[-empyre-] Artwork #5: Maia Conran - Meat
danielp73 at gmail.com
Fri Jul 13 06:30:26 AEST 2018
-VOICE OVER is a person
-confidence in silence and pauses -- reminds me of chris marker
-I… who is I
-disembodied voice — not very meaty
-rig defines real/virtual space.
-I know of… indexical know. link between character and subject heading
-sound of lights turning around - the meatiest ingredient in the video.
-immaterial space of sequences, procedures.. video editing
-Monkey is cute
-Darkness, ocean, cave — sensual space and time of video editing
-meat in deep space. deep space delineated by lighting rig. lights lighting
up disembodied voice. hard to put together but drawn into the conversation.
conversation across the time and space of both biological body and 'body'
-I have patience for these analogies, which might have otherwise felt
contrived, because of the care taken in setup and editing to present
elements as characters.. creaky lights, rusty rig (albeit in front of a
clean back background), furry monkey, careful layering of studio footage
and (presumably) found video.
-what do all of the declarative sentences add up to. where do they come
from. add up to an experience of language and create an aesthetic of the
conversation between the different I’s in the video—even if words and
sentences themselves fade into background.
On Tue, Jul 10, 2018 at 11:58 PM Daniel Lichtman <danielp73 at gmail.com>
> Robert Rapoport's response to Maia Conran's Meat
> ---------- Forwarded message ---------
> From: Robert R <robertrapoport at gmail.com>
> Date: Tue, Jul 10, 2018 at 11:02 PM
> Subject: RR Response to Meat
> To: Daniel Lichtman <danielp73 at gmail.com>
> A conversation between two disembodied voices in which they narrate the
> armature of a film.
> Voice 1/Voiceover (mechanized) describes light, and objects without
> relation. Is this a beginning?
> Quickly an armature becomes apparent: a scaffold that sits above a stage,
> supporting lights that, normally, one should forget are there. This is the
> armature of the theater. Deus ex Machina.
> Voice over describes a black box lit by fresnel lights. Where are we? We
> look up from the orchestra pit. Where is the action? the sound?
> Enter voice two (less mechanized). asking a monkey to re-enter the frame.
> Cue voice one with a story of sensory deprivation.
> Voice two mourns only the deprivation of presence. The compressed version
> of a gibbon in monochrome. while voice 2 interprets this
> Voice one can only enumerate objects without semantic relation.
> Voice two: again calls us back to the armature. Naming the lights rigged
> but to dutifully shine on darkness. The voice us to come out of the codec
> we call home and swing on a live tree.
> On Tue, Jul 10, 2018 at 5:48 PM Daniel Lichtman <danielp73 at gmail.com>
>> Maia Conran
>> Video link: https://vimeo.com/163522502
>> Maia Conran lives and works in London and North Wales. She works
>> primarily in installation, moving image and performance. Voice, internet
>> politics, and ideas around ownership and privacy are central interests of
>> her practice.
>> She has been awarded solo exhibitions at Kingsgate Workshops, London;
>> Grand Union, Birmingham; IMT Gallery, London; Phoenix Gallery, Exeter; G39,
>> Cardiff. Her work has also been selected for international group
>> exhibitions and screenings in New York, Canada, Germany, Spain, Bulgaria
>> and Australia. She has been awarded a number of residencies most recently
>> at Cardiff Contemporary Arts Festival.
>> Her film Term was published on DVD by Filmarmalade in 2012 and her work
>> is the subject of a monograph entitled Here is the Yard published by Grand
>> Union in 2014.
>> She is a PhD candidate at Queen Mary University of London and a Lecturer
>> in Time Based Fine Art at the University of the Arts, London.
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