DECEMBER



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OCTOBER




The extraordinary Quay Brothers are two of the world’s most original filmmakers.
Identical twins who were born in Pennsylvania in 1947, Stephen and Timothy Quay
studied illustration in Philadelphia before going on to the Royal College of Art
in London, where they started to make animated shorts in the 1970s. They have
lived in London ever since, making their unique and innovative films under the
aegis of Koninck Studios.

Influenced by a tradition of Eastern European animation, the Quays display a
passion for detail, a breathtaking command of color and texture, and an uncanny
use of focus and camera movement that make their films unique and instantly
recognizable. Best known for their classic 1986 film STREET OF CROCODILES,
which filmmaker Terry Gilliam recently selected as one of the ten best animated
films of all time, they are masters of miniaturization and on their tiny sets
have created an unforgettable world, suggestive of a landscape of long-repressed
childhood dreams.

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SEPTEMBER
Triumph- Curated by Courtney Veraldi





The show "Triumph" at Cave coincided with the annual Russell Industrial Arts Festival. We gathered artists with an array of differences, either with the medium they utilized, the content they formulated or where they were from geographically. Each artist stood out independently with an underlying goal of showing in a space out of their usual context and geography. The artists who participated are as follows: Adam Baumker, Adam Buttrick, Lorne Darnell, Nick Jaroch, Courtney Veraldi, David Wilhelm, and Michael Zang.




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AUGUST




Born in 1969 in Ramat Gan (Israel) and degreed in Fine Arts in 1996, he moved to New York from 2001 to continue his studies at the Columbia University. Guy Ben-Ner's video works since 1996 are centered on his own performative presence and his relationship with his family. Testing on his own private territory (both emotionally and physically) the different kinds of familial settings and circumstances, he brings his public to reflect upon universal values and behaviours which are produced by the connection between the social environment and the human being's natural attitudes.

Although shot at home and usually with his children, Ben-Ner's films are far from home movies. They are sequences of carefully planned scenes, each film is in fact preceded by a copious storyboard drawings. The interest in the works of the mid-1960 and early 1970s' body artists such as Bruce Nauman, Vito Acconci, and Dennis Oppenheim, and the fascination with filmic situations in which the director, the cameraman, the leading actor and the stuntman are all one and the same, led Ben-Ner to deepen his interest in the early films of Harold Lloyd, Charlie Chaplin, and specially Buster Keaton. The work of these pioneer filmmakers, in fact, influenced his films in different ways. "Especially significant for Ben-Ner were Keaton's accounts of his family life as a child, reflecting a total blurring of the boundaries between professional and private life, between the "home" and the "stage"" (Sergio Edelsztein).

His works may be viewed on Ubuweb at http://www.ubu.com/film/ben-ner.html