Zackary Drucker and Rhys Ernst: She Gone Rogue
Gamine youth negotiates the treacherous waters of a trans-gender world she discovers down a rabbit hole, a place where hopes and dreams are crystallized in a talking vagina.

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Discussion
Jess Weisner on ‘I’m Not Ready to Name It Yet’
The film came out of her interest in the words ‘post’ and ‘gender’. To her the word ‘post’ means having an experience of something.

Tracey Rose on ‘KniggerKhaffirKhoon’
She was exploring ideas of Empire. Post is a position of privilege and the majority of people don’t have access to this position. Rose wants to question this and look at the idea that we are modifying ourselves to such an extent that we are moving away from what it means to be human. She finds it problematic the way non western women are presented in Western cultures. It is a privilege of language because everyone has to speak English. It is a real loss for western society to go into Africa with a position of superiority. As artists it is important that you make work about issues.
Wanted to point out the voice over was written by two South African poets.

Rachel Mclean on ‘Over the Rainbow’
She played every character. It was pieced together through TV shows, films and interviews. An arts centre in the middle of the wilderness in Canada inspired the landscape. 

James Richards on the four films he chose:

Berivan Erdogan is a young Norwegian Turkish woman mimicking a distant uncle; it has a wit and empathy.

Anna McGuire - When I was a Monster is about when she had a rock climbing accident and she has pins in her arm and plays out the idea of a crazed monster and Joe Dimaggio 1,2,3 interested him for the fact that each chapter gets more and more hysterical.

Finally he chose Leslie Thornton’s film because of the strange logic of bringing together erotic ethnographic postcards with Hollywood.

Richard John Jones on his installation. He thought there was poetry in the way the two subjects fitted together. The women reflected an emancipatory moment when women entered the work place for the first time during the war. Hudson River School depicted a romantic rendering of the North American landscape. It was a synthetic production of the landscape but they represent an erasure of the people who were living there. The reality of the political situation was very different.  He was also interested in showing a form of female labour in which the women were making something used to hide men.

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Leslie Thornton: Sahara/Mojave

Ethnographic images of native peoples framed against a backdrop of jittery camera angles depicting a road trip into a dystopian America via Hollywood.

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Over the Rainbow: Rachel Mclean

Rachel Mclean soaks up the sun to create a groovy little film in radioactive technicolour, it’s as if My Little Pony mated with Ronald McDonald yet as the plot becomes saturated by celebrity culture, it develops into a claustrophobic hammer horror inspired by the 1959 chiller ‘House on Haunted Hill’, its only a matter of time before the entire work is consumed by the big bad wolf’s ravenous jaws.

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Two films by Anne McGuire

When I was a monster (1996):
Crashing out of the 20th Century, an autobiographical video about the aftermath of an accident.

Joe Dimaggio 1,2,3 (1991):
McGuire is a serenading stalker tracking the elderly gait of the ex baseball superstar Jo Dimaggio across a sunlit harbour parking lot.

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Tracey Rose: KniggerKhaffirKhoon

Tell me the sound of one army fighting? A poem of post-colonialism malaise, Tracey Rose addresses African identity and war in contemporary society.

Best use of alliteration: ‘Our platoon was as platonic as a placebo’

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The collective d3signbur3au present a film about a despondent spambot with the voice of a congested Mira Sorvino that ambles through the virtual stratosphere offering its vision of a future that will be, at best, midway between the monkey and the machine.

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Meanwhile: a  film performance by Berivan Erdogan about a mauldlin self-involved Turkish man working 9 to 5 and the wife that doesn't understand. The bottom of a Bailey's bottle has the answer.

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Urges and Ontologies: a performance work by Jess Wiesner about fantasies and identities in the virtual world.

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Live blog by Jessica Lack.
Welcome to Futurecamp:5, with reports of a hurricane on the way I shall be battling the elements and Wysing’s erratic internet access to bring you the very last in the excellent series of Futurecamp events. Today’s topic is a Post-Gender world, is there a time in the future when humans will move beyond the biological and social constructions of gender? A range of artists and filmmakers are here to offer their visions of the future.
We start with an installation by Richard John Jones – from abstract to the sublime  - photographs of women making camouflage during the Second World War together with paintings by the Hudson River School following on from that will be Jess Wiesner’s thoughts on gender and social expectations.

 

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