[What Is This Feeling] processes the consequences of a desire to isolate where it hurts and what it is to be human. The work is inspired by the artist’s history as a pediatric research subject and a more recent experience handling dissected and dismembered cadavers at the end of their two-years of use. Reeves’ retired and documented a series of experimental handmade 16mm film loops that had been at her service for the same duration. The stills are displayed through a network of x-ray viewers, embellished power strips and electrical cords. Also on displayis a running film installation in the process of breakdown.<\/p>\n
Examining the examiners through still and moving media, Kristin Reeves has shown her work internationally in museums, galleries, theaters, art events, and festivals such as the Museum of Contemporary Art Chicago, Microscope Gallery (Brooklyn), and the European Media Art’s 2013 Best of the Festival program (Osnabr\u00fcck). She has also collaborated in over 20 multimedia performances including the Tony Fitzpatrick American Trilogy at Steppenwolf Theater and she is an Assistant Professor of Art at Ball State University in Muncie, IN.<\/p>\n
More information about Kristin Reeves can be found at www.reevesmachine.com.<\/p>\n
Antena is a project space located in Chicago’s Pilsen neighborhood. The spanish word “antena” means a device that is a transducer designed to transmit or receive electromagnetic waves but in this case it is meant to define it as a cultural space that transmits\/broadcasts symbolically art ideas, new media and installation projects on a local and global scale.<\/p>\n
More information about Antena can be found at antenapilsen.blogspot.com.<\/p>\n","protected":false},"excerpt":{"rendered":"
[What Is This Feeling] processes the consequences of a desire to isolate where it hurts and what it is to be human. The work is inspired by the artist’s history as a pediatric research subject and a more recent experience handling dissected and dismembered cadavers at the end of their two-years of use. Reeves’ retiredContinue Reading<\/a><\/p>\n","protected":false},"author":6,"featured_media":42414,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[39,5,1],"tags":[996,16,107450,17],"aioseo_notices":[],"jetpack_sharing_enabled":true,"jetpack_featured_media_url":"https:\/\/thevisualist.org\/wp-content\/uploads\/2014\/06\/reeves.jpeg","_links":{"self":[{"href":"https:\/\/thevisualist.org\/wp-json\/wp\/v2\/posts\/42413"}],"collection":[{"href":"https:\/\/thevisualist.org\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/thevisualist.org\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/thevisualist.org\/wp-json\/wp\/v2\/users\/6"}],"replies":[{"embeddable":true,"href":"https:\/\/thevisualist.org\/wp-json\/wp\/v2\/comments?post=42413"}],"version-history":[{"count":4,"href":"https:\/\/thevisualist.org\/wp-json\/wp\/v2\/posts\/42413\/revisions"}],"predecessor-version":[{"id":42415,"href":"https:\/\/thevisualist.org\/wp-json\/wp\/v2\/posts\/42413\/revisions\/42415"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/thevisualist.org\/wp-json\/wp\/v2\/media\/42414"}],"wp:attachment":[{"href":"https:\/\/thevisualist.org\/wp-json\/wp\/v2\/media?parent=42413"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/thevisualist.org\/wp-json\/wp\/v2\/categories?post=42413"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/thevisualist.org\/wp-json\/wp\/v2\/tags?post=42413"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}