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DEBORAH STRATMAN is a Chicago-based artist and filmmaker whose work plies the territory between experimental and documentary genres. She often explores themes such as history, mythologies or the relationship between physical environments, human struggles for power and control and the way in which they play out on the land. She recently completed a trilogy of works that collectively address concepts of the paranormal in the information age. Stratman has exhibited internationally at venues including Museum of Modern Art New York, Centre Pompidou, or the Whitney Biennial and festivals including Sundance, Viennale, Oberhausen, Ann Arbor, and Rotterdam. Stratman is the recipient of Fulbright and Guggenheim fellowships and currently teaches at the University of Illinois at Chicago.
- Sundance Film Festival 2014
- Rotterdam International Film Festival 2014
- Best Sound Design - Ann Arbor Film Festival 2014
- Best Experimental Film - Curtas Vila do Conde International Film Festival 2014
- Edinburgh International Film Festival 2014
- Documentary Fortnight Museum of Modern Art New York 2014
- Viennale Film Festival 2014
- Melbourne International Film Festival 2014
- VideoEx Festival Zürich 2014
I would like, without relying on language, to achieve an intellectual cinema. I want my work to question its own social function while remaining aesthetically seductive. I make film for the pleasure of creating a temporal universe. Film demands a mute viewer, willing to leave her own temporal space in order to enter mine. I love and struggle with the totalitarianism behind this fact. So my work tends to be encountered by accident, requiring participation or collaboration to be activated, approaching something closer to a dialogue. (Deborah Stratman)
Curator's comment:
In HACKED CIRCUIT, (…) Stratman aims to subvert Coppola’s fetishization of defeat with a sonic reclamation of individual agency. Foley artist Gregg Barbanell’s attentive and precise replication of the sounds elicited by Caul’s search take on the quality of an incantation: a catalyst that seeks to rewrite Caul’s preordained defeat through an intent and intense audio-visual immediacy, reviving sounds that have been frozen in the source material so as to draw the character out of his impotent stasis. At the same time, this act of solidarity wrests back the audio-visual apparatus from those organs of control that have turned it to the purposes of fear, revealing its possibilities as an instrument of resistance as well as domination. (Samuel La France, Cinemascope)