Flatness: an interview with Shama Khanna

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 Robert M. Ochshorn, Chewing Time (2013)

What were the initial intentions of the Flatness project, and how would you say those first iterations have reshaped your ongoing research, as well as future curatorial projects?

The project began as the theme of a film program I curated for Kurzfilmtage Oberhausen 2013 entitled "Flatness: cinema after the internet." I'd invited Oliver Laric, Anthea Hamilton and Ed Atkins to curate screenings within the program before I came up with the title, so the idea emerged through thinking about their work, and the other forty videos within the overall program. While Laric, Hamilton and Atkins each occupy very different positions – broadly, Laric's practice engages with the circulation of images throughout history and now on the web, Hamilton's sculptural and video works draw on the convergence of cultural materials within the compressed, hyper-historical space of the screen-based image and Atkins's filmmaking reflects on the thinness of high definition image surface – their work points to a shared language of the screen inherited from cinema and TV and now evolves through the dialogic space of the internet. I was conscious, too, that most of the works weren’t intended to be seen in the cinema - they were made either to be installed in the gallery or viewed on the computer (many of the works appeared in low-resolution so the image looked spectacularly flat!) - so I wanted to draw attention to the particularities of the auditorium setting and its linear format. Once the festival was over it made sense to put all the programs online, not only so a broader audience could engage with them, but also because several works I'd selected had originated there in the first place. Computer researcher Robert M. Ochshorn's commission, Chewing (2013), for instance, where all the frames of John Smiths' Girl Chewing Gum (1976) are played simultaneously in a specially programmed viewer, was only temporarily made into a video for presentation at Oberhausen, otherwise it exists as an interactive player. My intention was that the website could be a place where Ochshorn's sense of invention could be appreciated in the same space as the visual, audio-visual and written commissions. The web has become a site for artistic production and display but the tools programmers have access to, which set the protocols for this medium, mustn’t be overlooked both politically and artistically.

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