Copy Past / Timeshift (Marseille) (2016)
Commissioned by Les Ateliers de l’Image
La Nuit de l’Instant 2016
Rue de la Republiqie, Marseille 10/05/2016
Self-timer Photographs, Where I Had Ten Seconds to Hide Myself in the Picture
‘In this project I challenged myself. I set the self-timer on 10 sec and during that time I had to hide somewhere in the photographed scene. Then I discarded all the pictures in which there were clues of my presence. Hiding places are chosen to be more and more difficult so the photographing act becomes physically demanding. I use this narration for sequencing the chosen pictures’.
In the darkness of a cinema space, the audience sits blindfolded. Behind each row of audience members is a row of children who in hushed voices describe a film only they can see. Accompanied by the soundtrack (which has no dialogue), the whispered descriptions are a fragile, fragmentary and at times struggling but courageous attempt by the children to make sense of what they see projected on the screen.
“How do we speak about sound? Last winter I was wondering what vocabulary I use to describe it. Besides, I was thinking about how what we say or tell is often a misinterpretation, even when it comes to recognizing one’s own feelings.
I wondered if listening to my heart beat, regularly, over a period of time, keeping notes of what I hear, might bring up something I wouldn’t have been able to admit or recognize myself.
Using a stethoscope, I listened to my heart over seven days, three times a day, for five minutes each time. I was surprised to find out that a relationship had developed with this internal organ. Later it became clear that a book is also a body – it has a spine, a paper-skin surface to come in contact with, and it reveals its content gradually”.
“Like many other film works made by British artists in the 1970’s, ‘The Girl Chewing Gum’ was made in ideological opposition to mainstream cinema. A primary aim of the film was to undermine its inherent illusionism, drawing attention to its own artifice (rather than the conventional practice of attempting to disguise it). The film draws attention to the cinematic apparatus by denying its existence, treating representation as an absolute reality in its own right. It achieves this by using a voice-over to subvert the reading of the image, marking the beginnings of my ongoing love/hate relationship with the power of the word.”
John Smith, 2007
The film is published with permission of the artist.
A cross-contamination in commemoration of Algerians drowned in the Seine.Over successive visits I surreptitiously collected water from the public swimming pool.
I collected a similar amount of river-water from the Seine.
I subsequently deposited the water from the river into the swimming pool (over successive visits), and then poured the swimming pool water into the Seine
The series Entities of Dutch artist Ties ten Bosch consists of colour changes on the wall.
The image plays with the memory of an image; the aura and emptiness that it leaves behind, both physically as morally. The two versions in the image shown here are based upon works that have been stolen. The left one is a composition in white and red by Piet Mondriaan, stolen in 2012. The one in the right is based upon the Mona Lisa which was stolen in 1911.
by Chrs Galarreta & Janneke van der Putten
Invisible Architecture explores the acoustic architecture of a tower through its surrounding sounds, subtle acoustic phenomena and the human voice. Resonances and reverberations are emphasized and prolonged through vocal interaction with sound space and not-conventional different microphone techniques.
In this project Galarreta & van der Putten want to make the acoustic reflections audible, more than the direct source that generate it. The frequencies, amplitude, modulation of sound textures, as well as the breathing voice rhythm, the position of the microphones and its types, are responding to the qualities of the chosen site and its acoustic characteristics.
This work was made this winter 2013-14 in the tower of the Centre International d’art et du paysage, Ile de Vassivière, France and was supported by the Mondriaan Fund.
The album Invisible Architecture