Multiplexed
E:vent is delighted to present an evening of contemporary Austrian video
works,
organised by David Muth. Including work by Tomas Eller, Dariusz Kowalski,
Annja Krautgasser, David Muth and Axel Stockburger.
Friday 12th of December, 8 – 10pm
Screening at E:ventGallery
/* */
/After screening Christmas* drinks and music //*//till late!!!! /
/* * * * */
/__ f-o-r-m-e-l__ (2007), /*/Tomas Eller,/*/ 4’20 Minutes/
_*Tomas Eller, 2007, 4’20 Minutes*_
Tomas Eller's video art is produced in a close interrelationship between
science, technology and art. He draws on the view of reality taken in the
natural sciences, where it is formulated as a vast simulatio that still
requires
decyphering (Howard Rheingold, Reisen im Cyberspace).
In the work __ f-o-r-m-e-l__ (2007) he explores the laws of gravity and
centrifugal force as competing forces, on the basis of the flight path
of a helicopter over snow-covered mountainous terrain. In the continual
attempt to hold between touching down and drifting back upwards the
helicopter hovers above the grey and white, snow-covered ground without
ever actually landing. Only the trails left by the wake become increasingly
visible in the position concerned, revealing rocky ground beneath to
provide an image with similar characteristics to one of the artist's
earlier
etchings. The sides of the helicopter are covered with light-reflecting
foil,
creating the effect of two-dimensional surfaces that have been added to
the image - addressing the constructed nature of three-dimensional
images and the dissolution of form as they appear to dissolve into the
background and the helicopter look like a skeleton. Working in
collaboration with a physicist, Tomas Eller had the exact relationship
between the opposing forces involved in the flight calculated, and has
used the mathematical formula for the title of the video.
*Sabine Gamper (2007)*
_*Around And Around*_
_*Annja Krautgasser 2007, 1’40 Minutes*_
The cinematic has always maneuvered in the charged field of visibility
and its disruption or dissolution. Images appear and produce an order
of visibility, yet to the same degree, cut and montage, slowing down and
speeding up, superimposing and suppressing simultaneously drive this
order to a border that it both constitutes and threatens, or at the very
least, questions.
Around and Around by Annja Krautgasser refers to this border in multiple
ways: there is, for one, the horizon, both end and unknown beginning, the
division of the world, the demarcation of the field of view; there is
also the
panorama, the omniscience, the 'scopic regime of modernity,' the
transgression of every containment of the gaze, removing its boundaries;
and then there is still speed, acceleration, the crisis of the view, if
not its
catastrophic failure. And naturally, the cinematic medium (not video or
film) is present, which Annja Krautgasser does not thematize, does not
show in the montages of horizons rushing by (distinctive mountains and
nearly abstract 'deserts'), but rather, exhibits, one could say. Is it
inherent
in the event of the medium - as Jacques Derrida wrote - that what appears
also disappears at the same time? Then Around and Around seems to
work down to that vague 'seam' of the visual on which the filmic image
threatens to go out, to disappear behind the horizon, and appears to tackle
this erasure with ecstatic performance (i.e., with cinematic means).
A postponement of disappearance that even seems to permit the 'space'
of the visual in the first place.
*Reinhard Braun, Translation: Lisa Rosenblatt*
_*Five Patterns*_
_*David Muth 2008, 1’34 Minutes*_
*courtesy: Edition Medienturm, Graz*
The term “Pattern” is little short of summing up a graphical and conceptual
genre in new media - traditionally one might simply say swatch or ornament
as well. In electronic arts the term describes a process driven by a
structured formula, whereby a fluid matrix emerges through the repetitive
assemblage of single elements, permanently rearranging itself by
algorithmic
means. This digital method applies mostly to the design of graphical
elements, referencing classical abstract examples, or rather developing
them
further through the application of current technical possibilities.
David Muth breaks with this common practice, and he does so by working
with this story in a pictorial and humorous fashion. Muth photographs
patterns of industrially manufactured covers that adorn the seats of public
transport and obviously don’t promise any additional artistic value – to a
greater degree their masking abstracted compositions seem to be
precondition for diverse usage, resistant against contaminants. In
close-ups
Muth zooms into the encountered graphical structures and blends them
with further patterns, as if he would like to invoke a discursive massacre.
Applied arts meets fine arts, abstraction meets the real life.
*Sandro Droschl (2008)*
_*Goldfarmer *_
_*Axel Stockburger 2008, 13 Minutes*_
*courtesy of the artist and Jim and Mary Barr*
The video “Goldfarmer” addresses contemporary economical and cultural
transformations by interviewing a so-called goldfarmer, the player of a
popular online game who generates an income by playing. The player has
been rendered anonymous by digitally adding the avatar he embodies in
the game environment over his face. The phenomenon of goldfarming,
that has become a viable form of work, specifically in Asian countries, is
used as a model to engage with the transformation of the border between
work and play that seems to be characterised by the current dominance
of economical paradigms over all other areas of life.
*Concept, Camera, Editing: Axel Stockburger*
*Digital Animation and Motion Capturing: Franz Schubert*
*Sound Edit: Sebastian Schlachter *
*The interviewee wishes to remain anonymous.*
--------------------------------------------------------------------------------------------------------------
_*Elements*_
_*Dariusz Kowalski 2006, 8 Minutes*_
*Sound: Stefan Németh, Mastering: Martin Siewert*
Elements is a continuation, both stylistically and programmatically, of
Luukkaankangas updated, revisited
_<http://www.sixpackfilm.com/catalogue.php?oid=1398&lang=en>_
<http://www.sixpackfilm.com/catalogue.php?oid=1398&lang=en>
(2004). In this work data images animated in loops on the web site Alaska
Weather Camera Program show occupied terrains in deserts of ice. At the
same time Elements does not make reference to a precise object; it
relates directly to space, to impregnable landscapes and uncertain
horizons.
While the web-cam’s motifs are small airfields in Alaska and the weather
conditions there, time lapse and collage make the functional data disappear
in the same way as the concrete objects, cars and planes. They yield to
a rhythmization of the space that generates its elementary appearance as
an interconnection of white planes that are empty of meaning. The
landscapes
nature is subject to this fast alternation, driving clouds and snow,
extreme
intensities of light. The video evokes a different sense of time, as the
objects comprehensible daily drama is removed: they are there and then
gone; present, and then absent. In other words they do not follow a
teleological
plan, and are like insignificant kinetic elements whose visibility comes
between the images. The images decide whether the bodies, including the
landscapes, will last or not. At the same time it is an element of the
light that
recovers the image, stark sunlight burning into the camera’s lens and
subjecting the video material to interference. Element theory becomes
a theory of conflicting forces. One could say that Elements is a horizon
film
rather than an object film which however works incessantly on the
dissolution
of the horizons with the purpose of approaching a kinetically contingent
abstraction.
*Marc Ries, Translation: Steve Wilder*
http://www.eventnetwork.org.uk/programme/exhibitions/1711___
E:ventGallery
96 Teesdale Street, Bethnal Green
London, E2 6PU
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