TRANSMEDIA

For the past two years, True/False has been exploring the work of artists and storytellers who’ve jumped the fences of traditional platforms. If you have a piece you would like us to consider for the 2019 fest, please send an email of inquiry to our Transmedia Curator, Katie Jenkins, at: [email protected]

Here’s a quick look at last year’s projects:

Located at Columbia Art League // Thursday, 5:30pm – 8pm / Friday, 11am – 8pm / Saturday, 11:30am – 9pm / Sunday, 11am – 8pm

Presented in partnership with Scenic VR and Gravity

It Must Have Been Dark By Then
Equipped with a mobile phone and a paper book, this walking tour guides participants with evocative music, narration and field recordings. Close your eyes and let the streets of Columbia give way to the swamplands of Louisiana, empty Latvian villages and the edge of the Tunisian Sahara. These stories and sounds will lead your way in constructing a personal map. Duncan Speakman; 2017; Interactive
Duncan Speakman; 2017; Interactive
Bloodless
This 360 film, shot on location in a Korean “camp town” — lawless zones located adjacent to US military bases — follows a real-life sex worker in the hours leading up to her brutal murder by a US soldier at the Dongducheon Camptown in South Korea in 1992.
Gina Kim; 2017; VR
Indian Giver
Reclaiming the offensive term in a playful way, Pursel’s Indian Giver gives stereotypical representations of Native Americans back to mass society.
Sydney Pursel; 2011; claw machine
Friend of a Friend
A fictional memoir about unsteady remembrances of the past and the challenges of reconnection. In this unique augmented reality (AR) experience, you can piece together the story of a college friendship through emails, photos, and audio recordings via a smartphone app as you navigate downtown Columbia.
Kate Gorman; 2018; Interactive
The Summation of Force
With a nod to Eadweard Muybridge and the early days of photographic motion capture, this eerie black-and-white collage inhabits a virtual space to illuminate the physical and psychological components of the game of cricket.
Narelle Autio, Trent Parke, Matthew Bate; 2018; VR
Materialities Montage Mixer
This participatory experience explores the ways in which the Black Audio Film Collective (1982-1998) constructed their groundbreaking experimental non-linear feature films and tape-slide installations. The Materialities Montage Mixer invites viewers to re-work and re-appropriate archival and found material in a participative process which characterised the Collective’s interest in 1980s British politics and art.
Gary Stewart; 2007; Interactive
Bethlehem
Once a booming steel mill in which workers fabricated the materials for the Empire State Building and the Golden Gate Bridge, the sprawling Bethlehem Plant has since been converted into a casino. This poetic exploration of a changing city confronts the past and future of the American workforce.
Jesse Epstein, Andrea Rollefson; 2018; VR