Jeanne Liotta

Mistaken identities converge and separate again in the harsh burn of optical truths. Images revolt and stand on their heads. The story of photography told as a Western.

In history as in nature, decay is the laboratory of life. – Karl Marx A fantastic voyage through the cycles of decay and regeneration in the body and the world. Sublime psychotropic sound and a dark sensibility compels us into molecular memory, the structure of living culture, and the electronic architecture of Apocatopia, where beauty and terror merge. Unique chemical treatments emphasize the film's seething materiality.

Departing from Les Baxter's score to the Mario Bava film Black Sunday, Maria Movie is an overwrought melodrama set in New York City among the grit and shards of cinemas past and present. Chemistry and horror, dirge and dream, with Catherine Deneuve as The Black Maria herself, leading the procession on the via negativa.

A few simple techniques of the cinema--a direct quotation, a framed location, an actress in costume, a few cuts to the quick--conspire in a compact couple of minutes to produce an image replete with historical and geographic visibility, to wit: an implied and uncontainable expanse of a landscape bought, sold and inhabited. An anti-landscape film and a one-two punch.

From the Sanskrit, ‘gentle gazing brings liberation’, the title is also the name of the particular body of water which is the image-subject of the film. Landscape as inscape, not inertly present but beckoning an active perception; a seeing and a seeing into.

Hand-developed meditations on being and movement, as inspired by Gysin's Dreammachine, Sufi mysticism, and early cinema. A knowledge of the fragility of existence mirrors the tenuousness of the material. The film itself becomes the site to experience impermanence, and to revel in the unfixed image.

Mistaken identities converge and separate again in the harsh burn of optical truths. Images revolt and stand on their heads. The story of photography told as a Western.

In history as in nature, decay is the laboratory of life. – Karl Marx A fantastic voyage through the cycles of decay and regeneration in the body and the world. Sublime psychotropic sound and a dark sensibility compels us into molecular memory, the structure of living culture, and the electronic architecture of Apocatopia, where beauty and terror merge. Unique chemical treatments emphasize the film's seething materiality.

Departing from Les Baxter's score to the Mario Bava film Black Sunday, Maria Movie is an overwrought melodrama set in New York City among the grit and shards of cinemas past and present. Chemistry and horror, dirge and dream, with Catherine Deneuve as The Black Maria herself, leading the procession on the via negativa.

A few simple techniques of the cinema--a direct quotation, a framed location, an actress in costume, a few cuts to the quick--conspire in a compact couple of minutes to produce an image replete with historical and geographic visibility, to wit: an implied and uncontainable expanse of a landscape bought, sold and inhabited. An anti-landscape film and a one-two punch.

From the Sanskrit, ‘gentle gazing brings liberation’, the title is also the name of the particular body of water which is the image-subject of the film. Landscape as inscape, not inertly present but beckoning an active perception; a seeing and a seeing into.

Hand-developed meditations on being and movement, as inspired by Gysin's Dreammachine, Sufi mysticism, and early cinema. A knowledge of the fragility of existence mirrors the tenuousness of the material. The film itself becomes the site to experience impermanence, and to revel in the unfixed image.

Erratic, erotic, arrhythmic lunar trauma. Strong poetic textures of female psycho-sexual experience, altering the film’s surface through selective bleaching and scratching, and uncanny percussive editing.

Animated glitch portrait of the eponymous television tower on the hill, guardian of fog and electronic signals in that earthshaking city by the Bay... sounds by Scanner, from Lauwarm Instrumentals

Seven years of celestial field recordings gathered from the chaos of the cosmos and inscribed onto 16mm film from various locations upon this turning tripod Earth.

Shot on location in Second Life, at "Beneath the Tree That Died" by AM Radio. Featuring Sunshine Hernandoz, BillyBob Mahoney, and Astra Thorne as themselves. Commisioned for the Artists Karaoke Throwdown at PDX Festival May 2009, Portland OR. "it is the possible we place before us" Gilles Deleuze, on the virtual

The mummy signals from the threshold of the living and the dead. Secrets seep through the skin, and tattooed oracles reveal the body is a sign divine. This film is an inscription of the mysteries in action.

A frottage film shot in the Jardín de Palestina, November 2023. Activated in the workshop by Jeanne Liotta Frottaged by: Gloria García, Fernanda Vincens, Brenda Boyer, Dídac Huma, Sandra Ostberg, Emiliano Reyes, Camilo Cañaveral, Ignació Gvirtz, Raffaella Rosset, Marta Lara, and Sofía Legarreta

In a text collaboration with poet Lisa Gill, Jeanne Liotta parses the difference between text-as-image and text-as-text, as well as the variables of machine-made sound with elemental vibrations.

'Window' is a lo-fi, trance-inducing trigger into other realms. A static, formal elegance masks the teeming energy coursing through its electronic heart.

"Nuyo-realism" from the streets of Manhattan's Lower East Side, Crosswalk is a locative portrait in sound and image, shot at the intersection of home movie and cinema verite. Participation and observation take place on consecutive Good Fridays, highlighting the hybrid urban collage of peoples, cultures, and performances in daily life.

An abstract moving rayogram in the form of a woman or an aria. Living in time experienced as high drama, dissolving into the infinite. A dialectical manifestation of phenomena in flux, like any other movie.

"On January 28, 1986 the Challenger Mission 51-dash- L set out to observe Halley's Comet from space but exploded a minute into the launch killing everyone on board. A monument to Challenger astronaut Ellison J Onizuka stands in Los Angeles' Little Tokyo, from which I made a graphite rubbing of the text onto a sheet of plain paper, and noticed it was nearly a perfect haiku. Then re filmed to emphasize poetic structure / disaster duration."

Riddles in the LAByrinth. A ritual shadowplay in 7 movements with intertitles, from a live performance at The Gas Station, East Village NYC circa late 80's. Thanks Jack Vengrow for the welding light, and thanks to the FDNY for dousing the burning chair (oops). Creating an intense aura in the blue light of the electronic cave, two creatures in conflict, creation, communication, and the urge to liberate.

video loop, duration eternal. One single film dissolve extracted from the media haystack of the mid 20th century.

The god of metallurgy manifests in Manhattan, with the radio on.

Projector performance for 16 mm film loop, invented lenses and objects, inspired by the total solar eclipse of August 2017 yet contains no photographic images whatsoever. Simple objects both concrete and transparent are physically handled producing an expansive projection environment beyond the frame. Visual concepts of light latency, peripheral vision, and the cosmic imagination are activated and propulsive. Unsatisfied with photography’s ability to render the ineffable light conditions of the solar eclipse, I replace the solar with the projection system, deliberately creating a work that is not a picture of the physical world, but could not exist without it. Sounds by the band of poets: Eric Baus, Phil Cordelli, and Oren Silverman, originally performed live at Georgia Art Space, Denver Colorado.

A guerilla action performed on the steps of the Metropolitan Museum by Italo Zamboni, the last painter of the 20th century. Edited in residence at the late lamented Experimental Televison Center in Owego NY.

This 1940’s artifact is coupled with music by Nino Rota to expose the existential skeleton in the closet: our perilous journey on the planet Earth. A readymade film with the barest of interventions.

New Mexico camera roll, a Kodachrome home movie, with compass.

Hand-developed and unedited, this roll lived in my camera from March to May 1995: A trip to New Orleans, a train ride, the death of a dear friend and artist. This film is the author of itself; its trace function leaves me behind.

This lunar eclipse event of November 2003 is observed, documented, and translated by eye and hand via the light-sensitive medium of Kodachrome film. In the 4th c BCE Aristotle founded The Lyceum, a school for the study of all natural phenomena pursued without the aid of mathematics, which was considered too perfect for application on this imperfect terrestrial sphere. This film then, in the spirit of...