Recent projects/events/screenings/exhibitions

Tilapia Jetty

Tilapia Jetty still

Tilapia Jettypart of the exhibition “California: The Art of Water” at the Cantor Arts Center

July 13, 2016 – November 28, 2016

This major exhibition is devoted to artistic portrayals of California’s most precious—and currently scarce—resource. It presents more than 70 works by eminent artists including Ansel Adams, Albert Bierstadt, David Hockney, David Maisel, Richard Misrach, and Carleton Watkins, and features images from a variety of regions around the state, during the Gold Rush to the present. The exhibition offers a compelling aesthetic experience set within debates about water that have spanned the 19th century to the present. It is also accompanied by an array of public programs designed to raise awareness and appreciation of California’s complicated water issues.

Click to read more information



Procrustean Bed

Visual music collaboration with experimental composer and performer, Melissa Grey and featuring Lynn Bechtold on violin. Premiering at NWEAMO Festival 2016 at the New San Diego Central Library April 8th-9th

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The Magic Square, An illustrated lecture and Screening with Colin Dickey, and the world premiere of Magic Square, a Visual Music collaboration between Nicole Antebi, Vince Clarke, and Melissa Grey.

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Date: Thursday, May 19th
Time: 7pm
Admission: $8
Location: Morbid Anatomy Museum, 424 Third Avenue, 11215 Brooklyn

The Sator or Magic Square: sator, arepo, tenet, opera, rotas, is a palindrome that can be read top-to-bottom, bottom-to-top, left-to-right, right-to-left and in a boustrophedonic, continuous back and forth. The earliest example of the ancient phrase was found in the ruins of Pompeii and in the excavations under the church of S. Maria Maggiore in Rome. It is often referred to as a Magic Square for its historic use as a device invoked in magical incantation.

Colin Dickey will present an illustrated lecture on the history of magic squares and the mystical powers of palindromes followed by the screening premiere of Magic Square, a recent visual music collaboration between Melissa Grey (sound), Nicole Antebi (animation) and featuring music by electronic music pioneer, Vince Clarke.

Facebook invite:


Looking Local: A Library of Place

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Passenger Pigeon Commemorative Plate
The Last Menagerie‘s Passenger Pigeon along with LJ Moore’s accompanying text will be on display at  Looking Local: A Library of Place an exhibition that brings together a diverse group of artists, writers, and photographers whose practices all have a connection to a specific place. The show is being hosted by Press St, Room 220 and Antenna Gallery in New Orleans- It opens April 9th, 2016 6-9pm. Please stop by if your in the area before May 31st! Curated by Sea Farm City.
*Sea Farm City is Katie and Matt Allison’s new online gallery and editions shop. Sea Farm City is based on the notion that any art lover can be an art collector. 

Fred’s Rainbow Bar and Other Stages on the International Border 

Fred’s Rainbow Bar and Other Stages on the International Border is a part animated, part live action film project about growing up in El Paso during the early 1990s. Funded in part through a generous grant from The Jerome Foundation, the film is largely about the politicized landscape and infrastructure of El Paso, New Mexico and Juárez and the river that bisects and connects these disparate spaces. Several locales along the Rio Grande set the stage for this story. More information about the project and clips coming soon.

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double boundary makrer

Double Boundary Marker attached at the base with a level containing water gleaned from the river with two names. The double marker was submerged (and hopefully dissolved) in Marie Lorenz’s Flow Pool at Recess this Thursday in conjunction with Underwater New York.

Animistic Thinking and Landscape: Video installation at College of the Redwoods Sept 28-Nov 5 (2015)

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Production stills from The Eucalypt

Press Release:

The College of the Redwoods Art Gallery will present an exhibition titled “Animistic Thinking and Landscape: Videos about California History and Mythology” by Nicole Antebi. The exhibition will run from September 28 to November 5, with a public lecture and reception for the artist on October 20.

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Installation view

This exhibition by Brooklyn-based interdisciplinary artist Nicole Antebi features an installation of three animated experimental documentary videos with accompanying drawings, paintings, sculptural models and handmade books. Antebi works in non-fiction animation, motion graphics, and installation, and as an artist describes herself as “a student of magical thinking and landscape.” Her work investigates the ways in which our culture has embraced popular legends and mythological thinking in shaping environmental policy and how our state’s land is used. Her meticulously researched, hand-drawn video animations deftly blend both the fictional and the historical in describing distinct narratives about California history and ecology, including a story about the ceremonious arrival of the invasive Eucalyptus Tree in California, the history of the Sunol and Pulgas Water Temples in the San Francisco Bay Area, and also a curious legend surrounding William Mulholland—the controversial figure who brought water to the Los Angeles Basin in 1913. Antebi’s work is mysterious, engaging, and compelling for its level of historical accuracy, and also fascinating for its careful unearthing of some of California’s long-buried historical narratives and myths.

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Installation view with The Eucalypt screening

Nicole Antebi’s work has been shown at Hive House Los Angeles, the High Desert Test Sites in California, The Manhattan Bridge Anchorage, Teeny Cine’s converted trailer, Portable Forest, a Texas Grain Silo, and in the cabin of a capsized ship at Machine Project in Los Angeles. In 2015, Antebi was the animator-in-residence at Circuit Bridges, New York and she has also been recently awarded a Jerome Foundation Grant in Film/Video for her animated film about El Paso and Juarez in the early 90’s.

CR Exhibit Mulholland
Handmade book covers, "Uisce" bottle and drawings from 
Uisce Beatha: A Mulholland Bestiary

Nicole Antebi will give a free public lecture about her work from 4:00 p.m. to 5:30 p.m. on October 20, 2015 in CA 139 in the Creative Arts Complex on the Eureka campus, with a reception in the Art Gallery to immediately follow. All are invited to attend. The exhibition runs from September 28 to November 5, 2015, and the gallery hours are Mondays and Tuesdays noon to 5:00 p.m., Wednesdays 9:00 a.m. to 11:00 a.m. and 1:30 p.m. to 4:30 p.m., and Thursdays from 10:00 a.m. to 3:00 p.m. For more information, please call (707) 476-4559 or visit the College of the Redwoods Gallery homepage at

North Coast Journal Review by Gabrielle Gopinath:

Nicole and Cynthia CR
Stealing a photo with Cynthia Hooper after my talk!

Last Crow at Marienbad (2015)

I feel a real sense of accomplishment when I can make a film in a day. These quickly realized projects actually keep me excited about longer, more labor intensive films that require frame by frame focus. One day, I would like to have amassed a set of “vacation films” as a way of recalling, but also engaging with place in a way that is not just tourism. I remade the trailer to Alain Resnais’ 1961 trailer for “Last Year at Marienbad” with the two French speaking hooded crows I met while visiting the Belvedere Palace Gardens in Vienna, Austria. Editing helped passed the time on the train as we traveled between Austria and Germany. Shadows stay in the picture.

Circuit Bridges Collaboration (2015)

I was honored to be the 2015 Animator-in-Residence at Circuit Bridges, “a concert series dedicated to highlighting the community of electroacoustic music creators.” I produced three one minute animated “sketches” that were distributed to a myriad of electroacoustic composers. Fifteen compositions were selected and performed by electric violinist, Eva Ingolf, at Gallery MC in New York on June 25th, Mobius in Boston on June 27th, and Mengi in Reykjavík Iceland on September 10.

Eva Ingolf performing Gesture 3 | Photo courtesy of Marc Fiaux


Eva Ingolf performing Gesture 1 | Photo courtesy of Marc Fiaux

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Eva Ingolf performing Gesture 2 | Photo courtesy of Marc Fiaux

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Sound check with Melissa Grey | Photo courtesy of Marc Fiaux

Press Release: Circuit Bridges and Jane Wang of Mobius present Circuit Bridges: The Round Trip, a concert featuring electroacoustic music on June 25 at Gallery MC, 549 W 52nd St, New York, New York. The concert features works by Kirsten Volness, Rain Worthington, David Morneau, Hans Tammen, Antonino ‘Eze’ Cuscinà, Max Lord, Stefanie Lubkowski, Danny McCarthy, Mick O’Shea, Bibiana Padilla Maltos, Caroline Park, and Jed Speare, being performed by LilitHartunian (violin), Eva Ingolf (electric violin), David Morneau (Gameboy), and Hans Tammen (Blippoo Box).The same program will be presented at Mobius in Cambridge, Massachusettson Saturday, June 27. The concert will feature the world premiere of Fifteen-Minutes-of-Fame: Eva Ingolf, electric violin, presenting fifteen one-minute works by fifteen composers written specifically for Ingolf and new video animations created by artist Nicole Antebi. The purpose of Fifteen-Minutes-of-Fame is to promote a great variety of contemporary music to audiences hungry to hear what living composers are writing today. Ingolf will perform one-minute works by composers James Bohn, Rosa Brands, Michael Braudy, Doug Thomas Cuadrado, Douglas DaSilva, Melissa Grey, Peter Hawkey, Dan Mackenzie, Daniel Mihai, Melanie Mitrano, David Morneau, AlonNechushtan, Daniel Schnee, Bob Siebert, and Carrin Tanaka. Mobius (est. 1977) is a non-profit, artist-run organization, whose mission is to generate, shape and test experimental art. The members of the organization believe an effective strategy for supporting this art is to establish grounds that build relationships among fellow artists. Mobius is committed to structuring environments that foster projects incorporating a wide range of disciplines. This approach sets in motion situations where the artist’s impact can be seen locally, nationally and internationally. Constructing art initiatives outside accepted frameworks and encouraging animated discourse with the public are fundamental to Mobius. Circuit Bridges is a monthly concert series dedicated to highlighting the community of electroacoustic music creators. Founded in 2014 by Robert Voisey and under the artistic direction of David Morneau and Melissa Grey, Circuit Bridges strives to explore all music under the electroacoustic umbrella. This includes but is not limited to sonic art, radio art, glitch, circuit bending, electronica, real-time improvisation, network performance, audiovisual composition, mash-up, and data sonification. Our mission is to connect with artists from around the globe to present the wealth of electroacoustic music being written today.

Video courtesy of James Ellis Coleman

The Telling of the Bees Telling (2015)


The Telling of the Bees Telling is a recent, non-fiction animation based on the ancient folk belief that stresses the importance of notifying the hive about significant matters of the day.  

It may be that the custom of telling the bees of a death originated in the idea that the bees were ‘souls,’ or that they were creatures who could fly up into the heavens from whence they had come. The custom is very widely spread; we find it all over Central Europe carried it, and the first allusion to it can be traced to classical times. – Hilda M. Ransome from The Sacred Bee in Ancient Times and Folklore 

I created The Telling of the Bees Telling, a short, stop motion animation about the Telling of the Bees folk phenomenon specifically for Hive House, a community center and private residence in Echo Park, Los Angeles. The animation explores the non-phenomenal grey area between what historically has been considered a folk belief and meaningful cross species communication. The animation is composed of archival media, early slide specimens from the American Museum of Natural History, and hand-drawn elements with an original score by experimental composer, Melissa Grey. Grey includes sine waves, singing bowls, and her field recordings of honeybee hives from a friend’s farm in Cape Breton, Nova Scotia. The musical material, based on 432 Hz tuning, includes frequencies the bees emit during different phases of their existence. She ordered these frequencies into hexachords, a musical scale of six notes with a half step between the third and fourth steps. This sonically alludes to the hexagonal construction of beehives.

Note: “A Telling, Singing, and Blessing of the Bees” was held at Hive House, Los Angeles on June 5th, 2015. The event premiered an animation by Nicole Antebi, a folk concert for the bees with Emily Lacy, and a blessing of the bees ceremony led by Kate Purdy.

Additional screenings of The Telling of the Bees Telling:

Silverado Film Festival, Santa Ana, CA: September 26th, 2015

College of the Redwoods, Eureka, CA: October 20th, 2015

Animation Spectacular II at GAZE Film Series via ATA, San Francisco, CA: October 30th, 2015

Vanishing Point Art House Productions, Jersey City, NJ: March 3, 2016

Official Selection Green Screen Environmental Film Festival, Trinidad and Tobago: November 1-12th, 2016 

Official Selection Factual Animation Film Fuss, Whitechapel, London: Friday 30th September – Sunday 2nd October, 2016

Official Selection Croydon International Film Festival, London UK, 2016

Official Selection New Filmmakers New York, Courthouse Theater Anthology Film Archives, New York, NY 2017

The Telling of the Bees Telling published in Joaap Issue 10- a Non-Cartography of Life and Climate Change


View here:

Bargello Magic (2015)

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Bargello Magic is a stop motion animation turning needlework into pixels and borrowing imagery from the 1972 book of the same title authored by Pauline Fischer and Anabel Lasker. Bargello Magic will be premiering at Winter Shack‘s CineSauna February 14th 7-9 CineSauna is a Microcinema inside a Sauna, inside a Shack, Inside a Community Garden

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Alex watching Bargello Magic Lauren Cannon watching Bargello MagicBargello Magic in situ at CineSauna at Winter Shack

Uisce Beatha: A Mulholland Bestiary (2015)

Uisce Beatha_Mt Whitney Whiskey Trail

Uisce Beatha: A Mulholland Bestiary (2015)

Nicole Antebi

Role: Director, writer, animator, and sound design.

Premiered at LACE, Los Angeles, CA

Uisce Beatha: A Mulholland Bestiary is a fantastical history conflating biographical aspects of William Mulholland, the controversial head of the Los Angeles Water Company from 1886-1929 with “Uisce,” the half man, half horse, bird, trickster of Irish Mythology. Spelled U-I-S-C-E, but pronounced Whiskey, the phrase “Uisce Beatha” translates from Gaelic to Water of Life. Uisce sometimes appears as a handsome Highland water-horse, perpetually searching for inland bodies of still water and attracting unsuspecting riders. When Uisce finally does find a rider, they will find themselves affixed to Uisce’s adhesive skin as he runs headlong into the nearest body of water until Uisce completely submerges the rider, leaving only a liver to wash up on the shore.

Uisce Beatha: A Mulholland Bestiary premiered at After the Aqueduct at Los Angeles Contemporary Exhibitions curated by Kim Stringfellow March 4th-April 12th

“After the Aqueduct: Art Considering a Dry Future” KCET Artsbound review by Kyle Zimskind:

“Meditations on Southern California’s water lifeline” The Los Angeles Times review by Christopher Knight:

“California Scheming” The Wall Street Journal book review by John Buntin

Uisce Beatha_Owens Valley Cottage Transition Uisce Beatha_Spillway Transition Uisce Beatha_Telescopic Aqueduct

Uisce Beatha Bibliography_AntebiAbove: Uisce Beatha: A Mulholland Bestiary Illustrated bibliography

“Riparianism” recently premiered at Underwater New York’s 5th anniversary in DUMBO (2014)

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Prior to the “Doctrine of Appropriation,” what would later become known as the “Colorado Compact” was the accepted belief in “Riparianism” or the idea that nature should be left free to do what it does. This short non-fiction animation is a stab, a nod, a gesture toward reviving the term in the context of ecstatic real estate development persistently cropping up around Brooklyn’s historically toxic waterways specifically the Gowanus Canal and Newtown Creek. The film re-imagines a national anthem around the “most” polluted waterways in this country, amplifying the voices of friends into an animated conversation around this term.

Originally produced for Underwater New York’s fifth year anniversary Gala at DUMBO SKY in DUMBO, NY

Official selection at The Americas Film Festival of New York:!shorts-animation-2015/cfg9

The Shack screening at the 94th meeting of the New York Comic and Picture Story Symposium (2014)

Orion Martin at The Rumpus wrote a nice little summary of my talk with graphic novelist, Miki Golod at Columbia University’s Butler Library:



August 19th, 2014

The New York Comics & Picture-Story Symposium is a weekly forum for discussing the tradition and future of text/image work. Open to the public, it meets Monday nights 7-9 p.m. EST in New York City. Presentations vary weekly and include everything from historical topics and technical demonstrations to creators presenting their work. Check out upcoming meetings here.

On August 11th, the ninety-fourth meeting of the Comics and Picture Story Symposium was held at Columbia University’s Butler Library. Nicole Antebi and Miki Golod presented about their recent work.

Nicole Antebi: Why Animation?

Antebi has worked with animation on a number of projects that combine historical description and fantasy to address contemporary issues. She began her talk by describing her introduction into the world of animation. Growing up, she was discouraged from watching Disney films. As a result, she had little exposure to animation until later in life and came to see the possibilities in the medium from a different angle.

In 2009, Antebi made the short animated film, Uisce Beatha. The film begins with the story of William Mulholland, the man who oversaw the construction of the Los Angeles Aqueduct, but expands into an exploration of the relationships between whiskey, water, and Uisce, the fantastical trickster of Irish mythology who is constantly seeking water.

Antebi spoke about the possibility for magical thinking to highlight new connections and meanings in historical research, saying, “I settled on the idea that all representation is largely a form of fiction or at the very least, mediated by fiction.” She argued that animation has a unique relationship to representation because the hand of the creator has been visible from the beginning of Cinema. In classes she’s taught on animation, she would ask her students, “Why animation?” For her, the answer is in its unique ability to represent the intangible.

In a recent work, The Shack, Antebi used The Winter Shack, a collaboration with artist Alex Branch, as a launching point for a discussion of improvised housing in New York. The film weaves together hand-drawn animation, photography, and digital animation.

Antebi’s work can be found online at


Miki Golod: Full Body Scan

Miki Golod is an Israeli cartoonist who has lived in Brooklyn for the past several years. He presented about his work in Israel and about Full Body Scan, his final project at the Fashion Institute of Technology (FIT).

Golod said he was hoping to focus on three issues with Full Body Scan: his move to Brooklyn, his sexuality, and his memories from the years he spent in the Israeli army as a field medic. Although he had completed autobiographical works before, these were issues that he had been avoiding.

Full Body Scan begins on a snowy night in Brooklyn, as Golod’s date begins to ask him questions about his time in the military. Using the conversation to give context to his memories, Golod addresses some of the questions he is asked most often about his service. Ranging from mundane to terrifying, his stories depict the reality of military life.

When he began the work, Golod wanted to make a comic that avoided the stereotypes he had seen in LGBT comics (namely, the focus on sex) and in Israeli war stories (the troubled soldier, trying to remember what happened). The comic also addresses some of the culture shock he felt when encountering American ideas of war in films such as Act of Valor.

When asked about which parts of the comic are drawn from memory and which are fictional, Golod said that the date which provides the frame for the story is fictitious, even though it is drawn from many true stories. As for the war stories, Golod said, “I drew it the way I remember it, but I can’t be 100% sure.”

You can find Miki Golod’s work at


About the author: Orion Martin is a comics writer and critic whose work focuses on the intersection between science fiction and social commentary. You can find his work or

The New York Comics & Picture-Story Symposium is a weekly forum for discussing the tradition and future of text/image work. Open to the public, it meets Tuesday nights 7-9pm EST in New York City. Presentations vary weekly and include everything from historical topics and technical demonstrations to creators presenting their work. Check out upcoming meetings here. More from this author →