Do, 26.09. // DANISH DAWN // Videokunst aus Dänemark
Lena Ditte Nissen zeigt aktuelle Videokunst von Studenten und Absolventen der Royal Danish Academy of Fine Art, Kopenhagen, Dänemark.
Der Fokus liegt auf Arbeiten, die auf verschiedene Weisen performativ sind:
Körperliche Handlungen und Beobachtungen verweisen auf Film und Fleisch - Bilder, die die unbekannte Person hinter der Kamera verdeutlichen und Fragen nach ihrer Identität aufwerfen - maschienelle Bewegungen, die zu einem lebendigen Selbst zu werden scheinen.
Zu sehen sind Arbeiten von Jakob Ohrt Nielsen, Emile Sadria, Nanna Lysholdt Hansen, Anna Samsøe, Lasse Barkfors, Asta Meldal Lynge, Brian Kure, Maria Meinild und Julia Ekström.
Wir fangen recht pünktlich an - es handelt sich um ein Program, keine installativen Arbeiten.
+++ Dazu gibt es dänische Leckereien +++
DANISH DAWN – program of experimental video from Denmark
Rievocazione di confusione
Dialogues are written, learned, sometimes constructed and enacted so well that we forget the physical space we experience with the body, we give in to the narrative that is attributed to us. Rebuild of the recognizable, 8 ½. Re-enactment, a production method. The repetition, which creates time shifts. In Julia Ekström's film adaptation of 8 ½ JE uses re-enactment as an opportunity for the new, for a new experience in the repetition and not the unique. The repetition adds an alternative experience to the original. It requires us to reflect on concepts of difference, incarnation, documentation and time. What is it that makes the movie, and how do we see the movie? What is currently directing, both bad as well? When is the actor believable for the audience as a character?
Ekström has not created a new 8 ½, but JE has used the film as a regulatory framework for exploring these issues. In Rievocazione di confusione linguistics becomes highlighted. Rievocazione di confusione is dubbed from English into Italian and also subtitled into English. The subtitles and text in the movie frames becomes an expanding layer of narration.
When George Lucas was planning his debut feature, the producer on the film, Francis Ford Coppola asked him how he would make a science fiction film on location, without a staged film set. Lucas idea was simple; everyone in the film would have his or her hair cut off – be completely bald. In Subterranea a Character played by the artist, determined walks through an indefinable environment. On his way he encounters different objects that he examines. Throughout the video sense of time is slowly dissolving. The journey ends up in an overwhelming outburst and the presence of a clone is suggested. Subterranea is filmed on location at the old Carlsberg brewery in Copenhagen. The brewery is closed down and the space is being transformed into a housing complex. There hasn’t been placed any objects, all the props were in the space beforehand. The video combines re-enactments of scenes from feature films as well as contemporary sculptural artworks.
Stykke for betjent computer... (Piece for operated computer...)
When considering the colour plates that accompanies the colour theory of Itten, Albers or Goethe, it quickly becomes apparent that their main concern is that of space. In these studies one colour is explored in its spatial relation to another, and the characteristics of the colour is explained mainly through the idea of contrast. In this project I want to expand this idea of contrast, from a term to describe the spatial interaction of color combinations, to include the temporal characteristics of colour. To see what happens when a spatially stationary colour changes in time.
A strange air fills the landscape. Architecture surround our character who shelters in a cup of coffee. The task and ritual of coffee making and drinking is deconstructed. Scientists construct an abstract brave new universe. This is not science fiction, by the end one left is wondering whether the computer graphics are reality and we, the audience, are virtual.
Nanna Lysholt Hansen is using her own body as a tool to investigate relationships between the body, everyday objects/locations and architecture to the point where the gaze on the body over time becomes a question in itself. She has performed for live audiences but has also become increasingly interested in the 'camera as a witness' and in using play-back technology as a 'second other' physical presence in her work.
In the video triptych Chair, Couch, Drawers Lysholt Hansen is juxtaposing three single unedited performances for camera to further establish tension between movement and stillness in each - and in between - the video themselves as well as in the body/eye of the viewer of the timebased work.
Tracks is a structural film portrait recorded in 2011 at The Guardian's print centre in London, UK. Structural, meaning the film is both a portrait of itself as a medium as well as of the actual place. The film both utilizes and exhibits cinematic structures of movement, sound and framing, reciprocating between cinematic seduction and the fully exposed structures that create this seduction. Hence, both film and place is mirrored in mechanical landscapes of repetitive structures, only to be broken by the traces of people and their actions. There is a connection between metaphysical and cinematic representation in that both views are visions of the world which become so sedimented that we forget they are representations or interpretations. InTracks, the repetition seeks to create something new, something that wasn't perceivable at first glance.
Lobbies is a short film that examines the architectural space of the lobby and its role in defining interior from exterior as well as private from public space. Filmed in London and New York the work portrays aspects of a ‘global’ architectural style in order to understand the phenomena of verticality and power in an urban environment. To reflect the membranous nature of these spaces in the very form of the film Lobbies searches for a new dynamic between viewer, camera and subject. Whilst ruminating on the siting of technology in architecture and in the processes of film making it attempts to problematise the representational stability of the moving image.
In Maria Meinild’s practice the staging of life, behavioral patterns and the scripts that seem imbedded in our notion of normality are combined with a strong interest in theatre and film methodologies. Through a continuous loop of repetitions and variations CURTAIN investigates the constant restaging and confirming of certain gestures we perform to maintain a notion of whom we are. A broad fabric of film and theatre reference form a unique tapestry as the work enters a dialogue with its own conditions and simultaneously explores which relations are produced in and outside this controlled framework.
This video is inspired by a phenomenon on YouTube where young men, often disguised by a piece of cloth hiding their face, act out an urge to dance or show their body in a somehow unconventional way. YouTube creates a forum, where these boys can express themselves and a shared interest, without being persecuted by the boundaries their society has put up for them. I have made my contribution to this, with a friend, Hassa Shuruq.
pixelskylines
jimmyeatworldofficial
turnnoffyourmind
blakekathryn
gamechangershow