Day: January 22, 2014

The Review will hold their second annual film festival on Feb. 1 from 6-9pm. The event will be held in the theatre of the college’s Rancho Cucamonga campus. Michelle Dowd, Advisor for The Review notes, “The films all cover an array of comedy, drama, documentary to musicals. What’s great about this festival is that budding film directors do interesting things experimentally that you don’t really see in mainstream films. I don’t think many people really get the opportunity to see these things. You can watch stuff on Vimeo, but not many get to see it on the big screen sitting with other people and get the whole experience. I think it’s unique.”

The event is in commemoration of the release of the journal’s 11th volume which will be premiered during the festival and available for purchase. The festival will, of course, include the main attractions of the evening—independent films from students as well as filmmakers abroad—but will also feature music performances from Los Angeles act, Pixikill and Chaffey natives, FutureLove. Of the several enticing amenities surrounding this festival, let us not forget that this evening of films, tunes and food is 100% free and open to the public.

The Chaffey College Review has worked tirelessly to offer a journal of creative exploration that resonates with college peers and the public alike. They have as well set out to execute the same with their upcoming festival. “It is completely student run—completely. I am faculty advisor, but those students chose every single film that was in there, said Dowd. “I think what happens with a festival that is completely student run is you get a perspective of young people. I think that it’s really great to get a perspective from students who are just at the beginning of their careers and thinking about what speaks to them.”

Join The Review in celebrating honest literature, captivating visual art and innovative filmography at the second annual Revenge of the Chaffey Review Film Festival on Feb 1.

Stollenwerk’s careful curation provides a cosmopolitan and impactful assemblage in the relatively small space. Amy Sarkisian’s “fraternal prankster” sculptures, which include one with shoe mirrors, are natural foils to the darker works of Candace Lin in the media of video and vagina dentata-esque silicone. Yoshie Sakai’s campy autobiographical soap opera video project, in which she appears to play most of the characters, is housed in a domesticated room of its own within the museum, while LA-based The Miracle Whips’ queer femme art-burlesque performances are bawdily screened on a red velvet draped television, framed with gynocentric fill-in-the-blank cards. Fay Ku’s Aeon Flux-sinewy subjects, naked but for the impossibly extensive coils of shibari braids encircling and restricting them, present a commentary on the very public relationship between women and their hair. Also working in a graphite and paper medium, Evona Lynae’s elegant grotesqueries, in her own words, “fabricate figures in the midst of their transformations.”

Unruly is an artistic affront, in the best way possible, to the notion that “woman” has a narrow, restrictive definition. The works are challenging, bold and even frightening, as works of contemporary art should be.

Amazingly, Unruly is free and open to the public and in our own backyard (no trek to Los Angeles required!), running through March 15 during the museum’s open hours (M-Th 10:00am 4:00pm, Sat noon – 4:00pm, closed Friday, Sunday and holidays). This Smithsonian-quality show is not to be missed. It is not for those with delicate sensibilities, but those with a taste for new and exciting art will not be disappointed.