Sabine Gruffat
略歴
Sabine Gruffat is a French-American artist who works with experimental video and animation, media-enhanced performance, participatory public art, and immersive installation. In her work, machines, interfaces, and systems constitute the language by which she codes the world. The creation of new ideas means inventing new ways of using existing tools, crossing signals, or repurposing old hardware. By actively disrupting both current and outmoded technology, Gruffat questions the standardized and mediatized world around us. Gruffat has produced digital media works for public spaces, as well as interactive installations that have been shown at the Zolla Lieberman Gallery in Chicago, Art In General, Devotion Gallery, PS1 Contemporary Art Museum, and Hudson Franklin in New York.Her films and videos have screened at festivals worldwide including the Image Forum Festival in Japan, the Ann Arbor Film Festival in Michigan, and Migrating Forms in New York, the Viennale, MoMA Documentary Fortnight, Cinéma du Réel at the Centre Pompidou, 25FPS in Croatia, and the Copenhagen International Documentary Film Festival.
Director
The everyday performance of domestic labor is teleported into a surreal game world where an emotionally responsive AI chatbot provides no answers. In this world, motion capture technology translates movement into data that can be unbound from the human body. Yvonne Rainer's "No Manifesto" becomes a framework for understanding the existential impact of this new dataset. What happens to movement when it is divorced from affect and feeling? What happens to dance without the basic premise of embodiment and breath?
Director
A last stand for the silent guardians of the old order. Take It Down is a filmic day of reckoning for the Old Confederate South. What is up must come down, like the Confederate soldier monuments standing in court house squares across the South. At long last, a grand inversion! Solarized film makes positives bleed into negatives. The South is renewed.
Director
Framelines is an abstract scratch film made by laser etching abstract patterns on the film emulsion of negative and positive 35mm film. The strips of film were then re-photographed on top of each other as photograms then contact printed. The soundtrack filters and layers the noise made by the laser etched optical track.
Director
Perhaps best known for his Spiral Jetty, sculptor Robert Smithson’s interest in landscape and land use was prophetic. In 1973, Texas oil millionaire Stanley Marsh 3 commissioned Smithson to create an earthwork on Marsh’s cattle ranch north of Amarillo, called ‘Amarillo Ramp’.
Director
In this video, 35mm archival silent documentary film footage shot by Henry Ford’s own filmmakers is reworked and given a soundtrack revealing the colonial lens through which the filmmakers apprehended unfamiliar nature. Through editing and processing the film confronts the violent history of Fordism while questioning the limits of mediated vision.
Director
In this impressionistic documentary film, Sabine Gruffat and Bill Brown travel across Spain to explore responses to the housing crisis of the early 2000s. The filmmakers visit families squatting in failed condo developments; intentional communities of mountain cave dwellers; protest campsites in front of bank branches; and empty apartment buildings transformed into experiments in 'utopian' living.
Producer
A Return to The Return to Reason is a tribute to Man Ray's 1923 film "Le Retour à La Raison" (A return to Reason), the first film to use his 'Rayograph' technique in which Man Ray exposed found objects onto film negative. In this film the found object is Man Ray’s digitized film, the first Dada film. The “original” film was digitized with all its aged emulsions, scratches, and splices, then compiled into digital filmstrips. These filmstrips are used to output a dithered and inverted image that the laser engraver may etch onto black 35mm film leader. The film images are created as the laser engraver scratches away the emulsion on the black leader.
Director
A Return to The Return to Reason is a tribute to Man Ray's 1923 film "Le Retour à La Raison" (A return to Reason), the first film to use his 'Rayograph' technique in which Man Ray exposed found objects onto film negative. In this film the found object is Man Ray’s digitized film, the first Dada film. The “original” film was digitized with all its aged emulsions, scratches, and splices, then compiled into digital filmstrips. These filmstrips are used to output a dithered and inverted image that the laser engraver may etch onto black 35mm film leader. The film images are created as the laser engraver scratches away the emulsion on the black leader.
Director
I Have Always Been A Dreamer is a documentary travelogue and film portrait of two cities in contrasting states of development: Dubai, UAE and Detroit, U.S.A. Within the context of a boom and bust economy, the film questions the collective ideologies that shape the physical landscape and impact local communities.
Director
In MOUNTAIN—made at the Experimental Television Center—abstract shapes and signals overlay and intersect each other. Some shapes move as if manipulated by hand, while others seem to morph smoothly as if computer- animated. At times, the sound is visible as pure signal while at others it seems to have a color.
Producer
These films were made from The New York Times newspaper articles. The semi - automated animation process resulted in sentence recombinations that sometimes made sense while randomly emphasizing certain words and images. Each computer animation was transferred to one 100ft roll of 16mm Tri-X reversal film and then hand-processed. The reversal negative is the original.
Director
These films were made from The New York Times newspaper articles. The semi - automated animation process resulted in sentence recombinations that sometimes made sense while randomly emphasizing certain words and images. Each computer animation was transferred to one 100ft roll of 16mm Tri-X reversal film and then hand-processed. The reversal negative is the original.
Producer
This video retells and disorders an important of a pre-Columbian Native American city directly across the Mississippi River from modern St. Louis, Missouri: a location that is visited, preserved, and endlessly repeated via prescribed routes and prerecorded narratives. Rather than strive for originality, my intention is to work with found audio so as to displace these repetitions.
Director
This video retells and disorders an important of a pre-Columbian Native American city directly across the Mississippi River from modern St. Louis, Missouri: a location that is visited, preserved, and endlessly repeated via prescribed routes and prerecorded narratives. Rather than strive for originality, my intention is to work with found audio so as to displace these repetitions.
Sound Designer
From the south of France, a science fiction film about the end of the Leisure Class and that which came to replace it.
Cinematography
From the south of France, a science fiction film about the end of the Leisure Class and that which came to replace it.
Editor
From the south of France, a science fiction film about the end of the Leisure Class and that which came to replace it.
Mme.
From the south of France, a science fiction film about the end of the Leisure Class and that which came to replace it.
Producer
From the south of France, a science fiction film about the end of the Leisure Class and that which came to replace it.
Director
From the south of France, a science fiction film about the end of the Leisure Class and that which came to replace it.
