https://elliega.info Ellie Ga Wed, 01 Feb 2023 11:00:44 +0000 https://elliega.info en https://elliega.info/Ellie-Ga-Home Sun, 07 Jun 2020 14:43:03 +0000 Ellie Ga https://elliega.info/Ellie-Ga-Home https://elliega.info/Writings Fri, 26 Jun 2020 13:46:28 +0000 Ellie Ga https://elliega.info/Writings WRITINGS / INTERVIEWS Animal, Machine, Unfixed Image, Ellie Ga in conversation with Alexandre Estrela, MoMA online magazine, 2023 Ellie Ga in conversation with Aily Nash, New York Film Festival, 2023 Quarries interview with Cyril Neyrat, for FID Marseille Documentary Film Festival, 2022 The Streets of Lisbon are Paved with Calçada, Journal 5, The Hoosac Institute, 2020 Gyres 1-3 interview with Cyril Neyrat, for&nbsp;FID&nbsp;Marseille Documentary Film Festival, 2020 Oar of Words, Rudders of Speech, Ellie Ga on Julien Bismuth, for Oslobiennalen, 2019 What Drifts Ashore: Ellie Ga Interviewed by Sophie Kovel, BOMB Magazine, November 2019 With Ellie Ga and Violaine Sutter on the occasion of their Soirée Nomade at Fondation Cartier, Paris, January 2019 Bird Flight, Stone Flight, Navigation, Onomatopee 162, Stockholm, 2018 In Praise of Drift, In conversation with Anna Della Subin, Tank Magazine, November 2018 Dear: Caroline Ferreira, Ellie Ga, October 2016 With Ellie Ga and Béatrice Gross on the occasion of their Soirée Nomade at Fondation Cartier, Paris, June 2015 Joe Donahue interviews Ellie Ga on WAMC Northeast Public Radio, May 2015 In Conversation with Will Hunt, The American Reader, April 2014 Mirrors, Doors, code 2.0 Magazine, Fall 2012 Reading the Deck of Tara, Wrong-Rong Magazine, Issue #1, 2011 A Hole to See the Ocean Throughan on-line project for Triple Canopy, Issue #11: Default Environments, 2011 Three Arctic Booklets, Ugly Duckling Presse, 2010, ed.50 Arctic Circles, Nous ne notons pas le fleurs dit le geographe, catalogue, 2011 Semaine 2a, Flash Art, March 2010 Ellie Ga: 500 Words, as told to Lauren O'Neill-Butler, artforum.com, March 2010 Day Photos: Month #2, I know nothing of the Weather catalogue, PNCA 2009 Classification of a Spit Stain, Ugly Duckling Presse, 2008, ed.500 Tara Lexique, Le Journal du Tara et Damocles, No.4:Printemps 2008 View PDF -&nbsp;View scan&nbsp; Art on the Ice Floes, interview on Radio France (in English), 5/2008 Reports from a Taranaut, Dispatch, NY 2007-08 In the Arctic with Tara Expeditions, Alliance Française, Exploring the Explorers Club, Swiss Institute Contemporary Art, 2007, ed.100 The Explorers Club Magazine, photographs, Fall Issue, 2007 N +1, photographs, Issue #1, 2004 Photos Not Taken, Loudmouth Collective, 2003 https://elliega.info/Cagarros-Assembly Wed, 01 Feb 2023 10:03:42 +0000 Ellie Ga https://elliega.info/Cagarros-Assembly Cagarros Assembly ongoing <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/f7f7963ee75901b3caba3b2921d8e23ca6ba2dbbe1328244a6a8c1d5b0529a07/3_W_T2022_Notesforacagarrosassembly_EllieGaMarianaLopes_09.jpg" data-mid="166872800" border="0" src="https://freight.cargo.site/w/1000/i/f7f7963ee75901b3caba3b2921d8e23ca6ba2dbbe1328244a6a8c1d5b0529a07/3_W_T2022_Notesforacagarrosassembly_EllieGaMarianaLopes_09.jpg" /> <img width="640" height="360" width_o="640" height_o="360" data-src="https://freight.cargo.site/t/original/i/614edc5f694fc768389576e0dfb8513faa69b2a68066a4ddd95944ca854f7438/1_Faial-Night-2-edit.00_01_30_14.Still002.jpeg" data-mid="166872799" border="0" src="https://freight.cargo.site/w/640/i/614edc5f694fc768389576e0dfb8513faa69b2a68066a4ddd95944ca854f7438/1_Faial-Night-2-edit.00_01_30_14.Still002.jpeg" /> <img width="5184" height="2920" width_o="5184" height_o="2920" data-src="https://freight.cargo.site/t/original/i/25c8895c82c77ea61fe1d24f5a8c69740225b09b05f385eb6f19008ca220f8d4/P1122107.JPG" data-mid="166872802" border="0" src="https://freight.cargo.site/w/1000/i/25c8895c82c77ea61fe1d24f5a8c69740225b09b05f385eb6f19008ca220f8d4/P1122107.JPG" /> <img width="2048" height="1536" width_o="2048" height_o="1536" data-src="https://freight.cargo.site/t/original/i/d4e1b0f38b912c8e7fb8d65eacc8980087f60dc8ff0564bd2cc6baf0078ae8c8/PHOTO-2022-10-28-15-17-53.jpg" data-mid="166872803" border="0" src="https://freight.cargo.site/w/1000/i/d4e1b0f38b912c8e7fb8d65eacc8980087f60dc8ff0564bd2cc6baf0078ae8c8/PHOTO-2022-10-28-15-17-53.jpg" /> <img width="5184" height="2920" width_o="5184" height_o="2920" data-src="https://freight.cargo.site/t/original/i/d214a32c5a003341950ae4e264f508f8b02998d0bc8f15fa64b22efcd8e9c493/P1099958-copy.JPG" data-mid="166872801" border="0" src="https://freight.cargo.site/w/1000/i/d214a32c5a003341950ae4e264f508f8b02998d0bc8f15fa64b22efcd8e9c493/P1099958-copy.JPG" /> My interest in Cory’s shearwater began during a residency in the Azores (Walk &amp; Talk), when I was inspired by the raucous sound of these birds returning to their breeding grounds at night. The Cory’s shearwater (Calonectris borealis) is an elusive species of nocturnal seabird that nests in underground burrows on small islands of the North Atlantic Ocean. Approximately 75% of the global population breeds in the Azores. When the fledglings leave the nest for the first time the artificial lights disorientate the fledglings, so they often become lost, smash into lights or are killed on island roads. Since the birds are no longer used for grease, pillows or food–or slaughtered by the Roman Catholic church – who believed that their calls were the voice of the Devil – artificial light has become the largest single threat to their existence. In response, the Regional Government of the Azores has developed an annual campaign, SOS Cagarros, which aims to engage the local population and encourage them to rescue young Cory’s shearwaters. This is an ongoing project, wherein I take on many roles: volunteer, researcher, translator, field recordist.&nbsp; In the process there have been several stops along the way to an eventual film, including:Notes for A Cagarros Assembly (annotated cinema) Cagarros Listening Assembly (listening session-performance)A Jangada (sound installation) (special thanks to SPEA, Tania Pipa, Beatriz Martins, Azucena Martin, Elizabeth Atchoi) https://elliega.info/Cagarros-Listening-Assembly Wed, 01 Feb 2023 11:00:44 +0000 Ellie Ga https://elliega.info/Cagarros-Listening-Assembly <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/134731fbe12d7ecd62d297f5a63dfbefbfe761f20ef1768a508da53f2a33ba14/W_T2022_CagarrosAssembly_EllieGaMarianaLopes_03.jpg" data-mid="166876632" border="0" src="https://freight.cargo.site/w/1000/i/134731fbe12d7ecd62d297f5a63dfbefbfe761f20ef1768a508da53f2a33ba14/W_T2022_CagarrosAssembly_EllieGaMarianaLopes_03.jpg" /> <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/18a2d9315721b6add85500205f50d26c180bea382cce6668441fd4747066a45f/1_IMG_3414.jpeg" data-mid="166876631" border="0" src="https://freight.cargo.site/w/1000/i/18a2d9315721b6add85500205f50d26c180bea382cce6668441fd4747066a45f/1_IMG_3414.jpeg" /> <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/d363229985004370c13eafabad8e927fdeb1ea1d089e48cf551088910369a802/W_T2022_CagarrosAssembly_EllieGaMarianaLopes_04.jpg" data-mid="166876633" border="0" src="https://freight.cargo.site/w/1000/i/d363229985004370c13eafabad8e927fdeb1ea1d089e48cf551088910369a802/W_T2022_CagarrosAssembly_EllieGaMarianaLopes_04.jpg" /> Cagarros Listening Assembly Performance + listening session 4 nights, Rocha de Relva, São Miguel, Açores with ACAPO (Portuguese association of the blind and visually impaired)&nbsp; &amp; SPEA (Portuguese society for the study of birds) Timed to begin with the noisy nighttime arrival of the adult cagarros. For these site-specific performances I adapted the compositions and sonic meditations of composer Pauline Oliveros, who theorized the concept of ’deep listening’ as an approach (and an aesthetic) to inspire trained and untrained ‘performers’ to practice the art of listening while responding to environmental conditions. Building on Oliveros’ approach, I designed and led four listening sessions that were performed as part of the Walk &amp; Talk Festival in São Miguel. These sessions took place in the evening, after dusk, on a cliff top near breeding grounds of Cory’s shearwater. Each session included a scientist, whom I invited to introduce the birds and answer questions from participants (the audience). The sessions were conceived of in conversation with ACAPO (The Portuguese Association for the Blind &amp; Visually Impaired), whose president and visually-impaired members attended, both as participants and contributors. Instructions: Everyone in the audience is given a card. The cards are tactile. Each card represents an aspect of deep listening and the cagarro’s life cycle. For each card, the audience is asked to do a listening exercise interspersed with interviews with the president of ACAPO and a marine biologist from SPEA. The 6 cards: The Ear. Rectangular card with one corned folded down card. Represents listening. Audience listens to one sound in the landscape. How do the visually impaired use focal listening in everyday life? The Cave. Six sided card. Represents, in the first place, the name of this year’s edition of Walk &amp; Talk. In the first place, there were the cagarros. What is the function of the cave for the cagarro? Audience is asked to listening for multiple sounds, pay attention to where they are coming from. The Light. A card with a jagged middle. Represents danger. What is the most dangerous aspect for the young cagarro leaving the nest? Audience members holding the Light card are asked to describe a sound in words. The Raft. Rectangular car with six holes connected by string. The communication card. Cagarros assemble on the sea surface in ‘rafts’ in order to communicate. What are some challenges communicating with sighted people? The Edge. Rectangular card with a wavy edge. Represents the furthest journey. Audience is asked to imagine a sound beyond the edge of their hearing. I ask the marine biologist what’s the edge of her knowledge at the moment, something she wished she could know about the cagarro. The Sounding. Rectangular card with a hole in opposite corners. It’s the survival card—vocalization is how birds find a mate, ensuring the survival of the species. Listen to difference between male and female cagarro calls. Audience is asked to imitate the birds. The Ear. Return to the first card. At the beginning of the performance the ear card represented listening, now it represents empathy. I ask ACAPO and SPEA what they would like to communicate to the audience, so that we best understand their missions. https://elliega.info/Quarries Sun, 27 Mar 2022 11:53:44 +0000 Ellie Ga https://elliega.info/Quarries Quarries video + sound, 40 minutes <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/6d020e0c1130e47b74a4d7aef256ec12f9bd0951a0b5fbd9a3c7e41fe3db7160/unnamed-16.jpg" data-mid="137687206" border="0" src="https://freight.cargo.site/w/1000/i/6d020e0c1130e47b74a4d7aef256ec12f9bd0951a0b5fbd9a3c7e41fe3db7160/unnamed-16.jpg" /> <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/f70dc2c82281b41862de94427ef2b425054646acf2c5db931b3684b947b14463/unnamed-15.jpg" data-mid="137687204" border="0" src="https://freight.cargo.site/w/1000/i/f70dc2c82281b41862de94427ef2b425054646acf2c5db931b3684b947b14463/unnamed-15.jpg" /> <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/78b34793b97af711899b93cc499c910974536e1d26211b0910344a0998b9327a/unnamed-19.jpg" data-mid="137687209" border="0" src="https://freight.cargo.site/w/1000/i/78b34793b97af711899b93cc499c910974536e1d26211b0910344a0998b9327a/unnamed-19.jpg" /> <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/f6b837c0addb28ec65c94f8d358eba8e60d123ca318e89d712b8df79e0a4e56f/unnamed-18.jpg" data-mid="137687208" border="0" data-scale="96" src="https://freight.cargo.site/w/1000/i/f6b837c0addb28ec65c94f8d358eba8e60d123ca318e89d712b8df79e0a4e56f/unnamed-18.jpg" /> <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/4f67a6b5e0633dd08a1c43204c8c0cddc2184a0378e33c465f2b04833227fa72/unnamed-17.jpg" data-mid="137687207" border="0" src="https://freight.cargo.site/w/1000/i/4f67a6b5e0633dd08a1c43204c8c0cddc2184a0378e33c465f2b04833227fa72/unnamed-17.jpg" /> Quarries video stills Quarries follows the mysteries surrounding prehistoric stone tools from Kenya alongside the neglected labor of stonemasons who paved the streets of Lisbon. The humble gesture of these artisans, stooped over the pavement, morphs into a confrontation with the hubristic act of monument building. For the artist’s brother, the struggle to regain the use of his hands after a serious injury transforms into a narrative about agency in the face of being forgotten, marginalized and deemed of no importance. An out-of-print photography book on Portuguese stone pavements leads to a series of improbable connections.&nbsp;A tour of a neurobiology lab leads to an examination of a Cold War re-education camp where prisoners were forced to dig up stones to create replicas of antiquity while covertly drawing on stone shards to mark and then bury a trace of their stories. In Quarries, Ga extracts stories of resistance from unlikely places and on overlooked surfaces. Special thanks to: Mt Tremper Arts, New York; the Swedish Arts Council; AIR 351, Cascais; the Luso-American Foundation; Les Amis de Jeu du Paume. Ellie Ga interviewed by Cyril Neyrat for FID Marseille, read here Ellie Ga in conversation with Aily Nash, New York Film Festival 2023, video here Quarries Excerpt from Ellie Ga on Vimeo. Exhibition &amp; Screening History: Galeria Zé dos Bois, Portugal, 2025 Bureau @ Labor, Mexico City, Mexico, 2024 The International Festival of Films on Art, Montreal, CA, 2024 Festival FAA—Les Ateliers de Moison, France, 2023 Age d’Or Festival, Cinematek, Brussels, 2023 The High Line, New York City, 2023 Center for Maine Contemporary Art, Maine, 2023 Singapore International Film Festival,Singapore, 2022 Bryn Mawr Film Institute, Bryn Mawr, PA, 2022 Arktisen Upeeta Film Festival,&nbsp;Jyväskylä, Finland, 2022 Linea d’Ombra Festival,&nbsp;Salerno, Italy, 2022 New York Film Festival, New York, US, 2022 Let us Reflect Film Festival, Saint-Gaudens, France, 2022 Fata Morgana, Jeu de Paume, Paris, 2022 FID festival of documentary film, Marseille, 2022 Bureau, New York , 2022 Collections Frac-Sud, Marseille https://elliega.info/Gyres Sun, 07 Jun 2020 14:43:04 +0000 Ellie Ga https://elliega.info/Gyres Gyres 1-3video + sound, 39 minutes <img width="830" height="467" width_o="830" height_o="467" data-src="https://freight.cargo.site/t/original/i/6a40adf5ac40309c1dee4abfafc2493b85fefdaefbca7330be317d12a47ff676/127_1gyresstill830px.jpg" data-mid="73995946" border="0" src="https://freight.cargo.site/w/830/i/6a40adf5ac40309c1dee4abfafc2493b85fefdaefbca7330be317d12a47ff676/127_1gyresstill830px.jpg" />Gyres video still Gyres are gigantic ocean currents that carry all kinds of objects across oceans. When they leave the vortex of the gyre, some of these items eventually wash up on the shore, where “beachcombers” pick them up and strive to trace back their itineraries. Gyres 1-3 invents a filmic movement that circulates images and ideas as they pass through the director’s mind, like objects drifting on the surface of the Pacific Ocean or the Mediterranean Sea. Better still, Ellie Ga’s successful gamble is that of a filmic form which coordinates and links together the movement of ocean currents and the endeavour of beachcombers. It starts with the creation of a device that carries out on screen this oceanic, scavenging image of thought. The two white rectangles of a light table stand out against the darkness of the frame; a hand selects transparent photographs in the bottom rectangle, among a messy pile of others waiting to be picked up, and then lays them out on the top rectangle. Off-screen, a voice unravels a story that sheds light on the connections between them, and restores the full power of the remains of experiences past as full-fledged images. The hands and the voice belong to the director, alone on board, a peerless seafarer mapping out paths of light through the present storm. From a west-coast beach to an island in the Aegean Sea, from the death of her mother to that of Bruce Chatwin, from bottled prayers drifting towards Symi island to life jackets washed-up on the beaches of Lesbos, Ellie Ga’s mind follows its own map, both private and global, of disasters and hopes. As a disciple of Walter Benjamin, she knows that mourning is the tone of thought, but that the process of thought converts the pain of loss into the joy of encounters and exchanges. Like so many bottles tossed at sea, intimate relics or anonymous remnants, all kinds of fallen images and things are waiting to be gathered up by an open hand, held up by an adventurous mind. Editing as a form of thought: the idea is as old as modernity itself, but Gyres 1-3 is among the very few films of genius that manage to restore its bygone splendour, its power to illuminate the chaos of the world and the turmoil of existence. Cyril Neyrat for FID Marseille SELECTED PRESS: Holland Cotter, "The Whitney Biennial: Young Art Cross-Stitched With Politics," The New York Times, May 16, 2019 Taylor Renee Aldridge, "'We Ourselves Are Our Prize': Lasting Works in the Whitney Biennial Evoke Toni Morrison and Ancestry Through the Ages", Artnews, September 19, 2019 Essay on Gyres 1-3 by Tom McDonough, in the fall 2019 issue of Osmos Magazine. Download here. <img width="830" height="527" width_o="830" height_o="527" data-src="https://freight.cargo.site/t/original/i/86b7290c7a6608477c821b543ead7886b5a3015faa79bd6682b6178c79c2ce7b/127_unnamed-7830px.jpg" data-mid="73995954" border="0" src="https://freight.cargo.site/w/830/i/86b7290c7a6608477c821b543ead7886b5a3015faa79bd6682b6178c79c2ce7b/127_unnamed-7830px.jpg" /> Installation view Gyres 1-3, Whitney Museum of American Art. Gyres, 3 minute excerpt from Ellie Ga on Vimeo. Gyres Installation History: Galeria Ze dos Bois, Lisbon, PT, 2021 The Foreman Art Gallery, Bishop’s College, Quebec, 2020 The Whitney Biennial of American Art, 2019 Gyres Screening History:Cinema Spoutnik, 2024 Em Temps Réel, Paris, France, 2024 Carte Blanche for FIDMarseille, Nice, France, 2023 Jeu de Paume, Paris, France, 2022 Cinema Calheta, Ponta Delgada, Azores, PT, 2022 Galeria Zé dos Bois, Lisbon, PT,&nbsp;2021 Zilkha South Gallery, Wesleyan University, Middletown, CT, USA, 2021 Videonale 18, Bonn, 2021 On the Boards / Henry Art Gallery,&nbsp;WA, US, December 2020 Syros International Film Festival, 2020 FID Marseille, Official Selection, International Competition, July 2020 Le Plateau, FRAC Ile-de-France, Paris, March 2020 Collections: Hessel Museum of Art, Bard College, Annadale-on-Hudson, New York The Whitney Museum of American Art Moderna Museet, Stockholm, SE https://elliega.info/Eoliths Fri, 26 Jun 2020 13:10:57 +0000 Ellie Ga https://elliega.info/Eoliths Eoliths2018, performance lecture For about 7 years now, I’ve been fascinated by eoliths (eos + lith, dawn + stone). These battered and chipped flint stones were once thought to be the oldest stone tools used by ancient human hands. Although they are now known to be just a bunch of rocks and tell us nothing about prehistoric humans, the eoliths tell us much about the late 19th century mind, particularly in England where the eolith debate became a story of class, amateurism and the budding fields of geology and anthropology. I’ve been visiting institutions in the US and England that kept their eolith collections. Thanks to the Maidstone Museum in Kent; Jeremy Coote and the Pitt Rivers Museum in Oxford. I spent much time with archeologist Angela Muthana whose knowledge and humor is very much present in my performance lecture Eoliths. Here's an interview with scientist Violaine Sautter and myself on our shared Nomadic Nights at The Cartier Foundation in Paris. <img width="700" height="394" width_o="700" height_o="394" data-src="https://freight.cargo.site/t/original/i/eaa3a1b300a85a77a5fcce66b115ee5e7e081948b5b420fcab79b512f8357e4f/126_unnamedsmall.jpg" data-mid="75720169" border="0" src="https://freight.cargo.site/w/700/i/eaa3a1b300a85a77a5fcce66b115ee5e7e081948b5b420fcab79b512f8357e4f/126_unnamedsmall.jpg" /> Eolith, Maidstone Museum, Kent <img width="700" height="467" width_o="700" height_o="467" data-src="https://freight.cargo.site/t/original/i/0ce7bbe985e0bcd65cf01827e8d1ab14dfe8fe28216f0a74742dcab74370170e/126_unnamed-2small.jpg" data-mid="75720168" border="0" src="https://freight.cargo.site/w/700/i/0ce7bbe985e0bcd65cf01827e8d1ab14dfe8fe28216f0a74742dcab74370170e/126_unnamed-2small.jpg" /> Performance still, Fondation Cartier. Eoliths has been performed at:&nbsp; Fondation Cartier pour l’art contemporain, Paris, France, 2019Bureau, New York, NY (US), 2018Mt.Tremper Art, Phoenicia, New York (US), 2018 https://elliega.info/Strophe-A-Turning Sun, 07 Jun 2020 14:43:04 +0000 Ellie Ga https://elliega.info/Strophe-A-Turning Strophe, A Turning20172 channel video, loop37 minutes “Strophe - a turning. The lines of a poem or part of the ode sung by theGreek chorus while turning.” Ellie Ga’s Strophe, a Turning (2017) opens with her quoting the Russian poet Osip Mandelstam who compared launching a message in a bottle to the act of writing a poem to an unknown reader. Taking cues from from both a bottle at sea and the beachcomber who eventually hap-pens upon it, the artist initially developed the work out of her&nbsp;interest in how drifting objects have been used to chart sea movement. But her willingness to drift and follow uncertain turns, carries her unexpectedly to the Greek island of Symi, and then to the shores of its neighbor Lesvos, during the summer of 2015. Ga is confronted by the mutable context of these islands, and decides to join a team of volunteers aiding asylum seekers and refugees—a definitive turn-ing point at which she is forced to wrestle not only with the poetics of accidental drift and the new discoveries it beckons, but with urgent political and humanitarian realities with which she confronts, processes, and situates within a nuanced and complex history of endurance, faith, and indeed, chance. Read a review in the Brooklyn Rail. Read a review in the November issue of Artforum. <img width="576" height="324" width_o="576" height_o="324" data-src="https://freight.cargo.site/t/original/i/ce0e41d1606f22e8a1050139efdab87641010f928e2e1d88e612315bc373d3e5/1_strophe-master-timeline-amov00003409still002.jpg" data-mid="73993045" border="0" src="https://freight.cargo.site/w/576/i/ce0e41d1606f22e8a1050139efdab87641010f928e2e1d88e612315bc373d3e5/1_strophe-master-timeline-amov00003409still002.jpg" /> <img width="576" height="324" width_o="576" height_o="324" data-src="https://freight.cargo.site/t/original/i/13935c913515f9db05b1d5d7a9d23a87e5dc61247be44e09d56806c73ab9b866/114_strophe-master-timeline-amov00585000still010.jpg" data-mid="76186307" border="0" src="https://freight.cargo.site/w/576/i/13935c913515f9db05b1d5d7a9d23a87e5dc61247be44e09d56806c73ab9b866/114_strophe-master-timeline-amov00585000still010.jpg" /> <img width="576" height="324" width_o="576" height_o="324" data-src="https://freight.cargo.site/t/original/i/dd198bb411e6b85ad96cdb0615d88ffab320454d69475c7f0eabc9d7f5a28b24/114_gastrophevideo-still.jpg" data-mid="76526743" border="0" src="https://freight.cargo.site/w/576/i/dd198bb411e6b85ad96cdb0615d88ffab320454d69475c7f0eabc9d7f5a28b24/114_gastrophevideo-still.jpg" /> Strophe video stills <img width="576" height="432" width_o="576" height_o="432" data-src="https://freight.cargo.site/t/original/i/18f49514098006dbaaf5c7c4828aa97de5a6d064c1ebf211cf98edb1345e4d99/114_1eg2017strophebureau09.jpg" data-mid="76526540" border="0" src="https://freight.cargo.site/w/576/i/18f49514098006dbaaf5c7c4828aa97de5a6d064c1ebf211cf98edb1345e4d99/114_1eg2017strophebureau09.jpg" /> <img width="576" height="432" width_o="576" height_o="432" data-src="https://freight.cargo.site/t/original/i/6384a36d939d9bc38c554e526300ee6f608edd9b4eff7891ccce96d89c339281/114_eg2017strophebureau05.jpg" data-mid="76526541" border="0" src="https://freight.cargo.site/w/576/i/6384a36d939d9bc38c554e526300ee6f608edd9b4eff7891ccce96d89c339281/114_eg2017strophebureau05.jpg" /> <img width="576" height="432" width_o="576" height_o="432" data-src="https://freight.cargo.site/t/original/i/42e897a327923a7ff3aa096c8fcffc48fbeafa5819390d4ab7ec114998df83e9/114_1eg2017strophebureau04.jpg" data-mid="76526539" border="0" src="https://freight.cargo.site/w/576/i/42e897a327923a7ff3aa096c8fcffc48fbeafa5819390d4ab7ec114998df83e9/114_1eg2017strophebureau04.jpg" /> Install view, Bureau, New York Strophe, A Turning (2017). Excerpt, first 5 minutes from Ellie Ga on Vimeo.Strophe Installation History: Havre Magasinet, Boden (SE), 2021 Bureau, New York (US), 2017 Strophe Screening History: En Temps Réel, Paris (FR), 2024 Cinémathèque Robert-Lynen, Paris (FR), 2018 (presented by Carosposo) Clandestino Festival, The Museum of&nbsp;World Culture, Gothenburg (SE), 2018 Moderna Museet, Stockholm (SE), 2018 Public Collections: Statens Konstråd (Public Art Collection Sweden) &nbsp; https://elliega.info/Eureka-A-Lighthouse-Play Sat, 13 Jun 2020 12:33:09 +0000 Ellie Ga https://elliega.info/Eureka-A-Lighthouse-Play Eureka A Lighthouse Play 2015, performance, 50 minutes Eureka, a lighthouse play, is a narrative performance that centers on the Great Lighthouse of Alexandria. Since its destruction in a series of earthquakes during the Middle Ages, many people have tried to reconstruct the lighthouse, searching for its remains in an effort to reconstruct the histories of one of the lost wonders of the ancient world. Eureka recounts the journey of an artist lost in the process of research, drawing upon an archive of photographs, video footage, documents, artifacts, and interviews. Like the growing cast of unlikely characters, it becomes harder and harder to piece together the lighthouse’s history from the thousands of stones that are barely visible on the seabed. <img width="648" height="432" width_o="648" height_o="432" data-src="https://freight.cargo.site/t/original/i/34c8027ac25d9da9b2394a97c0fd1267b8b51fe3d1541ec664b297ce9ce5deaf/3.jpg" data-mid="74453852" border="0" src="https://freight.cargo.site/w/648/i/34c8027ac25d9da9b2394a97c0fd1267b8b51fe3d1541ec664b297ce9ce5deaf/3.jpg" /> <img width="648" height="432" width_o="648" height_o="432" data-src="https://freight.cargo.site/t/original/i/0ad98e0afe2d4edc14f0d094f8a8ea8ee4b7dc4d1508764d0988ef47491a31bb/1.jpg" data-mid="74453850" border="0" src="https://freight.cargo.site/w/648/i/0ad98e0afe2d4edc14f0d094f8a8ea8ee4b7dc4d1508764d0988ef47491a31bb/1.jpg" /> <img width="648" height="432" width_o="648" height_o="432" data-src="https://freight.cargo.site/t/original/i/2cf7593ff4fc812eac1f82c99b7d60ce23ffd2ee1029fb4531c73d3fe1e85dbc/2.jpg" data-mid="74453851" border="0" src="https://freight.cargo.site/w/648/i/2cf7593ff4fc812eac1f82c99b7d60ce23ffd2ee1029fb4531c73d3fe1e85dbc/2.jpg" /> Performance stills, Playground Festival, Stuk (BE) View 4 excerpts: Eureka A Lighthouse Play has been performed at:Bard Graduate Center, New York (US), 2022 Flaherty Seminar series, Anthology Film Archives, New York (US), 2019Galerie Emanuel Layr, Vienna, Austria, 2017Guggenheim Museum, New York (US), 2015EMPAC, Troy, New York (US), 2015Royal Institute of Art, Stockholm (SE), 2015Le Grand Café, Saint-Nazaire (FR), 2015Cartier Fondation d'Art Contemporain, Paris (FR), 2015Playground Festival, Leuven (BE); The Kitchen, New York (US), 2014 https://elliega.info/Sayed Sat, 13 Jun 2020 12:33:29 +0000 Ellie Ga https://elliega.info/Sayed SayedVideo and sound, in Arabic with English subtitles, running time:&nbsp;5:24 minutes Sayed, a dive guide in Alexandria, describes navigating among the thousands of lighthouse stones underwater. Combined with the interview is footage I filmed of Sayed among the ruins over the course of a diving season. "Ga's interviews with Sayed highlight the limits of visibility–of what can be seen and not heard, heard and not seen. Underwater photography is illegal at the diving site and given the swell and pollution, it is nearly impossible to capture images of the ruins, which resided twenty feet beneath the surface. Still, while Sayed says he has never seen a map of the ruins, he remarks that based on his experience he knows where the stones are: "It's in my head," he says, adding, "Whenever we see these remains, we can have a mental picture of the lighthouse." (excerpted from essay by Lauren O'Neill Butler, the full text can be read here). <img width="612" height="373" width_o="612" height_o="373" data-src="https://freight.cargo.site/t/original/i/44a8155bd3dc3a20ca609d3c5a334a2545916338d64d909a108fc94679f2ef15/102_grand-arts-ellie-ga-8852.jpg" data-mid="74721025" border="0" src="https://freight.cargo.site/w/612/i/44a8155bd3dc3a20ca609d3c5a334a2545916338d64d909a108fc94679f2ef15/102_grand-arts-ellie-ga-8852.jpg" /> Installation view, Grand Arts. <img width="612" height="344" width_o="612" height_o="344" data-src="https://freight.cargo.site/t/original/i/8fb50c222d2b80f531fd2f188f03fc2b5e9682717ee864fd2a03c6afe33691bd/102_sayed2.jpg" data-mid="74721034" border="0" src="https://freight.cargo.site/w/612/i/8fb50c222d2b80f531fd2f188f03fc2b5e9682717ee864fd2a03c6afe33691bd/102_sayed2.jpg" /> Video still View video: