”Scene Report” .MOV Opening Night

Come for happy hour starting at 7:30pm

at the SIE Film Center Lounge.

Screening: 8:30pm

@SIE Film Center

2510 E Colfax Ave,

Denver, CO 80206

Curated by: Adán De La Garza + Jenna Maurice

Click each artists photo for more information.

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Join us for the opening night of Denver Month of Video (MOV), a citywide festival celebrating the expansive world of video art.

Scene Report kicks off the month with a vibrant cross-section of video work by Colorado artists. This screening is both a celebration and a snapshot—an invitation to witness what artists in our region are making right now. The program spans a range of voices, genres, and approaches, reflecting the diversity and dynamism of Colorado’s video art community.

All featured artists will be in attendance. Come meet the makers, mark the start of MOV with us, and get a first look at what’s to come throughout July. 

Artists:

Debora Bernagozzi

Jason Bernagozzi

Chris Coleman

Laura Conway

Adán De La Garza

Tobias Fike

Elle Hong

Sharifa Lafon

Jenna Maurice

Laleh Mehran

Eileen Roscina

Kelly Sears

Joshua Ware

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Jenna Maurice "Heavy Metal Sound Check

This piece observes heavy metal vocalists during sound check.

Sharifa Lafon & Joshua Ware "leaving / behind: me, wag." (USA)

“leaving / behind: me, wag.” is a collaborative, multi-media artwork created by Sharifa Lafon and Joshua Ware that focuses on the intersection of bodies, sound, image, and word.

World Premiere

Debora Bernagozzi "Stream (Iteration 7)"

The source footage comes for Stream is of bare tree limbs lying in water, but the result of the processing is that new types of landscapes are created. Some contain sensuously flowing images suggestive of human forms, while others flicker with the intensity of a storm. The work visually alludes to how our experience of events is not rooted in just one moment, but in an overlapping tapestry of memories, thoughts, and anticipations. Through the intense processing, uneventful spaces in the journey disappear as moments, now abstracted, happen again and again, synthesizing into something new.

Colorado Premiere

Elle Hong "STEALTH LESBIAN" (USA)

STEALTH LESBIAN is an experimental dance-film work part of a larger series of 2019 works by Elle Hong, "Terms of Use" (ToU). Through ToU, Hong collaborates with quotidian technologies of surveillance (e.g., smartphones, personal computers) in a dis/embodied investigation of AI, hyper-surveillance, queerness, and the social contracts agreed to both knowingly and unbeknownst to the general public. ToU employs absurdism as a coping mechanism for the social worlds the artist navigates, while proposing newer means of being in the world that destabilize dominant ideologies in technology, identity, and the body. The section STEALTH LESBIAN includes Hong’s reimagining as a former contestant on MNET K-Pop survival show, Produce 48, utilizing the everlasting space of the digital to envision self-determined modes of visibility. Through digital performance, Hong crafts a whimsical portrayal of how the intersection of experimental film and dance studies might serve as a site for imagining new genders and worlds that stand in deep opposition to the legacy of Europeanist, heterocentrism employed through dance as a field of study.

Chris Coleman "The Magnitude of the Continental Divides" (USA)

The Magnitude of the Continental Divides is an animation exploring the ways we define ourselves and our nations. It is a journey between many locations in various states of withdrawal and aggression. Borders become weaponized and damage is always dealt from afar. The individual is caught in the midst, unable to separate themselves, unable to define identity without place.

The Magnitude of the Continental Divides is a six minute high definition animation created over two and a half years that combines vector drawings derived from safety brochures with illustrations from scout manuals, science books, and boy's adventure stories, all from the 1930-1960's. Sound design was provided by David Fodel.

Colorado Premiere

Kelly Sears "The Lost Season"

Earth is experiencing its final winter. A giant streaming company hires all available camera operators to film the final weeks of this soon-to-be-lost season. After seeing their footage as a form of ecological exploitation, the camera operators refuse to commodify further climate collapse with their labor.

Jason Bernagozzi "The Boundary that never Was"

Everything was so rapid and deeply interconnected, and also so impossible to reduce down to a singular linear experience. The Boundary that never Was attempts to understand how we cognitively replay what we believe our senses can capture and explore how experiences change us. The sound is recorded using an electromagnetic frequency microphone shaped as a granular remix of the sounds of electrons happening.

Colorado Premiere

Tobias Fike "Midlife Crises; or How I Learned to Not Skateboard"

You can rob me of my skateboard but you can't take away my destiny.

World Premiere

Laleh Mehran "An Ode in the Key of Lost Light"

“An Ode in the Key of Lost Light” is an inquiry into systems of control, erasure, and endurance. Rather than treating elements as fixed, it engages them as unstable signals - subject to translation, interruption, and decay. The work is less concerned with what is seen than with the structures that shape seeing - systems that exclude, distort, indoctrinate, or commodify. Within these frameworks, remnants of visual and cultural authority flicker, momentarily visible in the mechanisms designed to manage perception. Inheriting frequencies compressed through layers of geopolitical force, conflict, conquest, and control reveals the weight of histories embedded in perception itself. If there is memory here, it is neither linear nor whole; it loops through repetition and rupture, eroding even as it unfolds. The work seeks to stay with the ambiguity, to listen for the manifestations that dominant histories cannot contain or silence.

World Premiere

Eileen Roscina "Downwind"

Rendering the invisible, this film is a visual poem abstracting vulnerability, breath and resilience in a world filled with air pollution.

World Premiere

Laura Conway "Flatnesses"

We watch as two lovers search for each other, in a landscape without depth. What happens when we lose the horizon? Without it, our sense of orientation, time-scale, perspective, and rootedness to the Earth dissolves.

Flatnesses is a film shot entirely from a God's-eye view, —an unbroken aerial perspective flattening all depth and distance. Once impossible, now cheap and quotidian, our era of drones, surveillance, satellites, and digital mapping, flattens and abstracts. Now we float. In Flatnesses, homelands become maps, geographical features become data, one place is made to seem like another, algorithms dictate desire, and intimacy feels distant. Still, we look for one another.

Adán De La Garza "we weren't bored" (version 2.0)

"we weren't bored" is my longest-running project that started when I was sixteen. My krew of friends and I wanted to make a skate video but weren’t good at skateboarding so it mostly shifted into antics, pranks, and stunts. These were the parts of the skate videos I always gravitated to the most. This ended up becoming more of a document of a certain point and time in our lives. We were always shooting for “the video” but were seemingly more interested in making stuff happen instead of sitting down and editing the footage together. 

We would organize entire day-long events for ourselves to shoot, like finding water skis and pulling each other down a dirt road, road trips to Las Vegas, scoping spots to do car launches and donuts, throwing parties with the explicit goal of shooting footage, or building different potato guns to shoot at tube televisions and toilets found in the desert and eventually turning those into flame throwers. We also documented simple day-to-day interactions of a young subcultural person, mosh pits and fights at the local punk youth venue "Skrappys," interactions with adults and cops that hate skateboarders, late-night graffiti runs, and just shooting the shit, making each other laugh. Over the years, I’ve revisited and compiled this footage, recognizing its foundational role in my journey as an artist.   

I’m still friends with everyone from this krew.