вторник, 8 марта 2011 г.

2002 International video performance program

международная программа видео перформанса

21.02.02 -15.03.02
Андрей Суздалев (Россия) “Переход через зимний поток” видеоинсталляция

28.03.2 -12.04.02
Сирпа Йокинен (Финляндия) “Ступени” видеоинсталляция

Джиллиан МакАйвер (Канада - Великобритания)

“Европа: Четыре дня в Берлине”
видеофильм

18.04.02 - 30.04.02
Наталия Мали (Россия - Великобритания)
"Круг Возвращений" видеоинсталляция

Тема этой программы - художественный язык видео перформанса.
С точки зрения содержания все работы так или иначе связаны бесконечностью движения и ревизией памяти.

“Переход через зимний поток” Андрея Суздалева - часть его проекта “Переход” где классическая европейская культура представленная идеей регулярного парка рассматривается с позиций другой культурной ориентации. Название - цитата из “Дао дэ дзина” Лао Цзи отсылает к практике даосских странствий . Два монитора напротив друг друга отражаются в стеклянной полосе между ними. Автор движется по абсолютно прямой аллее с двумя камерами - смотрящей вперед и назад и мы можем ощущать вибрацию его шага но никогда не увидим самого перформансиста. Он использует аналоговое видео без купюр.
Эта работа пересекается со “Ступенями” Сирпы Йоканен
И тут и там художник и камера осуществляют бесконечный путь персонального субъективного тела в абстрагированном объективном пространстве. Видеокамера становится частью тела перформансиста транслирующей осязание неровностей почвы или скольжение“духов из прошлого задержавшихся на ступенях” “spirits of the past linger on stairs”.
Очень разные по языку работы Сирпы Йокинен (“Ступени”) и Джилиан МакАйвер (“Европа: Четыре дня в Берлине”) соединены в одной экспозиции не случайно: обе работы - взгляд из Нового Света на Старый. Одна из частей “Ступеней” - вечерние сумерки в Финляндии, другая -рассвет в Сан-Франциско.
“Европа” - это танец-осязание канадского перформера, привезенного с завязанными глазами в четыре точки Берлина - символы переломов мировой истории.
С точки зрения языка много общего просматривается в “Европе” и триптихе Наталии Мали "Круг возвращений". В этих проектах отношения видео художника и перформансиста ближе к позициям актера и режиссера в кино. В процессе съемки перформансист превращается в объект для камеры-свидетеля. Художники активно используют цифровые эффекты и после монтажа материал теряет следы живого перформанса обнажая собственно язык цифрового видео.
Интересно отметить что оба автора, работающие в цифровой технологии, обращаются не к персональной, а к исторической и культурной мифологии и памяти.


February-April

21.02.02 -15.03.
Andrey Suzdalev. “Transition across the winter stream”
two monitors installation
28.03.02 -12.04/02
Sirpa Jokinen “Stairs”
two monitors installation
Jillian McIver
“ EUROPA: Four days in Berlin”
video film
20.04.02 -03.05.02
Natalia Maly
“Circle of Returns”
performers: Andrey and Dmitry Aleksandrovich Prigov

The theme of the program is video performance art language: between subject and object (or analogue and digital).
From the point of view of the inner senses all works are in some way connected with eternal movement and research of personal and culture memory.
“Transition across the winter stream” by Andrey Suzdalev is a video part of his project “Transition» in which Suzdalev is looking upon classical European culture from the position of old Chinese culture across the mirror of regular park (the title of the work is a sentence from «Dao de Dzin»). His video installation consists of two monitors connected by glass road. The author is walking along the regular park road with two cameras: looking forward and looking backward and we could feel the tracking of his steps but never see performer-camera men himself. He uses analogue video without edition.
This work has many connotations with “Stairs” by Sirpa Jokinen. In this work, both performer and camera are moving together and we see endless way of personal subjective body in some abstract and objective space. In this case role of video is to be a part of performer’s, body across which it is possible to send to the spectator a sense of touch of the ground or «spirits of the past linger on stairs»
Sirpa Jokinen’s "Stairs" and " EUROPA: Four days in Berlin" by Gillian McIver are exhibited together but are very different works in terms of their language; however, they have a crossing point - both works take a view from the NEW Continent to OLD Europe.
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In its language more connections between two others works Jillian McIver’s “EUROPA: Four days in Berlin” and “Circle” by Natalia Maly. . Here, video artists and performers are working in collaboration more similar to the relationship between actor and film director. Both video artists use digital affects in editing. In this case during the filming the performer becomes an object for camera-witness, but after editing the result loses any traces of live action and we can see the language of the digital video itself. It is important to note that both these works, in which the author is not performer and which use digital techniques, are connected not with the personal, but historical and culture mythology and memory.


Sirpa Jokinen

STAIRS
(looped video installation (6min. sound)

«spirits of the past linger on stairs»
The piece consists of two video projections on the wall side by side. They are being played simultaneously as looped versions.
In the first projection a person is stepping downwards as the stairs turn darker and darker the deeper she goes. In the other projection the person is moving upwards on the stairs in the continually brightening light.
The stairs are a place-in-between when one moves from one place to an other. The person in the stairs of the video is not getting anywhere. The bright daylight and the dark of the night can be experienced as uncanny.
The first part is filmed in Finland in winter at night. The second part is filmed in San Francisco durning summer afternoon.


Jillian McIver

EUROPA: FOUR DAYS IN BERLIN

In November 2001, Montreal performance artist who visited Berlin for the first time. Over four days he was blindfolded and taken to four significant places in the city, four significant places in the history of Europe. There, he explored and absorbed the psychogeography of place by direct physical contact. Video-maker Gillian McIver conceived and made this single-channel video piece.

Europa is a requiem to mark the end of the the twentieth century the self-destruction of Europe and the fragmenting of the ideologies of the Age of Reason ... as Füsli said, the dreams of reason create nightmares...

We move, slowly, tentatively, blindly through the history of Europa... the old East... through Sans Souci, the palace of Friedrich the Great, refuge of Enlightenment philosophers, cabinet-room for imperialist wars... Oranienburg Strasse, the Jewish mercantile district of old Berlin, ravaged, blasted, murdered; now young artists struggle to create beauty in the remains of devastation, while developers try to make us forget, to eradicate what once was ... Gesundbrunnen Bunker, huge, cavernous, hollowly echoing the tight breathing of ghostly women and children, huddled like rats while above-ground, bombers crumbled their homes to powder ... and the old Soviet parade ground in front of Brandenburger Tor, where the huge memorial to the millions of Russian dead towers above the busy traffic...
Berlin, where the conscience of Europa still cannot sleep.




Letter from Gillian

Hi MArina,
A few corrections to the text, but it looks great. A very interesting programme;
I think it's extrememly interesting what you pointed out, that the works by me and Natalia Maly are using digital techniques and performers - that is not personal but constructed - and are about history culture and myth which themselves are constructs. Something I didn't think of before but it's very true. Using technology is a distancing thing and for me anyway the subject of this work is so extreme that I can only consider it form a distance, if I was to imagine experiencing it I would go mad and in fact I can't imagine it and have to right to pretend to.
One very interesting aspect of the project which I didn't mention is the collaboration process. French Canadians in general have a very insular culture - the grands narratives of history and philosophy never affected this basically rural and religious (Catholic) peasant culture. Only in the 1960s did they really join the modern world. It was interesting to work on the project, which has a subject very close to me - the destruction of the philosophical and cultural ideals of the Enlightenment (which are part of my cultural identity) - with someone from such a different cultural background. It made it more challenging as he could feel things I did not, and see what I was too analytical to see.
Gillian

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