{"id":1155,"date":"2003-11-01T14:00:52","date_gmt":"2003-11-01T14:00:52","guid":{"rendered":"http:\/\/markwebber.org.uk\/archive\/?p=1155"},"modified":"2018-01-25T15:00:19","modified_gmt":"2018-01-25T15:00:19","slug":"video-visions-2003","status":"publish","type":"post","link":"https:\/\/markwebber.org.uk\/archive\/2003\/11\/01\/video-visions-2003\/","title":{"rendered":"Video Visions"},"content":{"rendered":"

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VIDEO VISIONS
\n<\/b>Saturday 1 November 2003, at 2pm
\n<\/b>London National Film Theatre NFT3<\/b><\/p>\n

Ezra Eeman, Look at me standing here, Belgium, 2001, 8 min
\n<\/b>An apparently mundane view of a pedestrian area \u2026 what is <\/i>happening? Image seamlessly sticks and cuts, sound drifts from super-realism to atmospheric score. Time suspends as the sense of alienation and displacement distends. The centre of the city is a lonely place.<\/p>\n

Pierre-Yves Cruaud, Le Silence est en Marche, France, 2001, 4 min
\n<\/b>A horizontal arrangement of bands of light slowly gives way to emerging human forms, seen from above, passing through the frame. Though digital manipulation, a situation is suggested, but never seen. Sound is a sonic crackle and pulse.<\/p>\n

Michaela Schwentner, Jet, Austria, 2003, 6 min
\n<\/b>Dynamic recycling of treated and degraded video, structured to a track by electronic sound artists Radian.<\/p>\n

Keiichi Tanaami, WHY Re-Mix, 2002, Japan, 2002, 10 min
\n<\/b>Footage of a boxing match is reduced to printed still images and its constituent dots are enlarged and contrasted into an optical moir\u00e9. Assault not insult. A blitz of sound and image by Japanese animator, graphic designer Tanaami, based on his 1975 film Why<\/i>.<\/p>\n

Steve Reinke, Anal Masturbation & Object Loss, USA, 2002, 6 min
\n<\/b>Reinke protests the ubiquity of theory and conjecture, while proposing a new art school where nothing is produced except discourse. To protect the students from undue influence, the pages of the library books must be glued together.<\/p>\n

George Kuchar, Forbidden Fruits, USA, 2002, 15 min
\n<\/b>George\u2019s video diaries continue, slipping between reverie and reality, with a visit to the SF Art Institute, dinner in Chinatown and a lush daydream of sprouting seduction. Sap rises and spring swings when a tour of a friend\u2019s garden detours into flights of floral fantasy.<\/p>\n

Peter Rose, The Geosophist\u2019s Tears, USA, 2002, 8 min
\n<\/b>Travelling shots from a cross-country road trip are tiled and matted to propose impossible vistas.<\/p>\n

Gerhard Geiger, Franz und Klara, Germany, 2003, 4 min
\n<\/b>Geiger seeks an equivalent, format-specific editing style for digital video, to those techniques he has used for concentrated 16mm filmmaking.<\/p>\n

Wago Kreider, Marvelous Creatures, USA, 2003, 3 min
\n<\/b>Gaudily lit waxworks of Hollywood icons and the animals of a diorama, rapidly intercut with their subjects\u2019 natural environments \u2013 classic movies and the zoo.<\/p>\n

Jeroen Offerman, The Stairway at St. Paul\u2019s, Netherlands-UK, 2002, 9 min
\n<\/b>Inspired by rumours of satanic messages hidden in rock records, Offerman memorised and performed the vocal track of Led Zeppelin\u2019s \u2018Stairway to Heaven\u2019 in its entirety, backwards. A continuous shot taped outside St. Paul\u2019s Cathedral and then reversed to present the classic song in a skewed, but legitimate, new way. Sincere, admirable, and very, very funny.<\/p>\n

Tony Cokes & Scott Pagano, 5%, USA, 2001, 10 min
\n<\/b>Critical commentary on the business practices of the music industry, ripping apart the illusory promises made to the consumer.<\/p>\n

Benny Nemerofsky Ramsay, I Am A Boyband, Canada, 2002, 6 min
\n<\/b>A music video for a group of cloned pop stars. Nemerofsky Ramsay splits his own personality to create the perfect boy band of four distinct and desirable youngsters. All the ingredients are there; and it makes so much sense on a commercial level. Their song of heartbreak is an Elizabethan madrigal, \u2018Come Again, Sweet Love\u2019 by composer John Dowland (1563-1626).<\/p>\nPROGRAMME NOTES<\/a>

<\/p>\n

VIDEO VISIONS<\/b>
\nSaturday 1 November 2003, at 2pm
\nLondon National Film Theatre NFT3<\/p>\n

LOOK AT ME STANDING HERE
\nEzra Eeman, Belgium, 2001, colour, sound, 8 min
\n<\/b>An apparently mundane view of a pedestrian area \u2026 what is <\/i>happening? Image seamlessly sticks and cuts, sound drifts from super-realism to atmospheric score. Time suspends as the sense of alienation and displacement distends. The centre of the city is a lonely place. \u2014Mark Webber<\/p>\n

LE SILENCE EST EN MARCHE
\nPierre-Yves Cruaud, France, 2001, colour, sound, 4 min
\n<\/b>Barriers restrict the living space of more or less human apparitions. We witness the development of life forms that are already fairly regimented. \u2014Pierre-Yves Cruaud<\/p>\n

JET
\nMichaela Schwentner, Austria, 2003, colour, sound, 6 min
\n<\/b>This video\u2019s exhilarating dynamism results from a precisely composed interplay of colour and form which structures the viewer\u2019s perception of it significantly. Michaela Schwentner\u2019s work method closely resembles that of electro-acoustic sound artists Radian, who employ a variety of painterly elements that are allowed to interact, overlap or contrast. \u2014Christa Benzer<\/p>\n

WHY RE-MIX, 2002
\nKeiichi Tanaami, Japan, 2002, colour, sound, 10 min
\n<\/b>Footage of a boxing match is reduced to printed stills, whose constituent dots are enlarged and contrasted into an optical moir\u00e9. Audio-visual barrage of sound and image by Japanese animator , graphic designer Tanaami, based on his 1975 film Why<\/i>. Assault not insult. \u2014Mark Webber<\/p>\n

ANAL MASTURBATION & OBJECT LOSS
\nSteve Reinke, USA, 2002, colour, sound, 6 min
\n<\/b>Ever on the lookout for learning opportunities, Reinke envisions an art institute where you don\u2019t have to make anything, and with a library full of books glued together. All the information\u2019s there \u2013 you just don\u2019t have to bother reading it! \u2014New York Video Festival, 2002<\/p>\n

FORBIDDEN FRUITS
\nGeorge Kuchar, USA, 2002, colour, sound, 15 min
\n<\/b>The foliage and sprouting of urban greenery becomes the subject of this celebration to all things pollinated. The video explores hidden gardens that lie sequestered amid an array of dwellings inhabited by the not so rich and famous. Felines creep amid the blossoms as human entities enrich the soil with their leaking desires. \u2014George Kuchar<\/p>\n

THE GEOSOPHIST\u2019S TEARS
\nPeter Rose, USA, 2002, colour, sound, 8 min
\n<\/b>Shot during a seven-week cross-country road trip in the aftermath of September 11th, the work is operatic in ambition and offers a complex meditation on the iconography of the American landscape. Drawing on the stratagems of the early geosophists, who believed that through the operation of a mysterious instrument landscapes might be placed in an emotionally meaningful correspondence with one another, the work uses a variety of visual algorithms to propose and discover surprising structural features of the uninhabited American landscape. Sounds for the work were produced by a remarkable antique slide rule, dating from 1895, that was untouched for over forty years and whose peculiar threnody is both mournful and rhapsodic. In its fractured and phantasmagoric reworkings of the horizon, the work offers us unstable metaphors for the state of the union and a respectful homage to the traditions of painting. \u2014Peter Rose<\/p>\n

FRANZ UND KLARA
\nGerhard Geiger, Germany, 2003, colour, sound, 4 min
\n<\/b>Geiger seeks an equivalent editing style for digital video, to those techniques he has used for 16mm film. Using the same footage shot at a family house party, he presents first the concentrated short film (twice for our assimilation) and then the more recent video version. \u2014Mark Webber<\/p>\n

MARVELOUS CREATURES
\nWago Kreider, USA, 2003, colour, sound, 3 min
\n<\/b>From the taxidermied bestiary of a natural history museum to the life-like waxworks that haunt our pop culture memories, the convulsive beauty of animals oscillates between plenitude and punishment, attraction and repulsion, life and death. In a series of photographic shocks that flash an image of the fixed-explosive, Marvelous Creatures signal the uncanny correlation of erotic and destructive impulses. They bear witness to a primordial trauma, a confusion between the animate and the inanimate, the biological and the mechanical, Eros and Thanatos. \u2014Wago Kreider<\/p>\n

THE STAIRWAY AT ST. PAUL\u2019S
\nJeroen Offerman, Netherlands-UK, 2002, colour, sound, 9 min
\n<\/b>It\u2019s time to dive into your record collection and find out if it was all true. But first let us watch this video. Turn up the volume and remember the first time you smoked a cigarette\u2026 \u2014Jeroen Offerman<\/p>\n

5%
\nTony Cokes & Scott Pagano, USA, 2001, colour, sound, 10 min
\n<\/b>5%<\/i> is a ten-minute work that questions the cult of pop stardom, deconstructs music industry practices, considers the problematics of live performance, and suggests other, more anonymous working strategies. For this work I decided to collaborate closely with musician, media artist, and designer Scott Pagano who, along with Marc Pierson, currently form the core of SWIPE. Our idea of generic music came out of a belief that pop music was more about life under post-industrial commodity capital than it was about \u2018love\u2019, \u2018emotion\u2019 or \u2018personal expression\u2019. Narratives of superstardom were the grease that kept the idiotic grind looped, moving in place. The soundtrack is two recent SWIPE tracks: \u201cmm_2\u201d and \u201c1cc_v2+\u201d. \u2014Tony Cokes<\/p>\n

I AM A BOYBAND
\nBenny Nemerofsky Ramsay, Canada, 2002, colour, sound, 6 min
\n<\/b>What are the ingredients for a boy band? A cute tune, dance moves and of course four handsome hunks, each with their own look \u2026 A cloned boyband co-opts an Elizabethan madigral to express its heartbreak over lost love. \u2014Benny Nerofsky Ramsay<\/p>\n

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Alina Rudnitskaya\u2019s humanistic approach to documentary filmmaking often brings out the humour in her chosen subjects. As an introduction to her work, this programme depicts three diverse groups of contemporary Russian women.<\/p>\n","protected":false},"author":4,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[45],"tags":[9],"class_list":["post-1155","post","type-post","status-publish","format-standard","hentry","category-london-film-festival-2003","tag-london-film-festival"],"_links":{"self":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/1155","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/comments?post=1155"}],"version-history":[{"count":0,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/1155\/revisions"}],"wp:attachment":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/media?parent=1155"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/categories?post=1155"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/tags?post=1155"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}