Conference Exhibition.This year we were delighted to accept a number of practice based submissions for the conference some of which have been curated to form a exhibition open to the public for the length of the conference.
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Location.
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Exhibition Opening Times.
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Exhibiting Artists
Instants², Interactive Installation (2015), Marina Wainer
Computer programme: Sylvie Tissot
Sound design: Xavier Collet
Texts: Lionel Lemire
With the support of the Institut Français and the participation of DICRéAM
The starting point of the work is the Institut Français’ Hors les murs program residency. In 2015, I spent two months in the glacier Perito Moreno exploring different paths around the temporal experience: How to inhabit time? How to connect time in its duration in a context of permanent present? How to link the map and the territory, with experiments taking place both locally and global; planet as a theatre in real time and in 1:1 scale?
As a symbol of a double temporality, combining long-and short-term time in a natural ecosystem and massive scale, Perito Moreno holds within it several 21st-century themes around fascination, friction, contradiction and splitting: disrupted borders, climate change, our relationship to reality in the digital era.
Patagonia is a tourist site, represented on social networks, where people stage their meeting with nature. Those moments are captured by smartphones and tablets. They are then shared and commented, creating a sort of 2.0 nature where it is difficult to recognize scale, perceive time, the infinite.
During my residency in the glacier, I used the same devices as the tourists to document my work, with the intention to imagine an interactive experience. To design an environment, in a sensitive tension between landscape and territory, where everyone must negotiate its relationship with nature. To create a fragmented space that reassembles to form personal geographies, where the conversational image and the celebration of sharing renew the relationship to time and question the boundary between artists and amateurs, particularly in the digital space.
Sarva Mangalam! video (2018), 5’00”
Sound: Professor Tim Howle, University of Kent.
Moving Image: Dr. Nick Cope, RMIT University Vietnam.
The work extends a practice research collaboration that seeks to explore notions of what it means to compose with sound and moving image in works where the sonic and visual are treated as commensurate partners, leading to various publications on DVD and online audio-visual journals; and a number of papers, journal articles and a PhD addressing the working practices and research contexts of the collaborative output.
The title of the work is a Sanskrit phrase (“May all be well!”), which appears on many versions of prayer flags. Tibetans believe the prayers printed on the flags are blown on the wind, spreading goodwill and compassion to the pervading space and all beings wandering therein. This work extends notions of visual music and audio-visuality into new areas informed by sonic arts practices such as R. Murray Schafer’s ideas of ‘the Soundscape’, practices of field recording, soundwalks, acoustic ecology, and the ambient.
The work can be viewed online with further research contexts at:
https://nickcopefilm.com/sarva-mangalam-may-all-be-well/
Future City, video art combining virtual world and archive sources (17 August 2017), Tess Baxter: Tizzy Canucci in Second Life
Archive footage and a video made in a virtual world meet across time in urban spaces. The two were edited and overlaid so they would visibly mix and converse. One part is from Cica Ghost’s 2017 installation in Second Life, Future. The other is The City, a film made in 1939 about the future of the American city, now public domain and in the FDR Presidential Archive. Background music and voices from The City are remixed with work by a contemporary artist, The Fucked Up Beat, which also incorporates found audio.
The work is an example of Timothy J Welsh’s Mixed Realism. Virtual worlds are created from the imagination, but they are not imaginary. They include material, textures, ideas, and preconceptions that are imported from the ‘real’ world. We experience virtual worlds both from the inside, as avatars navigating the space, and from the outside, sensing them with our bodies through screen and speakers.
Standing Ground, HD video (2018), stereo sound, 27m, Richard O’Sullivan
Writing ‘The Ontology of the Photographic Image’ in 1945, André Bazin identified the essence of the photographic image (and, therefore, the moving image) in its physical, indexical relationship to the material environment, its formation in reaction to the light reflecting from the surfaces of the world. Bazin, of course, had in mind the analogue, photochemical image. Can we consider the digital image, captured by a light-sensitive chip, to be similarly defined by an indexical relationship to the material world? Does the digital image possess as ‘strong’ an indexical relationship to the physical world as the analogue image?
By bringing together analogue and digital images of the same location, Standing Ground is designed to juxtapose the two media in the area of indexicality. The work also considers whether the analogue is a more tactile and intuitive technology than the digital. It presents us with contrasting visual treatments of space, and a complex of interlocking ‘looks’.
Shore Variation, HD video (2018), 27’32’’
Durational Intervention: Julieanna Preston
Digital Project: Claudia Kappenberg
Shore Variations traces a durational, 3-day intervention of performance artist Julieanna Preston, as she moves with the tide and along the water’s edge at the base of the Chalk Cliffs of Birling Gap, UK. The body relates to the tidal space through an intensely physical, haptic and contemplative dialogue, with the intention of probing what can emerge at the confluence of material bodies.
Filming the process meant co-inhabiting the space, equally travelling towards and away from the cliffs. In response to the monumental landscape, a visual rhythm and steady pace emerged composed of three simple activities, looking out to sea, looking along the shore and looking back at the cliffs. Alternating between black and white and colour and offering parallel perspectives, the edit continues to foreground the act of looking and perceiving; the material conversation between body and site is thereby extended into a conversation between the real space and its mediation through images and sound.
The Hitchcock Papers, video (2017), 10’00’’, Tim Brown, Paul Dutnall
Music: Barry Adamson
A video essay paying homage to Alfred Hitchcock’s masterly use of the newspaper as action prop with an original score from Barry Adamson. ‘Where can you get movie stories that are better than today’s headlines?’ Hitchcock asked, and though very few of his films were directly inspired by newspaper stories, he made recurring use of the motif of the newspaper headline. Glimpsed on screen for a second or two, they play a key role in the narrative of many of his films. The Hitchcock Papers video is comprised of extracts from 35 of his feature films and is presented alongside two specially re-created newspaper front pages as seen on screen, the fictional made actual and produced in a form of Reconstructive Archaeology.
The Evening News, Re-created newspaper by Anna Deamer and Tim Brown
Young and Innocent UK 1947
Director: Alfred Hitchcock
Art Director: Alfred Junge
Evening Dispatch, Re-created newspaper by Anna Deamer and Tim Brown
The 39 Steps UK 1935
Director: Alfred Hitchcock
Art Director: Oscar Friedrich & Alfred Jullion
Selected Photographs 2010 – 2018, Fergus Heron
Cawdor, August, 2018. C type print, 305 x 243 mm
Chobham Common, January, 2011. C type print, 508 x 635 mm
Chobham Common, November 2010. C type print, 508 x 635 mm
Chobham Common, July, 2010. C type print, 508 x 635 mm
These works are from two ongoing photographic series depicting views into and from woodlands. They are part of wider practice-based research focussed upon making photographs as pictures that explore ideas of place.
Repeated visits to locations are made across different seasons to observe continuities and changes in the appearance of views. A large format field camera is used with available light to create effects of ordinary seeing and intensified stillness. Prints are made by hand directly from negative using darkroom processes to achieve detailed descriptive pictures that invite extend viewing.
The works describe distinctive topography and different natures that emerge from environmental processes where humans are not central to relations between living things. In connection, they form ways of seeing images of the natural world at a point of tension between distance and proximity, offering reflection upon how photographs picture place and construct ideas of place as pictures.
Computer programme: Sylvie Tissot
Sound design: Xavier Collet
Texts: Lionel Lemire
With the support of the Institut Français and the participation of DICRéAM
The starting point of the work is the Institut Français’ Hors les murs program residency. In 2015, I spent two months in the glacier Perito Moreno exploring different paths around the temporal experience: How to inhabit time? How to connect time in its duration in a context of permanent present? How to link the map and the territory, with experiments taking place both locally and global; planet as a theatre in real time and in 1:1 scale?
As a symbol of a double temporality, combining long-and short-term time in a natural ecosystem and massive scale, Perito Moreno holds within it several 21st-century themes around fascination, friction, contradiction and splitting: disrupted borders, climate change, our relationship to reality in the digital era.
Patagonia is a tourist site, represented on social networks, where people stage their meeting with nature. Those moments are captured by smartphones and tablets. They are then shared and commented, creating a sort of 2.0 nature where it is difficult to recognize scale, perceive time, the infinite.
During my residency in the glacier, I used the same devices as the tourists to document my work, with the intention to imagine an interactive experience. To design an environment, in a sensitive tension between landscape and territory, where everyone must negotiate its relationship with nature. To create a fragmented space that reassembles to form personal geographies, where the conversational image and the celebration of sharing renew the relationship to time and question the boundary between artists and amateurs, particularly in the digital space.
Sarva Mangalam! video (2018), 5’00”
Sound: Professor Tim Howle, University of Kent.
Moving Image: Dr. Nick Cope, RMIT University Vietnam.
The work extends a practice research collaboration that seeks to explore notions of what it means to compose with sound and moving image in works where the sonic and visual are treated as commensurate partners, leading to various publications on DVD and online audio-visual journals; and a number of papers, journal articles and a PhD addressing the working practices and research contexts of the collaborative output.
The title of the work is a Sanskrit phrase (“May all be well!”), which appears on many versions of prayer flags. Tibetans believe the prayers printed on the flags are blown on the wind, spreading goodwill and compassion to the pervading space and all beings wandering therein. This work extends notions of visual music and audio-visuality into new areas informed by sonic arts practices such as R. Murray Schafer’s ideas of ‘the Soundscape’, practices of field recording, soundwalks, acoustic ecology, and the ambient.
The work can be viewed online with further research contexts at:
https://nickcopefilm.com/sarva-mangalam-may-all-be-well/
Future City, video art combining virtual world and archive sources (17 August 2017), Tess Baxter: Tizzy Canucci in Second Life
Archive footage and a video made in a virtual world meet across time in urban spaces. The two were edited and overlaid so they would visibly mix and converse. One part is from Cica Ghost’s 2017 installation in Second Life, Future. The other is The City, a film made in 1939 about the future of the American city, now public domain and in the FDR Presidential Archive. Background music and voices from The City are remixed with work by a contemporary artist, The Fucked Up Beat, which also incorporates found audio.
The work is an example of Timothy J Welsh’s Mixed Realism. Virtual worlds are created from the imagination, but they are not imaginary. They include material, textures, ideas, and preconceptions that are imported from the ‘real’ world. We experience virtual worlds both from the inside, as avatars navigating the space, and from the outside, sensing them with our bodies through screen and speakers.
Standing Ground, HD video (2018), stereo sound, 27m, Richard O’Sullivan
Writing ‘The Ontology of the Photographic Image’ in 1945, André Bazin identified the essence of the photographic image (and, therefore, the moving image) in its physical, indexical relationship to the material environment, its formation in reaction to the light reflecting from the surfaces of the world. Bazin, of course, had in mind the analogue, photochemical image. Can we consider the digital image, captured by a light-sensitive chip, to be similarly defined by an indexical relationship to the material world? Does the digital image possess as ‘strong’ an indexical relationship to the physical world as the analogue image?
By bringing together analogue and digital images of the same location, Standing Ground is designed to juxtapose the two media in the area of indexicality. The work also considers whether the analogue is a more tactile and intuitive technology than the digital. It presents us with contrasting visual treatments of space, and a complex of interlocking ‘looks’.
Shore Variation, HD video (2018), 27’32’’
Durational Intervention: Julieanna Preston
Digital Project: Claudia Kappenberg
Shore Variations traces a durational, 3-day intervention of performance artist Julieanna Preston, as she moves with the tide and along the water’s edge at the base of the Chalk Cliffs of Birling Gap, UK. The body relates to the tidal space through an intensely physical, haptic and contemplative dialogue, with the intention of probing what can emerge at the confluence of material bodies.
Filming the process meant co-inhabiting the space, equally travelling towards and away from the cliffs. In response to the monumental landscape, a visual rhythm and steady pace emerged composed of three simple activities, looking out to sea, looking along the shore and looking back at the cliffs. Alternating between black and white and colour and offering parallel perspectives, the edit continues to foreground the act of looking and perceiving; the material conversation between body and site is thereby extended into a conversation between the real space and its mediation through images and sound.
The Hitchcock Papers, video (2017), 10’00’’, Tim Brown, Paul Dutnall
Music: Barry Adamson
A video essay paying homage to Alfred Hitchcock’s masterly use of the newspaper as action prop with an original score from Barry Adamson. ‘Where can you get movie stories that are better than today’s headlines?’ Hitchcock asked, and though very few of his films were directly inspired by newspaper stories, he made recurring use of the motif of the newspaper headline. Glimpsed on screen for a second or two, they play a key role in the narrative of many of his films. The Hitchcock Papers video is comprised of extracts from 35 of his feature films and is presented alongside two specially re-created newspaper front pages as seen on screen, the fictional made actual and produced in a form of Reconstructive Archaeology.
The Evening News, Re-created newspaper by Anna Deamer and Tim Brown
Young and Innocent UK 1947
Director: Alfred Hitchcock
Art Director: Alfred Junge
Evening Dispatch, Re-created newspaper by Anna Deamer and Tim Brown
The 39 Steps UK 1935
Director: Alfred Hitchcock
Art Director: Oscar Friedrich & Alfred Jullion
Selected Photographs 2010 – 2018, Fergus Heron
Cawdor, August, 2018. C type print, 305 x 243 mm
Chobham Common, January, 2011. C type print, 508 x 635 mm
Chobham Common, November 2010. C type print, 508 x 635 mm
Chobham Common, July, 2010. C type print, 508 x 635 mm
These works are from two ongoing photographic series depicting views into and from woodlands. They are part of wider practice-based research focussed upon making photographs as pictures that explore ideas of place.
Repeated visits to locations are made across different seasons to observe continuities and changes in the appearance of views. A large format field camera is used with available light to create effects of ordinary seeing and intensified stillness. Prints are made by hand directly from negative using darkroom processes to achieve detailed descriptive pictures that invite extend viewing.
The works describe distinctive topography and different natures that emerge from environmental processes where humans are not central to relations between living things. In connection, they form ways of seeing images of the natural world at a point of tension between distance and proximity, offering reflection upon how photographs picture place and construct ideas of place as pictures.
