HOW TO: Oh, Look at me, 2021
Run time:
12:30 mins
Written and Directed:
GeoVanna Gonzalez
Produced:
Monica Sorelle
Director of Photography:
Jessica Bennett
Edited:
Juan Luis Matos
Colorist:
Eddie Moon
Sound design:
Nicole Miglis
Costume Design:
GeoVanna Gonzalez
Nicole Miglis
Funding Support:
Oolite Arts
Commissioner
Miami Light Project
Miami Beach Art & Culture
Kismet Creative Studio
Run time:
12:30 mins
Written and Directed:
GeoVanna Gonzalez
Produced:
Monica Sorelle
Director of Photography:
Jessica Bennett
Edited:
Juan Luis Matos
Colorist:
Eddie Moon
Sound design:
Nicole Miglis
Costume Design:
GeoVanna Gonzalez
Nicole Miglis
Funding Support:
Oolite Arts
Commissioner
Miami Light Project
Miami Beach Art & Culture
Kismet Creative Studio
HOW TO: Oh, look at me is a film that captures a multi-layered, interdisciplinary performance, serving as an activation of GeoVanna Gonzalez’s sculptural installation of the same name. The performance transforms the installation from a static object into a dynamic space of contemplation, meditation, and connection.
In the film, dancers and poets engage with the structure, embodying the tension between our physical and virtual selves. GeoVanna explores how we navigate the blurred boundaries of our digital existence—online and offline. The work questions: Are we truly present if our actions aren’t documented? Can we fully perceive someone or something without the mediation of a screen?
The two dancers move in a state of constant flux—rejecting and accepting one another, their bodies entwining and separating. Their movements mirror the rhythm of our digital interactions, alternating between intimacy and detachment, with the intensity rising and falling as their struggle for connection becomes more urgent.
In the film, dancers and poets engage with the structure, embodying the tension between our physical and virtual selves. GeoVanna explores how we navigate the blurred boundaries of our digital existence—online and offline. The work questions: Are we truly present if our actions aren’t documented? Can we fully perceive someone or something without the mediation of a screen?
The two dancers move in a state of constant flux—rejecting and accepting one another, their bodies entwining and separating. Their movements mirror the rhythm of our digital interactions, alternating between intimacy and detachment, with the intensity rising and falling as their struggle for connection becomes more urgent.