Rose Kallal is a Canadian experimental filmmaker and sound artist living in New York. Her 16mm short works, repeated in loops and projected from multiple projectors simultaneously, have led to original film and live installations that combine repetitive patterns, geometric shapes and animations, with a sound world inhabited by echoes of minimalism, ambient music and drones. Rose Kallal has presented her works and given live presentations at PS1 MoMA, New York, at Spike Island Art Center in Bristol, at The Hidden Noise in Glasgow, at the Lisa Cooley Gallery and Ramiken Crucible in New York and, more recently, had a solo show at Participant Inc. again in New York. Her albums include a split 7" with Mark Harris (Napalm Death, Svorn) and Karl O'Connor (Regis) as part of the Narcissus Trance Exhibition, and the soundtrack to Vermillion Vortex, a film by the British artist John Russell, made with Mark Beasley (spoken word) and remixed by Robert AA Lowe/Lichens.
Joe DeNardo was born in 1979 and grew up in various suburbs in the American Midwest. His involvement in punk rock music led him to school in Olympia, Washington, where he studied photography, electronic music, cinema and political economics. For 12 years he has been a member of the art-punk band Growing (with whom he has released ten albums up to now). He has directed and supervised the photography for musical films, including IMA NEMA, an expressionist movement built around the Bulgarian folk song. DeNardo continues to explore the expanded forms of sound and image in his collages, films and music.
Rose Kallal/Joe DeNardo
Spheres of Eden
film & music live environment, italian première
Spheres of Eden based , based on four 16mm film projections and sound, using effects, sound samples and distortions, is a work in progress, already shared in several previous stages, between Rose Kallal - who manages the cinematographic part - and Joe DeNardo, who primarily, but not only, handles the musical part. The possible visual and linguistic references of Rose Kallal - Bruce Conner, Jordan Belson, Stan Vanderbeek - evoke a specific history of experimental film, which touches on the tradition of the expanding consciousness and perception. The imagery of geometric shapes and symmetrical patterns recombines and reinvents itself in a completely unusual relationship with time and perception, based on persistence and circularity that displace expectations. Similarly, the sound relationships between Kallal and DeNardo play on phasing and apparent shifting, finding – at times unexpectedly - moments of synchronicity that problematize both the device of expanded cinema as well as that of the live performance.