I’ve seen a couple of Archie Barry’s performances and I enjoyed them… I really loved their film works, especially this work at Blindside this year that was an overlayed video of them with eyes open and shut, in a fast succession loop, then with a scream at the end of the loop.
Archie Barry, Presence 2018
Amazing visual effects in most of his work that is very inspirational, however it is the simple ideas of the dolly tracking and a simple effect that can move travel through time and space in Melbourne. It really highlights the cinematic langauge of space in an effective and simple way, and also brings an urban and local feel.
2016, infinte loop (5.23 min), 16.9, 1080p24, Stereo // excerpt
Web preview only
sound: Byron Scullin
viola: Erkki Veltheim
Static No.12 (seek stillness in movement) 2010
05:23 min, 16:9, 1080p24, Stereo
The Subtle Knife 2016
Single channel digital video 1080p24, Stereo, edition of 3 + 2 AP
Sound: Byron Scullin
Viola: Erkki Veltheim
Special thanks: Studio Local
8.23 mins infinite loop
The Approaching of the Disco Void – Repeated
A session musician is hired to perform John Fahey’s composition “The Approaching of the Disco Void,” a track with a prolonged interlude for improvisation. At the conclusion of the first take and without prior knowledge, the musician is asked to repeat exactly what he just played. The screen on the left shows the original take, the screen on the right shows the attempt to repeat.
The idea of repetition, the anomaly in repetition and the re-take. Two instances of an event that were attempted to be repeated in exactitude and repeated in unision. Two durational events repeated at the same time. Captures the freedom/improvisation/looseness of music.
The Approaching of the Disco Void – Repeated, 2006
Synchronised two channel video in DVD format
Duration: 03:55 minutes
Edition of 3
The Girl Chewing Gum
https://www.tate.org.uk/context-comment/video/john-smith-girl-chewing-gum
This is really an amazing video about expectation, audio vs visual, cinematic illusion, and retro causality. I love this piece and it has really inspired me to think a lot more about sound in film and how it is used and how it can be misused. In my work, I have used a clip that already plays on cinematic sound expectations - using the western’s use of guitar, rattle and panning to emphasise a desolate/empty view, or a showdown (tension/climax?). Thinking about the order of sound and video; the separation between them, the reliance on each other, the tension between, the temporal order of creation and “movie magic”. This film is so simple in the way it uses time to mess with document.
(dubbing, click tracks, sound effects, Foley artists etc)
Still from The Girl Chewing Gum, 1976
Grosse Fatigue, 2013
A great re-understanding of the history of evolution in a contemporary and timely way. Such a great blend of the past, present in a forward thinking way that still looks contemporary. An “intuitive unfolding of knowledge” and the inability of begin able to comprehend all of this knowledge in a 13 minute video.
Directed by Erwann Lameignère
production : Collectif Combo / kamel mennour
Extracts from the video Grosse Fatigue (2013, video, color, sound)
courtesy the artist, Silex Films and kamel mennour, paris
Original music by Joakim. Voice by Akwetey Orraca-Tetteh. Text written in collaboration with Jacob Bromberg
Producer: kamel mennour, Paris; with the additional support of Fonds de dotation Famille Moulin, Paris
Production: Silex Films
Silver Lion - 55th Venice Biennale, 2013
Exhibition view « Grosse Fatigue », kamel mennour, Paris
Project conducted as part of the Smithsonian Artist Research Fellowship Program, Washington, D.C.
Special thanks to the Smithsonian Archives of American Art, the Smithsonian National Museum of Natural History, and the Smithsonian National Air and Space Museum
© ADAGP Camille Henrot
Screenings in gallery kamel mennour from February 5th to March 22nd, 2014
I love this video of Janet Crdiff and George Miller’s walks. The idea of this augmented reality, but this reality is just the past. It messes with technology in time, and the experience of using technology especially iphones. It projects a new reality on reality, we are used to looking through a smartphone screen at the world and when we dont see that reality, it is jarring.
I also really like their ideas of dissonance between audio and visual, also the experience of sound in real life as in The Paradise Institute, 2001 where a sonic world/reality is created in an “empty” theatre.
Alter Banhof VIdeo Walk, 2012
The City of Forking Paths, 2014
The Paradise Institute | Installation View 1/ 13, 2001
“In CATARACT, 81 screens presented as a singular object, play short videos of small-scale ‘events’. A combination of impromptu recordings and staged scenarios, the work presents a dynamic array of moments that document everyday physical processes and occurrences: spinning, falling, breaking, burning, growing, slowing, starting, stopping… the world is full of happenings, but it is only through selective attention that meaning is found.”
CATARACT, 2019 (installation view Anna Schwartz Gallery). Photography: Zan Wimberley.
Electric Light (facts/ figures/anna schwartz gallery upstairs) 2019
I love Christian Marclay’s The Clock, it works so well on so many levels. Bringing attention to the time all the time, all of the cinematic conventions of clocks/time in film, using the escapism of cinema and flipping it, and giving the audience this multiple experience of time simultaneously.
His simple idea of grouping all moments that are similar in film like Telephones, Video Quartet etc. Bringing attention to moments in film and film language, while making a new narrative from the pieces, collaging together, creating tension between the audience/human tendency to create a narrative from a reading of film.
The Clock, Installation view
Telephones, 1995