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Peephole Cinema & Felt Zine: The Big Crossover @URL

  • Maysles Cinema 343 Malcolm X Boulevard New York, NY, 10027 United States (map)
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Curated by Felt Zine & Maysles Cinema 
August 1st-September 1st
Opening Night Thursday, August 1st, 7:30pm

For the month of August, we are partnering with Peephole Cinema and Felt Zine to create a Peephole Cinema in Maysles’ store front as part of The Big Crossover @URL section of our ongoing series The American Experiment. Short video works from Felt Zine will be looping in our storefront 24/7 with an opening night party on August 1st with filmmakers and Felt Zine Creative Director Devon Moore present for a Q&A.

FELT is an experimental internet art platform and artist collective. Its IRL and URL experiences examine digital activism, hip hop culture, race, gender, and class. Since the start of FELT in 2011, the collective has grown their small group of like-minded creatives to become an international movement that travels between the Americas, Asia, Europe, and Africa. The ethos and work of FELT, including the artists represented in this installation, are an exceptional contribution to the expanding realms of experimental film and video work in the current Internet Era. The works in this installation explore the process of translating personal representation, identity and environment into online contexts. It also allows for consideration of the mediation process between artist and audience created by digital and physical spaces. -

“Transcendance / 22050”, 2018, Fornax Void
Photo Scan & Co Direction by Lasse Kusk
Dress by Keisuke Dayoshi
Model: Kaori Udagawa
Blender, After Effects
Produced by FeltZine

Lasse Kusk collaboratively approached Fornax Void with the great idea to put 3D photographs he made in one of their 3D environments. Fornax took this opportunity to continue to work on one of their ongoing 3D music video projects; namely the video for their 2nd MilkyTracker track “22050” (now part of the Album Cyberspace Database). Different renditions of earlier states of the same environment were shown earlier in 2018.

“The Cave,” 2019, Mark Sabb
Photo Scans & Model by Mark Sabb.
3Daz, After Effects, NewGen.

Created from 3D models of Mark Sabb, this work engages with the seduction, rejection, and complicated relationships we have with the technology of social media. The imaging of the three dimensional and going through photography and video, the image technically become more facsimile. But does resemblance of form indicate a closer reflection of personhood? As the promise of cyber-utopianism continues to frame our realities, both online and IRL, this work exposes the ways in which the technology demands curatorial decision-making and a crafting of self-portraiture. Inspired by Plato’s Cave, an allegory that outlines one’s inability to recognize realms outside of our phenomenological or experiential understanding, Sabb encourages us to think about the false daily reality of our devices. In a time that has been declared a “post-truth” era in a moment of proliferated videos and photographs, at what are we ready to face reality if we wander out of our own internet “caves”? Or do we reject the harsh truth for the falsities that affirm our beliefs?

Ty Jawn, 2019, Jawn Diego
Photo Scan By Jawn Diego.
Model: Ty Senoj.
Unreal Engine, Cinema 4D.

Jawn Diego’s “TyJawn” presents a universe engulfed by material riches and incessant forms of entertainment that persist in an otherwise gloomy world. The bodies have been stripped, broke, and disoriented in a metropolis that seems otherwise hopeless. Billetes’ TyJawn explores the intersections of self-actualization and wealth in an exaggerated (yet realistic) wordly environment.