Frieze Film 2013
A member of the Nasty Nets Internet Surfing Club, Loshadka Internet Surfing Club and Computers Club, Petra Cortright makes videos that intuitively play with online language and tropes, such as the representation of the physical body within the computer screen. DYI aesthetics characterise Cortright’s practice, which embraces and subverts the home-user’s attitude towards social media and technologies.
Peter Gidal’s starting point for his 16mm film is a soundtrack that consists of three lines from a 1,000 word story written by Gidal in 1971, read by William Burroughs. Gidal describes the film’s ‘so-called imagery’ as ‘a complex of barely visible cuts in space and time, the opposite of erasure, but nothing so much as visible’.
Patricia Lennox-Boyd’s commission for Frieze Film 2013 takes as a starting point the use of hands in the marketing of consumer goods to signify a product’s proximity to its means of production. She has described her desire to make a video that will be ‘touching’, ‘which is to say, someone will be holding a camera, which will touch a subject, touching something touching’.
Oraib Toukan has an ongoing collaboration with artist Ala Younis on found film footage from the former Soviet Cultural Center in Amman. They have a working relationship with the digital builder Matthew Epler who designed a crowd-sourced database to globally identify 900 unknown film canisters in Amman.
Vogt has described her commission for Frieze Film 2013 as working within the format of a television commercial. Using drawings and footage of friends collected throughout the preceding months, Vogt will create episodic video compositions that are broken up by the editing process. This will extend Vogt’s previous interest in circumventing the video signal as seen in her works Stranger Debris Roll Roll Roll (2013) and Temple Drawn – OFF (2013).
In addition to commissioning these five new works, the programme will also explore the process and conditions of commissioning artist films with a think tank and a panel discussion in the Frieze London auditorium. Entitled ‘New Partnerships Between Art & Film’, the think tank and panel have been developed in collaboration with CPH:DOX, the CineMart of the International Film Festival Rotterdam (IFFR) and LUX, and are programmed by ART:FILM.
Wednesday 16 October, Frieze London auditorium, ‘New Partnerships Between Art & Film’, think tank (invitation-only): This think tank invites experts from the art world and film industry alike to discuss existing genres and markets as well as new possibilities for developing films in a hybrid financing landscape. The challenges of new types of ownership, exhibition and distribution will be addressed, so as to develop and propose new ways of working across art and film.
Friday 18 October, Frieze London auditorium, panel discussion (3pm): Outcomes of the think tank of 16 October are presented and challenged through a public panel, including questions on film production, financial models, ownership and audiences. Questions that will be addressed include: ‘How does the institutional context influence the creative process?’ and ‘How can film and art productions be integrated in the future?’