Sunday, 31 January 2010
Digital Spectrum of the Body by Caroline Rodrigues
About Tropic of Capricorn by Kika Nicolela.
North-American Minimalism brought up to modern art the possibility of radical changes in the observer's point-of-view, according to the space in which the art work is inserted. From this though some of the most creative fields of nowadays' art emerge: Public Art as an existence outside galleries and Video-Art as the nature of digital moving image inside these institutions. When the spatial configuration is changed, the time of perception is also transformed. Therefore, the central point of the discussion is the possible transformations in the phenomenology of perception inside the observer-art interaction.
When the same digital image is yet converted into different media, its nature stretches. That is how Kika Nicolela works, an artist that browses trough the possibilities of the digital world stretching the borders between observation and experience. Tropic of Capricorn presents itself as the paroxysm of this choice. Kika invited four transsexuals from São Paulo to expose themselves trough images produced in a cheap hotel bedroom. Despite being the working place of the majority of them, the performance here demanded was about talking about what the situation brings to mind: stories, desires, fears. The camera is high and vertical positioned like the bedroom lamp, lighting the centre of the bed, where they lie themselves down, one by one, and stay for a while, alone with the cine-eye. Jéssica, Jennifer, Márcia and Samara gift the curious observer with erotic stories full of fabling.
The environment turns different between each one of them and the camera, who acts as a hole in the lock, sexual partner and confidant; but in the course of the image production, the atmosphere warms up in each body with the simple talking about it. And despite the monochromatic bodies pasted in the video image surface, the underground becomes deeper, a delusion of self-knowledge through desire indeed found in the last moment of shooting, when Kika asks Jessica: “Was it good for you?”, and after a quick smile comes the answer: “Wonderful”.
The edition of thirty minutes is an intense documentary about the desires' underground. Observed inside an art gallery it may fit as a glance at this distant world, and at the same time intimate in anyone's skin. But from this voyeur observation an experience has been proposed: in the installation with the same name, Kika rebuilds the scene where the images emerged in a bedroom with a simple bed, where the image is returned to by the projection in realistic dimensions. The transsexuals’ spectrum inhabits now the bed exposed to public. The bed is not only initial work place of the transsexuals; it is future and potent media of being someone else in a dreamful sleep or in full immanence sex. A possibility of action is brought up here: who lies down in the Tropic of Capricorn's bed may become another, may become the other's fetish, the other's dream, the other's pain, whether lying aside the projection as an accomplice, whether receiving in the own body the hot skin of the projector's light, feeling transformed by the trans-sexuality phantomized into art work.
Who lies in Tropic of Capricorn's bed joins skin's surfaces and spectral image, moistures the reality of documental representation and the reality of experimenting a body's spectrum. This can surely lead us to the discovery of the self with Lygia Clark's relational objects. By means of rocks, plastic bags full with water, sand and several textures placed in the interactor's body, Clark proposed an intern diving. And couldn't digital projection be a contemporary relational object, as a self diving through the spectral self of someone else?
Expanding her images to different possible media with digital technology - photography, video-art, cinema, projection - Kika not only shows that her work has a multiple character and a liquid autonomy like the Zigmunt Bauman's liquid society wishes, but presents a kind of image liquidness that transmutes into horizons of subjective-universal glances. In this way her work streamlines an issue still locked in documental and plastic representation of the other in a Brazilian contemporary art, stretching this other's conceptual existence until its inexistence, trough the double spectrum of projected digital image.
Thursday, 28 January 2010
Wednesday, 27 January 2010
Justin Harris, Pinhole Video
Technological convergence has altered the characteristics of existing media creating a massive field of availability through a single screen. Within this interface there is a parallel between the structures of content and the formal qualities of the medium itself. This relationship has developed as both content and format have changed from analogue to digital. In general the removal of distance produced by the varying boundaries of the screen could be said to relate to the complexity of the merge of various types of digital content. In older lens based media all parts are exposed simultaneously. The image has since moved on to being produced through sequential scanning, circular in radar and a series of interlaced lines in television. This reflects a change from the static to variable image in digital representation.
A graduate from Kent Institute of Art and Design at Canterbury, Justin Harris works in visual effects and traditional art media. Commercially he started in web graphics after his degree, changing over to CG as he became more interested in incorporating 3d elements into his videos. In 2007 he worked as a junior artist on a Walden Media film before moving to a Young and Rubicam Agency as a modeler and texture artist. This was followed by an opportunity to work as vfx supervisor on a short film which he chose not to pursue in order to continue working on 3d and personal projects.
Ian Pons Jewell, Dreamt In Flesh, 2009, UK. 2'43
Ian Pons Jewell is a Spanish-born, currently London-based film professional. He has worked variously as a director/producer for two plays, numerous short films and music videos, including sound design for short and feature film. Ian spends some of his time illustrating, with some of his drawings being exhibited in Seattle later this year. He believes film is the most powerful means of expression with which to reach audiences on a truly visceral level.
Sunday, 24 January 2010
Morgan Beringer, Abstraction 27, 2009, UK, 5'43
Morgan Beringer is an American video artist based in East London. Having spent and continuing to spend much of his life in transit between different countries, the thrust of his creative concern stems from the dilemma of living in-between cultures. An academic background in both philosophy and art pushes these concerns further into the realms of linguistics, performance, and film/video art.
Strongly influenced by early Structuralist filmmakers, (such as Michael Snow, Kurt Kren, etc.) Wittgenstein, and Gaspar Noe's film Enter the Void, Morgan's abstract work explores the expressive possibilities of the middle ground between still and moving images as a revelatory experience of aesthetic and linguistic ambiguity. An ongoing series of what will be sixty-four short films, the abstractions are constructed entirely of still photographs that are then melded to give form to the movements between each image rather than the image itself. They frequently use photographs referencing mass media, spirituality, and the landscape.
His other projects revolve around similar themes and media, studying movement to reveal the conceptual spaces between forms. He has exhibited in various creative contexts across the UK, America, Australia, New Zealand, Russia, and Hong Kong.
Saturday, 23 January 2010
Tropic Of Capricorn, 2005, Brazil, 30'00
Four transsexuals are brought in to a hotel room on the same night. Each trans woman is asked to lay on a bed in an empty room and reveal herself to a camera mounted on the ceiling. As the film progresses, their stories blend, separate and overlap in a beautifully constructed collage of multi-colored images. They share with the camera their fantasies, hopes, questionings and experiences in the streets of Sao Paulo.
Written, Produced and Directed by Kika Nicolela
Cinematography: Ching C. Wang
Editing and Post-production: Kika Nicolela
Assistant Director: Fran Freire
Song: “Rough Metaphors” by The Soundscapes
Kika Nicolela (b. 1976, Brazil) is a Brazilian artist and experimental filmmaker. Her works include single-channel videos, installations, performances, experimental documentaries and photography. Graduated in Film and Video by the University of Sao Paulo, Kika Nicolela also completed film and photography courses at UCLA University. Her works have been screened and awarded in festivals of more than 30 countries, such as: Videoformes New Media & Video Art Festival, Kunst Film Biennale, ACA Media Arts Festival, VAD Festival Internacional de Vídeo i Arts Digitals, International Electronic Art Festival Videobrasil and Exis Experimental Film & Video Festival. She has participated of about 60 solo and collective exhibitions in Australia, Brazil, Canada, Finland, France, Germany, Spain, Sweden, Poland, Portugal, UK and US. She was the recipient of several grants, and was shortlisted for the EMPAC Dance Movies Commission, Sergio Motta Award of Art and Technology, Rumos Itau Cultural Award, among others. Currently Kika Nicolela also curates and coordinates the Exquisite Corpse Video Project, a collaborative series of videos that involves more than 60 artists from 25 countries. She was recently selected for the Rondo Studio Program 2010, in Austria.
They Look Their Best From Above, 2010, UK, 3'00
Christina Millare is a video artist based in the UK. She is one of the founding members of The Only Constant, a collective of emerging video and film makers based in London and is the curator of Together Our Space Gallery in London. Her other projects include the bands, Eve Black/Eve White and An Experiment On A Bird In The Air Pump.
"My videos are almost like another layer of skin. They are visual representations of whatever is currently irking my mental state be it my want to better understand myself from a biological standing point or my want to predict the future. All in a sense encaspulate a form of my identity. In past projects I have used video as a cathartic medium from which I expell my notions of death, puberty and sex."
Body Without Organs, 2008, USA/Switzerland, 14'22
A body. Landscape of geometrical structures. It wants to be all what remains when you take everything away: a body of pure movement, intensities, speeds, energies and desires. It is without organs because nothing lives in it, everything moves on its surface, free from any kind of organization, as if it was the limit at which all the flows of the world converge and stream freely, the containing field of energy from which all possibilities develop.
Giada Ghiringhelli (b. 1981) is a Swiss new media artist and videomaker graduated with a MFA in Computer Art at the School of Visual Arts (SVA) in New York and currently living in London. Her works explore the images in motion through the manipulation of space, time and movement, while employing light and the body as main compositional elements, creating artworks of rhythmic sensation and artificial reconstruction. Her videos have been exhibited internationally and some of them are currently distributed by the Canadian non-profit organization Video Out Distribution. She is also a co-founder of the art, video and film collective The Only Constant (London).
Royal Male or Coppola’s Spyglass, 2009, UK, 11'
In ‘Coppola’s Spyglass or Royal Male’ we try to merge analytical and impulsive, libidinal energy of the creative process investigating the so called ‘woman’s question’. We have attempted to critique the cultural, historical and symbolic role that women appropriate, desire and are assigned in society, the clichés and definitions associated with the feminine and the role that language plays in the creation of gender. Our concern was to investigate what type of language a woman could define for herself as an individual and whether existing language could facilitate the enhancement of individuals regardless of sex.
Marianna was born in Russia and Daniel in the UK. Having met undertaking their Master Degrees in Fine Art in London (Royal Academy of Arts and Chelsea College of Art respectively) they have developed multi-media installations, published artist’s books, participated and curated art exhibitions, screenings, debates and performances.
Since 2008 they have worked exclusively in video using their relationship as the basis for a series of protracted studies on subjectivity. These symposia focus primarily on the relationship between human freedom and individuality, the operations of self-deception, frustration and alienation, and a critical re-examination of identity. By employing a variety of incognitos and pseudonyms to articulate conflicting points of view, they have attempted to produce a synthetic reality occupied exclusively by these characters, placing them in extreme situations in which the dynamics of force and freedom enter into a critical relation.
Kit Grill graduated in Graphic Design from Chelsea College of Art and Design in June 2009. Since 2009, Kit founded, designed and now runs Vessel Music, a creative electronic music community which focuses on individual musicians and record labels within the vast ocean of electronic music. Kit has a love for the more obscure side of music and tries to represent this through Vessel Music and when Djing.
Kit has also been working with established visual and musical artists, recently creating a music video for Ricardo Tobar (Traum Schallplatten Records)
Taking an Ink Stain for a Walk, 2010, UK, 5'32
As Film makers and animators strive for pixel perfection, Taking an Ink Stain for a Walk takes it’s inspiration from an early form of animation were the animators would draw, scratch and stain the film to create the animation. In the creative process of using this technique produces abstract and organic forms.
Abdul Hye is a London based animator that creates work combining traditional techniques with emerging technologies. His work explores the boundaries of the visual language and how colours, shapes and movement evoke the other senses.
The remains of a hole-punched text The Rocks Remain in constant motion.
Brown Paper Bag Box
Box, made from a brown paper bag, animated
Alice Bradshaw is an artist and curator based in Halifax. Her practice focuses on everyday objects, materials and processes, often site-responsively and across various mediums. Mass-produced, anonymous objects are often rendered dysfunctional caricatures of themselves, addressing concepts of purpose and futility.
Recent exhibitions and festivals include Contents May Vary at Red Gallery in Hull, A Room of Words at South Square Gallery in Bradford, The Medium is the Message at Gallery Lambton in Ontario Canada, Awkward at AVA Gallery in Tennessee, Toronto Urban Film Festival and Portobello Film Festival and Videoholica in Varna, Bulgaria.
Alice also co-directs Contents May Vary, an artist collective based in Manchester who organise and curate exhibitions mainly in alternative non-gallery spaces and also run an independent publication.
Thursday, 21 January 2010
Tuesday, 19 January 2010
Saturday, 9 January 2010
Is called Pontypool. The less you hear about it before watching it the better but I highly suggest downloading, buying, or going to see it somewhere as it has a nice dialog intensive plot and some really fun ideas. Again, I would have linked a trailer here but I went into it blind and think that works best!