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The Zennor Event (Host: Andy Whall)

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Information: 

6.00pm until 9.00pm on Friday May 6th 2011

Venue
Name: 
Zennor Village Hall
Date: 
Fri, 06/05/2011 - 6:00pm - 9:00pm
Featuring Collections: 

“Over the last six years DVblog has been posting, on a daily basis, curated QuickTime videos exemplifying the recent striking explosion of art video on the net.

Our policy has been flexible and eclectic enough to accommodate also the occasional advert, music video, documentary and gallery resident curiosity or wonder but our core project has been the net.

This selection attempts to offer a panorama of material we have been struck and engaged by in those years.
It’s partisan in that to some extent it’s a personal favourites list within that brief – to do justice to every angle would take days not hours.

Techniques and concerns vary widely from the in-your-face appropriations of JimPunk , the joyful performative madness of Rupert Howe’s Rendering of Anarchy in the UK in,  amongst other places, the London Underground, to the documentary poetic dreamscapes of Robert Croma and Millie Niss.

Also included is the second life dance/dreamwork of veteran Alan Sondheim,  datamoshing  from young US artist Eddie Whelan and much more.
When we say personal favourites we guess what we also mean is that for us it’s not only the exemplification of trends that matter here but also excellence in the conception and execution of each piece. We think each work stands out, before consideration of any illustrative value, for this excellence.

The collection as a whole is dedicated to the memory of Millie Niss, whose work we posted many times and who died, tragically young, in late 2009.”

Michael Szpakowski  and  Doron Golan  Feb 2011

Artwork
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Disscussion about collection - DVblog

#1 DVblog Collection Curated by

DVblog Collection
Curated by Michael Szpakowski and Doron Golan

Works by artists Martha Deed, Millie Niss, Steven Ball, Nathaniel Stern, Giles Perkins, Kerry Baldry, Robert Croma, Rupert Howe, Jim Punk, Donna Kuhn, Morrisa Maltz, Sam Renseiw, Liz Sterry, Eddie Whelan and Alan Sondheim

Zennor seems an interesting spot in terms of landscape, remoteness, experience of isolation, deterioration, possibly exclusion. Several thoughts invade at once: issues of mobilities, migration (migrating plants, closeness to the sea), Michel Foucault on bio-politics, Victorian times, and then environmental questions. How is labour manifest here, the working situation? And subsequently art and culture. Does the geographical remoteness, singularity and uniqueness repeat, provoke, induce, mirror, perform, activate a so-called local art, or local art scene. How does this geography invite us or even claim to re-visit concepts of the local, global, globalised – in art... ? And where does one speak from when discussing the local... ?

The DVblog Collection first of all seems to play with a flattening of material. This flatness occurs by providing a serial arrangement of QT movies, same format, all is moving image material, same viewing position if you like. This equality or democratic assemblage is underscored by the lack of an overall theme or concept that would “frame” the collection as a whole. The viewer, user or audience is then perhaps reinforced and recreated as one who chooses randomly, quickly zapping through “similar” (of course not so similar material when actually watching) videos, creating a viewing experience of almost simultaneously watching. [multiple windows > video mosaic]. Does the collection ask for distraction or precisely ask for “proper watching time” for each work, art movie?

British Beach Hut Miscellany. Snow Factory. Itown. If anything, then what the works do is to invite making links to other works, histories, communities. Resisting concise analysis (perhaps due to their contained mode, remaining small, gestural, grainy, a statement, a manifesto), they ask for laying a ground for ‘networking’, for accumulating, adding notes, references, ideas, stories, for un-doing art history, for speculating what surrounds them.

British Beach Hut Miscellany (1:36 min, 2006) by Giles Perkins. A glimpse on to beach hut culture in Britain. The huts are photographed/filmed from the point of view of looking at the front of the little houses (standing at the beach looking land-inwards). Most huts are closed, very few people appear in the shots. The huts are colourful, yet the super8 film introduces a slightly different colour palette, some kind of nostalgic sensation. My two immediate references: the first is Dan Graham ‘Homes for America’ (1965) which is part of Graham’s early “works for magazines”. In ‘Homes for America’ photographs of prefabricated suburban houses are arranged with text describing different models of these houses (A, B, C, D) and developing the combinatory system of them (e.g. DDCCAABB or BDCABDCA).

The second is the text Nostalgia for a Digital Object: Regrets on the Quickening of QuickTime by Vivian Sobchack, published in Millennium Film Journal No. 34 (Fall 1999): The Digital. http://mfj-online.org/journalPages/MFJ34/VivianSobchack.html

Snow Factory (53 secs, 2006) by Steven Ball. Snow factories, selling snow as a business? The absurdness of the video, and the business one might ask. The artist selling snow… David Hammons “Bliz-aard Ball Sale” (1983) where he performs among other vendors in downtown Manhattan selling snowballs priced according to their size. 

There is also a strong poetic element. The shortness of Snow Factory seems to be about or deal with what you miss, what you cannot see – understand, what lies beyond the time-space of the movie = screen. A hint to notions and strategies of the cinematic out-of-field.

Itown (2:32 min, 2001-4) by Nathaniel Stern. My references: Gilles Deleuze’s essay “He stuttered” in his book ‘Essays critical and clinical’ (1997) – on the writer who, instead of the character, becoming a stutterer in language, and then on how to reach or provoke the limits of language itself, creating a state beyond being a writer – (p.113:) “the words of a poet, the colours of a painter, or the sounds of a musician.” 

Early Vito Acconci’s performance-based videos (intimacy of video space, inter-personal transactions, voice, violence).