Opening Travelling Time exhibition
The exhibition at NIMk presents several installations, sound– and film works that explore different modalities of time. They seemingly halt the experience of time, deal with speed in the city, resist the sequential montage of classic cinema, or leave the visitor in suspension because action is continuously deferred. Immersive, pensive, scientifically precise or overwhelming, all these works tickle the brain and the senses.
The exhibition opens at 16:00. At 16:30 hrs, the opening ceremonies will start, including public interviews with artists participating in the exhibition.
Works by Joe Gilmore (UK), Julien Maire (FR), Tao G. Vrhovec Sambolec (SI/NL), Philipp Lachenmann (DE), Juliana Borinski (BR/DE), Mark Fell (UK) and (on show only for the duration of the festival) Daïchi Saïto (JP/CA) will be shown.
Joe Gilmore
-9.93450215762280319787e-1
(2012, installation)
The new generative sound piece by Joe Gilmore explores space, geometry and complexity through sound synthesis. The multi-speaker installation uses chaotic algorithms, and flocking / swarm synthesis. The sound ranges from short impulses scattered around the space in different configura- tions, to extended complex tones and chaotic noise signals.
Julien Maire
Perpendicular Cinema
(2011, installation, produced in collaboration with V2_lab)
Julien Maire’s Perpendiculair Cinema resists the directivity of the montage. A complex mechanical interface, made of blocks of reflective metal, inter- cepts, controls and models the clear and blurry areas of a projected slide. The slow scanning is similar to the assiduous attention of a researcher. This concentration resists the flow and focuses on details in an image and their conditions of appear- ance, looking for a grammar, a construction and a deconstruction of perspective and narrative. The three-dimensional effect and the materiality of the image and of the device that allows the development is accentuated. The installation reads a script that is perpendicular to the image in the optical space. The movement no longer appears in the equation of the difference between successive images but in the optical performance of a fluid, continuous real time.
Flip Dots Mirrors
(2011, installation)
Forty-eight flip-dots coated with first surface mir- rors (FS mirrors) reflect part of a slide image of people sitting on a tribune.
Tao Sambolec
City Velocities – Body Speeds
(2012, new work, commissioned by Sonic Acts, NIMk & STEIM)
City Velocities – Body Speeds focuses on the tactile experience of travelling at speed in an urban environment. It does not provide an inter- pretation; instead it embodies the phenomena of speed, re-creating the experience and thus con- fronting the visitor with its existence.
Philipp Lachenmann
Space_Surrogate I (Dubai)
(2000)
A half hour film made from a single image. A solitary airplane stands in the desert. Hot air, shimmering like a mirage, is the only perceivable sign of the passage of time. The 30’ film sequence was digitally produced from a one still picture.
Space_Surrogate II (GSG 9)
(2003)
A five seconds long film sequence from 1977 is transformed into an extremely slow moving still image of eight minutes. Nine men, members of the German anti terror squad GSG 9, cross the picture from left to right. The sequence was digitally produced by interpolating 11.000 artifi- cial images between 120 original film frames.
Juliana Borinski
Liquid Crystal Display
(2008–2009, installation)
In the expanded cinema installation Liquid Crystal Display a few drops of a crystalline solution are placed on an empty slide in a cus- tomised projector. The crystallisation process and all its associated movements are projected live. Using the projector’s heat, the reaction time varies from 20 minutes to a few hours (depending on the solution’s concentration and the temperature and humidity in the exhibition space). Each slide is replaced after the ‘image’ has stabilised.
Mark Fell
Factoid #3
(2011, installation)
Philosophy has investigated the linkage between the structure of consciousness and the structure of the present, but it has not taken sound into consideration. How does sound contribute to this linkage? Thinking of the repetitive temporal struc- tures of techno, or the prolonged tones of Tibetan music – some primary relationships between time, consciousness and sound could be imagined. Informed by recent studies in the psychopa- thology of time, Fell’s intense and confrontational installation Factoid #3 promotes a destabilised association between time, the self and sound. Phenomenological emphasis on flow, linearity, and the present as embedded in both the previous and the imminent, are rejected in favour of disas- sociated suprasequential nows. This work contains extremely bright flashing light, high intensity sound and generative temporal structures.
Screening from 23–26 February: Daïchi Saïto
Never a Foot Too Far, Even
(2011, double projection, 16 mm)
Appropriating a brief fragment from a 35 mm print of an old Kung Fu movie, Never a Foot Too Far, Even is an action movie without action. Presented in double-projection with two 16 mm film projectors and loopers, with images from two separate rolls overlaid to form a single image, the film focuses on an obscure figure who finds himself on a forest path, caught between perpetual motion and stasis.
During the festival, the exhibition is open from 24-26 February 11:00-19:00. Furthermore until 15 April 2012 the exhibition is open Tuesday through Friday 11:00-17:00, Saturday and Sunday 13:00-17:00.