Intercept 2:7 May 11th through June 8th


Multiplexer is proud to present Intercept a seven part series exploring the various approaches to video as a medium in contemporary arts today.

Intercept began as a public call for art to create a panorama of genres,investigations, studies and endeavors of video artists today. The artists selected for this series span all continents and produce work with a wide variety of subjects and an even wider array of technical approaches. The Intercept Series will form the base from which the gallery expects to provide the opportunity to cultivate a discerning and critical audience of video art in Las Vegas going forward.

The context and approach varies from artist to artist but increasingly the outlook of video art continues to be dependent on how much it distinguishes itself from or is in opposition to the “broadcasted television” in its current commercialized form.

Intercept 2:7

May 11th through June 8th

Opening Reception Saturday May 12th 2012 6:00pm to 8:00pm

520 Fremont Street  Las Vegas, NV 89101

Gallery Hours 12-6pm Tuesday through Friday

Justin Plakas “Ten Second Ice Cream Cone”

Stefan Riebel  “Untitled 9”, “Untitled 56” and “Untitled 79 ”

Katie Bush “Seeking to Destroy Families & Faith”

Coalfather Industries  “Drone”

Ana Mendes “Purification”

Claire Krueger “Endless Night Loop” and “Endless Day Loop”

Jorge Catoni “Lethargic Attraction”

Erika Heffernan “Learning How to Build”

About the Artists

Justin Plakas “Ten Second Ice Cream Cone” 2011

Duration 11 Seconds

Justin Plakas is a multi-media artist living and working in Athens, Georgia. He received a BA from the University of Maryland Baltimore County with a specialization in Film/Video. Commercially, he has worked on motion based and interactive projects for clients such as John Deere International, The Harvard University Libraries and Ken Burn’s Florentine Films.

In 2007 he was chosen to receive one of four yearlong residencies with Hub-Bub, a community art initiative in Spartanburg, South Carolina. He was most recently awarded a 2010-11 Wilson Center for the Arts research grant for his work documenting rural environments in South Georgia along with photographer Michael Prault.

His work has been screened in festivals and exhibited in galleries across the United States and Internationally. He has taught at the University of South Carolina – Upstate, Sewanee -The University of the South and is now currently teaching in the Photography Department at the Lamar Dodd School of Art where he is a 2012 MFA Candidate.

Stefan Riebel  “Untitled 9, 56 and 79 ” 2010

Duration 46 Seconds

I almost exclusively work in series in the field of space-related performance and conceptual art. i thereby focus on a non-expressive way to deal with information, statements and descriptions and furthermore i try to develop interactive and model-like open structures, processes and concepts. for my research and without any restrictions i try to use all kinds of media in an often playful and self-referential way. all of my works deal with very basic questions, for instance: what art could be, how something turns into art, what sort of significance art could have, how the relation between art and its audience might be, … these single pieces and series often operate between artistic action and the everyday life, between poetic and context specific intervention and highly compatible entertainment on a mass media basis. besides questioning the basic parameters of the arts i am interested in unfolding very indivual and complex situations based on very simple interactions the beholder usually takes a main role in.

Katie Bush “Seeking to Destroy Families & Faith” 2010

Duration 5 Minutes and 10 Seconds

Coalfather Industries  “Drone” 2012

Duration 3 Minutes 21 Seconds

Coalfather Industries was started by Craig Newsom and Kara Jansson in 2011 as a natural extension of their online communication and recognition of parallel aesthetic and social motivations.  Their process is based in conversation, humor and unrelenting analysis of popular culture.  The results of this process range from short videos to still images, much of which is composed on mobile devices.

Drone is primarily a film about surveillance.  Surveillance is so prevalent in our society, it is barely noticed.  We police ourselves, report our actions, announce our intentions multiple times a day on Facebook.  We film minute details of our lives as well as those of complete strangers and post them immediately to a worldwide audience.  There is little empathy or even self awareness in these actions.  For the most part we are fulfilling a kind of unspoken duty to the expectations of an imaginary audience.  We have created a world in which all experience is vicarious.  When, at last, death comes from above, it is an abstraction.  It is a momentary glitch in communication.

Drone is also about artifice.  A world of vicarious experience inevitably begets a world that reveals itself in a confused state of reality.  Beauty in nature is routinely compared to the manufactured beauty of a video game or movie.  We often experience nature as dead things propped up and placed safely behind glass.  We voluntarily remove ourselves from the world while also believing that we are connected to it.  We experience the world as something in which we are not actually present.

Ana Mendes “Purification” 2010

Duration 3 minutes and 24 Seconds

Ana Mendes is a Portuguese multidisciplinary artist living in London. She combines video, sound and performance in order to develop projects that, quite often, deal with memory, identity, immigration and otherness. Her work is driven by the idea of movement and rhythm. Ana made an M. A. in Writing for Performance at Goldsmiths College, London. Previous to this, she studied animation film in France and Communication Sciences in Portugal. Her films have been exhibited in in galleries and festivals in Europe, USA, Canada, Brazil and China. Ana Mendes is also a published writer in Portugal, Brazil, France and Switzerland. She was the recipient of several literary, theatre and cinematographic awards, and made residencies in Ireland, Portugal and Germany.

Claire Krueger “Endless Night Loop” and   “Endless Day Loop” 2011

Duration 2 minutes and 20 seconds

Duration 2 minutes and 18 seconds

Claire Krueger was born and raised in Louisville, Kentucky. She was given a camera at a young age and has since formulated many photographic ideals and questioned problematic properties of the medium. Rotating between genres, her current work deals with the use of photography in cultural memory in the form of sculpture, video, and sound installation. She is interested in the sublime and horrific nature of landscapes and cinematography as they relates to photographic documentation. She currently resides in Richmond, Virginia where she is pursuing her MFA in Photography & Film at Virginia Commonwealth University.

Jorge Catoni “Lethargic Attraction” 2007

1 minute and 8 seconds

Recorded from broadcasted television, Lethargic Attraction is about how the screen creates dependence and leads to manipulation of the masses…

Erika Heffernan “Learning How to Build” 2011

Duration 5 minutes and 41 Seconds

Erika Heffernan was born in Maine, 1981 and currently lives and works in Rochester NY. She received her BA at University of Central Florida, earned her Post Bac from School of the Museum Fine Arts Boston and recently graduated with her MFA from the Rochester Institute of Technology. Her work explores the conceptual side of learning and new understandings. As a DeCordova Museum Lending Artist-Lincoln her work has been exhibited widely throughout the Boston area in addition to WORK·DETROIT, Booksmart Studios, the University of Virginia, and 1st Thursdays Orlando Museum of Art.

Artist Statement

How we learn, comprehend, and interpret information is an internal process, rarely seen from the outside. While comprehension is invisible, our ability to communicate and understand relevant information is an observable measure of intelligence. The inner dialogue circulating inside a person’s head remains a mystery. This work illuminates the difference between the internal standard of “right”, and the illusive standard of what is “right” upheld in society.

My work explores the different ways we interpret standardized information. It questions how we are expected to learn, and also the ways we are taught. An individual’s approach to learning comprehension, working memory, perception and communication can differ greatly depending on one’s ability to process and retain information. This discrepancy causes various interpretations of the same information. Several visual and auditory strategies invite the viewer to participate in a struggle for understanding. Instructional information is removed, manipulated and overloaded to confuse essential learning cues.

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