Monthly Archives: August 2014

Somebody: Miranda July

Somebody

somebody

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I saw a video on this and  there is an app. I asked around the table at a recent outing until one kind and curious friend of a friend downloaded it (not sure if its working or not as I am on android but great concept). Within seconds of recognising the concept I thought of potential issues around all the cyber /face to face situations but I guess thats the point.

In the short film I felt the humanness of the idea and it did explore crossing the boundaries of the different situations and the goodwill of the participants. To me this worked, the last scene almost didn’t until the far shot from outside the room. The first story once it got to the park was effective, open to the message and seeing the true messenger. In fact I guess the intent of all messengers was conveyed effectively. I liked this more than the surrogate scene in Her.

hackers and “activism”

This video was of an address made in 2008. The examples and methods are about laying bare the media we take for granted as what it is. Machines that can be hacked or even fried. Images that are open to synthesising not the realities they are taken to be.

Flexus is a vga tool that the developers allow as open for the performance artists but the code must be written by the artist and visible live as performing so it makes the method open or undressed, so once we are used to it it is stripped of the wow, its like turning a key. Its using a tool. I appreciated the clip by Jodi.org on “My Desktop” for that although after a while I questioned the totally arbitrary choices made in trying to make a pattern. But its also nice to think of the next stage would be… At this point for me (at the top of my head) then is the big data use. Here the next step was ROM 0 by Jon Satrom which was more narrative based and funny like a video game. For me I started to like it and thought of the movie Her by Spike Jonze. Looking at Jon Satrom’s site there is a lot to explore.

Watching this I was thinkng as a lazy person with immediate links to today even as simple as the speaker being played by the character Sheldon on the Big Bang Theory. In many ways that wandering mind is important because the art that has quick little thought bubbles when passed on over the internet is what helps everyone question. Its accessible and invites a return. Obviously there is much more to it all and more time and image to each work but to me these tastes or loose clips are very important.

The light approach is important in my eyes.Both to be critical and to appreciate because the questions can linger longer at a basic and comfortable level and even in the gut.

Lenore Malen

I find uncovering information about this artist is an interesting journey.

I started off randomly after reading an article on her installation I Am The Animal which is a multi panel installation. I was intrigued and went to another reference of her hosting a peaceful demonstration and commenting on the mass police turnout. Further clicking around I came onto The New Society For Universal Harmony. It took me a while to realise that this is an ongoing body of work. This sits so well in the mix of media she uses and especially through the remediation of blogs, Vimeo, and the internet in general. I started off so confused, and because I started off that way the feeling of curiosity and mental shifting remains and is slowly sifting away.

I definitely feel that the referring articles by arts writers and others to group shows and installations led me on a different direction initially. As a passive internet observer/skimmer i would have not looked at the work as closely otherwise. However on reading many of the other accounts of the shows it appears the confusion is apparent in exhibitions and that greatly adds to the experience.

When I read critical analysis of the works it may be yes I can see that, but even these seem to be a veiled pisstake. Commenting on the difference from close to distant observation in point of view in the Quarry piece for example. It is fabricating some credibility for something as a separate work when that is a part of the whole ongoing game. Again that makes me doubt myself and look a bit further again.

short power point presentation:  Lenore Malen

Class Presentations

This week kicked off class presentations and we were presented with AES+F, Robert Seidel and Shaun Gladwell.

 

AES+F

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This is grand imagery. The collective use tools and themes of fashion and advertising to portray strongly historical metaphors. In the clips we were shown there were no ugly people, the closest we came to this was the stylish older players. It was similar to a ballet.

This is an overtly attractive sanitisation of death, violence and revolution. I was reminded of the Sims when I saw the videos presented in class. In a scene where a youth in white was pierced with a spear the blood stain and spear moved slightly out of sync with the body but the stain was so pretty and lyrical.

I watch it and compare the sanitisation via Murdoch, via biblical stories, also via historical acceptance; and with desensitisation through Murdoch and all current media. I think the two approaches lead to the same destination. After thinking about that I appreciated it more.

 Shaun Gladwell

Shaun Gladwell is an Australian Sydney based artist whos video works use simple techniques that focus on physical grace and repetitive movement. There is little in the way of computer manipulation, mostly it is changing frame rates and framing of the shots. Most of the work is pretty much an effect of camera orientation and editing (which is minimal). I saw the Pacific Undertow at Adelaide Gallery and could not watch it without feeling nauseous like with motion sickness. I had to stand, lean on a wall and walk around a bit so that implies an honesty in the video/sound message to me.

The artist is an athletic person and the images have a romance about them. I found watching the videos in class that the sound was key to my enjoyment and that on a smaller scale (even a smart board size) it had lost much of its impact whilst still being a beautiful and rythmic. Although when I watched the Interceptor Surf Sequence video (image below) on you tube the timing rate of the two screens side by side and the variation in time and light allowed my mind the time to wander through a lot of folk lore and stay there for a while.

interceptor_surf_exit-m_1

Shaun Gladwell

 

Interceptor Surf Sequence (Exit), 2009

 

Jim Campbell

Hahn looked at Jim Campbell and I think that I should study him more. Mainly because of the information that is not there which adds to what is there. The video Pause was a 45 minute video of a boy growing up to 10yo from home movies. It experiments with pixelation and asks us to consider the amount of detail we add to build a picture.  Then there are his light sequences such as The Journey at San Diegop Airport. A similar concept with different results.

some things to look at

This is a great link for short movie and video art and link to books and posts and information etc etc etc  Jozef Ibarr sent me this link

short of the week

This video was posted four years ago on the above site, I absolutely loved this piece, it wasn’t just an emotional or aesthetic link to me, there was a concrete underpinning in the lion eating a meal caught, killed and prepared by human, putting the lion squarely in our “jungle”.

Time was taken and is taken in viewing it, like waking up slowly. Parts go in and out of focus and aspects of the whole are revealed with the machine reality dominating much of the clip. The link between animal and machine and the enforced dependence (at least in this and these cases) is argued strongly. There is instinct and control. Sometimes the circuit boards look like cities.

Christian Weber, Somatic, 2010

Marcia Jane and James Nguyen

Marcia Jane

Modulator

I was at Felt Space in Adelaide at Easter this year when this exhibit was on in the back room.

MarciaJane_Modulator2013_03-180x120

 

The room was blacked out and there were three aspects to it, a projector, a separate found lens and the wall which displayed the reflection of the two objects. The objects were not related, they were only placed in proximity of each other and through that formed a visual relationship as seen on the wall.

 

James Nguyen

The Man With The Movie Camera

sca grad school link

 

man with movie camera

 

This work explores the camera’s addition or influence on performance.

jamesnguyen.com.au

 

Exhibition: ‘Blow-Up: Antonioni’s Film Classic and Photography’ at the Albertina, Vienna

I thought this blog was timely. I remember this film on TV when I was a kid. The concept of the imagining and the real in something that really becomes more isolated and abstracted and the context is heavily borrowed from the photographers knowledge and experience.

Art Blart

Exhibition dates: 30th April – 17th August 2014

The act of looking and the gaze through the eye of a photographer’s camera are the central motifs of Blow-Up.

“Don McCullin created the iconographic photographs that in the film are blown up by Thomas to discover something about the alleged crime. However, the blow-ups only offer ambivalent proof as they become more and more blurred and abstract by the continuous enlarging. Even photography that supposedly represents reality like no other form of media cannot help in shedding any light on the mysterious events in the park. Pictorial reality – thus Antonioni’s conclusion – is only ever constructed by the medium itself.” (Press release)

Then, look at Don Mcullin’s photograph British Butcher, East London (c. 1965, below). The Union Jack hat, the knife being sharpened and the contrast of the image. Savage. Not home grown but “Home killed”. Pictorial reality constructed by…

View original post 3,531 more words

Rineke Dijkstra

 

Rineke Dijkstra lives and works in Amsterdam. Since the early 90’s she has produced photographic and video based work which simplifies or minimises the context and focusses on the relationship between the viewee and the viewer.

 

Guggenheim Symposium – Empathy, Affect, and the Photographic Image

The symposium that was held in conjunction with the opening of the Renike Dijkstra retrospective at the Guggenheim Museum.

Whilst most of the references in the lecture apply directly to the photographic work the concepts are transferrable to the video images. The time of the videos is the immediate, not in series. They are a longer snapshot of a moment, they do not follow the time markers that her series of photographs do. Her videos pick up personal transitions in the subjects, there is a time lag in taking the filming, the subject becomes aware of the lag, it’s not quickly snapped or filmed. There is a shift between posing and non posing that shows through.

The subjects are mostly youthful, under 25, in the process of becoming into the next stage of their lives. Dijkstra’s career began at a time when there was a change in the way that photography was being used, there was a movement away from appropriation and irony and a movement back toward representation. There was a focus on the body. Renike Dijkstra highlights the face and its movements in a close to real life size so the emotions of the subject can be directly understood and felt by the viewer as it triggers a mirroring effect which is almost unavoidable (as long as they aren’t sociopaths in which case they will just recognise it).

An example of the phenomena of empathy is highlighted in the video work “I can see a woman crying” where the children were shown a painting of Picasso (Weeping Woman) out of shot of the filming, we see their empathy and approach toward understanding the abstract piece. Also their moving in and out of empathy and acceptance, sometimes absurd for relief, sometimes thoughtful. IT appears that their poses were staged either by them or the artist initially but then it became difficult to maintain the formation.

 

Portraiture: Joan Logue

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Joan Logue pioneered video portraits in 1971. Her first video was in Socrumo when a boy stood staring into the video camera and she realised the scope of this methodology for extending the depth of the photographic portrait.

Some of her videos are shot in real time, some are silent, there is a series of portraits that go less than 30 seconds of spots in Paris, New York or San Francisco. Generally portraits that go for about 10-20 minutes. Others are made of a combination of images such as split screen or a small floating image within a larger more static video portrait using some blending techniques, for example the videos of Rosa Parks. Others showing group interaction and cutting and splicing scenes, altered time for motion but not sound, sometimes only the static white noise.

She is a prolific artist. As a home observer using the clips from her website it is difficult to get a sense of the installation experience as the clips are very short. there is a range of techniques and cinematographic styles.

The work on French writers gives an insight to the thought processes and self concept of the writers chosen. Even in the 5 second clips shown here I get a sense of what they value, their sense of style and vanity, perhaps the way thoughts move around in their mind, perhaps for example a circular, merged approach to an expanding path for Michel DeGuy. In the videos the writers themselves are reading their texts.

link to Joan Logue’s site on video portraits

Themes and Modes of Performance

New Media Art is open to many modes of production and implementation. An aspect which I find exciting on one hand and unnerving at the same time is the leveling of the playing field and the absorption of influences and outcomes from all comers.

Some of this art will be just as relevant from my desktop, mobile device, whatever as it is in a gallery setting. There is the possibility of equally valid alternate experiences in the secondary source viewing of the work.  I appreciate work more if I am a secondary viewer after researching about the original experience. This research is also as a secondary experience. It doesn’t really give me more insight into the original but it helps me appreciate my re mediated view on its own terms.

I want to focus on aspects of this remediated experience that stand out for me on a few examples.

Rhizome.org specialise in promoting new media art. In their latest newsletter dated 8/8/14 They feature an online exhibition which was originally played to an audience yet the experience for the audience would be quite similar to what we see on our screens if you click on the link below:

First Look:: Opening the Kimono

New Museum link Opening the Kimono, introduction page

The artists David Kravitz and Frances Stark were not visible to the audience, the audience saw the text basically, and we hear them laugh. At the end Kravitz came out to be available to the audience.

Viewing this exhibition online I am aware of a sense of voyeurism. The laughter of the audience reassures me that this is OK and informs me of the comedy beyond what I may smirk at otherwise. I felt the laughter forced my hand a little but it also kept me there. It was an interesting choice to include it. Watching it online was a lonely experience.