Janie Geiser

Janie Geiser

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Main Articles

SNIPPETS OF A CONVERSATION WITH JANIE GEISER ABOUT “REVERSE SHADOW” (2019)

By José Sarmiento Hinojosa

As with all Janie Geiser’s work, one may ask what hides beneath this complexity of image layering, of this multiverse of images that dialogue with each other, as entangled in a wild dream of someone’s trauma, of the presence of memory made oeniric, of the materiality of objects we once owned and cherished, coming back as a feverish phantasmagoria, an inescapable flow of synaptic pulses…

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Film Festival Reports

OLHAR DE CINEMA 2018: VALERIA STREET BY JANIE GEISER

By José Sarmiento Hinojosa

After watching most of Janie Geiser’s work for Olhar de Cinema, I came up with the term “steoroscopic artifacts” in search for a proper definition for her cinema that would make me understand what I was watching. It’s not that Geiser’s films are unlike anything I had seen so far (an immediate connection with Rhayne Vermette comes to mind), but it was the particular use of layered images, each one with its own particular significant, (which reminded me of Val Del Omar’s words about his expanded work) that allowed me to coin such a term.

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desistfilm

OLHAR DE CINEMA 2018: JANIE GEISER’S STEREOSCOPIC ARTIFACTS

Not to subvert the proper definition of what stereoscopic is, but meddling with some of the images of Janie Geiser’s oeuvre kept me in incessant agony while trying to get a word that was remarkable enough as to describe her unique language of animation. Stereoscopic is then, an easy (sort of easy) way to describe the transmutation of the multiple overlayed images that recreate this sense of stereo-visual game, a game that is expanded in Geiser’s multiple work as an installation artist, visual artist and performer. I was able to grasp a wide panorama of her film works while covering her program at the last Olhar de Cinema Film Festival. 

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