Jordan Strafer

Jordan Strafer

Nacimiento : , Miami, Florida, USA

Historia

Jordan Strafer (b.1990, Miami, FL) is an artist, working primarily in video, based in Brooklyn, New York. She received her BFA from The New School in 2016 and her MFA from Bard College in 2019. She has participated in group exhibitions at Red Tracy, Copenhagen, (2020-21); Housing, New York (2020); SculptureCenter, New York (2020). In 2021, she will be participating in a three-person exhibition with Maryam Hoseini and Rindon Johnson at The New Museum in New York and a group exhibition at the Haus der Kulturen der Welt in Berlin. Her first solo exhibition will be at Participant Inc, New York in 2022. (Source: Participant INC) Jordan Strafer’s recent work utilizes mimesis and reenactment to destabilize her own and others’ close to her subjective positions and personal histories. Working primarily in video, her ongoing investigations are of archetypal figures, loss, paranoia, unreliable narration, truth, and ambivalence. (Hercules Art)

Perfil

Jordan Strafer

Películas

LOOPHOLE
LOOPHOLE
Director
Appropriating the aesthetics of 1990s legal thrillers and NC-17 potboilers, Jordan Strafer’s film serves up a dark, parafictional take on the courtroom drama, in which semi-fictionalized proceedings surrounding an actual sexual assault case mutate into a Grand Guignol of Americanness and white privilege. With its mise-en-scène of beige interiors and desaturated fashions, LOOPHOLE braids the theatrical with the procedural amid a hazy atmosphere of systemic corruption, media voyeurism, and entrenched power.
PEAK HEAVEN LOVE FOREVER
PEAK HEAVEN LOVE FOREVER
Producer
This new video work is based on a true story of kinship and betrayal aboard a transatlantic air ambulance from London to Miami. Including life-size dolls and starring live actors (in order of appearance) Marti Wilkerson, Jim Fletcher, Alexandro Segade, and Cammisa Buerhaus, the video is a psychological thriller that takes place in flight—while time moves glacially, reality becomes suspended
PEAK HEAVEN LOVE FOREVER
PEAK HEAVEN LOVE FOREVER
Director
This new video work is based on a true story of kinship and betrayal aboard a transatlantic air ambulance from London to Miami. Including life-size dolls and starring live actors (in order of appearance) Marti Wilkerson, Jim Fletcher, Alexandro Segade, and Cammisa Buerhaus, the video is a psychological thriller that takes place in flight—while time moves glacially, reality becomes suspended
SOS
SOS
Co-Director
SOS (2021) was presented as part of “This End the Sun,” on view at the New Museum from June 30–October 3, 2021. Strafer’s SOS (2021) interweaves fantastical scenes with the artist’s autobiography to address themes of human cruelty, power, and futility. The work cycles through scenes of night and day, with dolls as protagonists: a girl seemingly stranded on a snowy beach, an elderly man on a medical stretcher, and two EMTs who attend to him. Strafer employs strategies of doubling, interchangeability, and scale shifts, with large hands occasionally swooping down to animate, caress, and bathe the dolls—perhaps in acts of care and/or control. (New Museum)
PEP (Process of Entanglement Procedure)
PEP (Process of Entanglement Procedure)
Actor
Jordan Strafer's PEP (Process Entanglement Procedure) was exhibited at SculptureCenter as part of In Practice: Total Disbelief (2020). Strafer’s PEP (Process Entanglement Procedure) is, among other things, a video about betrayal, the public nature of victimhood, and behavioral conditioning. Its narrative spreads across at least two related timelines. In the present, the video opens onto a witness testimony at a public hearing acted out by a plastic doll in glamorous closeups. Meanwhile, sequences shot to give a handheld, first-person perspective read as composed flashbacks of events described in the hearing. Notably, these sequences include the speaker’s compulsory attendance at a makeshift behavioral bootcamp in the woods at the behest of her two fathers, who later appear as villains in realistic rubber masks. (SculptureCenter)
PEP (Process of Entanglement Procedure)
PEP (Process of Entanglement Procedure)
Editor
Jordan Strafer's PEP (Process Entanglement Procedure) was exhibited at SculptureCenter as part of In Practice: Total Disbelief (2020). Strafer’s PEP (Process Entanglement Procedure) is, among other things, a video about betrayal, the public nature of victimhood, and behavioral conditioning. Its narrative spreads across at least two related timelines. In the present, the video opens onto a witness testimony at a public hearing acted out by a plastic doll in glamorous closeups. Meanwhile, sequences shot to give a handheld, first-person perspective read as composed flashbacks of events described in the hearing. Notably, these sequences include the speaker’s compulsory attendance at a makeshift behavioral bootcamp in the woods at the behest of her two fathers, who later appear as villains in realistic rubber masks. (SculptureCenter)
PEP (Process of Entanglement Procedure)
PEP (Process of Entanglement Procedure)
Director
Jordan Strafer's PEP (Process Entanglement Procedure) was exhibited at SculptureCenter as part of In Practice: Total Disbelief (2020). Strafer’s PEP (Process Entanglement Procedure) is, among other things, a video about betrayal, the public nature of victimhood, and behavioral conditioning. Its narrative spreads across at least two related timelines. In the present, the video opens onto a witness testimony at a public hearing acted out by a plastic doll in glamorous closeups. Meanwhile, sequences shot to give a handheld, first-person perspective read as composed flashbacks of events described in the hearing. Notably, these sequences include the speaker’s compulsory attendance at a makeshift behavioral bootcamp in the woods at the behest of her two fathers, who later appear as villains in realistic rubber masks. (SculptureCenter)
PEP (Process of Entanglement Procedure)
PEP (Process of Entanglement Procedure)
Writer
Jordan Strafer's PEP (Process Entanglement Procedure) was exhibited at SculptureCenter as part of In Practice: Total Disbelief (2020). Strafer’s PEP (Process Entanglement Procedure) is, among other things, a video about betrayal, the public nature of victimhood, and behavioral conditioning. Its narrative spreads across at least two related timelines. In the present, the video opens onto a witness testimony at a public hearing acted out by a plastic doll in glamorous closeups. Meanwhile, sequences shot to give a handheld, first-person perspective read as composed flashbacks of events described in the hearing. Notably, these sequences include the speaker’s compulsory attendance at a makeshift behavioral bootcamp in the woods at the behest of her two fathers, who later appear as villains in realistic rubber masks. (SculptureCenter)