Space Program
Space Program (live) (2017) is a 30-minute, 6-channel video program and performance that operates as a post-epic: a grand tale orbiting itself and its own history. In the Space Program, molecular, cosmic, political, and personal spaces coalesce as connected systems. It is a cinematic program, but the character in the projections is also standing in the same room as the audience. Linear time is disorganized, and space is reimagined. (The mission is the transmission of the mission.)
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Melissa YesDirector
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Melissa YesWriter
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Melissa YesProducer
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Melissa YesKey Cast
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John LunaVoiceover
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Fenella KennedyVoiceover
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Josh AndersonVoiceover
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Melissa YesVoiceover
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Melissa YesEditor
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Melissa YesSound Design
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Melissa YesLive Performer
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Project Type:Experimental, Short, Other
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Genres:Sci-Fi, DIY, multi-channel, performance, experimental film, experimental cinema, experimental video, video performance, music
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Runtime:29 minutes 40 seconds
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Completion Date:April 14, 2017
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Production Budget:3,000 USD
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Country of Origin:United States
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Country of Filming:United States
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Language:English
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Shooting Format:Digital
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Film Color:Black & White and Color
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First-time Filmmaker:Yes
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Student Project:Yes
Melissa Yes (b. Texarkana, TX, 1985) received an MFA with an emphasis in sculpture at the Ohio State University (2017) where she was honored with a University Fellowship and an Alumni Grant for Graduate Research and Scholarship. She earned a BFA in fine art (2012) and a BS in biology (2006) from the University of Alabama at Birmingham. Yes worked as a studio assistant for artists Ann Hamilton and Michael Mercil from 2015-2018 and has enjoyed a long and varied education career, teaching art and science at numerous institutions. Yes exhibits nationally and was a resident artist at Second Sight Project (Columbus, OH) in 2017. She currently lives in Huntsville, Alabama, where she is researching and developing a new collaborative project.
Combining video, installation, sculpture, and performance, I attempt to reverse-engineer the connections that link cosmic-scale sagas to everyday life. In so doing, I put bodies (often my own) in situations that tinker with the placement of those bodies in systems, narratives, and regimens that regulate their agency, influence, and dis/connection. When producing these projects, I embrace what I call an “aesthetics of the necessary,” which describes the practical and unselfconscious design decisions made by the likes of NASA Lunar Roving Vehicle engineers, Wile E. Coyote, “do-it-yourself” repairpersons, and anyone else who aims to solve a problem with whatever resources are close at hand. I am a time-space mechanic, a wily bricoleur. My work can be disorienting, comical, contemplative, or critical. It can be all of these at once. It can become something else entirely.