yes, Marlon, this is very interestiong, as your own observations, and the description of "Mother & Father", indeed broaden the framework, and here I think it might be worth having a longer discussion, right here on our list, on the implications of this. When you speak of : >> "dance" becomes a metaphor for composing with time based coordinated behavioral changes and repetitions (mediated, live or experienced) within a bounded cognitive framing ( that includes recognition and training/memory). The constant re-framing and awareness of the performative context in which the moving image appears.........>> ...i am thinking of real-time mixing and of work with databases that allows this kind of "play" or dance with overlayed samples and repetitions and loops, or (in the context of clubs and installations) of the now well familiar construction of "mix tapes" and remixes, in this case of found (and altered) objects. This indeed points in other directions, away from "dancevideo" or dance on camera, dance for the camera, as such re-mix from databases is not a dance for camera. In this (musical) context, it might be interesting to look at issues not only of rhythm (I am refering to DJ Spooky's 'Rhythm Science' and the way he speaks of mixing and remixing in contemporary digital culture), but also at whether such rhythms indeed work best with well known icons or recognizable "beats" (filmic, musical) that evoke or provoke memory. What cultural memory, whose memory? and how is memory encoded in such "clips" or scratched "originals", and who recognizes, hears, sees and places the references in what manner..? What possible critical potential does the scratching have? This question came to my mind, not having seen Candice Breitz's work which, as you say, references madonna and michael jackson, but having seen DJ Spooky's "Rebirth of a Nation" at Houston's Contemporary Arts Museum (exhibit: "Double Consciousness: Black Conceptual Art Since 1970," January 22 - April 17, 2005") which mixes DW Griffiths' "Birth of a Nation" with a dancer (Alvin Ailey company?) and a dance i could not quite place inside the cognitive framing of the looped samples of the Klansmen riding, to the weirdest elevator music, actually. Yes, there was constant re-framing. The Klansmen looked mesmerizing. But what are the "performative contexts" in which the moving images appear? can you elaborate on this, in regard to your comment on Breitz: ...........<<They feature synchronized videos in which the artist has blacked-out everything but individual actors and edited iconic performances (e.g., Faye Dunaway in Mommie Dearest or Meryl Streep and Dustin Hoffman in Kramer vs. Kramer) into a kind of sample/scratch version of the original "texts.>>>> what happens when the context is blacked out? regards Johannes Birringer www.digitalcultures.org -----Original Message----- From: dance-tech-bounce@xxxxxxxxxxxxx on behalf of Marlon Barrios-Solano Sent: Sun 10/23/2005 12:11 AM To: dance-tech@xxxxxxxxxxxxx Subject: [dance-tech] Re: Candice Breitz Hello all, Thank you Johannes for your posting and comments about what you saw last night. I just came back from an afternoon of gallery -strolling in Chelsea/ NYC. I appretiated and enjoyed different kinds of work but I think it deserves to be mentioned the work of Candice Breitz that is described after this. It was incredibly fun and clever with mesmerizing juxtapositions, mixing and sequencing of film clips and fans impersonating madonna and m . Jackson. Her compositional approach and playfull appropriations ( I think) that offers a broad perspective for our categories of video-dance (dance as we know it-on video). In that sense "dance" becomes a metaphor for composing with time based coordinated behavioral changes and repatitions (mediated, live or experienced) within a bounded cognitive framing ( that includes recognition and training/memory). The constant re-framing and awareness of the performative context in which the moving image appears became a conceptual layer that was always present as a reminder of her kniowlwedge of the visitor's mythologies (icons and dancing/performimg the other as incorporation). Anyhow, check it out if you have the chance, Be well, Marlon Candice Breitz SONNABEND GALLERY 536 West 22nd Street September 17-October 29 Candice Breitz's video installation Mother + Father, 2005, which was shown at the recent Venice Biennale, consists of two adjacent rooms, each with six monitors. They feature synchronized videos in which the artist has blacked-out everything but individual actors and edited iconic performances (e.g., Faye Dunaway in Mommie Dearest or Meryl Streep and Dustin Hoffman in Kramer vs. Kramer) into a kind of sample/scratch version of the original "texts." Dara Birnbaum's Technology/Transformation: Wonder Woman, 1976, is the monophonic antecedent to Breitz's polyphonic fugue, but where Birnbaum's video pivoted around the axis of feminism/mass media representation, Breitz ups the stakes to accommodate multiple agendas, including copyright issues, piracy, and originality in the age of digital reproduction. The results are hilarious and effective. Two new works, King (A Portrait of Michael Jackson) and Queen (A Portrait of Madonna), both 2005, in which a rogues' gallery of "ordinary" people sing the pop stars' greatest hits, creating an a cappella chorus, also taps into ideas of media, gender, performance, and the popular text-not quite with the acuity of Mother + Father, but with an intensity that still raises goose bumps. --- "Birringer, Johannes" <johannes.birringer@xxxxxxxxx> wrote: > hello all; > > > last night I witnessed an unusual opening, right in > midst of a rainy windswept dark countryside in a > small village called Long Buckby (Northamptonshire): > "Motion at the edge", a program of > dance/video/performance screenings, curated by Anna > Douglas, having its premiere in an old building that > used to be the Assembly Hall, a chapel-like > architecture with beautiful wooden floorpanels and a > magical ambience, except that these historical > Assembly Rooms are now the house of an architect, > who opens his private living room up for 5 weeks, > exhibiting a collection of unusual films which, at > first sight, look not at all like dancevideos or > videodance. > > The artists included are: > > Rosemary Butcher/Martin Otter, "Vanishing Point" > Gina Czarnecki "Infected" > Chris. Dugrenier, "Ascendance" [with Aerobatic > pilot Julian Murfitt] > David Hinton, "Birds" > Grace Ndiritu, "Arrested Development" > Katharina Mayer, "Romanz" > > > Not all of these screen-works are new, "Romanz" for > example dates back to 2000, the others are more > recent, but they have been re-worked or are now > re-sited (having moved from earlier video or film > installations to a single screen projection). The > new context in which they are seen now, in this old > but renovated architecture of the private-public > house, and the constellation of a program that > conjoins these very different films, provides room > for discussion, especially if "dance" here is really > not foregrounded or even perceivable in the manner > in which we may tend to think of dance for the > camera or videodance. > > I know that are many here on this list who are > interest in dance and film, i wish i could tell you > more about what i felt last night, observing the > cinematic choreographies of these different artists > and artist-collaborators. There is no website, so I > can only take my memories with me from the village, > meeting all these fine people there last night, > chatting with the filmmakers and guests, laughing > along with the pilot, who explained his maneuvers to > me (he first visualizes his aerial aerobatic > movement sequences on the ground, so the filmmaker > starts off with Murfitt rehearsing - in a green > meadow - how he will fly the plane..... Then the > film shifts upward, and "flies" into the air and > becomes an aerial dance itself.... > > The other remarkable work, along with Grace > Ndiritu's curious and subtle ritual performance, > only her feet visible in the dark, a tiny fire > burning on the ground, is Gina Czarnecki's equally > strangely mesmerizing digitally-modified spiralling > body (danced by Iona Kewney), a dance - illusory > filmed motion - that cannot be, but is generated > digitally and thus moves like dance, and yet, even > if moving impossibly, becomes utterly direct, naked > and close, as well as poetic, far out (in the > current worlds of hybrids, bioarttech and > genetically engineered creaturegamelandscapes) and > not easily graspable, interpretable. > > Go and see the show if you are in the UK. > > Those of you coming to Nottingham at the end of year > to attend the Digital Cultures Lab and Symposium > (www.digitalcultures.org) -- - we may be able to get > the Arts Council England (who underwrites this > exhibition) to let us screen the works again at that > occasion. > > regards > Johannes Birringer > www.digitalcultures.org > > This email is intended solely for the addressee. It > may contain private and confidential information. > If you are not the intended addressee, please take > no action based on it nor show a copy to anyone. In > this case, please reply to this email to highlight > the error. Opinions and information in this email > that do not relate to the official business of > Nottingham Trent University shall be understood as > neither given nor endorsed by the University. > Nottingham Trent University has taken steps to > ensure that this email and any attachments are > virus-free, but we do advise that the recipient > should check that the email and its attachments are > actually virus free. This is in keeping with good > computing practice. > > > Marlon Barrios Solano Unstablelandscape Dance Improvisation/Real-time Dynamic Multimedia/Embodied Cognition http://accad.osu.edu/~mbsolano/ __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! 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