#stan douglas

[mentaltimetraveller]

Stan Douglas, Coat Check, 1974, 2012

at David Zwirner, New York"

[aarchval]

Stan Douglas, Hors-Champs, 1992.

[huariqueje]

Candlelight  -  Stan Douglas, 2017.

Afrikaans-Canadees , b. 1960 -

Digital chromogenic print mounted on Dibond aluminium , 80 × 60 in 

 203.2 × 152.4 cm

[invaive]

HOW THEY MET THEMSELVES

the double (2013) – dir. richard ayoade / the stalker song – autoheart / us (2019) – dir. jordan peele / the changeling's mission (day 7) – pathologic / the one i love (2014) – dir. charlie mcdowell / the disturbing consequences of seeing your double – anil ananthaswamy / doppelgänger (2019) – stan douglas / prometheus (i. 191) – percy bysshe shelley

(alt text under the cut)

Image One: A still from Richard Ayoade's "The Double." Simon and James, both played by Jessie Eisenberg, are in a yellow-lit bathroom looking in the mirror. Each one sees himself in the mirror, but both are focusing instead on each other. They're wearing identical ill-fitting beige suits as they stand in front of the sinks, dark shadows being cast all around them as they watch each other.

Image Two: A screenshot from the Genius page for "Stalker's Tango" by Autoheart. The lyrics read "I know, I know, I know I'm always in your place / But don't you see my dear? / I am your doppelganger, I have your face so / Love me, love me, love me, love me / Love me, love me, love me, love me"

Image Three: A still from Jordan Peele's "Us." Red and Adelaide are seated at a desk, surrounded by tiled walls with multicolored paint handprints smeared everywhere. Adelaide is dressed in all white and recoiling from Red, wearing her signature red jumpsuit, who is holding scissors to her chest. Red has a hand on the back of Adelaide's neck, holding her in place, and is watching her with wild, wide eyes.

Image Four: A screenshot of text from Pathologic copied into a text document. It reads, "With my own eyes, I saw my sister whom I had but slight intimations about. Now I don't know which one of us is which. I must be going insane.

Which one of the two stole the other's name; claimed her calling; seized her destiny?

Please define me."

Image Four: A still from Charlie McDowell's "The One I Love." Sophie, played by Elizabeth Moss, is standing outside in a driveway surrounded by lush greenery with her double. Her double looks exactly the same as her down to the clothes as they stand side-by-side. It's impossible to tell which Sophie is the real one and which is the double.

Image Five: A screenshot of text from an article by Anil Ananthaswamy. It reads, "He felt dizzy, stood up, turned around, and saw himself still lying in bed. He was aware that the person in bed was him, and was not willing to get up and would thus make himself late for work. Furious at the prone self, the man shouted at it, shook it, and even jumped on it, all to no avail. To complicate things further, his awareness of being in a body would shift from one body to the other. When he inhabited the supine body in bed, hed see his duplicate bending over and shaking him. Soon, fear and confusion took hold: Who was he? Was he the man standing up or the man lying in bed? Unable to stand seeing his double any longer, he jumped out of the window." The last sentence is highlighted with a mild yellow bar.

Image Six: A still from Stan Douglas's "Doppelgänger." On the left is Alice-1, played by Dionne Audain, with her hands on her head looking panicked. She's covered in a liquidy slime and lit by an orange light with a completely black background behind her. On the right is Alice-2, also played by Dionne Audain, in the same pose. This Alice is covered in slime as well, but she's lit by a purple light and looks significantly more afraid. Behind her is a green background full of analog technology and yellow flashing lights.

Image Seven: A screenshot of text from "Prometheus" by Percy Bysshe Shelley. It reads "Ere Babylon was dust,

The Magus Zoroaster, my dear child,

Met his own image walking in the garden.

That apparition, sole of men, he saw.

For know there are two worlds of life and death:

One that which thou beholdest;

but the other is underneath the grave, where do inhabit

The shadows of all forms that think and live

Till death unite them and they part no more. (Act I, 191-99)"

[End]

[joeinct]

Prisoner, Photo by Stan Douglas, 2006

[artruby]

Stan Douglas, Canada Pavillion, Venice Biennale 2022. Photos: Art Ruby

[lesmachins]

Stan Douglas

[mosaicrecords]

How Miles Davis Pioneered Studio Editing with On the Corner

Gazette editor Nick Moy kicked this piece over to me about Vancouver based Stan Douglas' art installation with Jason Moran. He knows I'm a sucker for anything Miles, Miles' 'funk years,' and how modern recording techniques have altered the making of music over the past 50 years. At first, as I began the reading of it I couldn't get a handle on it or why any of you might really care. But a few lines here and there kept me going.

"[If], as Gil Evans says 'jazz has always used the rhythm of the times', then On The Corner should never have swung. Instead it grooved, hard." "Miles wrote in his autobiography...'Through Stockhausen I understood music as a process of elimination and addition.'" "The studio, dressed to re-create Columbia’s legendary NYC studio The Church was painstakingly recreated, down to the last ashtray."   "With a crack team of contemporary musicians led by pianist and artist Jason Moran, Douglas created his own utopia born out of Miles’ vision for the future of jazz.

All of these intriguing comments pushed me to check out the video (above) and then I was hooked. Producer Christopher Martini describes it as “A fictional re-creation of a Miles Davis recording session at [Columbia Records’ late, lamented] “The Church,” the shoot involved 70’s period set construction, instruments, costumes, and hair.“

If you're not of the school that Miles' demise was his gift of a Fender Rhodes electric piano to Herbie Hancock, maybe you'll punch the same ticket.

–Fred Seibert

Read more at The Vinyl Factory...

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