Kota Ezawa
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Contact Information*:
San Francisco California USA |
Contact Type: Artist |
BIO / FILMOGRAPHY
FILMS
COMPILATIONS
SCREENINGS
PRESS
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Bio:
Kota Ezawa is a film and video artist living in San Francisco. His work has been presented at numerous venues, including the Pacific Film Archive (Berkeley), Yerba Buena Center for the Arts (San Francisco) and the Anthology Film Archives (New York). Kota Ezawa is currently attending the MFA Program at Stanford University. Filmography/Awards Info: 2001-2003 MFA, Stanford University 1990-1994 BFA, San Francisco Art Institute 1990-1994 Kunstakademie Düsseldorf, Germany Awards/Fellowships: 2002 Jack and Gertrude Murphy Fellowship, The San Francisco Foundation 2002 James Williams Borrelli Fellowship in Art, Stanford University 2001 Eric E. and Elizabeth B. Johnson Fellowship, Stanford University 1995 Meisterschüler, Kunstakademie Düsseldorf, Germany 1994 Sobel Memorial Scholarship, San Francisco Art Institute Exhibitions: 2002 Bay Area Now 3, Yerba Buena Center for the Arts, San Francisco Impakt Festival, Utrecht, The Netherlands New Fangle, GenArt SF, San Francisco Murphy & Cadogan Award Exhibition, San Francisco Arts Commission Gallery Film Arts Festival of Independent Cinema, San Francisco 2001 iMAGES Festival of Independent Film and Video, Toronto Stuttgarter Filmwinter, Stuttgart, Germany 2000 LA Freewaves, Otis Gallery, Los Angeles International Short Film Festival Berlin, Germany International Festival of New Film, Split, Croatia It’s the beginning of a real good friendship, Kunstverein, Düsseldorf, Germany IP, Künstlergilde, Hechingen, Germany 1999 Eiszeit, Vitra Platform, San Francisco Spiel des Lebens, Hauptpost, Düsseldorf, Germany 1998 Rocktoberfest, Scene/Escena Gallery, San Francisco 1997 Better, San Francisco Arts Commission Gallery Chicago Underground Film Festival 1996 New York MIX `96 New York International Video & New Media Festival Llano Estacado Video Festival, Texas Tech University, Lubbock Projects, L’Association, Marseille, France 1995 Alternative Requirements, Pacific Film Archive, Berkeley Rhine Video, Anthology Film Archives, New York 1993 Düsseldorf, Cologne - A Village Gaze, Anthology Film Archives, New York Videos and Films: Die deutsche Antiatom Bewegung, 2 min., video, 2002 The Simpson Verdict, 3 min., 35mm, 2002 Home Video, 1 min., video, 2001 IP, 7 min., 2000 Color Combination, 2 min., video, 2000 Gascoigne’s Instant Fame, 7 min., video, 1999 Wagner & Ross, 11 min., video, 1998 Video 97, 7 min., video, 1997 Aquatorious, 30 min., video, 1996 Superkraft, 18 min., video, 1995 The Purloined Letter, 15 min., video, 1995 The Registrar’s Office, 7 min., video, 1994 I want to buy the Empire State Building, 1 min., video, 1992 Bibliography: Margaret Lee, “The Now School: Five Artists From Bay Area Now 3”, Kitchen Sink, Fall 2002, 50-54 Kenneth Baker, “Ezawa animates OJ Verdict”, San Francisco Chronicle, October 25, 2002, J2 Chris Cobb, “Bay Area Now 3”, Flash Art, October, 2002, 41 Bay Area Now 3, exhibition catalog, Yerba Buena Center for the Arts, October, 2002, 20-21 Bernd Ullrich, “Mutig und Spannend”, Südwest Presse, July 31, 2000 Edward Crouse, “RepPick – Bombard Me With The Message”, San Francisco Bay Guardian, May 26, 1999 Spiel des Lebens, exhibition catalog, Hauptpost Düsseldorf, 1998, 30-31 Jonathan A. Leiff, “No Alternative”, The Daily Californian, October 6, 1995 This Contact appears in this database if Microcinema International has screened a film directed by the Contact, a film directed by the contact is featured in a DVD distributed by the Blackchair Collection Shop, or featured an organization or activity linked with the Contact. This database is used for commercial as well as informational, non-commercial purposes. It is a historical archive of Microcinema International's activities. Inclusion in this database and archive in no way implies a continuing formal relationship or affiliation with Microcinema International or the Blackchair Label nor an endorsement of its activities by the Contact. Contact details are not displayed in order to protect privacy. If you wish to contact this artist please see their website as listed above or write Microcinema International and we will be happy to forward your e-mail.
Microcinema Interview/Article:
> 1. How do you define your art? video art > 2. Why did you select this style of moving image design when you > set out to make your art? What were the initial emphases? The > images or the story? Everything is connected and of equal importance. The image couldn't exist without the content and vice-versa. > 3. Try to help us understand why or how you feel your work is unique from > other moving image artists? Being unique is not my main priority. On the opposite, I am aware that my art is strongly related to the work done by other artists. Those other artists are my peers in San Francisco and Europe, and artists who's work I see in museum, galleries and libraries. Art in my mind is not a creative genius act but the result of an long and energetic investigation. > 4. Computer software seems to be one of your main "collaborators" - > can you explain this "relationship" you have with technology? Before there was digital desktop video, I worked with analog technology. I have been fascinated with video because I saw its potential to be a democratic medium, bringing art to a larger public that museum and galleries. Technology is a tool for me and nothing more. Computer technology helped making video more accessible to artists who no longer have to rely on expensive post-production facilities. > 5. How important is telling a story in your works? How > do you appoach telling a story in such an abstract medium? I don't know if I am really telling a story. I used to work in a more narrative style. My current work is closer related to painting than to narrative movie making. > 6. Who would you want to see your films at a special screening if > you had the choice of all living and dead? Why? > Andy Warhol |
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