Jon Moritsugu: Semiotics of Sleaze

Jon Moritsugu: Semiotics of Sleaze

Dario Lasagni / Courtesy Ramiken Crucible

Call it punk, call it underground, call it whatever — Jon Moritsugu's cinema is aggressive, abrasive, and it doesn't stop. His zero-budget movies have spastic editing, disorienting post-sync sound, and bright neon colors; they're a treat for the senses, and poison for the mind. With soundtracks stacked with punk, post-punk, noise, and industrial outfits like Monte Cazazza, Deerhoof, Cop Shoot Cop, Thurston Moore, and The Birthday Party, his movies are highly musical as well. While watching his films, you may feel tired, weak, or nauseous, but you will have had an experience, and a physical one at that — an effect to which many moving images can't lay claim. Ramiken Crucible is currently projecting several of Moritsugu's features, including: Terminal USA (1993), a snotty satire on the nuclear family that inexplicably aired on PBS; Mod Fuck Explosion (1994), a contorted teen-gang film; and Pig Death Machine (2013), his latest work, about rancid meat and high IQs, which are not mutually exclusive. The gallery is showing these works simultaneously and blasting them at full volume; you'll feel the noise.

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