Critical Annotation – one pager

The content of my dossier is primarily film based work that deals with jolting a viewer out of a normal experience of cinema/the screen. The work or experience that I love the most and would love to create is a feeling of split reality or time that the work of Miller/Cardiff, Huyghe, Fusinato, Smith and Marclay creates. In my own work, I love investigating time and experience. I have now been reflecting more on the audiences experience of time and how that can be manipulated.

My main areas of research have been artists that deal with film time’s divergence from real-time and cinematic tropes/language and expectation. I have been developing my idea of looping and opening up time within a video work and the research I have been doing has allowed me to expand on these ideas.

The theories of Smithson seem to be intertwined into a lot of artist’s thinking, namely Hughye who has developed them further.

Smithson's notions of time as subjective, and in particular his views of cinematic time, entropic suspension of time, experience and duration. Ideas of the loop and time constructs in cinema “Repetition creates order,” and, “temporal continuity conceals the discrete structure of illusion,” while also the immersion of memory and the viewing/viewer experience, “we remember cinema as being in it, not of watching a screen”, are observations that are helping to rethink and develop my ideas of viewer experience in relation to cinema.

Pierre Huyghe’s theories seem to be in a similar vein to Smithson. His early experiments, firstly with the opening up of time and creating an “open present” (in works such as his billboard series in 1994 and Trajet 1992) to his development of non-linearity in cinematic time and delving into “a time beyond screen-time” (ie. The Third Memory 1999-2000, L’Ellipse 1998) has influenced me to rethink time as fixed/objective and has opened up the possibilities of time/duration/experience as subjective and malleable.

I am drawn to work that uses its medium to comment on itself, i.e. in the work of Hito Steyerl, using film and special effects to draw attention to cinematic language and special effects/tricks. Also the work of Viola, and Crooks, using simple or highly technical effects in order to highlight the film itself as a medium in the experience of the viewer.

I am interested in the idea of the camera mimicking the human experience and I am looking at ways that the audience can re-mimic that artificial human experience back. Walden's idea of ‘reflexive mimesis in contemporary visual culture’ has made me rethink an audience position as being passive, and ways of replicating the human experience in a film that will provide a jolt if tampered with. Her ideas of ‘the loop’ and what it produces: a pattern of endless repetition that traps us in time and produces an experience called ‘reflexive mimesis’, intrigues me as I love the idea of being trapped in time through repetition.

My main area of interest is how cinematic language is naturalised and becomes ingrained in our awareness, and how that translates to other technology i.e. iPhones etc. My further development of research will be into ways to subvert the human/camera experience. Primarily looking at filmmakers and theorists, and artists who use these theories and other artists using new media and technology.

Patrick Pound

“His new exhibition On Reflection, opening at City Gallery Wellington this month, plays on the idea of mirroring and doubling. Thousands of Pound’s collected photographs and more than 80 items from the Te Papa collection will unfold into an exhibition-wide visual palindrome or Rorschach test, including photographs of wind blowing from the left, of wind blowing from the right, of people pointing this way, of people pointing that, of hundreds of people talking on the phone.”

I think this is very much like Marclay’s work. The tying together of moments in film/photo and the universality of moments in visual media and human experience.

Twins and double from his photo collection

Twins and double from his photo collection

Guy Bourdin

An amazing surrealist photographer mainly shaking up fashion photography and using the female body to create something beautiful, sexy and monstrous. He deconstructs, fragments and disembodies the female body.

“Guy Bourdin irreverently swept away all the standards of beauty, conventional morals and product portrayals in one fell swoop. Around the female body he constructed visual disruptions, the outrageous, the hair-raising, the indiscreet, the ugly, the doomed, the fragmentary and the absent, torsos and death – all the tension and the entire gamut of what lies beyond the aesthetic and the moral,” Ingo Taubhorn.

Lindsay Seers

I really loved this tate shots on Lindsay Seers. While i was familiar with her work, I hadn’t really understood exactly what was meant. But in this she explains simply the idea of changing the dynamics of camera-subject relation by making herself the camera, or modelling the camera off herself. Or becoming the vessel. I really loved the inversion she makes in thinking of the female body/self.

Human Camera, 1997

Human Camera, 1997

Daniel Crooks

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

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 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

Marco Fusinato

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