Dylan Mira

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What Is My Work About? 

For years I created community-driven documentaries with underrepresented women and girls in non-profit organizations. I learned the funding was limited by a jingoistic necrophilia. There is a didactic and confessional model the state applies to our stories, seeking narratives that articulate the ways we are nearly killed and how we may survive to become ?productive citizens.? I began to desire a subjectivity that was inexplicable, opaque; I no longer wish to entertain the ways that women of color die. I am interested in the language we can make after acknowledging we are already dead in a system that cannot know us. I take this unknown as a beginning and not an end. My interdisciplinary projects apply video, text and installation to record how different uses of language can make bodies.

 

Artist Statement

For years I created community-driven documentaries with underrepresented women and girls in non-profit organizations. I learned the funding was limited by a jingoistic necrophilia. There is a didactic and confessional model the state applies to our stories, seeking narratives that articulate the ways we are nearly killed and how we may survive in order to become “productive citizens.” I began to desire a subjectivity that was inexplicable, excessive, opaque; I no longer wish to entertain the ways that women of color die. I am interested in the language we can make after acknowledging we are already dead in a system that cannot know us. I take this unknown as a beginning and not an end.

My interdisciplinary projects apply video, text and installation to record how different uses of language can make bodies. I repurpose literary and critical texts with diary and dialect to decolonize master narratives and produce new relations. Using diffraction as a formal strategy, my works encounter temporal and dimensional shifts, as I layer mediums and references in space. The subject is split in 2, in 3, in 4 and folding back onto herself. The dematerialized image arrives between the contingent and the impossible; some bodies are more than others.

Transpose Suspect and Hostage reverberates a slow moving target as it is projected onto holes. Sound waves and text leak across sculptures in The Structure Is Now, a mirror ominously questions Who’s Afraid of Virginia Woolf? The light lands here and here and here not all at once and with the thing. Coming undone or coming together a new shape arrives. A Woman Is Not A Woman. Disparate threads overlap into contact and a post-colonial migration emerges. Performance, found footage and home movies next to screen recordings of watching and editing: a Korean diver holds her breath, a mermaid loses her head. Lean in to nowhere. Untitled (Agua Viva) documents my ailing father reading aloud Clarice Lispector’s experimental novel. Her text is subtitled against his slippages and disavowals. My mother debates the author’s voice, her own second language transcribed, doubled. He reads, “Could I manage to surrender to the expectant silence of a question with no answer?” From off screen her voice is visible, “Yes.”

In these fragmented landscapes a viewer must turn to see and listen against words, occupying different vantage points in time. This vibration of what we are and are not is a communication, an always becoming between.

 

CV

DYLAN MIRA
Los Angeles, CA

 

EDUCATION
2013 MFA in New Genres, University of California, Los Angeles
2006 BFA in Film, Video, New Media, The School of the Art Institute of Chicago
2002 Women’s Studies, Columbia University

 

SELECTED EXHIBITIONS, SCREENINGS, PERFORMANCE

2014

“A Club Called Animals,” Model Projects, Vancouver, BC
“A Far Fact Totem,” 21st Chicago Underground Film Festival, Chicago, IL
“Afterglow,” Pieter Space, LA, CA
“A Meerkat’s Whistle,” 3 Days Awake, LA, CA
“Apocalyptic, Epic,” South of the Tracks, Chicago, IL
“Nomadic Nights,” Los Angeles Nomadic Division, LA, CA
“The Classroom,” LA Art Book Fair, Museum of Contemporary Art, LA, CA

2013

“A Call and An Offering: Pilot TV,” Dirty Looks: On Location, ESPTV, Brooklyn, NY
“Movement!” Shift, Berlin, Germany
“The Structure Is Now,” UCLA New Wight Gallery, LA, CA

2012

“Brutal Set” by Math Bass, Made in LA Biennial, Hammer Museum, LA, CA
“Let Your Body In,” One Archives Gallery, LA, CA
“Meetings/HR in Jan/00:Reset,” Pacific Standard Time, Human Resources, LA, CA
“MFA 2013 Exhibition,” UCLA New Wight Gallery, LA, CA
“Women Together Fantastic,” For Your Art, LA, CA

2011

“K’Vetsch, “Eros Bath House, San Francisco, CA
“Queers Doing Queers, “The Aubin Gallery, London, UK
“Radar,” The Luggage Store, San Francisco, CA
“Surprise Period Party Issues,” Control Room, LA, CA

2010

“Girlmonster,” The Kampnagel Theater, Hamburg, Germany
“The Secret (Still) Knows,” Los Angeles Nomadic Division, LA, CA
“Style Wars,” 24th BFI London Lesbian and Gay Film Festival, London, UK

2009

“Altered States,” Load of Fun Gallery, Baltimore, MD
“Channeling: An Invocation of Spectral Bodies and Queer Spirits,” Artists Television Access, San Francisco, CA
“Channeling…,” 23rd BFI London Lesbian and Gay Film Festival, London, UK
“Channeling…,” Northwest Film Forum, Seattle, WA
“Conjurer Visit,” Migrating Forms, NY, NY
“Hooded and Headless: An Erratic Survey of Anonymity in Recent Video and Life,” Light Industry, NY, NY
“Platinum Showcase,” Outfest, LA, CA
“Somethings Gonna Soon,” Art Production Fund, NY, NY

2008

“Agenda: Queering Popular Media,” Current Gallery, Baltimore, MD
“Channeling…,” Alogon Gallery, Chicago, IL
“Channeling…,” Le Petit Versailles, NY,NY
“Channeling…,” Magic Lantern Cinema, Providence, RI
“Channeling…,” The Nightingale, Chicago, IL
“Deep House Hell,” Artists Television Access, San Francisco, CA
“Girlmonster,” The Kampnagel Theater, Hamburg, Germany
“Oceans of Potions,” Needles and Pens Gallery, San Francisco, CA
“Pleather and Lace,” MIX 21: New York Lesbian and Gay Experimental Film Festival, NY, NY
“Resolution 3,” Los Angeles Contemporary Exhibitions, LA, CA
“Summer Picnic,” MIX LA: Lesbian and Gay Experimental Film Festival, LA, CA

2007

“End Times,” Lasso Gallery at the Butcher Shop, Chicago, IL
“Every Body Moves Against Control, “Around the Coyote Fall Arts Festival, Chicago, IL
“Every Body Moves Against Control,” Small Change Screening Series, Philadelphia, PA
“Locally Localized Gravity,” Institute of Contemporary Art, Philadelphia, PA
“Patho – Geographies,” Gallery 400, Chicago, IL
“Posters of Radiant Optimism,” Mess Hall, Chicago, IL
“Show [Title to Be Determined By Symbols Not Yet Rendered],” Roots and Culture Contemporary Art Center, Chicago, IL

2006

“Conversations at the Edge,” Gene Siskle Film Center, Chicago, IL
“Every Body Moves Against Control,” MIX 19: New York Lesbian and Gay Experimental Film Festival, NY, NY
“Feel My Media,” Flaming Film Festival, Minneapolis, MN
“Library of Radiant Optimism for Let’s Re-make the World,” Ydre Nørrebro Kultur Bureau, Copenhagen, DK
“Black Is the Hair of My True Color’s Love (Recoming Intense to Crash),” G2 Gallery, Chicago, IL

2005

“A Bloody Portent of Possible Erotic Chaos,” Butcher Shop/Dogmatic Gallery, Chicago, IL
“Macerate, Around the Coyote Gallery,” Chicago, IL (catalogue)

2004

“Pilot TV: Experimental Media For Feminist Trespass,” (organizer), Diamonds/Texas Ballroom, Chicago, IL
“Trace and Transformation,” Three Walls Gallery, Chicago, IL

 

PUBLICATIONS
2014 “Doing Something to Someone,” The Laurie Weeks Institute Press
2014 “JE, T\_/, I|_, E|_|_E 1,” Capricious Magazine, No. 15

 

DISTRIBUTION

Video Data Bank, Chicago, IL

 

AWARDS

Center for Cultural Innovation Creative Capacity Fund Grant
D’Arcy Hayman Scholarship
Edward J. and Alice Smith Scholarship

2006
Chicago Community Arts Assistance Program Grant
The School of the Art Institute of Chicago Undergraduate Fellowship
The School of the Art Institute of Chicago Academic Incentive Scholarship
Mark Steven Souder Information Dissemination Fellowship

BIBLIOGRAPHY
2013
Whitney Kimball and Julia Wolkoff, “This Week’s Must-See Art Events,” Art F City, 7/22

2012
Kyle Fitzpatrick, “UCLA’s MFA 2013 Exhibition,” L.A. I’m Yours, 11/5
Kyle Fitzpatrick, “UCLA Grad Open Studios,” L.A. I’m Yours, 6/4

2010
“Artist Curated Projects: A Radical Artist-for-and-by Artist Collective,” Interview Magazine, 12/10

2009
Alex Ebstein, “Transmodern, Day Four: Altered States,” Baltimore City Paper, 4/8
“Bawdy Politics,” SF Weekly, 1/14
Huston, “Our Weekly Picks: Channeling: An Invocation of Spectral…” San Francisco Bay Guardian, 1/14
Alicia Eler, “Channeling: An Invocation of Spectral Bodies and Queer Spirits,” Flavorpill, 1/14

2007
“End Times,” Time Out Chicago, 12/07
Julia Steinmetz, “Feminist Trespass: The Transfeminist…” Performance Studies International 13, 11/9
Jason Foumberg, “The Art of Queerness,” New City, 8/21
Ruth Lopez, “Spin Artists,” Time Out Chicago, 6/14
“Clips We Love: The Pilot Festival,” Philebrity, 5/21

2005
Jason Heidemann, “Manic Mondays: An all inclusive…” Time Out Chicago, 11/14
Michael Workman, “Temporary Beauty,” New City, 11/8
Bert Stabler, “Critic’s Choice: Scales of the Pangolin,” Chicago Reader, 10/10
“Guerilla Screenings,“ Blackbook Magazine, 6/05
Bert Stabler, “Critic’s Choice: The Rainbow Babies,” Chicago Reader, 6/24
Daniel Tucker and Emily Forman, “Pilot TV,“ Issue 31, Clamor Magazine, March/April
Daniel Tucker and Emily Forman, “Building the Temporary Autonomous…” Issue 4, Journal of Aesthetics and Protest

2004
Liz Armstrong, “Group Efforts: the revolution will be televised,” Chicago Reader, 9/3