Saturday, September 25, 2010

Immobilité on a Tear (UPDATED)

Immobilité in all of its iterations is indeed on another tear.

Last year it appeared in solo shows at the Chelsea Art Museum in New York and The National Museum of Contemporary Art in Athens as well as many public or urban screen settings throughout the world including Milan (check out an excerpted clip of the event here), Melbourne, Bucharest (YouTube excerpt here), Bangkok, and Seoul. It played in seventeen cities in the UK via the BBC Big Screens.

The latter half of this year is a busy time for the work as well. Soon I will send out a press release for its five month run in the Fuse Box at the Denver Art Museum (Colorado peeps mark your calendars: I'll be delivering the Logan Lecture at the museum on October 20th). It will also premiere in Sao Paulo and Belo Horizonte, Brazil, in November/December as part of Arte.Mov (I'll be in both cities for the openings as a follow-up to my presenting it in Salvador, Brazil, this past July). The remixes are also getting major play again this fall including the current exhibition at Google's Headquarters in New York, inclusion in The 2010 01SJ Biennial in San Jose, an upcoming four week appearance at The Big Screen Project in New York, and the Tina B. : The Prague Contemporary Art Festival. The initial remix that premiered at the Tate Media site, played at the Media Facades festival in Berlin this month as well.

I think I'm forgetting a couple of others but you get the picture: it's been busy! And I am hitting a hard and fast deadline for the final draft of my new book, Remixology: On Becoming A Postproduction Medium, a 250 page remix of this blog, to be published next year by an incredible press (more on this later).

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Wednesday, September 22, 2010

Micro-Editing Difference in Time

From an interview with Chantal Akerman:
MR: The text is like a mark in time, while someone's reading, and afterward.

CA: When you read a text, you're on your own time. That is not the case in film. In fact, in film, you're dominated by my time. But time is different for everyone. Five minutes isn't the same thing for you as it is for me. And five minutes sometimes seems long, sometimes seems short. Take a specific film, say, D'Est: I imagine the way each viewer experiences time is different. And on my end, when I edit, the timing isn't done just any way. I draw it out to the point where we have to cut. Or take another example, News from Home: How much time should we take to show this street so that what's happening is something other than a mere piece of information? So that we can go from the concrete to the abstract and come back to the concrete--or move forward in another way. I'm the one who decides. At times I've shot things and I've said, "Now this is getting unbearable!" And I'll cut. For News from Home it's something else, but I have a hard time explaining it. I'm in the middle of writing a book about all this, and I'm finding it very difficult to explain. Today I'll write about time--I write more or less every day because I have very little time to do it--and it's too soon.
Akerman's sense of measure as it relates to cinema, writing and time, resonates with some of the strategies explored in Immobilité and reminds me of how much Agnes Varda also is able to time-trip through cinematic forms of writing or what she calls cinécriture. I have explored similar themes in a different (new media?) context in META/DATA, especially in relation to what I refer to as image écriture.

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