Silence is the hustler. Chaos is golden and the eyelids see. But when I see, I go. How do I go? How do I see? Still. Still the eyelids. Still golden. Still see. How still do I see? But when I see, I follow. Chaos still.
My piece Le voyage dans la lune at salonvideo_SUBmissions (Iași, Romania).
a project by Daniela Pălimariu and Luminița Apostu
at MAGMA Contemporary Medium, Sf. Gheorghe
opening: 17 decembrie 2014, ora 19.00
on view: 18/12/2014 – 11/01/2015
ART INStITUt 2014#03 presentation: 17/12/2014, at 20.00 with Daniela Pălimariu
SUBmissions is a self-explanatory exhibition. Firstly because it describes the gesture of application as a submission of the work of art to an authorized institution which is empowered to make validations through selections and display, and secondly because it reveals, without mediation, simply by naming the content, its constituent elements: an exhibition made out of applications. Sending applications in the art environment completes the circuit of a power relation between that who asks for, that who sends to, that who receives from, that who distributes and that who views. There are many applications for art projects because there are many calls for art projects – a multitude that controls what we already know as mass art production.
SUBmissions thus signals the organic and inevitable extension of contemporary art practices. As german artist Hito Steyerl remarks, visual artists are captively caught into an occupation in which they either no longer have time to produce work because they are preoccupied with writing and submitting applications, either they produce work based solely on the topics, criteria and conditions of the open calls. It is the case of many friends who complain recently that they no longer want to apply to anything: the applications are a burden and it makes them sad. Of course, many others are still fascinated. While bineg scouted, selected, listened, inspected, auditioned – the open call applicants wake up in the middle of an application burden where they need to present themselves, to explain themselves to juries, to motivate the validity of their practices in a convincing voice, to sell themselves.
Etymologically, since the 14th century, the English word “submission” meant “an act of referring to the judgement and decision of someone”, taken from old French “sousmission” or directly from Latin, where “submissio” / “submittere” meant “immersion”, “lowering”, “letting down”. In Romanian we have the words “submersiune”, but also “submisiune” and “supunere”, and even if to “apply to” or to “submit to” marks the positive action of mobilizing creative energy, the terms still carry a derogatory sense, that of submissiveness and docility towards a superior power. The meaning of “submission” as a “humble obedience” appears in the mid-15th century together with the adjective “submissive” (as “humble”) which gets used in political relations between states and within state hierarchies. The way in which this vocabulary transposes into the visual art language does not come out of nowhere, as similar hierarchies get constituted also at the level of art institutions. On the other side, the call for projects as applications, as a shouting out to potential respondents, asks for application submissions as in a lotery mechanism, both for the applicant and for the call owner.
The format of this exhibition is at the same time a sub-mission for re-evaluating the collection of received works. If salonvideo’s main mission was to structure a collection based on certain subjective criteria, its sub-mission is that of revealing to the public an objective formula, one that is un-filtered by the application process results.
SUBmissions is an inclusive exhibition. Regardless of the assumption of a curatorial role, any exhibition produces a selection. salonvideo tried to avoid the radicality of the selection. It is this why the idea of displaying all the received applications aims at a reversed submission of that who opens the call towards that who applies.
Croatian theorist Boris Buden defines the curator as a customs officer – a character who decides who goes and who stays outside the borders of art – a radical definition, but one that applies to the mechanisms of producing art events through selection. If one year ago we were enthusiastically embracing the receiving of over 100 works as an aswer for the open call that we launched for the 4th edition of salonvideo, and if we were selecting works with even greater enthusiasm, as a curatorial method on “matters of method”, the rigourousness of the selection has remained ever since a doubtable act to which we now come back with an obligation.
SUBmissions is a playlist exhibition. Grouped randomly, the video works can be played in any order, they can be stopped of repeated. The participatory character and the dynamics of interaction with the works give back the public the opportunity to be part of a selection process, and give the opportunity to be seen unconditionally to the artist. Although salonvideo works as a platform with an institutional power of selection, by keeping also the unselected works it proposes a discrete mediation of the relation between the authors and the public who are interested in video art.
SALON VIDEO and MAGMA Contemporary Art Space cordially invite you to the opening of the archive-exhibition salonvideo_SUBmissions. The project provides an interactive platform for the audience, which we can both actively select and be viewers of the different works. The exhibition presents 70 sound and videoworks, which were submitted to salonvideo’s open call from 2013 for the exhibition MATTERS OF METHOD (Iași, December 6 –22, 2013).
Another experiment adding sound to GIF animations. This one was made using Final Cut Pro, Photoshop and Switch. Image and sound are the same files.
I’m adding sound to some of my Glifcker animated GIFs. This was the first test. Sounds and images are the same files, I just saved all frames as AIFF.
The process is simple, I save each frame as JPG, then as RAW and finally as AIFF, and then I add the sounds to the video.
The synchronization is perfect because what you see and what you hear is exactly the same.
“On the other hand, sound and video artist _blank’s conceptual performance seemed to be misunderstood, or rather, not understood at all. Her deep and exacting exercise on deciphering and exposing how sound relates to image seemed to get lost on many. The loud, sharp sounds never intended to be anything like music – the audio was the very own sound of the image on the screen. While such an exercise is quite interesting in terms of revealing the philosophy behind digital sound, it understandably is not for every taste. However, such conceptual art that relates directly to sound and image definitely has a place in the festival. Briefing the audience prior to more conceptual, non-musical acts might help adjust the expectations, possibly… It’s not for easy consumption, but _blank’s work is one to stay, and echo through the years as a landmark of its very unique kind.”
Sibel Tinar, FLIC Magazine.
Hace unos días entré a formar parte de Plat.tv, un archivo de difusión e investigación audiovisual donde se pueden encontrar infinidad de artistas y películas que ofrecen una visión mucho más plural del cine español que la que encontramos en las salas comerciales.
Plat incluye tanto cortometrajes como largometrajes de ficción y no ficción y todos los contenidos se pueden ver de manera libre y gratuita.
Ya está publicado en la página web de rtve el programa especial sobre El cine revelado (o rebelado, como más os guste), un ciclo organizado por Playtime Audiovisuales y Abraham Rivera en el que participé en marzo. Yo salgo a partir del minuto 23:34, pero os animo a verlo entero, claro.
«La última sesión, This is not cinema, de la mano de Blanca Rego, es una arriesgada propuesta que plantea una revisión del cine estructuralista de los años 70. Siguiendo la moda nostálgica de imitar en muchos aspectos la estética de estos años (en fotografía, moda, diseño… ), Blanca Rego plantea una revisión de esta estética desde el cine, imitando los formatos 16mm y Super8 a partir de aplicaciones que existen hoy en día en el mercado. De alguna manera es una propuesta experimental que pretende evidenciar esa eterna lucha entre los formatos, la constante imitación de lo analógico a partir de lo digital, el valor de la imagen frente al sonido y las diferencias entre cine y video».
Next month I’ll be playing at Mutek (Barcelona). Right now I’m preparing the live show and it’s a lot of work as I’m creating the visuals frame by frame! I’m converting each little bit of sound into an image saving it as raw, the result is more or less what you can see in the video.
The original sounds are from a cassette released by Lovethechaos.
Convent de Sant Agustí (Barcelona), 8 March 2014, 20:00.
December 6 – 22 2013, Iași, Romania
Dan Acostioaei [RO] · Felix Aftene [RO] · Marijke Appelman [NL] · Liliana Basarab & Mihaela Varzari [RO] · Matei Bejenaru [RO] · Martinka Bobrikova & Oscar de Carmen [NO] · Joanna Bonder [PL] · Ștefan Botez [CH] · Pavel Brăila [MD] · Gui Castor [BR] · Gabrielle Conilh de Beyssac & Jules Guissart [FR] · Doplgenger [RS] · Bjoern Drenkwitz [DE] · Giorgio Garippa [GB] · Johannes Gerard [DE] · Stéphane Ghozzi [DE] · Eugenia Gortchakova [DE] · Paul Hendrikse [DE] · Stephanie Hough [IRL] · Kai Miedendorp [DE] · David Mikulan [HU] · Jolene Mok [HK] · Monotremu [RO] · Andreco & Manuel Moruzzi [IT] · Mircea Nicolae [RO] · Mari Ohno [JP] · Doris Prlic [NL] · Günter Puller [AT] · Jagrut Raval [USA] · Blanca Rego [ES] (that’s me) · Jozeth van de Snepscheut [NL] · Topp & Dubio [NL] · Ricardo Trigo [DE] · Ioana Cazan – Tufescu [RO] · Sylvia Winkler & Stephan Koeperl [DE] · Ina Wudtke [DE] · Young Poor Artists [LT] · Ana Zubak [HR]
Opening: December 6 2013, 6pm – 9pm
18:00 tranzit.ro/ Iași: IAȘITEX Building, Primăverii Bd., no. 2, 7th
19:00 Galeriile Fundației Regale, BCU Building, Păcurari St. no. 4
21:00 Galeria Meru, Carol Bd. nr. 4
The Streaming Festival is an art event for exhibiting unconventional audio-visual art from all over the world. In addition to the festival, there is a growing permanent collection with video and sound art which can be viewed at all times. The database includes interviews with artists, reviews, biographies and background info on video and sound art. Its main focus is to create a complete as possible overview of the audio visual art exhibited on the Streaming Festival.
Some time ago, Ket3m (Shay Nassi aka Mise En Scene & Tom Kemeny aka Darmock) asked me if I would like to do a promo video for the release of their new ep, entitled syn3rgy. Ket3m involves experiments in minimalism, abstraction and the deconstruction of acoustic mathematical patterns. The ep is yet to be released, but you can listen to one of the tracks in The Wire Tapper 32, included in The Wire 354 August issue.
Ket3m sent me two one-minute excerpts of a couple of tracks and, as I’m obsessed with the relationship between sound and image, I thought that it would be interesting to translate the sounds directly into images. I mean a real transposition, not an arbitrary interpretation. In order to achieve that, I chopped the tracks in very short fragments and I saved all that tiny sound files as jpg to use them as frames. The result are this two videos in which what you see are exactly the same files that what you hear.
I’ve always loved walking, specially in urban environments, so I’m always thinking about doing artworks related to that. I’ve recorded some sound walks, usually in the rain, but I haven’t done anything really thorough, it was just a pastime. Last month, I made a short video while I was walking and the result is quite strange. I recorded the video with an iPod Touch using an app called 8mm. As the iPod camera is not very good and the original frame rate of the video was just 15 fps, the result is quite interesting, almost like an abstract pattern.
Now I’m thinking about doing something with more videos of this kind, the title will be Solvitur ambulando, a latin phrase that means “it is solved by walking”.
“Il existe depuis 2006 et on trouve des vidéos expérimentales pointues d’un grand intérêt. C’est vraiment un site où l’on découvre de vrais films originaux et je pense que c’est toujours intéressant de s’ouvrir à des créations différentes. L’auteur du blog nous dégote à chaque fois des perles en faisant un grand travail de recherche…”
[First post about Hinterland] I have 3.669 photos of my desk and I’m gonna stop here. 3.669 images are 2:26 minutos of video —usually animations are made using 12 images per second, but I always use 25, one per frame (I work in PAL).
I’ve already edited all those images and I have a first video, now I’m working on the titles and thinking about the sound. My first idea about the sound was using a recording of an old 16mm projector, but now I think that maybe it’s better idea to record the sound from the app 8mm, because the initial concept was making ‘fake cinema’ with digital gadgets.
UPDATE: Finally I’ve decided that I’m not gonna use the sound from the app 8mm, the loop is too short and obvious. I’ve been searching and I’ve chosen a recording of a 16mm projector that I’ve found at freesound by someone named al_sub. Anyway, I’ve used 8mm to create the titles, recording the computer screen.
Lately I’ve been doing a lot of photographs of my desk, right now I have more than 2.000. All those images are ‘macros’ shot with an iPod Touch and Hipstamatic, so the quality is really bad, but I prefer this kind of aesthetics and textures than standard video. The idea is starting a series called ‘materialist film’ with the heading ‘this is not cinema’.
I’ve always wanted to make a video entitled ‘this is not cinema’ as a kind of a joke about the boundaries between cinema and video, and lately I’ve realised that there’re a lot of apps that imitate the aesthetics of old photography and movie cameras (Polaroids, 8mm, etc.), so I though that it would be funny to create materialist films with those apps.
The first image of this post is a straight photo of my white desk made with Hipstamatic. The second image is the same photo cut and resized to 1280 x 720 pixels, with a sharpening filter –I’m doing the same to all the original files. I’m shooting just the surface of the white table using John S lens and Ina’s 1969 film, but the colour of the images changes depending on the hour, the weather and the surrounding objects.
The term ‘hinterland’ is German and means literally “the land behind”. Hinterland it’s also used in English with several meanings, all related with spaces that surround or are behind other space.