Eve Sussman is a Brooklyn-based artist and filmmaker who works independently and collectively with Rufus Corporation. Sussman and the company have created 89 seconds at Alcázar, The Rape of the Sabine Women, Yuri’s Office and the current work-in-progress whiteonwhite:algorithmicnoir. Sussman and Rufus Corporation’s work has been exhibited at the Reina Sofia, MoMA, The Modern-Ft Worth, Project Space 176, The IFC Center, Moscow International Film Festival, San Francisco Museum of Modern Art, The Whitney Museum of American Art, Kunsthalle Wien and other museums, non-profit art spaces and festivals internationally. Rufus Corporation is an ad hoc ‘think tank’ of performers, artists, musicians, writers and programmers who collaborate on films and art works. Rufus Corporation’s most recent foray is the co-production of performances at the Wallabout Oyster Theatre in south Brooklyn with the theatre’s co-founder Simon Lee. Sussman and the Rufus Corporation’s work has been supported by New York State Council on the Arts (NYSCA), the JF Costopoulos Foundation, Haupstadtkulturfonds (Berlin), New York Foundation for the Arts (NYFA), Richard Massey Foundation, CEC Artslink, the Trust for Mutual Understanding, Sisita Soldevilla/Amister Collection, Cristin Tierney and Fundación “la Caixa”.
Eve Sussman is a Brooklyn-based artist and filmmaker who works independently and collectively with Rufus Corporation.Artist Bio
whiteonwhite:algorithmicnoir is a film that follows the observations and surveillance of a geophysicist code writer stuck in a futuristic city. The experimental fiction runs endlessly on custom-built software that edits the film in real time, with no beginning, middle or end, never repeating the same way twice. Inspired by the Russian Suprematist’s quests for transcendence, pure space and artistic higher ground, whiteonwhite:algorithmicnoir was created on an ”expedition to unravel utopian promise” with a small crew, one American actor and local actors hired en route. The protagonist of the story, Mr. Holz, is obliged to take a job in a fictional dystopian metropolis called City-A (a nod to Godard’s Alphaville). As the film plays, with video clips and voiceovers paired at random by what the filmmakers call ”the serendipity of the machine,” it becomes evident that Mr. Holz is controlled by the city and the code he is working on, just as the course of the story is controlled by the code that edits the film. whiteonwhite:algorithmicnoir looks and feels like a movie, but it is not.