Transitioning between heirloom mentalities is hard. Calista knows and isn't afraid to speak her mind about it! Every girl needs something colorful in her life and that's why impressions always stick best while wet. So the next time you're ready to uproot your sandcastle watercolors, just remember: nobodys gotcha back like dollys on the beast team. In fact, no East Coast Sisterhood (ECS) ever felt so good! So relax! Sit back and track the date.... cause this calender is about to get B.E.A.T. U.P.!!!!!!!!!!!
(Image sourced from Seventeen Gallery's exhibition "SCRATCH!")
I first discovered video artist George Barber's work via a review of his DVD BEYOND LANGUAGE on LUX by Ed Halter in Artforum last year. Associated with the Scratch Video movement, Barber's witty appropriation of mainstream movies and television as well as his fast-paced editing techniques resonated with many of the YouTube mash-ups I've seen, and his work was clearly pioneering for what has now become a fairly widespread approach. Today I will post up a number of Barber's videos, spanning the last few decades of his career.
A site-specific artwork that auto-generates films based upon narrative data collected from Facebook profiles. Using a combination of status updates, YouTube uploads and video portraits, the work looks at people in Barrow-in-Furness from a range of different perspectives, each one a form of surveillance.
The project uses status updates and demographic profiles, from Facebook users who live in Barrow, to automatically generate video narratives. Data from Facebook is combined with related footage from YouTube and selections from a database of video portraits to create one new video each day. The result is a dynamic snapshot of how we fit into the network of stories that we participate in every day. The videos evolve to keep pace with how we change, both individually and collectively.
In Harun Farocki’s latest work, Immersion (2009), at London’s Raven Row in its current show ‘Harun Farocki. Against What? Against Whom?’, a US soldier from the Iraq war, coaxed on by a therapist and aided by virtual simulation, relives the experience of a reconnaissance mission in which a mistake he committed led to his partner’s death. The film, as does much of Farocki’s astoundingly relevant and astute catalogue of film and media installation work, investigates overlaps between military and industrial production - here, the use of technology pioneered in the video game/entertainment industry to treat post-traumatic stress disorder - and, most importantly, the role of the image in this negotiation.
Farocki has been making films since the late 1960s and can be labelled a critical film-essayist - a broad category drawn to include other European filmmakers such as Straub-Huillet, Chris Marker, Alexander Kluge and Jean-Luc Godard, and, latterly, younger filmmakers such as Hito Steyerl, who were or are invested in film as a mode of political and economic critique, and whose films operate mainly through the montage of footage of different provenance and the collision of word and image. Farocki is perhaps unique among these peers for his insistent focus on the image in its historical and real-world relevance - that is, in aesthetic but also ethical terms - and as a changing site of technology. The intensity of his interest and the breadth of conclusions he draws became all the more clear throughout the course of London’s two concurrent retrospectives devoted to his work this past November. While Raven Row’s program, organised by the foundation’s director, Alex Sainsbury, focused on the multi-screen and installation work that Farocki began making in the mid-1990s, when he began showing in an art world context, Tate Modern hosted a program of his films from 1968 to 2009, curated by Stuart Comer, Antje Ehmann and the Otolith Group, which took an explicitly retrospective stance towards his work. (The majority of the films from this program are available on DVD at Raven Row.)
Chain of Hyper Space scenes from films (a collaboration with Mike Merrill).
Part of the thing which is so appealing about Hyper Space scenes in films is the idea that something fantastic and unknown lies at the end of them. In fact, here are the primary uses of Warp Speed/ Hyper Space as plot device:
A) Tunnel to unknown.
B) Escape from danger via total oblivion.
Both represent a kind of inversion, or temporary lifting, of the accepted order.