Category: Art History/Theory

Posted on

The Concept of Chronotope (and its relevance to cinema)

The concept of Chronotope has been invented by Russian literary critic, Mikhail Bakhtin (who actually borrowed it from Einstein’s theory of relativity) and literally means “time-space”.

“almost as a metaphor (almost, but not entirely). What counts for us is the fact that it expresses the inseparability of space and time (time as the fourth dimension of space).” p 84
‘the intrinsic connectedness of temporal and spatial relationships that are artistically expressed in literature’ (Bakhtin, 1981, p. 84).
‘Time, as it were, thickens, takes on flesh, becomes artistically visible; likewise, space
becomes charged and responsive to the movements of time, plot and history’ (p. 84).
Bakhtin, M (1981): The Dialogic Imagination: Four Essays, Austin, University of
Texas Press.

Memory and Exile: Time and Place in Tarkovsky’s Mirror, Dr. Peter King

“Mikhail Bakhtin’s idea of the chronotope: the singular linkage of time and place – how place is always a place in time – and how this creates the significance of memories of a particular place.”

“As Natasha Synessios (2001) has suggested, this concept was influential on Tarkovsky’s thinking for this particular film [Mirror]. Speaking generally, we might suggest that film is particularly suitable for this fusing of space and time, with its attempt, as Tarkovsky himself saw it, to stop time (Tarkovsky, 1986). Film is an artistic medium specifically intended to hold up time and to create impressions using time and space.”

The symbolism of the mirror in Tarkovsky’s films:
“According to Green (1993), it is used as ‘the metaphorical looking-glass that provides man with a reflection of himself. In its surface, time is refracted; and it is a transitional device through which one may pass to other worlds, other states of consciousness’ (p. 80).”

Green (1993):
“the view Tarkovsky seeks is that of the child, with which we glimpse Utopia or paradise. The point in man’s history where he takes the wrong path is where the child loses its innocence and begins to comprehend the world in documentary form. (p. 85)”
“marks an attempt to recover the vision of childhood as well, not just the memories, but the unexplained mysteries, with all their discontinuities and distortions of time; a child’seye view of the world and history, which accounts in part for the elusive fascination and haunting quality of the film. (p. 85)”
Green, P (1993): Andrei Tarkovsky: the Winding Quest, Basingstoke, Macmillan

“We do not remember our lives in a linear manner, viewing one incident following another, but rather as a mix of the actual and the hoped-for, of promise and regret.”

Bakhtin’s Chronotope on the Road: Space, Time, and Place in Road Movies Since the 1970s, Alexandra Ganser, Julia Pühringer, Markus Rheindorf, 2006

“the relation between images of time and space in the text, out of which any representation of history must be constructed. The chronotope of a particular text thus functions as an ideological index, but can also be used to discuss a whole genre. In some chronotopes, mainly those of travel and uprooted modern life, time takes precedence over space; in the more idyllic, pastoral chronotopes, space dominates
time.”

“of special importance is the close link between the motif of meeting and the chronotope of the road (‘the open road’), and of various types of meeting on the road. In the chronotope of the road, the unity of time and space markers is exhibited with exceptional precision and clarity. (Bakhtin p98)”

“While Bakhtin was primarily concerned with chronotopes of the novel, critics such as Robert Stam have recently suggested that the chronotope seems in some ways even more appropriate to film as a medium in which “spatial and temporal indicators are fused into one carefully thought-out concrete” (Bakhtin 11)”
Stam, Robert. Subversive Pleasures: Bakhtin, Cultural Criticism and Film. Baltimore, Maryland: John Hopkins University Press, 1989.

“the suspension of movement and its corresponding space-time relation entails the hopelessness and dreariness of film noir”

Posted on

Interesting articles from “Papers of Surrealism” journal

“Fantasy, the Uncanny and Surrealist Theories of Architecture”, Anthony Vidler (2003)

“Rather what Surrealism motivated was the uncanny of the Other, which for Surrealism was the ‘real’ – the uncanny sense that the normal was nothing more than a complex of repressed objects. In the aesthetic sense of Surrealism, this normal was modernism itself and the uncanny of Surrealism was no more than the repressed of modernism, an apparent normal that in fact was a mask for the ‘real’ pathological.
In architectural terms, this search for modernism’s repressed underlife was concentrated in three domains – domains that the modernists had clearly and polemically identified as the basis of their attack on tradition: the solid, load-bearing wall that afforded traditional protection and privacy; the bourgeois house and its kitsch-like trappings of ‘home’ or ‘Heimat’; and the objects of everyday life, which, while for the most part mass-produced, were still encumbered with ornament and encrusted with historical references. Against these three hold-outs of tradition in modernity “

“All posed a volatile and elusive sensibility of mental-physical life against what was seen as a sterile and over-rationalized technological realism: the life of the interior psyche against the externalising ratio.”

Freud in the Uncanny: ‘over-accentuation of psychical reality in comparison with material reality,’

Sigfried Giedion observes of the interiors of Ernst’s Une Semaine de bonté:
“The room, as nearly always, is oppressive with assassination and non-escape”

“Surreal Dreamscapes: Walter Benjamin and the Arcades”, Michael Calderbank (2003)

On Benjamin’s essay of 1925 entitled ‘Dream-Kitsch’:
“this inter-penetration of the two realms is not a ‘natural’ constant, but a historically specific phenomenon. 10 Kitsch objects, the banal by-products of culture subsumed under the logic of industrial production, are assimilated into dreams, thereby obscuring the oneiric ‘blue horizon’ of the Romantics, with a ‘grey coating of dust’. Correspondingly, as Marx first diagnosed with his analysis of the commodity fetish, at the height of capitalist modernity, ‘ordinary’ commodities become invested with a magical, quasi-religious and dreamlike aura.”

“In ‘Konvolut L’, Benjamin notes: ‘Arcades are houses or passages having no outside – like the dream.’”

Comparing Benjamin and Breton:
“For both writers, what is significant is not the waking state per se, which could quite easily carry on in the same drearily prosaic way, but the moment when consciousness is shocked into the recognition of possible forms of cognitive experience from which it is excluded in reality. Both writers also, therefore, develop a notion of a single material reality, in which ‘dream’ and ‘waking’ experience are both inextricably grounded, and which progresses not in a gradual, seamless, linear continuum, but instead proceeds unevenly in jolts, leaps and unexpected reversals.”

“Giorgio de Chirico and surrealist mythology , Roger Cardinal (2004)

What is most modern in our time frequently turns out to be the most archaic.
GuyDavenport

“a collection of talismanic embodiments of the twinned novelty and absurdity of modern life. By deliberately fetishising the bric-à-brac of twentieth-century urban culture, surrealism was able to draw up a formula for the surrealist Marvellous and to elicit a striking mythology out of the banalities of the contemporary world. “

On Aragon’s Le Paysan de Paris:
“a kind of archaeology of the contemporary unconscious “
‘the vertigo of the modern’ [‘le vertige du moderne’]. (Aragon’s words)

Breton’s essay on de Chirico (1920):
‘re-appraise the basic perceptions of time and space’ [‘reviser les données sensibles du temps et de l’espace’].

Aragon’s quotation, unknown book:
‘Though substituted for the natural myths of antiquity, [the new myths] cannot be truly opposed to them, for they derive all their strength, all their magic, from the selfsame source.’
‘Substitués aux antiques mythes naturels, [les mythes nouveaux] ne peuvent leur être réellement opposés, car ils puisent leur force, leur magie à la même source.’

“The Uncanny”, Margaret Iversen, 2005

“Schelling defined it [The uncanny] as something that should have remained hidden but has come to light. In a more Freudian idiom, it is a feeling prompted by the return of the repressed.”

“The scene for the emergence of uncanny strangeness is, after all, the familiar, conventional or banal. This is so because the ‘familiar’ is constituted by the repression of childhood traumatic experience or the real of unconscious fantasy. The familiar must inevitably have a simulacral quality because the real has been expelled. David Lynch beautifully demonstrates this mutual dependence in his film, Blue Velvet (1986). The white picket-fenced world of Lumberton shown in the opening sequence has such stereotypical clarity that one’s gaze slides right off the image, unable to get any purchase. Lynch makes it clear that the bourgeois residential area has this two-dimensional simulacral quality precisely because reality (here a criminal underclass and the unconscious) has been marginalized, banished to the other side of the tracks. For me, the uncanny is not the simulacrum itself, but that which agitates its shiny surface.”

Dana MacFarlane, 2003, reviews “City Gorged With Dreams: Surrealism and Documentary Photography in Interwar Paris” by Ian Walker

“One of the explicit claims Walker makes is that the ‘stricter’ the reality presented by the photograph, the more potentially subversive and surreal its effect. In the process of being represented photographically, the everyday world is transformed. The surreal appears in those photographs in which the logic of realism presented by the photograph is interrogated, undermined and transformed.”

Breton’s Nadja: ‘the space between’

‘Surrealism lies at the heart of the photographic enterprise: in the very creation of a duplicate world, of a reality in the second degree, narrower but more dramatic than the one perceived by natural vision.’ Susan Sontag, ‘Melancholy Objects’ in On Photography (New York: Penguin, 1979), p. 52.

Posted on

Walter Benjamin on Surrealism and Photography

Surrealism The Last Snapshot of the European Intelligentsia (1929)

“Life only seemed worth living where the threshold between waking and sleeping was worn away in everyone as by the steps of multitudinous images flooding back and forth, language only seemed itself where, sound and image, image and sound interpenetrated with automatic precision and such felicity that no chink was left for the penny-in-the-slot called “meaning”.”

“In the world’s structure dream loosens individuality like a bad tooth. This I loosening of the self by intoxication is, at the same time, precisely the fruitful, living experience that allowed these people to step outside the domain of intoxication.”

“ But the true creative overcoming of religious illumination certainly does not lie in narcotics. It resides in a profane illumination,  a materialistic, anthropological inspiration.”

“ perceive the revolutionary energies that appear in the “outmoded”, in the first iron constructions, the first factory buildings, the earliest photos, the objects .that have  begun to be extinct, grand pianos, the dresses of five years ago, fashionable restaurants when the vogue has begun to ebb from them. […] No one before these visionaries and augurs perceived how destitution—not only social but architectonic, the poverty of interiors/enslaved and enslaving  objects- can be suddenly transformed into revolutionary nihilism.”

“convert everything that we have experienced on mournful railway journeys (railways are beginning to age), on Godforsaken Sunday afternoons in the proletarian quarters of the great cities, in the first glance through the rain-blurred window of a new apartment, into revolutionary experience, if not action. They bring the immense forces of “atmosphere” concealed in these things to the point of explosion.”

“And no face is surrealistic in the same  degree as the true face of a city. No picture by de Chirico or Max Ernst can match the sharp elevations of the city’s inner strong-holds, which one must overrun and occupy in order to master their fate and, in their fate, in the fate of their masses, one’s own.”

“The Surrealists’ Paris, too, is a “little universe”. That is to say, in the larger one, the cosmos, things look no different. There, too, are crossroads where ghostly signals flash from the traffic, and inconceivable analogies and connections between events are the order of the day. It is the region from which the lyric poetry of Surrealism reports.”

“ the deeply grounded composition of an individual who, from inner compulsion, portrays less a historical evolution than a constantly renewed, primal upsurge of esoteric poetry”

“ the philosophical realism of the Middle Ages was the basis of poetic experience. This realism, however—that is, the belief in a real, separate existence of concepts whether outside or inside things—has always very quickly crossed over from the logical realm of ideas to the magical realm of words. And it is as magical experiments with words, not as artistic dabbling, that we must understand the passionate phonetic and graphical transformational games that have run through the whole literature of the avant-garde”

Apollinaire, L’esprit nouveau et les poetes:
“ their synthetic works create new realities the plastic manifestations of which are just as complex as those referred to by the words standing for collectives”
about Dostoyevsky:
“No one else understood, as he did, how naive is the view of the Philistines that goodness, for all the manly virtue of those who practise it, is God-inspired; whereas evil stems entirely from our spontaneity, and in it we are independent and self-sufficient beings.”
I think the Surrealists moved away from this preoccupation and it’s rather George Bataille that continued to pursue this idea ?

“ we penetrate the mystery only to the degree that we recognize it in the everyday world, by virtue of a dialectical optic that perceives the everyday as impenetrable, the impenetrable as everyday […] The reader, the thinker, the loiterer, the flaneur, are types of illuminati just as much as the opium eater, the dreamer, the ecstatic. And more profane. Not to mention that most terrible drug—ourselves—which we take in solitude.”

The Work of Art in the Age of Mechanical Reproduction (1935)

“Works of art are received and valued on different planes. Two polar types stand out; with one, the accent is on the cult value; with the other, on the exhibition value of the work. Artistic production begins with ceremonial objects destined to serve in a cult. One may assume that what mattered was their existence, not their being on view. […] With the different methods of technical reproduction of a work of art, its fitness for exhibition increased to such an extent that the quantitative shift between its two poles turned into a qualitative transformation of its nature. This is comparable to the situation of the work of art in prehistoric times when, by the absolute emphasis on its cult value, it was, first and foremost, an instrument of magic. Only later did it come to be recognized as a work of art. In the same way today, by the absolute emphasis on its exhibition value the work of art becomes a creation with entirely new functions, among which the one we are conscious of, the artistic function, later may be recognized as incidental. This much is certain: today photography and the film are the most serviceable exemplifications of this new function.”

“The cult of remembrance of loved ones, absent or dead, offers a last refuse for the cult value of the picture. For the last time the aura emanates from the early photographs in the fleeting expression of a human face. This is what constitutes their melancholy, incomparable beauty. But as man withdraws from the photographic image, the exhibition value for the first time shows its superiority to the ritual value. To have pinpointed this new stage constitutes the incomparable significance of Atget, who, around 1900, took photographs of deserted Paris streets. It has quite justly been said of him that he photographed them like scenes of crime. The scene of a crime,
too, is deserted; it is photographed for the purpose of establishing evidence. With Atget, photographs become standard evidence for historical occurrences, and acquire a hidden political significance. They demand a specific kind of approach; free-floating contemplation is not appropriate to them. They stir the viewer; he feels challenged by them in a new way. At the same time picture magazines begin to put up signposts for him, right ones or wrong ones, no matter. For the first time, captions have become obligatory. And it is clear that they have an altogether different character than the title of a painting. The directives which the captions give to those looking at pictures in illustrated magazines soon become even more explicit and more imperative in the film where the meaning of each single picture appears to be prescribed by the sequence of all preceding ones.”

Severin-Mars:
“What art has been granted a dream more poetical and more real at the same time! Approached in this fashion the film might represent an incomparable means of expression.”

Werfel:
“The film has not yet realized its true meaning, its real possibilities. . . these consist in
its unique faculty to express by natural means and with incomparable persuasiveness all that is fairylike, marvelous, supernatural.”

“art has left the realm of the “beautiful semblance” which, so far, had been taken to be the only sphere where art could thrive”

“the representation of reality by the film is incomparably more significant than that of the painter, since it offers, precisely because of the thoroughgoing permeation of reality with mechanical equipment, an aspect of reality which is free of all equipment. And that is what one is entitled to ask from a work of art.”

“The greater the decrease in the social significance of an art form, the sharper the distinction between criticism and enjoyment by the public. The conventional is uncritically enjoyed, and the truly new is criticized with aversion”

“The camera introduces us to unconscious optics as does psychoanalysis to unconscious impulses.”

“this is at bottom the same ancient lament that the masses seek distraction
whereas art demands concentration from the spectator. […] Distraction and concentration form polar opposites which may be stated as follows: A man who
concentrates before a work of art is absorbed by it. He enters into this work of an the way legend tells of the Chinese painter when he viewed his finished painting. In contrast, the distracted mass absorbs the work of art.”

A small History of Photography

“The most precise technology can give its product a magical value, such as a painted picture can never have for us. No matter how artful the photographer, no matter how carefully posed his subject, the beholder feels an irresistible urge to search such a picture for the tiny spark of contingency, of the Here and Now, with which reality has so to speak seared the subject, to find the inconspicuous spot where in the immediacy of that long forgotten moment the future subsists so eloquently that we, looking back, may rediscover it. For it is another nature that speaks to the camera than to the eye: other in the sense that a space informed by human consciousness gives way to a space informed by the unconscious.”

“optical unconscious”

“photography reveals in this material the physionimic aspects of visual worlds which dwell in the smallest things, meaningful yet covert enough to find a hiding place in waking dreams, but which, enlarged and capable of formulation, make the difference between technology and magic.”

“Atget was an actor who, disgusted with the profession, wiped off the mask and set about removing the make-up from reality too. […] He looked for what was unremarked, forgotten, cast adrift, and thus such pictures too work against the exotic, romantically sonorous names of the cities; they pump the aura out of reality like water from a sinking ship. What is aura, actually? A strange weave of space and time: the unique appearance or semblance of distance, no matter how close the object may be. […] The stripping bare of the object, the destruction of the aura, is the mark of a perception whose sense of the sameness of things has grown to the point where even the singular, the unique, is divested of its uniqueness – by means of its reproduction.”

“ a salutory estrangement between man and his surroundings”

“The camera is […] ever readier to capture fleeting and secret moments whose images paralyse the associative mechanisms in the beholder.”

Posted on

History and theory of Surrealism (through historical Surrealist texts)

André Breton , What is Surrealism? (Lecture in Brussels on 1/6/1934)

In this lecture, Breton explains the principles of Surrealism to a non specialist audience, and the history of the movement 15 years after its creation in 1919.

He distinguishes 2 eras:

1919-1924 (From the publication in 1919 of the first surrealist automatic writing experiment “Les champs magnétiques” to the publication of the First Surrealist Manifesto in 1924: a “purely intuitive epoch” characterised by “ the view that thought is supreme over matter”.
1924-ongoing: a “reasoning phase” characterised by the belief in “the necessity of crossing over the gap that separates absolute idealism from dialectical materialism” and “the supremacy of matter over mind”. This a phase of politicisation of the movement, triggered by the “outbreak of the Moroccan war” in 1924 and deepened by the rise of Fascism and the opposition with Stalinism during the 1930’s.

Oddly enough, it is this politically motivated desire to bridge the gap between dream and material reality that will take Surrealism away from its original experiments with automatism which, though fascinating in principle, tended to lead to repetitive results, and lead to the concepts of “the everyday marvellous” and “modern mythology” explored in Aragon’s “Paris Peasant”, Breton’s Nadja, the fascination with Atget’s photograhs, and the Surrealist unstaged photography tradition (Brassaï, Eli Lotar)

“a desire to deepen the foundations of the real, to bring about an even clearer and at the same time ever more passionate consciousness of the world perceived by the senses.”
“avoid considering a system of thought as a refuge, to pursue our investigations with eyes wide open to their outside consequences, and to assure ourselves that the results of these investigations would be capable of facing the breath of the street.”
“ to present interior reality and exterior reality as two elements in process of unification, or finally becoming one. This final unification is the supreme aim of surrealism”
Description of Surrealism as an “invisible ray”.

Aragon, Une Vague de rêves (1924):
“It should be understood that the real is a relation like any other; the essence of things is by no means linked to their reality, there are other relations besides reality, which the mind is capable of grasping and which also are primary, like chance, illusion, the fantastic, the dream. These various groups are united and brought into harmony in one single order, surreality… This surreality—a
relation in which all notions are merged together—is the common horizon of religions, magic, poetry, intoxications, and of all life that is lowly—that trembling honeysuckle you deem sufficient to populate the sky with for us.”

René Crével, L’Esprit contre la raison (1928) “Mind against Reason”

“ the drift of surrealism has always and chiefly been towards a general and emphatic crisis in consciousness”

Salvador Dali’s “Paranoïac-critical” method

La Femme Visible (1930):
“I believe the moment is at hand when, by a paranoiac and active advance of the mind, it will be possible (simultaneously with automatism and other passive states) to systematize confusion and thus to help to discredit completely the world of reality.
In order to cut short all possible misunderstandings, it should perhaps be said: “immediate” reality.”
Paranoia uses the external world in order to assert its dominating idea and has the disturbing characteristic of making others accept this idea’s reality. The reality of the external world is used for illustration and proof, and so comes to serve the reality of one’s mind. “

‘Surrealist Intervention’ number of Documents 34, Dali Essay ‘Philosophic Provocations’:
“Paranoia: Delirium of interpretation bearing a systematic structure.
Paranoiac-critical activity: Spontaneous method of “irrational knowledge” based on the critical and systematic objectification of delirious associations and interpretations.
Painting: Handmade colour “photography” of “concrete irrationality” and of the imaginative world in general.”

Breton comments:
“In order to form a concise idea of Dali’s undertaking, one must take into account the property of uninterrupted becoming of any object of paranoiac activity, in other words of the ultra-confusing activity rising out of the obsessing idea. This uninterrupted becoming allows the paranoiac who is the witness to consider the images of the external world unstable and transitory, or suspect; and what is so disturbing is that he is able to make other people believe in the reality of his impressions.”

Influence of Rimbaud

“The Manifesto of Surrealism has improved on the Rimbaud principle that the poet must turn seer. Man in general is going to be summoned to manifest through life those new sentiments which the gift of vision will so suddenly have placed within his reach.”
“Rimbaud’s sibylline pronouncement: “I say that one must be a seer, one must make oneself a seer”. As you know, this was Rimbaud’s only means of reaching the unknown.”

“Surrealism can flatter itself today that it has discovered and rendered practicable many other ways leading to the unknown.”
Breton list examples of methods used to reach the “unknown” within surrealist practice:
“The abandonment to verbal or graphic impulses”
“the resort to paranoiac-critical activity”
“simulation of mental diseases (acute mania, general paralysis, dementia praecox), which Paul Eluard and I practised in The Immaculate Conception (1930), undertaking to prove that the normal man can have access to the provisorily condemned places of the human mind”
“the manufacture of objects functioning symbolically”
“the analysis of the interpenetration of the states of sleep and waking, tending to make them depend entirely on one another and even condition one another in certain affective states, which I undertook in The Communicating Vessels”

“the automatism from which we started and to which we have unfailingly returned does in fact constitute the crossroads where these various paths meet.”

“bring about the state where the distinction between the subjective and the objective loses its necessity and its value”

“Surrealism, starting fifteen years ago with a discovery that seemed only to involve poetic language, has spread like wildfire, on pursuing its course, not only in art but in life. It has provoked new states of consciousness and overthrown the walls beyond which it was immemorially supposed to be impossible to see; it has—as is being more and more generally recognized—modified the sensibility, and taken a decisive step towards the unification of the personality, which it found threatened by an ever more profound dissociation.”
I think this last sentence is a reference to the Marxist concept of alienation (inspired by Hegel’s concept of work as expression human creativity). Alienation is the idea than human beings are estranged from their true selves because Capitalism expropriates the fruit of their labor which, under Hegel’s concept, is the expression of man’s unique ability to create from scratch (as opposed to animals). Human beings are estranged from themselves because the act of working ceases to be a mean to express one’s inner self within the material world.

André Breton, Manifeste du Surréalisme (1924)

« Je crois à la résolution future de ces deux états, en apparence si contradictoires, que sont le rêve et la réalité, en une sorte de réalité absolue, de surréalité, si l’on peut ainsi dire. » p24
“I believe in the future transmutation of those two seemingly contradictory states, dream and reality, into a sort of absolute reality, of surreality, so to speak.”

« Ce qu’il y a d’admirable dans le fantastique, c’est qu’il n’y a plus de fantastique: il n’y a plus que le réel. » p25
“What is admirable about the fantastic is that there is no longer a fantastic; there is only the real.”

« Le merveilleux n’est pas le même à toutes les époques; il participe obscurément d’une sorte de révélation générale dont le détail seul nous parvient: ce sont les ruines romantiques, le mannequin moderne ou tout autre symbole propre à remuer la sensibilité humaine durant un temps. Dans ces cadres qui nous font sourire, pourtant se peint toujours l’irrémédiable inquiétude humaine. » p26
Pierre Reverdy p31:

« L’image est une création pure de l’esprit. Elle ne peut naître d’une comparaison mais du rapprochement de deux réalités plus ou moins éloignées. Plus les rapports des deux réalités rapprochées seront lointains et justes, plus l’image sera forte – plus elle aura de puissance émotive et de réalité poétique… » p31
« La valeur de l’image depend de la beauté de l’étincelle obtenue; elle est, par conséquent, fonction de la différence de potentiel entre les deux conducteurs. » p49

« SURREALISME, n.m. Automatisme psychique pur, par lequel on se propose d’exprimer, soit verbalement, soit par écrit, soit de toute autre manière, le fonctionnement réel de la pensée. Dictée de la pensée, en l’absence de tout contrôle exercé par la raison, en dehors de toute préoccupation esthétique ou morale.”
“ Le surréalisme repose sur la croyance à la réalité supérieure de certaines formes d’associations négligées jusqu’à lui, à la toute-puissance du rêve, au jeu désintéressé de la pensée. Il tend à ruiner définitivement tous les autres mécanismes psychiques et à se substituer à eux dans la résolution des principaux problèmes de la vie.” p37

Description of the surrealist artist as a psychic or a radio receptor p39:
“nous qui ne nous sommes livrés à aucun travail de filtration, qui nous sommes faits dans nos oeuvres les sourds réceptacles de tant d’échos, les modestes appareils enregistreurs qui ne s’hypnotisent pas sur le dessin qu’ils tracent, nous servons peut être encore une plus noble cause. Ainsi rendons-nous avec probité le « talent » qu’on nous prête. […] Nous n’avons pas de talent. »
« We, on the contrary, who have not given ourselves to processes of filtering, who through the medium of our work have been content to be the silent receptacles of so many echoes, modest registering machines that are not hypnotized by the pattern that they trace, we are perhaps serving a yet much nobler cause. So we honestly give back the talent lent to us. […] We have no talent…”

Breton, Surrealism and Painting – Le Surréalisme et la Peinture (1928)

“L’oeil existe à l’état sauvage” p11
“The eye exists in a savage state.”
By this, Breton means that sight is the one sense that perceives signals in the most intuitive way, without the need to be “trained” whether by education, taste etc… Therefore the Surrealists will favour visual arts, contrary to the Symbolists who considered that every artwork should aim to become music.

“L’oeuvre plastique, pour répondre à la nécessité de révision absolue des valeurs réelles sur laquelle aujourd’hui tous les esprits s’accordent, se référera donc à un modèle purement intérieur.” p15
“douer l’esprit humain de ce qui lui faisait tellement défaut: je veux dire d’un véritable isolant grâce auquel cet esprit, se trouvant idéalement abstrait de tout,commence à s’éprendre de sa vie propre où l’atteint et le désirable ne s’excluent plus et prétend dès lors soumettre à une censure permanente, de l’espèce la plus rigoureuse, ce qui jusque-là le contraignait; si, depuis eux, la notion du permis et du défendu a pris cette consistance élastique que nous lui connaissons.” p15

“Il faut avoir pris conscience à un si haut degré de trahison des choses sensibles pour oser rompre en visière avec elles, à plus forte raison avec ce que leur aspect coutumier nous propose de facile” p16

“Tout ce que j’aime, tout ce que je pense et ressens, m’incline à une philosophie particulière de l’immanence d’après laquelle la surréalité serait contenue dans la réalité même, et ne lui serait ni supérieure, ni extérieure. Et réciproquement, car le contenant serait aussi le contenu. Il s’agirait presque d’un vase communicant entre le contenant et le contenu. C’est dire si je repousse de toutes mes forces les tentatives qui, dans l’ordre de la peinture comme l’écriture, pourraient avoir étroitement pour conséquence de soustraire la pensée de la vie, aussi bien que de placer la vie sous l’égide de la pensée.” p69
“All that I love, all that I think and feel inclines me towards a particular philosophy of immanence according to which surreality will reside in reality itself and will be neither superior nor exterior to it. And conversely, because the container shall be also the contained. One might almost say that it will be a communicating vessel placed between the container and the contained. That is to say, I resist with all my strength temptations which, in painting and literature, might have the immediate tendency to withdraw thought from life as well as place life under the aegis of thought.”
This metaphor of the container and the contained will be developed in 1932 in “Communicating Vessels” (“Les vases communicants”)

André Breton, Second Manifeste du Surréalisme (1930)

« Tout porte à croire qu’il existe un certain point de l’esprit d’où la vie et la mort, le réel et l’imaginaire, le passé et le futur, le communicable et l’incommunicable, le haut et la bas cessent d’être perçus contradictoirement. Or c’est en vain qu’on chercherait à l’activité surréaliste un autre mobile que l’espoir de détermination de ce point. […] En ce lieu mental d’où l’on ne peut plus entreprendre que pour soi même une périlleuse mais, pensons-nous, une suprême reconnaissance. » p73
« Everything leads to the belief that there exists a certain point of the mind at which life and death, the real and the imaginary, the past and the future, the communicable and the incommunicable, the high and the low, are not perceived as contradictions. It would be vain to attribute to surrealism any other motive than the hope of determining this point. It is clear, moreover, that it would be absurd to ascribe to surrealism either a purely destructive or a purely constructive character—the point at issue being precisely this: that construction and destruction can no longer be brandished against each other. […] On this mental plane from which one may for oneself alone embark on the perilous, but, we think, supreme reconnaissance»

« arracher la pensée à un sevrage toujours plus dur, la remettre sur la voie de la compréhension totale, la rendre à sa pureté originelle. » p73
«  uprooting thought from an increasingly cruel serfdom, of bringing it back to the path of total comprehension, of restoring to its original purity »

« L’idée de surréalisme tend simplement à la récupération totale de notre force psychique par un moyen qui n’est autre que la descente vertigineuse en nous, l’illumination systématique des lieux cachés et l’obscurcissement progressif des autres lieux, la promenade perpétuelle en pleine zone interdite. » p86

« la pénétrabilité de la vie subjective par la vie « substantielle » » p88

« Intellectuellement la vraie beauté se distingue mal, a priori, de la beauté du diable. » p95

André Breton, Les Vases Communicants (1932)

« Le monde du rêve et le monde réel ne font qu’un, autrement dit que le second ne fait, pour se constituer, que puiser dans le « torrent du donné » – qu’à tenter de faire apercevoir sur quelles différences de relief et d’intensité repose la distinction qui peut être faite entre les opérations véritables et les opérations illusoires qui s’inscrivent respectivement dans l’un et dans l’autre, de cette distinction très précise dépendant, de toute évidence, l’équilibre mental. » p68
« La vie humaine, conçue hors de ses limites strictes que sont la naissance et la mort, n’est à la vie réelle que ce que le rêve d’une nuit est au jour qui vient d’être vécu. » p136

André Breton, Genèse et perspective artistiques du surréalisme (1941)

Quoting Balzac « Chef d’œuvre inconnu »
« La mission de l’art n’est pas de copier la nature, mais de l’exprimer. » p75

« Au bout de ce chemin semé d’embuches réelles ou non il y a la traversée du miroir par Alice » p76
Alice through the looking glass is used as a metaphor for Art that ceases to copy reality, and rather chooses to express it.

« L’automatisme, hérité des médiums » p94

« Une œuvre ne peut être tenue pour surréaliste qu’autant que l’artiste s’est efforcé d’atteindre le champ psychophysique total (dont le champ de conscience n’est qu’une faible partie). Freud a montré qu’à cette profondeur « abyssale » règnent l’absence de contradiction, la mobilité des investissements émotifs dus au refoulement, l’intemporalité et le remplacement de la réalité extérieure par la réalité psychique, soumise au seul principe du plaisir. L’automatisme conduit à cette région en ligne droite. » p97

André Breton, Du Surréalisme en ses œuvres vives (1953)

« la Gnose, en tant que connaissance de la Réalité suprasensible, « invisiblement visible dans un éternel mystère » p173

Posted on

Surrealism, Photography, Cinema

Notes from “Explosante fixe”, Exhibition Catalogue at Centre Pompidou

Some notes are in French, I do not fully translate everything, only the most important bits. I’ll translate later what will actually be used in the essay.

André Breton, L’entrée des mediums (1922)
Definition of Surrealism
“un certain automatisme psychique qui correspond assez bien à l’état de rêve, état qu’il est aujourd’hui fort difficile de délimiter.”

Breton “hasard objectif”

George Bataille “L’informe” “Bassesse”-> chûte

Salvador Dali
“Photographie, pure création de l’esprit” (1927)
in Dawn Ades, “Salvador Dali”, Thames and Hudson 1982
“Ils trouvent vulgaire et normal tout ce qu’ils ont l’habitude de voir tous les jours, si merveilleux et miraculeux que ce soit”

Dali, “Film Art, Fil Antiartistico”, Gazeta Literacia (1927), in Dawn Ades
“Le monde du cinema et de la peinture sont très différents: les possibilités de la photographie et du cinéma résident precisement dans cet imaginaire illimité qui nait des choses elles-mêmes. Un morceau de sucre sur l’écran peut devenir plus grand que la perspective infinie d’édifices gigantesques.”

Dali, “Psychologie non euclidienne d’une photographie”, Minotaure 7.
“La donnée photographique est toujours et essentiellement le plus sûr moyen d’expression poétique et le procédé le plus agile pour saisir les plus délicates osmoses qui existent entre la réalité et la surréalité. Le simple fait de la transposition photographique implique une invention totale: la capture d’une réalité secrète.”

Salvador Dali – Realité Secrète
The image reflects reality but forces people to see the world without prejudice/preconception. Therefore the representation of the world presented by the image (i.e. By Art) is truer than the world directly gazed at.
-> the reflection of the world in the mirror (=Art) is truer than the direct image.
-> Alice Through the looking glass

Benjamin Péret, Minotaure 12-13
“Ruine des ruines”

Dawn ades, “La photographie et le texte surréaliste” in Explosante fixe
“ces visions litteraires ou photographiques de produits de la civilisation engloutis par une nature triomphante et vorace traduisent symboliquement l’opposition des surréalistes à leur propre culture. Et celà, chose curieuse, se situe dans le prolongement du culte romantique de la nature, propre à l’esthétique de la fin du 18ème siècle, qui prend le parti de l’état sauvage contre la domestiqué, et celui de la nature contre la civilisation.”

Notes from La subversion des images: Surréalisme, Photographie, Film, Exhibition Catalogue at Centre Pompidou

I saw this show in December 2009.

Les images du dehors, Michel Poivert

“definition de la photographie comme empreinte”
“une odieuse laideur dont le pouvoir de fascination révèle la jouissance inavouable que procure le mauvais gout” George Bataille

Un photogramme, à l’instar d’une photographie documentaire, exemplifie une relation interiorisée au monde

Le fantastique moderne, Quentin Bajac

techniques d’enregistrement indicielles

Louis Aragon
“ne conçoit pas de merveilleux en dehors du réel”
“un fantastique, un merveilleux moderne autrement riche et divers”
“La réalité est l’absence apparente de contradiction. Le merveilleux, c’est la contradiction qui apparait dans le réel. Le fantastique, l’au delà, le rêve, la survie, le paradis, l’enfer, la poésie, autant de mots pour signifier le concret” La révolution surréaliste 3
“sentiment du merveilleux quotidien”

About Eugène Atget, self taught photographer of Paris whom the Surrealist admired:
Waldemar George: « un quart de siècle avant Aragon, il a écrit Le Paysan de Paris en sondant, en dépouillant de sa gangue et en mettant à nu cet immanent mystère qui a pour nom: banalité. »
Albert Valentin: « tout à l’air de se passer au delà, dans la marge, dans le filigrane, dans l’esprit »
« une même poésie spectrale et populaire de la ville. Eloignés des utopies modernistes urbaines contemporaines, ils prennent leur source dans un Paris où seuls les lieux banals et surannés peuvent faire surgir un merveilleux moderne. »
« une nouvelle mythologie moderne urbaine dont les clichés d’Atget, dans leur brutalité primitive, fourniraient une des clefs d’accès. »
« autant de contenus manifestes, d’apparences trompeuses qu’il convient de déchiffrer »
« mettre au jour un contenu latent, souvent chargé de mystère et de percer littéralement l’ombre, lieu de tous les fantasmes »

Below some pictures by Atget:

Atget - Hell Mouth

Atget - librairie

atget - vitrine

atget - mannequins

atget - stairs

atget - appartment

atget - cabaret

atget - foggy street

atget - stairs

atget - cabaret

Dali, « Le témoignage photographique »
« la nature intrinsèquement fantastique du médium photographique »

Pierre Mac Orlan, « Masquer sur mesure », 1928
« révélateur d’une puissance merceilleuse »

About the photographs illustrating André Breton’s Nadja:
« hallucinations simples »

André Breton about night in « Les vases Communicants »:
« la grande nuit qui sait ne faire qu’un de l’ordure et la merveille »
This may refer to Brassai’s photographs of Paris by night.

Below some photographs by Brassaï:

brassai - foggy paris

brassai - gutter

brassai - house

brassai - foggy

brassai - broken windows

brassai - marechal ney

Random quotations:

Henri Cartier Bresson p152:
« laisser l’objectif photographique fouiller dans les gravats de l’inconscient et du hasard »

Dali, « Mes toiles au salon d’automne », 1927 p219
voir le monde « d’une manière spirituelle, dans sa plus grande réalité objective »

Freud:
Schaulust = pulsion scopique p220

André Breton, « Le Surréalisme et la peinture » p274
« L’oeil existe à l’état sauvage » = the eye exists in a savage state (he means that people see things instinctively, the sense of sight does not need to be educated, tamed.)

about strange perspectives in Dora Maar’s collages p275:
« les décors sont sombres et composés de perspectives dépravées: une fenêtre disparaît derrière une colonne pour ne jamais reparaître; un couloir penche vers la gauche jusqu’à se tordre; une voûte s’avère à la fois concave et convexe selon le point de vue qu’on adopte. Ainsi les personnages chimériques ont-ils l’air d’errer dans des espaces qui, par leur contiguïté et leur hétérogénéité, ne peuvent qu’être mentaux. »

Warped spaces in Dora Maar collages:

dora maar

dora maar

dora maar

dora maar

Original Surrealist published material, reprinted

Louis Aragon, « Du décor », 1918, p417
« Doter d’une valeur poétique ce qui n’en possédait pas encore »

Robert Desnos, « Puissance des fantômes », 1928, p418: a poetic ode to cinema and the power of imagination
« Nés pour nous, par la grâce de la lumière et du celluloïd, des fantômes autoritaires s’assoient à notre côté, dans la nuit des salles de cinéma »
« le cinéma ne saurait être que le domaine du fantastique. En vain le réalisme croit-il régner sur les films ».
« Le merveilleux se manifeste où il veut et, quand il veut, il paraît au cinéma à l’insu peut être de ceux qui l’introduisent. »

« Heureux l’homme soumis à ses fantômes. Certes, il connaîtra des nuits désertes, d’inexplicables nostalgies, des mélancolies infinies, le désir sans raison, le spleen, l’implacable spleen. Mais il remettra la terre à sa place parmi les astres et l’homme parmi les créatures. Jamais l’or ne le détournera de son chemin. Jamais un boulet d’esclave n’entravera sa marche. Mieux, tout ce qu’il désirera, il l’obtiendra par la magie même de son imagination et les visites mystérieuses charmeront sa solitude. Libre, il agira librement en toute chose et sorti du dédale terrible de ses rêves, est-il quelque chose sur terre qui pourrait l’épouvanter? […] Initié au fantastique par la seule puissance de la surprise, son esprit connaîtra bientôt la sérénité, née du conflit de son orgueil et de son inquiétude. »

I translate this particular bit because it is very poetic and I like it:
« Fortunate is the man who submits to his ghosts. Sure, he will be prey to deserted nights, unexplainable nostalgies, infinite melancholies, mindless desire and spleen, the merciless spleen. But he will put the Earth back in its place among the stars, and man among the creatures. Never will gold sway him from his path. Never will he be hindered by a slave’s ball and chain. Better, all that he may desire, he will get it by the mere magic of his imagination, and mysterious visits will charm his solitude. Free, he will act freely in all things and, out of the terrible labyrinth of his dreams, is there anything on Earth that could terrify him? […] Initiated into the Fantastic by the mere power of surprise, his mind will soon know serenity, born out of the conflict of his pride and anxiety. »

Note: « ghost » = « fantôme » in French = « fantasma » in Italian (learnt from watching too many Dario Argento subtitled movies 🙂 and also spanish
« Fantasme » in French = « a fantasy » in English
« Fortunate is the man who submits to his ghosts. » I’m wondering whether there is some kind of pun here about fantôme (ghost) -> fantasma → fantasme → « Fortunate is the man who submits to his fantasies. » May be worth looking into the latin root of « fantasme » and « fantôme »

Antonin Artaud, « Sorcellerie et cinéma », 1927, p419
« cette espèce de griserie physique que communique directement au cerveau la rotation des images »
« cette sorte de puissance virtuelle des images va chercher dans le fond de l’esprit des possibilités à ce jour inutilisées.  Le cinéma est essentiellement révélateur de toute une vie occulte avec laquelle il nous met directement en relation. Mais cette vie occulte, il faut savoir la deviner. »
« le cinéma […] dégage un peu de cette atmosphère de transe éminement favorable à certaines révélations. »
« un certain domaine profond tend à affleurer à la surface »

« Le cinéma me semble surtout fait pour exprimer les choses de la pensée, l’intérieur de la conscience, et pas tellement par le jeu des images que par quelque chose de plus impondérable qui nous les restitue avec leur nature directe, sans interpositions, sans representations. Le cinéma arrive à un tournant de la pensée humaine, à ce moment précis où le langage usé perd son pouvoir de symbole, où l’esprit est las du jeu des representations. La pensée claire ne nous suffit pas. Elle situe un monde usé jusqu’à l’écoeurement. Ce qui est clair est ce qui est immédiatement accessible, mais l’immédiatement accessible est ce qui sert d’écorce à la vie. Cette vie trop connue et qui a perdu tous ses symboles, on commence à s’apercevoir qu’elle n’est pas toute la vie. »

I translate this bit because it is crucial:
« To me, cinema seems to be made to express thoughts, the inside of the consciousness, and not so much through the play of images than through something more fleeting that communicates them to us with their direct nature, without interpositions, without representations. Cinema was discovered at a turning point of human thought, at this very moment when overused language has lost all of its symbolic power, when the mind is weary of the game of representations. Clear thought is not enough. It paints a word overused to nausea. What is clear is what is immediately accessible, but what is immediately accessible is nothing but the mere surface of life. This life that we know too well, that has lost all its symbols, we start to realise that it is not the whole of life. »

Benjamin Fondane « Du muet au parlant: grandeur et décadence du cinéma » 1930
« un nouveau moyen d’expression qui non seulement remplacerait la parole mais la mettrait en échec, soulignerait son creux; exiger d’autre part du spectateur une sorte de collaboration, ce minimum de sommeil, d’engourdissement nécessaire, pour que fût balayé le décor du signe et que prît forme à sa place le réel du rêve.
Que le spectateur perdit pied, c’est tout ce que le cinéma voulait. »

Albert Valentin « Eugène Atget, 1856-1927 » 1928
« tout a l’air de se passer au-delà »
« Le reste est au-delà, vous dis-je, dans la marge, dans le filigrane, dans l’esprit, à la portée du moins perspicace ».

Brassaï « Images latentes » 1932
juste cette expression « images latentes »

Dali « le témoignage photographique » 1929
« essentiellement le véhicule le plus sûr de la poésie »
« percevoir les plus délicates osmoses qui s’établissent entre la réalité et la surréalité »
« l’enregistrement d’une réalité inédite »

Raoul Ubac « L’envers de la face » 1942
« Une image, et surtout une image photographique, ne donne du réel qu’un instant de son apparence. Derrière cette mince pellicule qui moule un aspect des choses, à l’intérieur de cette image il en existe à l’état latent une autre, ou plusieurs autres superposées dans le temps et que des opérations le plus souvent dues au hasard décèlent brusquement. »

Jean Goudal « Surréalisme et cinéma » 1925
« Au cinéma comme dans le rêve, le fait règne en maître absolu. L’abstraction perd ses droits. Aucune explication ne vient légitimer les gestes des héros. Les actes succèdent aux actes, portent en eux mêmes leur justification. Et ils se succèdent avec une telle rapidité que nous avons à peine le temps d’évoquer le commentaire logique qui pourrait les expliquer, ou tout au moins les relier. »
« hallucination consciente »
« cette fusion du rêve et de l’état conscient »
« ces images mouvantes nous hallucinent, mais en nous laissant une conscience confuse de notre personnalité et en nous permettant d’évoquer, si c’est nécessaire, les disponibilités de notre mémoire. »
« Dans le langage, la donnée première est toujours la trame logique. L’image naît à propos de cette trame et s’y ajoute pour l’orner, pour l’éclairer. Au cinéma, la donnée première est l’image, qui, à l’occasion, et point nécessairement, entraîne à sa suite des lambeaux rationnels. »

Posted on

Canterbury University Symposium: “Video art: between documentary and fiction”

In June 2010, I attended a Symposium at Canterbury University: “Video art: between documentary and fiction”. Below are reading notes from this symposium. I was interested in it because it focused on lens-based images creating an awkward feeling of ambiguity regarding their documentary or staged nature, something I came to identify as a key concern in my practice.

Jon Dovey ‘The Limits of Vernacular Video’

Gaza Sderot: interactive video
The Himan Pet: Fake hostage video asking viewers to save the filmed subject
Derrida – Kate Modern on youtube ? the camera crew is no longer invisible

“Creative manipulation of reality” (author?)

Sarah Turner ’On documentary and Perestroika’

In Perestroïka, Sarah Turner repeats a journey to Siberia done 20 years ago (1987-88). Two friends present in the original trip are now dead at the moment of refilm in dec 2007- jan 2008

external events internalised
“Why and when does a documentary work display the truth of fiction ?”
memory, loss, photography, truth/fact, evidence
ourselves vs others and how it makes us
uncanny/real
refuses the duality between facts and the fiction of memory
psychogeography/dream

questions from audience:
Does the web esthetic of autobiographical filmmaking infect normal filmmaking?
I thought of Gus Van Sant’s Paranoid Park. Someone names Eli Harrison
“Who holds our story if the other is not here to do it?”
There is a more democratic access to cinema than to Art (just buy a ticket and be anonymous in the dark, compared to gallery environment)
Stiegler – Montage

Elizabeth Cowie  ‘The Contingency of the encounter in  documentary video art’

Rien que les heures – Cavalcanti – 1926 shows the city of paris and images of poverty
Badiou
Deleuze – intervals ????
Walter Benjamin “dialectical image” = image charged with history

Lauren Wright ‘The time between reality and fiction’

Curator at Turner Contemporary, Margate

picture by Turner of an imaginary landscape: he had read the description of it but never seen it
temporality shaped by artwork shaped by artwork and exhibition space
Bergson “creative evolution”

Matthew Buckingham: situation leading to a story
The visitors hears the sound but they have to walk around some walls to see the images (the sound continues in 2nd space with image)
the images are found footage: 4 rolls of 1920s home movies. The soundtrack is the artist’s comments/reflexions about what these films are about, who are the people in it, why the films have been thrown away, suppositions about unknown family drama and the possible cause of it.
Time as a collection of different temporal frames ? it does not let us collapse the different temporal frames

Robert Smithson, spiral jetty

Irit Rogoff ‘Bared Life – On the Documentary Turn in Visual Culture’

I missed most of this because I was watching the screenings.

Foucault: territorial ->population

Adam Chodzko ‘Latitudes’

ghost, echo, journey

Salam Cinema, 1995, Teheran

1998: Meunien ? he tried to find the 16 young victims from Pasolini’s Salo. Only one responded, he found doubles to replace the other original actors
The actor that responded was the one whose character did not do the final execution scene !!!
originally, Pasolini wanted footage from the cast party at the end of the film. But he finally decided against it, decided it was more disturbing not to explicitly tell the audience it was “only fiction”
-> makes me think of the ending of Greenaway’s The Baby of Mâcon

fabricated images from Milosevic trial ?check?

1967: David ?Holsman? Diary. Story of a director who obssessively records everything. Against the claims of “direct cinema”

Strawberry pickers
archive show “migrant workers” from East London come to pick hop in Kent in the 20’s and 30’s
the archives were edited by contemporary Romanian strawberry pickers. They said that the workers in the archive looked happier than themselves. By the end of the archive watching session, their attention start to drift and they start talking about themselves and their dreams

Chris Marker, Sans soleil: People sleeping in the tube, intercut with scary images of their dreams

An actor comes to an audition for a movie and pretends to be blind. When asked why by the director, he says he did it for the love of cinema.

A man burns himself with a cigarette, saying it is the only way to show the effect of Napalm (which causes a 3000°C burn compared to 400°C for a cigarette.
-> Does trauma/hurt guarantee authenticity ?
-> My own work on Magdalene/asylums ? Is it a cheap trick ?

Agnostic anxiety: not to know whether what you see or think is real or not, correct or not.

As a spectator, do you expect transformation from an artwork ?

Questions:

My question: in “A letter to Uncle Boonmee”, “soldiers occupied the place, killed villagers, forced them to flee to the jungle”. Yet the deserted houses are very clean (and houses in ireland show how very quickly they deteriorate). So this image hints at recent trauma/violence. This is reinforced by the presence of fictionnal soldiers played by local teens. Are they real houses or stage design ?
-> previous speaker: trauma/hurt guarantee of authenticity
-> I point out to a urbex forum discussion of the moral implications for the artist/urbexer of picturing recent trauma. Are the moral implications different between taking pictures of Tchernobyl and post Katrina NOLA?

Michael Newall

Pyramid – Adam Chodzko: Folkestone residents reaction to the appearance and disappearance of an otherworldly object, the pyramid.

International God Look-alike competition – Adam Chodzko

Philosophy of Art
Cognitivism: the value of Art is to offer knowledge/deepen understanding
Bourriaud – relational aesthetics: art that facilitates communities
-> critic of it: it designs only social situations where there are no conflicted interests. Different from real life.
-> he argues that activist art can change social situations, as opposed to relational
-> my objection: Activist art gives an answer to the audience (thesis, propaganda) whereas relational art make audience make their own meaning
-> later I actually get the opportunity to ask this and here is the answer: he refered not to propaganda/thesis art but to activist art in situ that have uncontrollable consequences where the happening takes place. And also other things like Antisocial Networking which used Google advertising revenues in order to buy google shares.

Brian Dillon

André Breton and Dogma 95 have in common a confusion between fact and fiction, and put serious and comedy together.

Artists are increasingly encouraged to be academics (“practice led research”). The relationship between Art and Academia is ambiguous. He says that the artist does not like the label of intuition and wants the image of rigour (my unvoiced objection: Certainly not all artists !!!)

The museum values what is not Art in Art: what looks like Art is called kitsch! That’s how the Avant guarde gets into the museum, because it looks different. The Avant guarde blurs the line with everyday life. In order to be successful, the artist produces something that does not look like Art. My unvoiced objection: this is a recent “postmodern” phenomenon. Dada and surrealists certainly did not make it to museum when they first started making strange objects, rather they were insulted n the press by respectable art critics.

What is now valued in Art is the research/knowledge underneath the work. References to other disciplines, “the world as such”. My unvoiced objection: “the world as such” is not the same as “the world as observed by academics”. What did art refer to before ? Didn’t it refer directly to “life” as opposed to an academic representation of life?

Jeremy Millar

Human Forms in Art (2008)
-> taken from the name of a display case in the Pit Rivers Museum (Oxford) that was emptied for building works
-> When interviewing someone for a documentary, people first say what they want to say. You have to keep looking at them without saying anything or stopping the camera and after a while they end up saying what they did not want to say, which often turns out more interesting.
Withdrawal of responsibility by pretending to be just passing on some found material: this is an old tradition in literature.
-> he found something about Duchamp by making a film, a fact that no academic knew of, but someone commented to him that a Phd would be more valued than the movie: the Big Duchamp stained glass “The Bride stripped bare by her bachelors” was apparently inspired by sash windows he saw for the first time in a little town in Kent.
-> My idea: there may be a pun behind this. Sash window = fenêtre à guillotine. A nickname for the guillotine was “La Veuve” (= “The Widow”) which sounds a lot like window. This coincidence may have amused Duchamp -> sacrificing a bride to make a widow?

Jeremy Millar filmed “Ajapeegel” (“Time-Mirror” in Estonian), a video set in the abandoned plant where Andrei Tarkovsky filmed “Stalker”.

Ajapeegel (2008)
Digital Video / PAL 16:9 Anamorphic / Stereo
Narrated by Simon Paisley-Day

The work has been developed from an earlier, abandoned video of the same name, that was to explore the relationship (or lack thereof) between groups of English men on stag-weekends in Tallinn, Estonia, and the three men in Andrei Tarkovsky’s film ‘Stalker’ (1979), which was also shot in and around the city. In ‘Stalker’, the eponymous guide, a scientist and a writer all travel to a room in the ‘Zone’ where, it is said, their inner-most wishes will come true; similarly those men on stag-weekends also make a transitional journey, where, they hope, their desires will be made real also. However, after having filmed a great deal of footage on the original locations in 2005, I found it impossible to realise this planned film, and this new work is, in many ways, a documentary of this failure; an ‘unmaking of’ rather than a ‘making of’ film.

Time-Mirror (2007)
Duration 00:19:20:10
Digital Audio File

This project has been developed from another work, ‘Ajapeegel’, (2008) inspired by Andrei Tarkovsky’s 1979 film, ‘Stalker’, much of which was shot just outside Tallinn, in Estonia. ‘Time-Mirror’ — the English translation of the Estonian ‘Ajapeegel’ — was made by mixing recordings made at the site of a disused hydroelectric power station outside Tallinn, where parts of ‘Stalker’ where shot, with recordings made at Grain Power Station during an artist’s placement there. The similarities between the ‘Zone’ and Grain — the power stations, the desolate landscape, even the military installations — mean that they act as ‘Time-Mirrors’ to one another, or perhaps, more appropriately in this context, as echoes; these are places that reverberate.

Ajapeegel (2005)
Colour Photographs

These are photographs taken in and around Tallinn, Estonia, on locations used for the filming of Andrei Tarkovsky’s 1979 masterpiece, ‘Stalker’; these locations were also used for my own film, Ajapeegel (2008).
The title of these works was taken from that of a book by Tatjana Elmanovits, the first monograph on the Russian director, which was found in a second-hand bookshop in the centre of Tallinn; it means, in Estonian, ‘Time-Mirror’.

Untitled Drawings (2002-onwards)
50 x 70cm
Colour Photograph

Part of a series of photographs that take as their motif the throwing of a metal nut and bandage which is found in Andrei Tarkovsky’s film Stalker (1979). In the film, the Stalker ties bandages to the nuts and uses them to navigate around the mysterious Zone; if the nut travels true through the air and lands safely, then the Stalker and his two companions may travel that way also. While the actions were carried out in similarly uncertain spaces, between nature and industry, and suggest an uncertain presence also, they might also be considered as a rather elaborate means of merely making a line on a piece of paper. The first photograph was made in 2002 in Blean woods, between Whitstable and Canterbury; the remaining photographs were made in Hungary in 2003, during a brief artist’s residency.

One of the speakers?: the inventor of anthropology invented fieldwork techniques because he was forced to stay extensively in Australia in order to avoid being drafted in 1st world war.

Posted on

Jane & Louise Wilson

After seeing the long corridor shots from “Disciplinary Institutions”, someone at Norwich Arts Centre advised me to check out the work of the Wilson sisters, Jane and Louise. In a 1999 interview, they say their films ‘attempt to describe the psychology of space’. They are interested in places of power in a deserted state.

In “Stasi City” (1997), they explore a building that was first used by the Nazis, then as a stalinist internment camp, and finally as offices by the Stasi, the East German secret police. They were fascinated by ‘Rooms full of files that existed in a limbo; doors that had not been opened since the Wall came down’ and their camera followed long corridors and dwelt on formerly used functional objects.

Stasi City (1997)

stasi city

stasi city

In “Gamma”, they filmed inside the now dismantled cold war airfield RAF Greenham Common. They staged themselves walking the building in military like clothing, while professing sympathy for the “Greenham women” who organised an anti nuclear weapon protest in 1981.

In 1999, they filmed inside the Houses of Parliament while they were empty.

Parliament (1999)

parliament

In “Crawl Space” (1995), they explore “an abandoned house, replete with slamming doors, hints of telekinesis, and amorphous shapes writhing beneath the wallpaper”. (Sadly I could find no images for this one !)

Their latest work “Unfolding the Aryan Papers” (2009) uses footage from a film about nazism that Stanley Kubrick started in 1993 before dropping the project, as well as contemporary images shot by the Wilson sisters of the lead actress Johanna ter Steege recreating some poses from the movie. These contemporary scenes were shot at the semi-abandoned art-deco style Hornsey Town Hall.

Unfolding the Aryan Papers (2009)

jane + louise wilson

unfolding

Decontamination Chamber (1999)

decontamination chamber

Mir 2000

Mir 2000

Maggs Antiquarian Bookshop

Maggs

Maggs

maggs

jane + louise wilson

Erehwon, Rutherford Hospital Ward I, 2004

rutherford hospital

Posted on

MA Digital Arts – Midpoint Review Presentation and Evaluation

*********************************************

Instructions

Hello fellow MADA 1st year students !

For optimal results, please watch the visual presentation on you tube before reading the written evaluation. (You just have to read this post linearly from beginning to end.)

Thank you !

*********************************************

Visual presentation

I am of course interested in your thoughtful feedback as an artist/academic with cultural references, but also in your instinctive reactions as an individual. This is why I am asking you to watch the visual presentation before reading the evaluation of my project. I want to recreate the conditions in which a random passerby may see an artwork on the internet or in a gallery window, without knowing anything about it, without having even looked at the title yet. This person may not know anything about contemporary art. They may be walking down the street and notice a picture, or have randomly found a video on youtube. What will this person see in the art work? Will the image grab their attention? Will the image awaken feelings/moods/questions in them, despite the absence of cultural context? Making artworks that are able to establish direct communication with the viewer, without the need for explanations or comments is a big concern in my practice. This experiment is designed to find out in which measure I have succeeded or failed so far.

In the visual presentation, you will be shown excerpts from 2 videos, stripped of title, music and context. These videos are made from edited footage, but have no special effects yet. I would like you to watch these videos candidly, without a priori. For the 6 minutes of the presentation, please try and forget (temporarily) about the academic context and watch them not as coursework, but as your Friday night movie or a museum on holidays. This is the closest way I could artificially recreate the situation described above. Please focus on your subjective experience as a viewer. Do the images grab your attention or fail to do so ? Do they create any feelings/moods/reflexions in you? If so which? Do the 2 videos have different, identical or similar feelings to you ? Please tell me anything that crosses your mind.

Watch the visual presentation on youtube

*********************************************

Please do not read anything below until you have watched the visual presentation and followed the instructions !

Thank you !

*********************************************
500 word auto-evaluation

Evaluation

My project is about the relationships between places and individuals, observed through 2 main viewpoints:
1) how the physical world is subjectively perceived by individuals, and intersects with their inner world.
2) how space influence individuals’ psyches. This may take a more political aspect by exploring themes of imprisonment and deprivation of private space.

In the theoretical research, I got mainly interested in:
1) Documentary-type (i.e. not staged) photography, both through its link to Surrealism and in its contemporary form. Surrealist documentary aims to physically reveal “surreality”, the higher perception where dream and reality merge. In contemporary practice, the concept of subjective documentary, that says more about the person that makes it than about the documented subject itself.
2) The concept of “chronotope”: the way space is intrinsically linked to time in the context of memory.
3) Manipulating the viewer’s perceptions/feelings using moving image techniques.
4) How much the meaning/impact of an artwork comes from the raw images themselves, and how much comes from the critical comment accompanying them.

In practice, I have mainly edited raw footage shot in abandoned buildings last summer (in prevision of the MA), aiming to use editing techniques in order to create specific atmospheres that would trigger specific feelings.

Work plan

Issue 1: I come from photography. I have lots of references in cinema but know little about video art. In photography, striking symbolic images stand by themselves. In cinema, such atmospheric images come in between bits of informative narrative. I am still unsure about video art as a language: is it a succession of symbolic sequences deprived of narrative ? Or am I missing something ? Do I want to make pure visual video art or do I want to tell stories (even ambiguous ones) but do not know yet how to do it ? Do moving images without narrative get boring for the audience ?

Issue 2: So far I have only used unstaged/documentary type footage. I planned to incorporate staged images, mostly in order to depict dreams. How do I make the staged images ? I am concerned about them looking kitsch (due to lack of budget), too litteral or too didactic (textbook symbolism).

Issue 3: How can I use new digital technologies (rather than pure traditional still/moving image) to serve my purpose, not just for the sake of being modern ? The main idea is to make immersive installations that make the world of the moving images more real to the viewer than traditional projection on a screen. I have not studied the practical/technical feasibility of installations at all yet.

Issue 4: Can I use the still photographs in an innovative way ?

Other practical tasks:
1) start using special effects on the video software
2) shall I try making my own soundtracks or continue using work from a proper musician ?

Further theoretical research:
1) the mechanism of memory
2) dream symbolism

********************************************

Constructive comments

After reading this project evaluation, please submit your comments as a student/artist/academic as well as your comments as an individual viewer (as requested in the visual presentation). If your experience on these 2 different levels differs sensibly, please make sure to state clearly on which level you are commenting, since I won’t be able to request clarification of ambiguities while you are commenting on my work. Thank you for your help and cooperation!

For your information, the titles and commercial/critical blurbs usually accompanying the 2 videos were:

Video 1: Disciplinary Institutions

In “Disciplinary Institutions”, I explore places used to make undesirable and/or helpless people disappear discretely such as Magdalene convents (used to imprison women), mental asylums and workhouses. I am interested in showing how the long gone inmates keep imprinting these places long after they are dead, and the malevolent aura still cast by those buildings.

Video 2: Ghost House

The Ghost House series was shot at several abandoned houses in Ireland, whose last occupants probably left 10 to 30 years ago. Traces of their lives and aspirations, and of the disillusions and hardships
that made them leave their homeland, remained in the form of scattered personal belongings.

Do those blurbs influence your perception of the images ?
If so, do they:
– help you get interested in the artwork (while the images alone left you cold) ?
– change your perception of the images ?
– confirm your intuitive perception of the images ?

Posted on

Jacques Derrida on the ghostly nature of photography and film

Interviewed in Ken Mc Mullen’s film Ghost Dance, Jaques Derrida comments on the ghostly nature of photography and film:

“Contrary to what we might believe, the experience of ghosts is not
tied to a bygone historical period, like the landscape of Scottish
manors, etc… but is accentuated, accelerated by modern technologies
like film, television, the telephone. These technologies inhabit, as
it were, a phantom structure … When the very first perception of an
image is linked to a structure of reproduction, then we are dealing
with the realms of phantoms.”

Posted on

New Hall College “guided exploration”

There is a “Festival of ideas” celebrating the 800th birthday of Cambridge University. Tonight, I went to a performance art/guided tour of New Hall College organised by performance artist and architect collective Urban collaboratory. New Hall College, the last of the Cambridge Female-only Colleges, was built in 1964 in a modernist style.

The performance was some sort of guided tour led by the 2 artists. They had interviewed people living and/or working in the college (students, fellows, cleaners, caterers, gardeners) and stopped at various places to read out quotations from these interviews, mostly focusing on the daily routines of the College’s occupiers and the way they used the space. They also read out excerpts from the architectural review published in 1964 when the College was built.

The key concepts behind the 2 artists’ interpretation of the space were feminity and futurism. The building is built in a modernist 1960’s style, very epurated, completely white (or rather beige in practice, but the architect’s concept was about whiteness …) and famous for its dome. The virginal whiteness and the female shape of the Dome referred, for the 2 artists, to a male architect’s interpretation of what an all-female dwelling should look like. The white dome also reminded them of 1960’s science fiction movies and chosen excerpts from such films were shown in the college dining room. Indeed, 1960’s science ficition movies imagined future architecture to look very much like modernist 1960’s buildings, and several white domes were shown, one of them supposedly on a human-inhabited Moon ! These films also had a vision of the future where male and female roles were blurred or even reversed, possibly echoing the anxieties of the New Hall architect (or not …)

I was very impressed by the stairs leading up to the famous dome. I felt like a in lighthouse.

New Hall College Stairs (Cambridge)