AR.TI.SOUND

GOD OF FERTILITY

The Heart – From ‘Stalker’ by Andrei Tarkovsky

” My purpose is to make films that will help people to live, even if they sometimes cause unhappiness.” Andrei Tarkovsky

Order & Chaos. Design from a technological taboo by Philippe Kindelis

The TV remote control uses the principle of water displacement and the conductive properties of water to connect different cables. It highlights principles and processes that the user can interact with. It is an exploration as to whether water and electricity can be put together to create a new narrative in the way we interact with technological products. Part of the project

Book I Am Reading “Frank Films: The Film and Video Work of Robert Frank”

A book exploring the films and videos of American photographer Robert Frank. He started making films in the late 50s to challenge the medium. Like his photographic work his films have gone on to become American classics. His films were sometimes controversial too. One such film was a documentary that he did for the rolling stones in the early 70s. The stones got a court order to stop the film from being released. Few have seen this documentary but the book contains some images of this documentary. It seems that the documentary showed the stones engaged in excessive drug use and group sex. The book also includes texts by various authors examining every film and video he has done.

Lulled Into Believing

Esther Teichmann and Henrietta Simson explore the nature of belief and the space that exists between fiction and reality

‘Lulled into believing’ brings together two practices that converge through their processes and frames of reference. Drawing upon historical art precedents including early Renaissance and Orientalist painting, both artists explore the slippage between painted and photographed realities. They each play with the melding of photographic media, painting and drawing to question notions of what is ‘real’ and what is ‘original’.

Simson works with landscape imagery found in historical paintings, newspaper cuttings and other sources, removing the narrative in order to examine the construction of space and perspective.

Teichmann places her subjects into actual spaces, yet removes the specificity of the place by painting into the landscapes. In doing so, she creates fantastical sets that conjure up impossible, non-existent places.

Simson’s paintings examine pictorial methodologies from the early Renaissance, borrowing from and reproducing compositions to duplicate early experiments in the use of perspective. In her installation pieces, projected light hovers upon a primed or gilded surface, which is interrupted by drawn or cut marks. The surface and the reflected light compete with each other, as if to confuse the retina and physically disrupt the viewer’s perspective. This creates elusive and intriguing images that are in counterpoint to the obstinate solidity of the whirring light mechanics by which they are produced.

In Teichmann’s work, the photographic surface is painted upon to illusory effect, producing evocative scenes of half-submerged figures within dripping, painted wildernesses. Reality is heightened through the addition of artificial colours and marks, although the eye remains confused about where one reality ends and another begins. In her filmic installations, created through the layering together of different sources of found-footage and sound, new psychological spaces are carved out in which emotionally charged narratives are implied but never stated.

‘Lulled into believing’ unsettles our perceptions of literal and emotional space, revealing the extent to which we can never be certain of what we know, see or feel. link

…read the dazed and confused interview with Esther Teichmann