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= Monica Duncan =

Early Life

Monica Duncan is an American video artist and choreographer. Monica Duncan grew up in Webster, NY. She grew up around the apple orchards along Lake Ontario, the industry of Kodak and the tales of the Rochester Rappings. Duncan received her BFA at NYSCC at Alfred University. She received her MFA in Visual Arts from the University of California San Diego and MA in Choreography and Performance at the Institute for Applied Theater Studies, Justus-Liebig-Universität Gießen, Germany. She is currently on a D.A.A.D. fellowship to study choreography and performance at the Institute for Applied Theater Studies, Justus-Liebig-Universität Gießen, Germany.

Works

Duncan has had several gallery and museum exhibitions, including at the Los Angeles Contemporary Exhibitions and at the Marcia Wood Gallery, Castleberry. There have been many articles about Monica Duncan, including '20 years of Railroad Earth' written by Doug Deloach for Creative Loafing in 2017. Duncan’s work has also been exhibited at Mousonturm, Frankfurt, The Kitchen, New York City, Parkhaus Projects, Berlin, La Casa Encendida, Madrid, 11th LA Freewaves Festival, Los Angeles, BS1 Contemporary Art, Beijing, ZKM Karlsruhe, LACMA, Los Angeles, and Marcia Wood Gallery, Atlanta. She has attended residencies at the Experimental Television Center and has been a Visiting Artist at Atlanta College of Art. Her video and performance work has also been exhibited at Komuna//Warszawa (Warsaw), Mousonturm (Frankfurt), zeitraumexit (Mannheim), The Kitchen (New York City), Parkhaus Projects (Berlin), La Casa Encendida (Madrid), ZKM (Karlsruhe) and LACMA (Los Angeles). She has been a visiting artist at the Atlanta College of Art, Signal Culture, Experimental Television Center and most recently at Scena Robocza (Poznań) in which she co-created along with collaborators Romuald Krężel and Emmilou Rößling, a performative walk and site specific performance, ŻEGNAJ, OLIMPIO (GOODBYE, OLIMPIA). She collaborated with Lara Odell on the "Antibodies," a video/performance project which explores color theory in a social context. Building human affiliations through technology, the two artists simultaneously bond with inanimate objects while addressing issues of intimacy, therapy, and surveillance in the evolution of relationships. Working through narrative and non-narrative structures, her work addresses conditions of naming our world and our own histories. In collaboration with Annie Langan, Monica co-founded a Print/Video Residency program in Louisville, Kentucky.

Selected Works


 * “legerdemain” is a single-channel video produced during at the Experimental Television Center (ETC) using real-time image processing tools like the Jones +/-5v system and the Paik/Abe Wobulator. From the start, image and sound are internally generated from the same source—a bank of analog oscillators. Using strategies of dazzle camouflage, the prison stripe and the upc code, the performer attempts to become part of the interval, neither foreground or background like the stripe’s own visual structure.
 * “OFFSHORE” by Monica Duncan and Martin Hiendl was commissioned and performed by the International Contemporary Ensemble as part of ICElab 2013. OFFSHORE is an environment, a passage between land and water, between fixed ground and open sea. Taking the audiovisual elements of nautical communication (e.g. beacons, sonars, buoys) as a starting point for image and sound, the piece establishes a crew on stage with its hierarchies: four brass players and two percussionists—a naval marching band. Similar to the negotiation of ship and crew between fixed ground and open sea, the musical score shifts between fixed and open notation; sometimes it is forcefully rigid, sometimes it leaves it up to the performers to pace the music, sometimes it pushes their actions into chaos. The crew also negotiates their own terrain, from a unified naval marching band to a ship of fools—a group of passengers without a captain, guideless, with a multitude of possible routes. In OFFSHORE, the hierarchies of the crew on stage are influenced by the musical structure and vice versa. These hierarchies shift between militaristic rigor and carnivalesque disorder: they dominate, they erode, they regroup and they collapse. OFFSHORE is a danger zone: It can be painfully loud and painfully fragile, a stage between two stages, a transitory passage in an ever-evolving expedition.


 * House/Home is a Print and Video Installation finished in 2002, and lass 4 minutes. House/Home brings the past, which is held onto with the experience of standing in the present and allows them to exist in a space where they are able to connect and fall apart again. House/Home includes 26 tissue prints (of the my childhood home) and video documentation of my performance where I reactivate the image of the house as home through my body movements.

 Ideas  

Her time-based work investigates the nature of visual and temporal perception through camouflage, stillness, the surrogate body, and collective image-making.

References:


 * Monica Duncan. (2011, June 17). Retrieved April 06, 2018, from http://www.experimentaltvcenter.org/monica-duncan
 * Monica Duncan. (n.d.). Retrieved April 06, 2018, from http://signalculture.org/monica-duncan.html#.Wsd133rwa70
 * BIO/CV. (n.d.). Retrieved April 06, 2018, from http://www.monicaduncan.net/biocv/
 * OFFSHORE. (n.d.). Retrieved April 06, 2018, from http://www.monicaduncan.net/article/30/offshore
 * House/home. (n.d.). Retrieved April 06, 2018, from http://www.monicaduncan.net/article/11/househome
 * Legerdemain. (n.d.). Retrieved April 06, 2018, from http://www.monicaduncan.net/article/32/legerdemain
 * Monica Duncan. (n.d.). Retrieved April 06, 2018, from https://atlantacontemporary.org/people/monica-duncan
 * S., R. (2016). Conceptual Camouflage. Blouin Art + Auction, 40(3), 26.
 * Elias, A. (2009). Campaigners for Camouflage: Abbott H. Thayer and William J. Dakin. Leonardo, 42(1), 37-41.
 * Odahashi, M. 1. (2010). Stillness [art reproduction]. Neues Glas, (3), 70