Artists Exhibiting in ArtSway’s Gallery 2:
Film/Video and Music:
Ranulph & Severi Glanville, Generator, 2002, 15mins 30secs
Generator, a sound piece with video, is a collaboration between Ranulph Glanville and his son, Severi. Those who have listened and watched it say it is powerfully moving. The sound from which the piece is made was found in the corridor of the Europa Hotel in Prague. Having only a video camera, it was recorded on that, with (therefore) an incidental video track. This information was digitised and the visual material was stabilised and colour corrected.
The sound and video tracks have some special features that are the contribution of the camera to the piece. The sound of the tape snagging on the reel can be heard and the difficulty of the camera focusing is used as a key part of the work. The piece has been edited and the sound extensively processed and enhanced digitally. However, this processing has left the work with a distinctly analogue feel, complete with clicks and crackles, and is in 5 sections: an image and soundless first section, three main sections, and credits. There is no development, and the piece tells no story, nor is it symbolic. It is just what it is. The sound is also without (classical) form and development. The piece was developed from the sound, although the visual material was finalised first.
Ranulph & Severi Glanville Biography
This is the first film made by Ranulph and Severi Glanville working together. Ranulph Glanville was active in electronic music and performance in the 1960s, since when he has been at the forefront of research in cybernetics, especially second-order cybernetics. He has earned his living teaching architecture and design. Generator represents his return to the use of electronic media for artistic purposes. He lives in Portsmouth, UK and commutes to a professorship in Melbourne, Australia.
Severi Glanville works in digital post-production and as an inferno artist at Digital Film Finland, in Helsinki, where he lives. He also designs, installs and operates light environments and is an occasional DJ.
Andrew Brand, Wires and Bows, 2008, 2mins 36secs
Wires and Bows is an experimental animation comparing the movements of telegraph wires from a moving train with the music of violins.
Andrew Brand Biography
Andrew Brand completed a degree in Fine Art, specialising in video installations before moving into film and video work. His films become visually engulfed by the atmosphere of the landscapes they are set in, with the landscape itself becoming a character within the work. www.andrewbrand.co.uk
Anahita Hekmat, Apparition V, 2008, 2mins 59secs
Apparition V features a little boy struggling to climb a toboggan. His disrupted upward movement is treated in the same way as the child-like sounds that affect the music, by Schubert, heard playing in the background. Typology is made of personal rituals that children are performing as a metaphor of the learning process.
Anahita Hekmat Biography
Anahita Hekmat is an Iranian new media artist. She is a member of the group of research and Innovation at the National School of Decorative Arts in the field of interactive installations. She works both solo and in collaboration with other specialists to create Multidisciplinary Multimedia experiences.
Pete Gomes, I Am Not Afraid, 2004, 3mins 20secs
With kind permission from his estate, Pete Gomes was given the opportunity to work with any piece of music from the vast back catalogue of Luciano Berio’s music. Stumbling across a second hand vinyl copy of experimental 1960s music ‘Momenti’ Gomes selected one small section from the composition to work with.
Filmed on a very fast 800ASA Super 8 negative film, Gomes utilized re-filming of hand drawn and coloured animated sequences, which involved removal and manipulation of film emulsion. This 8mm sequence was projected and re-filmed in his studio, using his favoured Sankyo 620XL Supertronic camera. This camera has extensive intervalometers that with additional in camera effects, time-lapse.
Stereo is used extensively, as part of Berio’s composition and the images are synchronised to both the left and right ear. The editing was a tackled in two distinct sections. Berio’s composition separates the left audio and the right audio channel with completely different sounds happening in each ear. Gomes’ editing process worked with only one audio channel at a time, editing precisely to the rhythm of each sound, and attempting to mimic the subtle movement in the music. The process was then repeated with the other audio channel. The film pays homage to the “Film Excercises 1-5” by John and James Whitney, and the work of Jordan Belson. The title is a quote from Berio’s last interview in 2003, which was a requirement of the commission. It is intended not to have a closing quotation mark in the title as the full quote is closed as the end of the film.
“I am not afraid… there are deep solid roots in what we do which cannot be changed or destroyed.”
Luciano Berio 2003
Pete Gomes Biography
Pete Gomes is a Film Director and Artist working across all forms of moving image and electronic media. He has collaborated extensively including: Shobana Jeyasingh, Michael Nyman, Errollyn Wallen, Scanner and Throbbing Gristle. His works have been shown across Europe, India, Russia, Tasmania, Iceland, South America and USA, including: Tate Modern, Tate Britain, Institute of Contemporary Art, Whitechapel Gallery, Architecture Foundation, Gimpel Fils, Barcelona Centre for Contemporary Culture, Stedelijk Museum, Vienna Museum of Contemporary Art, Leeds International Film Festival, Sonar and others. ‘Round 10’ his recent 4Dance film commission for Channel 4 screens later this year. He is currently working on his first feature film. His work can be found at www.mutantfilm.com
Jen-Kuang Chang, Drishti II, 2008, 4mins 25secs
Drishti II, a term describing the visions one experiences during meditative states, is the second instalment in the series realized in 2007. Both sampled and computer-generated sounds are incorporated in order to achieve the intended variety of sonic landscapes to match the vivid, but delicate visualization. By presenting this composition, the composer invites the listener to actively contemplate one’s Self and the interaction between Self and the immediate surroundings that might be fallacious and misleading to one’s true understanding of inner divinity.
Jen-Kuang Chang Biography
Jen-Kuang Chang, a native of Taiwan, is the recipient of the Music Omi International Musicians Residency Award, the First Prize winner of the Yorgos Foudoulis Composition Competition in the orchestral ensemble category and the Second Prize winner in the music technology category, the CLIC Foundation Digital Art International Contest Award, and the Second Prize winner of the JIMS International Composition Contest for Improvised Chamber Music “Stadtpfeifer” in Salzburg. His music has been featured in Spark Festival, FEMF17 Festival, EMM Festival, SMart Multimedia Art Festival, Transhift08 Festival, SCI Region VI Conference, Electroacoustic Juke Joint Festival, Symposium for Arts and Technology, Summer Studies for Jazz & Improvised Music Salzburg, Sonoimágenes Festival, Expo Brighton 2008, ElectroMediaWorks ’08, FONLAD’08 Festival, Signal and Noise Festival, Australasian Computer Music Conference 2008, FILE Electronic Language International Festival 2008 in Sao Paulo, and ASTAS ROMAS 404 Festival in Trieste.
Alison Ballard, Video, 2008, 1min
A (very) short experimental animation inspired by early experimental film. Abstract and intangible with a low-fi approach to a hi-tech medium, Video focuses on the relationship between image and sound, each influencing the creation and development of the other.
Alison Ballard Biography:
Alison Ballard is an artist working across disciplines to create works that examine our physical relationship with sound. She explores the effect upon the listener and looks at ways that sound can be given physical form as spaces, objects and imagery. www.alisonballard.com
Paul B. Davis, Compression Study 3, 2008, 2mins 49
Paul B. Davis’ works manipulate a compression codec used to play back video on contemporary computers that are orders of magnitude more ‘powerful’ than the Nintendos he often uses. However the fundamental approach stays the same: the conscious corruption of data, the releasing of bits from their imprisonment within the restrictive, limiting boundaries of corporate software applications. In this case it is Microsoft’s MPEG-4 format that is both the target and source for exploration into something that Davis calls “compression aesthetics”. The MPEG-4 video differs from the Nintendo video in that it lacks the ecological argument of re-using outdated hardware, but it still carries the message that untapped aesthetic potential exists in everyday gear (software in this case) that is meant to be inaccessible. For Davis the nature of computing machines dictates that inaccessibility never truly exists, and that he can download numerous videos from the Internet to use as source material.
Paul B Davis Biography
Paul B. Davis was born in 1977 and lives and works in London, UK. A founder of Beige Records and the BEIGE Programming Ensemble, in the late 1990s Paul pioneered the use of hacked Nintendo Entertainment System cartridges as an artistic medium and created BEIGE’s first Nintendo artworks. His Nintendo work was premiered in 2000, and both solo and collaborative works have been shown at the Whitney Museum of Modern Art, Whitechapel Gallery, Witte de With [Rotterdam], TEAM [NY], and Lothringer 13 [Munich]. BEIGE members have subsequently used hacked N.E.S. systems to create a distinct body of work that has been shown internationally. Paul created The BEIGE World Cassette Jockey Championships, and performing as “DJ Spin-Laden” is the only DJ to ever get thrown off stage at the Technics/DMC World DJ Championships. Recent projects include solo exhibitions at Seventeen [London] and Bruna Soletti [Milan], performing music and wizardy in a duo with DJ LeDeuce [Thrill Jockey] known as The Potions, co-founding Chicago performance venue Camp Gay, and producing beats for some of the biggest names in the London “grime” music scene. Davis currently lectures at Goldsmiths College and the Royal College of Art in London and working on his PhD.
Rachel Cattle & Steve Richards, Same Old Scene, 2007, 7mins
Growing out of conversations about memory of film and music, Same Old Scene is a collection of pivotal moments and distilled elements recollected from Hollywood romantic films. The film references Westerns and popular music and conjures an abstract world of possible starting points and alternate storylines. The film uses hand drawn cardboard sets and a hand-held, low-fi aesthetic and comes with an accompanying publication in the form of a drawn ‘comic book’ containing ideas and philosophical statements.
Rachel Cattle & Steve Richards Biography
Richards and Cattle both live and work in London and have collaborated on projects together over the past five years. Their films and publications to date include The Cardboard Films, Same Old Scene and Out Of The Dark and Into The Night.
They had a solo show at Transition Gallery, London in 2007 and are showing in the following group shows in 2008: Purescreen, Castlefield Gallery, Manchester; LDYFF; Whitstable Biennial; Persistence of Vision?, Phoenix Arts, Leicester; Closer, Wolstenholme Projects, Liverpool; Publish And Be Damned, Rochelle School, London. Rachel Cattle has also had solo drawing shows at The Centre For Recent Drawing, London in 2007 and with The City Gallery, offsite, Leicester in 2008.
Flow Motion, The Invisible Workshop, 2007, 14mins
The Invisible Workshop is a sound piece that comes from a body of work inspired by the discovery in astronomy that most of our universe is invisible and dominated by dark energy, an invisible force responsible for speeding up the expansion of the universe. Flow Motion explore connections between the invisible universe, sonic culture, and the creative imagination.
Flow Motion see darkness as precondition of knowledge – of space and self which also finds precedent in cinema: darkness remains the precondition of the cinematic experience and the optimum condition for cinematic pleasure. The artists worked with a series of students on darkness and invisibility in narrative and non-narrative cinema, video and sound art. This work is the result of those classes and workshops
Flow Motion Biography
Flow Motion is electronic musicians and artists Anna Piva and Edward George. They produce multimedia installations and sound art performances. As Hallucinator, they record for Berlin’s experimental electronic label Chain Reaction. Their work has been shown at the Barcelona Museum of Contemporary Art, the Pompidou Centre, Paris, the International Institute of Visual Art, the Science Museum’s Dana Centre in London; the Steirischer Herbst Arts Festival in Austria, Star City’s historic Cosmonaut’s Club and Sadlers Wells’ Lilian Baylis Theatre as part of Arts Catalyst Artists and Cosmonauts season. Flow Motion’s most recent project is Invisible, the second of a three-part multi media art & science project, which was installed at the observatories at Institute of Astronomy, Cambridge University, and performed at the Bernie Grant Arts Centre, London, and the Science Museum Dana Centre in 2007.
Artists Exhibiting in ArtSway’s Gallery 2:
Steve Hines, Untitled (Clowns), 2007, 1mins 50secs
At first the image is indiscernible. We immediately hear the cheerful sound of a mobile ‘phone ring-tone. Seconds later a toy clown appears in the background of the image, slowly circling his way around to the foreground in an almost stuttering apparition-like fashion, to confront the viewer before disappearing off screen (stage). The ringing telephone continues. There is a sense of strained repetition, a frustrated call, an inability to answer – to communicate. The sad expression on the face of the clown confirms this disconnection with a symbol of popular contemporary culture. He has nowhere to go except around and around without hope of an exit and with a pained inevitability. Two opposing symbols: one happy; one sad: one contemporary; one of bygone days perhaps. This somewhat surreal film and its unlikely, ill-matched, elements alludes to a growing, yet latent alienation experienced by some, yet welcomed by a great many.
Steve Hines Biography
Steve Hines was born in Nottingham in 1963. From a background in the commercial printing industry he returned to full-time education at the University of Sunderland, graduating in 1998 with a First Class Honours Degree in Photography, Video & Digital Imaging. Hines has exhibited his work regularly and widely, including participation in several international video festivals. In 2006 he successfully completed a Masters Degree in Fine Art at Central Saint Martins, London. He lives and works in London.
Michael Fortune, Terminal Communication, 2007, 2mins 53secs
Terminal Communication is a fixed-frame video work that shows the actions of drivers as they approach a badly signed junction leading into Rosslare Harbour ferry port, in Co. Wexford, Ireland. Filmed from a vantage point overlooking the junction, the camera captures incidents that local people claim are an everyday occurrence.
Michael Fortune, Bingo, 2007, 2mins 37secs
Bingo documents the unusual social event of a ‘Drive-in-Bingo’ that is held weekly in the village of Ballymitty in rural Co. Wexford, Ireland. The ‘Drive-in-Bingo’ developed after the introduction of the smoking ban in Ireland and it allows participants to partake in the game whilst smoking in their car. Although comedic there is an underlying sadness to the spectacle as the social element of bingo has retreated to the solitary confines of the car.
Michael Fortune Biography
Michael Fortune is an Irish artist whose work spans the formats of video and photography. His work explores the circumstantial boundaries between of art and culture, folklore and interpretation and fact and fiction. Through a variety of techniques and approaches, Fortune uses the camera as a tool to decode and re-code everyday folklores and rituals, and by doing so exposes the areas where boundaries over-lap and collide. Fortune’s practice revolves around the collection of material. His video works are not scripted or storyboarded, instead he generates material out of the relationships and experiences he develops with the people and circumstances he encounters.
Jeannie Driver, Spike It (2) – Office Investigation, 2007, 18mins 03secs
In 2007 Jeannie Driver received funding from Arts Council England South East to develop the spike it project. This project locates 6ft spike files in offices to explore traffic and flow of work, paper and waste. The work creates stratified sculptures of office activity together with, CCTV monitoring of the spike and filmed interviews with office workers on issues of paper and office culture. spike it aims to slow down time, focus on the ordinary to inform, provoke, challenge, enhance, connect and entertain.
This is one of a series of works emulating from ‘Office Investigations’ residencies where spike it (2) is placed in an office environment. Workers were interviewed on issues relating and emulating from the experience of having a spike it in their office. This is an edited video from those interviews and the CCTV monitoring.
Jeannie Driver Biography
Jeannie Driver (formerly Kerswell) is an artist who uses media arts tools to enhance her work around public engagement and participation. Graduating with a MA Distinction in 1999 Driver has continued to develop her work through collaborations, commissions, residencies and studio practice. Driver produces work that she terms as ‘participative art’ or ‘contributory’. Central to her practice is the involvement of people in the production stage of the work. She uses a variety of strategies to create situations and catalysts that encourage a re-examination of everyday life issues and common experiences. The resulting practice aims to raise thought, dialogue and debate with a view to incrementally effect change while presenting collective and individual perspectives as a larger artwork and social commentary. Through this approach Driver renegotiates audiences to contributors of the work and extends her ongoing interest in the role of artist, art and audience. Currently her practice examines the implications of behaviour and systems in the workplace.
Keyvan Gharaee Nezhad, David Kendall & Marina Loeb, Big Bus Tour, 2008, 2mins 40secs
The city of Dubai offers the tourist the opportunity to consume urban space. Is the tourist directed and trapped by this space? For example: the tour bus is a familiar sight within cities, the bus allows the visitor to visually access the city. This form of transport directs the viewer to certain destinations designated as sites to be consumed. Asking ‘questions’ disrupts existing narratives, social frameworks and spatial events. The generation of subtle performances and interventions lead us to subvert and recompose notions of the ‘interview’. Highlighting social and spatial divisions between ‘migrant labour construction workers’ and ‘tourists’ in Dubai.“
Keyvan Gharaee Nezhad lives and works in Shiraz, Iran. He received his bachelor’s degree in Architecture from Azad University of Shiraz and masters of architecture from Shiraz School of Art & Architecture. Since 2006 he has taught and assisted of a range of projects at the Hafez School of Art & Architecture. Current research interests include the spatial study of how architecture and urban spaces can create ‘fantasy’ and ‘disaster’ simultaneously.
David Bickerstaff, Pripyat: City of the Future, 2006, 9mins
The city of Pripyat is built next to the Chernobyl Nuclear Power Plant, which exploded in 1986, sending a radioactive cloud over Belarus and northern Ukraine. The danger was kept a secret from the population of Pripyat, who continued to go about their business as usual as the disaster unfolded. In Bickerstaff’s film children play outside, shops are trading and the residents wonder about the fire raging at the reactor. After three days, the 50,000 inhabitants of Pripyat were eventually evacuated – displaced, damaged, and never to return. Pripyat still remains empty today, a ghostly monument to the devastation caused by nuclear accidents and the loss of a promised future.
David Bickerstaff Biography
Born in Australia, David Bickerstaff studied fine art (painting), and since moving to the UK in 1989, has been working with time-based media. His CD-ROMs and video works such as ‘Channel 14’, ‘ Muhammad Speaks’, ‘Forró’, ‘Braunschweig Tourist’, and ‘Heavy Water: a film for Chernobyl’ have been shown both in Britain and internationally. He has won various awards for his projects including an Insight Award for Excellence from the National Association of Film and Digital Media Artists in the United States and was a member of the 2004 BAFTA judging panel for Interactive Art. David’s video and immersive works have been selected for various festivals including onedotzero (London and world tour), Sonar (Spain), Champ Libre (Montreal), FILE (Sao Paulo), with recent screenings at Tate Modern, Festival International du Film sur L’Art, Montreal and the documentary fortnight at the Museum of Modern Art, New York. www.atomictv.com
Thomson & Craighead, Flat Earth, 2007, 7mins 7secs
Flat Earth is a desktop documentary, which takes the viewer on a seven-minute trip around the world so that we encounter a series of fragments taken from real peoples’ blogs. These fragments are knitted together to form a kind of story or singular narrative.
The visual effect is not unlike that of Google Earth, although significantly here, nearly all of the visual material for Flat Earth is taken from satellite imagery freely available on the web. This is with the exception of the close-up imagery from outside the US, which had to be paid for for non-commercial use and a series of images taken from Flickr under Creative Commons attribution license. Flat Earth is an Animate Projects commission with Arts Council England and Channel Four Television. Animatics work is by Cavan Convery, with additional script assistance from Steve Rushton.
Thomson & Craighead Biographies
Jon Thomson (b. 1969) and Alison Craighead (b. 1971) make artworks that look at how global communications systems like the worldwide web are changing the way we understand the world around us. They both live and work in London and have exhibited widely in Europe and North America. Recent exhibitions include: The New Normal, Artists Space, New York; BEACON, BFI Southbank, London; Feedback, Laboral Art Centre, Gijon, Spain; The New Museum, New York; Stroom Den Haag; San Jose Museum of Art, California; Tate Britain, London and San Francisco Museum of Modern Art.
Gair Dunlop, Simulator, 2007, 6mins
An institutional half-life persisted at RAF Coltishall after the airfield closure in March 2006. Third World War, Middle East invasion, and Balkans crises continued to take place on a regular basis in a nondescript industrial building on the site. Once cutting-edge technology, the last Jaguar flight simulator in the world was approaching its endgame. Pilots drove there from RAF Coningsby in Lincolnshire for training. Unhappy with the move, and conscious of the imminent disappearance of their aircraft from service, pilots still insisted on ‘flying’ from Coltishall. Dressed in full nuclear/chemical suits, they sweated their way through engine failures, missile attack, refueling scenarios, and attack runs. Carefree about airfield safety, pilots would careen across the “grass,” squeeze through impossible gaps between buildings, and fly through as many suspension bridges as possible on their way to ‘War.’ Outside, as the base neared closure, structures were uprooted, signs taken down, and more buildings were sealed. The virtual Coltishall of the simulator increasingly became more ‘functional’ and homely than the real one.
Gair Dunlop Biography
Gair Dunlop makes artworks that explore entropic Modernism: the New Town, the military airfield, the film archive and the memory of progress. Beginning as a photographer in London, he gained a degree in photography from the Polytechnic of Central London, and now has an MSc with distinction in Electronic Imaging from Duncan of Jordanstone College, Dundee. He is interested in combining elements of site-specific practice with digital technologies. Often collaborating with Dan Norton (Ablab), the works investigate and play with different eras of discovery and propaganda. We work together on projects, which blend archive, contemporary, and absurdist visions of technology and entropy. www.gairspace.org.uk
Kevin Logan, Recitation, 2007, 4mins 29secs
Recitation is an audiovisual piece examining oral traditions and their relationship with text based information and belief systems, in particular religious texts. It incorporates hand made and computer generated text/graphics and footage capture by a mobile phone camera. The work was inspired by and utilises a poem by Jarmain Patrick, which was performed during a development week, which brought together visual, spoken word, and audio artists. This development week led to a number of short films commissioned by B3.Media, Brixton, London for the identities. TV project.
Kevin Logan Biography
Kevin Logan graduated with a degree in Fine Art from Liverpool John Moores University in 1993. He worked in the North West of England as an installation/scenic artist and in 1999 gained an MA in Interactive Media Design and Production from LJMU. Following his post graduate study he began to concentrate on audio art and sound design for short films, which have screened in competition at Edinburgh International Film Festival 2003, Rotterdam International Film Festival 2004 and led to gaining a place at the 2nd Berlinale Talent Campus 2004, Berlin. In 2007 he took part in a development week that brought together visual, spoken word, and audio artists. This development week led to the commissioning of ‘Recitation’ by B3.Media, Brixton for the identities.tv project. Recitation has since been screened at: Amsterdam Film Experience Festival 2007 and Transmediale ’08, Berlin. He has recently had a video piece included in the exhibition ‘Surveillance’ at South Hill Park Digital Media Centre, and sonic works in the Velocity Festival, UK.
Nina Sverdvik, My Father’s Car, (2008), 4mins 1 sec
My Father’s Car is a poetic meditation investigating the emotional space between imaginary and real experiences. Focusing on a young man and a middle-aged man, it is about a journey from the past and a sea crossing from known to unfamiliar territory. However the journey experienced by the audience has no specific beginning or end: the films’ narrative is driven by memories and the timeline is therefore not chronological. There is no dialogue, yet a fragmented story is narrated alongside the visuals on the screen. This is in response to how memories manifest themselves in day-to-day experiences.
My Father’s Car is about an experience or a state of mind rather than a specific event or person. It is about the psychological impact of a journey that due to its monotonous and slow nature sometimes forces us to remember and reflect. This project is funded by Arts Council England, Film and Video Umbrella, The Norwegian Embassy and Southampton Solent University.
Nina Sverdvik Biography
Nina Sverdvik is an artist born in Oslo in 1975. She is currently based in Southampton. Following postgraduate studies at the Royal College of Art London, and undergraduate studies in Edinburgh and the University of Oslo. Her work has been exhibited internationally; notably Go to the Gallery, organised by Platform for Art for the London Underground, and the Schweppes Portrait Prize at the National Portrait Gallery London. In 2007 she had a solo exhibition ‘Proportional Reality’ in Oslo and has been working in conjunction with Film and Video Umbrella London, Arts Council England and Norwegian Embassy on further developing her recent film work.
Amanda Loomes, Putting things right, 2008, 2mins
Frederick Heelas and the piano, co-stars in Loomes’ film, are both over 90 years old. By combining and manipulating their stories Putting things right considers what it is to be out of tune.
Amanda Loomes Biography
Amanda Loomes (b.1967 in Yorkshire) studied at Chelsea College of Art (2000-04) and the Royal College of Art (2004-06). Prizes include the mini green documentary award at Sheffield Doc/Fest, 2007 and the Neville Burston Memorial Award, 2006. She was short listed for Bloomberg New Contemporaries in 2006 and 2007. Selected recent exhibitions include Breathing Space: In response to 1, Chiltern Street, London (2008), What goes up must come down at Madam Lilies, London (2008), art@work at Clyde and Co, Guildford (2007), The Free Art Fair, London, 2007, The End of the Pier International Film Festival, 2007 and Arcade at the Portman Estate, London, 2006. She lives and works in the South East. www.amandaloomes.net
Parallel Paradises – Japan, 2006, 4mins
Rin and Mai are two dancers of parapara, a disco dance trend popular in Japan. Their perfectly synchronized movements have a very precise pace and protocol, like they were speaking an unknown language. They perform in a forest where their figure and attitude is heterogeneous to the organic movement the nature around them; both words exist complete in the same space but do not touch each other.
Parallel Paradises – Ecuador, 2007, 8mins
The interaction between the lama, who belongs to the land of moors, with the supermarket is perturbing. She wanders lost in the codified landscape, free of any understanding of what humans have put there. In the video foreground and background belong to different universes.
Manuel Saiz Biography
Manuel Saiz is a London based visual artist. Since the middle eighties he has been showing sculptures, photographic prints and videos in art galleries and museums worldwide. Since 1995 he works mainly in video and video installations. His productions have been shown in many art film and video festivals such as Impakt (Utrecht), VideoLisboa (Lisbon), Videoex (Zurich), Int. Kurz Film Fest. (Hamburg), Transmediale (Berlin). His video installations have been shown in commercial galleries and public spaces worldwide. Recent shows include Parallel Universes at Moriarty Gallery (Madrid), Nominal Politics at T1+2 Space (London) and the group shows East End Academy at Whitechapel (London) and Save the Day at Kunstbuero (Vienna). Specialized Technicians Required: Being Luis Porcar received the first prize in the main competition of the Internationale Kurzfilmtage Winterthur. As a founder member of TheVideoArtFoundation in 2003 he directed 25hrs (www.25hrs.org), a screening showing a selection of 300 international video art works that made up a complete panorama of video art creation since 1990. Other recent projects include videoDictionary (www.videodictionary.org) and Art Summer University (www.artsummeruniversity.com) Tate Modern, September 2007. More information at www.saiz.co.uk
John Davis, What for What, 2008, 9mins
Color and black and white Super 8 film supplements the death chamber audio recording of the US state of Georgia’s 1984-botched execution of Alpha Otis O’Daniel Stevens. Questioning the notion that two wrongs do not make a right, this film interprets the final minutes of a condemned man’s existence in order to encourage continued debate over the practice of capital punishment in contemporary society.
John Davis Biography
John Davis is an artist and teacher living in Northern California. His artwork follows investigations into social and political issues, complimented by an aesthetic rooted in experimentation, improvisation, and chance. His artwork exhibits internationally, previously at Transmediale in Berlin, Videoex in Zurich, and the Impakt Festival in Utrecht, as well as extensively throughout the US. His sound works originated from a desire to supplement his film and video works with original music, and has become an integral part of his artistic process. John has recorded music for the Root Strata label in San Francisco, and has upcoming releases on the Students of Decay label in Cincinnati, Ohio, and Digitalis Ltd. in Tulsa, Oklahoma. John has a BS in Anthropology from Loyola University in Chicago, and an MFA from the San Francisco Art Institute. www.noiseforlight.com