Still from Warm, Warm, Warm Spring Mouths 2013, HD video with 5.1 surround, 13'. Commissioned by Film and Video Umbrella and Jerwood Visual Arts.
Your video installation Us Dead Talk Love, currently on view at MoMA PS1, makes use of hi-def and surround-sound technologies. How do you approach these in your video installation process? How did you approach the installation specifically for Chisenhale?
It's predicated on immersion, I suppose. An attempt to address the body whole, rather than privilege sight, hearing. This might begin with a redressing of the balance between ocular and aural, and pan down to take in the whole wobbling form, up to some emotional affect – the surround sound penetrating, the visuals interrupting and shifting themselves between depths of field and vast cosmic spaces; infinitesimal motes of dust. These technologies are corporeal in their totalising address, which I see as dichotomous to the material reality of the technology – which seems to be dissipated or perhaps simply deferred to some desperate mine in some OTHER continent. The combined effect being one of possession – the work finding its home entirely within the body of the audience.
You've spoken of the tension between text or writing and filmic realization in your work before. How did this tension come into play during the production of your work in Us Dead Talk Love? Was it exacerbated or sublimated by your chosen technologies?
If I had to choose, I'd say sublimated – though I think that it's more straightforwardly performative. The one to and of the other. New media as a home for these things. Whether that's somewhat apologetic for the a failure of these things to stand alone is moot, I hope.
You've mentioned before your exposure to Hollis Frampton. What influence did Frampton have on ...