REDCAT: A collaboration between Sharon Hayes, Ashley Hunt, Katya Sander, David Thorne, and Andrea Geyer

9 Scripts from a Nation at War is a multi-channel video installation that responds to the conditions and questions that have arisen during the military conflicts in Iraq and Afghanistan. It examines the ways in which war determines and "scripts" certain roles such as "citizen," "veteran," "detainee" and "correspondent" and the capacity of individuals to fulfill or resist these. Drawing on the artists' extensive research, the work presents material sourced from people involved in or responding to the war. A central theme is the investigation of how written and spoken language affects identity in times of conflict, as the language specific to institutions, professions and positions in society extend and limit the ways we situate ourselves in relation to others. 9 Scripts is presented as a constellation of videos that stage the speaking of scripts by actors and non-actors alike, some re-speaking their own words, others learning the words of others. These stagings allow inquiry into the recording, reporting, learning and understanding of the present moment and reflect upon how we account for ourselves within it. In doing so, 9 Scripts shows how language and speech are fundamental in defining structures of power. First shown at Documenta 12 in Kassel, 9 Scripts from a Nation at War is presented in a new configuration specifically for the Gallery at REDCAT.

Public reading: Sat, Jan 10, 1-6 pm

Combatant Status Review Tribunals, pp. 002954-003064 is a five-hour public reading of 18 tribunals held at the U.S. military prison camp at Guantánamo Bay. Based on the transcripts available on the U.S. Department of Defense web site in response to a Freedom of Information Act request, these 110 pages are a small fraction of the material generated by 558 tribunals. The sheer volume of transcripts has effectively obscured them from public view, and the readings make audible a record of these quasi-legal proceedings that had been closed to public scrutiny.

See: http://redcat.org/gallery/0809/9scripts.php

REDCAT: A collaboration between Sharon Hayes, Ashley Hunt, Katya Sander, David Thorne, and Andrea Geyer

9 Scripts from a Nation at War is a multi-channel video installation that responds to the conditions and questions that have arisen during the military conflicts in Iraq and Afghanistan. It examines the ways in which war determines and "scripts" certain roles such as "citizen," "veteran," "detainee" and "correspondent" and the capacity of individuals to fulfill or resist these. Drawing on the artists' extensive research, the work presents material sourced from people involved in or responding to the war. A central theme is the investigation of how written and spoken language affects identity in times of conflict, as the language specific to institutions, professions and positions in society extend and limit the ways we situate ourselves in relation to others. 9 Scripts is presented as a constellation of videos that stage the speaking of scripts by actors and non-actors alike, some re-speaking their own words, others learning the words of others. These stagings allow inquiry into the recording, reporting, learning and understanding of the present moment and reflect upon how we account for ourselves within it. In doing so, 9 Scripts shows how language and speech are fundamental in defining structures of power. First shown at Documenta 12 in Kassel, 9 Scripts from a Nation at War is presented in a new configuration specifically for the Gallery at REDCAT.

Public reading: Sat, Jan 10, 1-6 pm

Combatant Status Review Tribunals, pp. 002954-003064 is a five-hour public reading of 18 tribunals held at the U.S. military prison camp at Guantánamo Bay. Based on the transcripts available on the U.S. Department of Defense web site in response to a Freedom of Information Act request, these 110 pages are a small fraction of the material generated by 558 tribunals. The sheer volume of transcripts has effectively obscured them from public view, and the readings make audible a record of these quasi-legal proceedings that had been closed to public scrutiny.

See: http://redcat.org/gallery/0809/9scripts.php

REDCAT: Documentarian Brigitte Cornand first met Louise Bourgeois in 1994 and over the next dozen years made a trilogy of intimate videos about the iconic artist, now 97, through an idiosyncratic form of collaboration between filmmaker and subject. The first installment of the trilogy, Chère Louise (Dear Louise), traces the inspirations, autobiographical sources and everyday routines that shape Bourgeois' powerful art. "I asked Louise if I could keep filming moments of her life on a light but regular schedule, using a diary-like form, a visual collage, similar to her own thought process and the personal diaries that she's kept writing since 1923," Cornand says. A former producer of art programs for Canal+, she has also completed films on figures such as Annette Messager, Joan Jonas, Nancy Holt, Jonas Mekas and Jean Nouvel.

See: http://redcat.org/season/0809/fv/cornand.php ($)

REDCAT: A collaboration between Sharon Hayes, Ashley Hunt, Katya Sander, David Thorne, and Andrea Geyer

9 Scripts from a Nation at War is a multi-channel video installation that responds to the conditions and questions that have arisen during the military conflicts in Iraq and Afghanistan. It examines the ways in which war determines and "scripts" certain roles such as "citizen," "veteran," "detainee" and "correspondent" and the capacity of individuals to fulfill or resist these. Drawing on the artists' extensive research, the work presents material sourced from people involved in or responding to the war. A central theme is the investigation of how written and spoken language affects identity in times of conflict, as the language specific to institutions, professions and positions in society extend and limit the ways we situate ourselves in relation to others. 9 Scripts is presented as a constellation of videos that stage the speaking of scripts by actors and non-actors alike, some re-speaking their own words, others learning the words of others. These stagings allow inquiry into the recording, reporting, learning and understanding of the present moment and reflect upon how we account for ourselves within it. In doing so, 9 Scripts shows how language and speech are fundamental in defining structures of power. First shown at Documenta 12 in Kassel, 9 Scripts from a Nation at War is presented in a new configuration specifically for the Gallery at REDCAT.

See: http://redcat.org/gallery/0809/9scripts.php

REDCAT: Archivist, curator and filmmaker Bruce Posner is on hand to attend to a collection of preserved vintage films and beautifully restored prints--all in 35mm. Its crown jewel is a digital restoration of Paul Strand and Charles Sheeler's Manhatta (1920, 12 min.), "a radical modern masterpiece... one of the first American avant-garde films and a forerunner of the 'city symphony' films," according to Posner. The program also includes Dudley Murphy's Soul of the Cypress (1920, 11 min.), with its original Debussy recording; Fernand Léger and Murphy's classic Ballet Mécanique (1923-24, 16 min.); Rudy Burckhardt's rarely seen Haiti (1938, 16 min.); Francis Lee's 1941 (1941, 4 min.); Maya Deren's haunting Meditation on Violence (1948, 13 min.); Francis Thompson's jazzy N.Y., N.Y. (1957, 15 min.); Confession (1990, 9 min.), the remarkable and moving fragment of Sergei Paradjanov's last unfinished project; and Posner's own Sappho and Jerry: Parts I-III (1977-78, 7 min.), completed in CinemaScope.

See: http://redcat.org/season/0809/fv/manhatta.php ($)

REDCAT: Known for staggering technical skill, expressive dramatic structures and radiant arrangements, the Canadian axeman and composer leads a large electric guitar ensemble in the American debut of the thundering suite 20 Quarter Inch Jacks. Brady, who has crafted an original and distinctive voice for electric guitar in chamber and orchestral music, electroacoustic works, operas, dance scores and improvisations, also plays a set of solo pieces augmented with loopers, delays and electronics: GO [guitar obsession], Invention #8, Frame 24: 57 Ways of Playing Guitar, Frame 20: Switch, and Memory Riot. Named Composer of the Year in 2004 by the Conseil québécois de la musique, Brady has released more than a dozen recordings. His most recent orchestral commissions are from the Winnipeg Symphony Orchestra New Music Festival and the CBC Radio Orchestra.

See: http://redcat.org/season/0809/mus/brady.php ($)

REDCAT: The German composer has been long celebrated for the impassioned eloquence and rare lyrical beauty of his music. More recently, von Schweinitz has turned to a profound exploration of microtonal phenomena in a body of work whose newest opus is this evening's sublime Plainsound Glissando Modulation, a raga in just intonation for violin and double bass. Receiving its U.S. debut, the monumental composition is played with consummate artistry by violinist Helge Slaatto and bassist Frank Reinecke, the virtuoso duo who last year recorded the 75-minute raga for Bayerische Rundfunk. The concert opens with Erika Duke-Kirkpatrick's performance of Plainsound-Litany, for solo cello. Von Schweinitz, whose extensive oeuvre includes the visionary 1989 opera Patmos--a setting of the Book of Revelation--holds the Roy E. Disney Family Chair in Musical Composition at CalArts.

See: http://redcat.org/season/0809/mus/schweinitz.php ($)

REDCAT: Delivered with off-the-wall humor and terrific musical aplomb, this raucous farce from the internationally renowned Mexico City company reaches back to a florid chapter of European cultural history: the era of the castrati-superstars of 18th-century opera whose heavenly prepubescent voices won swooning adoration across the continent's highest courts. Scripted by the late Jorge Kuri and staged by Claudio Valdés Kuri, the production begins with a reflection on the role of castrati-seen as both artistic prodigies and disfigured monsters-but soon launches into a musical tour of opera history peppered with increasing doses of screwball antics and high-jinks. The cast of characters includes a hoof-stomping centaur, Siamese twins who run a surgery ward out of their Naples barbershop, a gossipy opera maven, Napoleon and, not least, Napoleon's horse.

See: http://redcat.org/season/0809/the/castrati.php ($)

REDCAT: Delivered with off-the-wall humor and terrific musical aplomb, this raucous farce from the internationally renowned Mexico City company reaches back to a florid chapter of European cultural history: the era of the castrati-superstars of 18th-century opera whose heavenly prepubescent voices won swooning adoration across the continent's highest courts. Scripted by the late Jorge Kuri and staged by Claudio Valdés Kuri, the production begins with a reflection on the role of castrati--seen as both artistic prodigies and disfigured monsters--but soon launches into a musical tour of opera history peppered with increasing doses of screwball antics and high-jinks. The cast of characters includes a hoof-stomping centaur, Siamese twins who run a surgery ward out of their Naples barbershop, a gossipy opera maven, Napoleon and, not least, Napoleon's horse.

See: http://redcat.org/season/0809/the/castrati.php ($)

REDCAT: Delivered with off-the-wall humor and terrific musical aplomb, this raucous farce from the internationally renowned Mexico City company reaches back to a florid chapter of European cultural history: the era of the castrati-superstars of 18th-century opera whose heavenly prepubescent voices won swooning adoration across the continent's highest courts. Scripted by the late Jorge Kuri and staged by Claudio Valdés Kuri, the production begins with a reflection on the role of castrati-seen as both artistic prodigies and disfigured monsters-but soon launches into a musical tour of opera history peppered with increasing doses of screwball antics and high-jinks. The cast of characters includes a hoof-stomping centaur, Siamese twins who run a surgery ward out of their Naples barbershop, a gossipy opera maven, Napoleon and, not least, Napoleon's horse.

See: http://redcat.org/season/0809/the/castrati.php ($)