Me Want to Believe, 2013, 01:40 minutes

There is an undeniable relationship between biology and culture and I am interested in the potential and limits of these two forces. I am also exploring the ways in which gender performance, desire and objectification are inter-related through power structures. I am intrigued by the ways in which identity is crafted and regulated by repetitive language and how realities are shaped through social ideologies.

image Sarah Berkeley

I Have to Walk, 2010, 05:54 minutes

I made I Have to Walk using a wearable sports camera that (mostly male) snowboarders, surfers and mountain bikers attach to their bodies or equipment to document their feats. I attached the camera to my ankle and pointed it downward at the ground. The viewpoint is very narrow and shows only the ground and the foot repeatedly lifting and touching the ground. The sound track repeats the phrases the "I have to, I need to, I should...". As I was going on a daily walk, I realized that I often thought of all the things I needed to do and felt pressured to hurry home to tackle my to do list. To make the sound track for I Have to Walk, I stripped all of the details of my to do list and kept the verb phrases, which become a kind of oppressive mantra. I Have to Walk, speaks to the mental states that prohibit us from enjoying everyday awe-inspiring moments.

Sherri Cornett

Corporal Cognizance, 2013, 02:29 minutes

My videos are lens-based explorations of my sculptural passion for texture, layering and weaving. Some videos become elements in my sculptures. Others stand by themselves. In Corporal Cognizance, I explored body as a repository of memories and experiences, which reside not just in our minds, but also in the fibers of our muscles, in the expressions of our faces, in our movements, in our rhythms. The shifts in this piece reflect body rhythms: background (eye blinks), journal (respiration), images of travel (upper left, daydreaming/theta brain waves), nature (upper right, deep sleep/delta waves), family/friends (lower left, problem solving/beta waves) and random memories (lower right, meditation/alpha waves). 

image Sam DeMonte

Reverse Meditation, 2014, 07:39 minutes

Reverse Meditation (2014) is an absurd variation of traditional meditation that spawns from unorthodox methods - it is a pull of emotion that brings the viewer to be outwardly self aware, rather than inwardly. It is meditation that lets the body lurch forward in gut wrenching screams. What the viewer is actually looking at is a culmination of anxiety producing video and sound-waves that both dote on ideas of femininity - a video track of lipstick application sped up 700 times and repeated cyclically, and every track on Hole's Live Through This 1994 album spliced, panned, and edited into a 7 minute track. This is an ode to visceral and aggressive feminine empowerment, best watched with head phones. 

image Simone Doing

Kindred, 2014, 07:36 minutes

Kindred depicts two silhouetted figures - one human, one nonhuman - fading in and out of one another in a video painting that challenges conventional notions of sisterhood and familial bonds. Aural elements mirror the nonlinear, subtly-changing visuals with tranquil tones that invite the viewer into an immersive, liminal space. The technical production of this piece facilitates a contemporary examination of traditional dichotomies, using the medium of video painting to reveal speciesist belief systems.

image Lacie Garnes

OUTSKIRT, 2004, 01:57 minutes

Within the "OUTSKIRT" project, a small infrared spy camera is placed between my legs gazing out from my skirt and into the world. The images are collected using an oppositional surveillance view in response to voyeuristic "upskirt" photography. This work embodies themes that expand upon the gaze, active and passive gender roles, legislation, private vs. public space and intends to illustrate what it looks like and feels like to be a woman in public space.

Julie Harrison

Boundary (excerpt, "Radiated Face"), 1980, 02:15 minutes

"Radiated Face" is an excerpt from a longer video, Boundary, that I collaborated on with Neil Zusman in 1980. The work consists of a colorized woman's face combined with sequenced images of female models, a marching band, and a menacing fist while she talks about her lonely childhood and milk contaminated by radiation from a nuclear meltdown. Boundary won the Colorado Award (1st prize) at the Athens Film & Video Festival, an Honorable Mention at the Atlanta Film & Video Festival, a CAPS award as well as toured for three years with Independent Curators International. 


Homage to Light, 2014, 03:52 minutes

Hästköttskandalen (HKS) is an audiovisual quartet comprised of Swedish and American composers of electroacoustic music (Ellen Arkbro, Marta Forsberg, Maria W Horn, and Kali Malone). The ensemble uses various forms of real-time digital video feedback and analog film manipulation, just intonation, and musical synthesis through live electronics, object coding, and linear coding. All members of the ensemble utilize technological manipulation of acoustic material and have co-created the music video "Homage to Light". HKS releases their debut vinyl record Spacegirls on Fylkingen Records in October 2014, it is possible to view the video footage of Spacegirls on their vimeo page. Hästköttskandalen is based in Stockholm, and is touring throughout Sweden from October to December 2014. 

image Sarah Hill

Surgery, 2013-14, 04:01 minutes

Surgery started in 2012 and is an ongoing collaborative video project. I have worked with artists  Creighton Baxter and Bug Davidson. I made the first Surgery Video because I repeatedly experienced Point number five from the Non-Trans/Cisgender Privilege Checklist.  5.) Strangers and acquaintances do not ask what my genitals look like or what medical procedures I have had. Surgery allowed me to transform my rage into something productive and political. All of the Surgery Videos are captured in photo-booth, because it resembles the format of trans vlogs on YouTube. 

Creating Surgery was a way for me to attempt to come to terms with the disappointment, and the failure to be seen as trans and the slowness of change in regards to how others use language to speak or "not speak" about my existence. Michael Fried in his essay, "Art and Objecthood" (1967) mandates that "Theatrical art is, in his words, corrupt, perverted, incurable, infectious, and degenerate." The previous words are synonymous with the language that has been used to speak about my existence as a trans person and trans people. They refuse our physical existence, because they are uncomfortable with our genitalia or what might be under our clothes.  I am seeking to validate the potential idea of queering theatricality, in life as well as my artistic practice.  

image Alex Hovet

In Recovery, 2013, 02:55 minutes

Alex Hovet's work in video and photography explores the relationship between image and memory, and the degradation of both. Her work investigates the impulse to create narratives from anonymous imagery and the struggle to recreate memories from family archives. Situated in a time of vast internet archives and user-generated "glitch" art, her works uses manual and digital manipulation, structural editing, and found imagery to probe the many physical processes of recovery.

Claire Jervert

Add to Cart, 2011, 00:59 minutes

Add to Cart uses the icon of a shopping cart as it appears on the "add to cart" button used on retail sites throughout the Internet. This icon has become a universal symbol of "the purchase." Here the icon takes on a panoply of stock effects used in electronic billboard advertising--bright, shifting colors; pulsating lights; jittery, hyperkinetic animation effects.  The forms of commerce will appear, but entirely emptied of content.

image Kathleen Kelley and Sarah Rose Nordgren

Portlet, 2013, 05:56 minutes

In this work, the artists Kathleen Kelley and Sarah Rose Nordgren meld their respective forms of dance and poetry into an animated duet between the body and language. Portlet makes the connection between the ports on coastlines, the ports in bodies, and the ports of our digital devices as receptacles or containers of connection and engagement. Using video capture and animation software, the moving female body in Portlet swims through an ocean of words and texture, arguing for both the organic and the digital as human impulses.

image Elizabeth Leister

Burn, 2013, 03:21 minutes

Footage of the Ventura County California landscape decimated by wildfire in the spring of 2013 is densely layered with color, shape and line. Quick glimpses of burnt cacti and a horizon line emerge but become consumed by painterly, scratchy abstract gestures of destruction. The video ends with a color shift to the bright green regeneration of the landscape.   I think of "Burn" as a moving painting where the layering of transparent shapes of color and the gestural strokes of a paintbrush are mimicked through technology. Each frame is a composition, and it is exciting to craft each transition by creating seamless shifts in color, value and texture that unfold into new shapes, lines and perspectives.  It is digital mark-making without any physical connection to real materiality.

image Christie Neptune

Untitled #70, 2014, 05:35 minutes

Untitled #70 is part of the experimental multimedia series, Eye of The Storm. Untitled #70 is a telling story of self discovery and the all encompassing battle between the conscious and subconscious minds. In a multimedia performance piece, Visual Artist, Christie Neptune, uses video and Image projection to illustrate how our societal constructs cultivates one's understanding of self. Through the use of technology, Neptune investigates whether the "self" can survive independently without such constructs?

image Sarah Oneschuk

The Rise and Fall of Kingdoms, 2013, 00:39 minutes

Through employing notions of the traditionally feminine and the traditional feminine handmade object, I investigate notions of the historical self and the responsive nature of time. In using what is often seen as "real" (the scientific or photographic) alongside the "handmade" (the constructed), my work speaks about the relationship between the structuring of one's identity and the role of representation in regards to memory.

image Roberta Orlando

n.e.t., 2011, 05:39 minutes

The video is reading the data by audio-visual computer codes that take possession of the foreground. The sound is interrupted, broken down between shooting and uncontrollable disturbances of signs and words which are freed from their primary design. Gradually the intensity of movement increases, highlighting a decidedly emotional character. In addition, the images are composed in black and white and in their negative, leaving the first frame behind, fragmented and destroyed by the same codes which compose it.

image Cindy Rehm

Unica Zurn, 2014, 02:13 minutes

Surrealist artist and writer Unica Zurn serves as the inspiration for this fragmentary and illusory video. Zurn was the long-time companion of Hans Bellmer and collaborated with him on a well-known series of photographs that display her truncated and bound torso. In 1970, Zurn took her life by leaping from the window of her apartment, an act that was foreshadowed in her coming-of-age novel Dark Spring. The dreamlike imagery in the video references two of the most pervasive themes in Surrealism, eroticism and death.

While I was trained as a painter, I have continued to experiment with new media and formats to explore the feminist content that has been consistent throughout my work. I came to video through work in performance and began performing for the eye of the camera in an attempt to capture small gestures and intimate details that might be lost in a live performance. The process of video editing has provided new possibilities for sequencing and repetition and I am drawn to the symbolic impact these structures can have upon the content of the work.

image Ela Shah

Someone's Special, 2014, 05:43 minutes

Animation help by Azaz Khan
In these small movies I have manipulated and animated video clips of my earlier paintings, sculptures and recent travels and dramatically remixed them into meaningful narratives to create new personal myths.  Some movies are embedded in sculptures.

image Loren Siems

Scream: Physical Endurance of Emotional Release, 2008, 16:18 minutes

I scream until I am no longer physically able to scream, which was the point of vomiting.  This performance tests the limits of ones body and also explores the octave range of a scream and the various tones lost through the duration.

To film Scream: Physical Endurance of Emotional Release, I utilized a digital video camera capable of recording 12 consecutive hours of footage directly to a hard drive.  Little did I know that my voice and body would give out far prior to the 12 hours.  The aesthetic of the film was achieved by taping off the sides of the video lens, which caused the digital focus to react to the mechanical manipulation.  The blurred affect allows the viewer to focus on the silhouette of the movement, the changes in sound, and experience the agony of a scream. 

image Julia Kim Smith

Why, 2012, 01:08 minutes

"The stickiness of memes, the way they inspire remixes and co-creation, their utter refusal to die-that's a powerful tool against censorship....Once a political meme sets hold in netizens' minds, it just won't go away." -An Xiao Mina

In Why, I utilized Google's search engine's auto-complete feature to find out what people wonder about me, an Asian woman, and discovered unsettling abstractions, truths, fallacies, desires, and fears about all of us. I am an inter- and multidisciplinary artist whose work explores issues of identity and the social and political landscape by any means necessary. My projects take the form of new media, performance, video, film, photography, printmaking, and craft. Through my work, I take on censorship, misrepresentation, and underrepresentation, oftentimes by creating "sticky" political memes (to borrow social media artist and critic An Xiao Mina's phrase) and utilizing the internet and social media.

image Jing Zhou

Inner Shrine {digital poetry}, 2011, 02:30 minutes

Inspired by the poem "Journey Home" composed by the noted Indian poet, Rabindranath Tagore, combined with my writing, "Inner Shrine" reveals the emotional and spiritual journey in searching of one's soul. To find the inward space of one's own-the home of the heart, one has to experience life to the fullest. It is the most intricate encounter that wanderers have to undertake, through which they discover the essence of their existence and the answer for who we are.

Inspired by nature and multiple cultures, my artwork explores our common humanity, diverse society, and my inner voyage. As a Chinese woman artist living in the Western world, creating artwork required me to realize my nature, re-study my culture, and adapt new thinking, which resulted in a new perspective on life. My artistic creation is a process of deciphering my life journey.

Please visit the Momentum Directory for links to other artists, arts professionals, and organizations that engage in critical explorations in the field of gender, feminism, art, and technology.