NETTIE HORN is pleased to present the first edition of “Lightcone” - a video-programme presenting a selection of screenings by international artists. From experimental video to short film, this event aims to emphasize the alternative form of cultural communication of video art.
Victoria Brown & Richard Brammer
“The Loamshire Trilogy” (2009, 13mins)
"A transistor radio sitting on a windowsill, fallen between the stations…" best defines the tone of Victoria Brown & Richard Brammer’s “Loamshire Trilogy”.
Brown & Brammer work in tandem across a variety of mediums to create a selection of discrete moments and fragile signals; these are capable of standing alone by themselves but nevertheless form part of an overall world, continuous and barely fathomable, where images, sounds and words blur in and out of focus... They named this place 'Loamshire'.
Ra Di Martino
“The Red Shoes” (2007, Single channel 16mm film loop, 4 minutes and 45 seconds)
The video recalls a story and resembles something — a hazy memory or dream — from somewhere. The film appears to be part of a feature film, perhaps one that we have seen, but can't quite remember the name. It can be read as found footage, a fake found footage.
“The Flooded Rooms” (2007, 4mins)
“The Flooded Rooms” adds to Langan’s catalogue of work exploring the extreme forces of nature on mankind and it’s environments. This 4-minute film leads the viewer through a series of flooded rooms where it appears that nature has taken over the interiors created by mankind and claimed them as it’s own new landscape. There has always been a crossover between photography, film and painting within Langan’s practice. The use of hand-painted filters and lens attachments generates a very site-specific approach, as well as an obvious reference to painting. Each shot in the film is taken through specifically fabricated hand painted filters, altering the image as it comes into the camera. Accompanied by an original score by Jürgen Simpson.
“Odyssey” (2006, 7mins)
Macrae’s work manipulates popular iconography in film and video through compression - exploring the modern fascination with speed, nostalgia, information and entertainment. She misappropriates the ready-made formats of cinema and television through digital media technologies fixating obsessively on pivotal recurring narrative junctions. These works parody and reconstruct the dynamics of Hollywood clichés, collective memory and the standardisation of film narratives, co-opting the syntax of film language to develop alternative meanings through a post-production remix.
“Maybe Not” (2005, 4:25mins)
“Tuned” (2004, 14mins)
The final sequence of Takashi Miike’s remake of the film Graveyard of Honor [1975/2002] by Kinij Fukasaku forms the first scene in Oliver Pietsch’s poetic found-footage music video “Maybe Not”. A short meditation before the leap into the void and then the release of free falling - followed on by a rhythmic chain of images of jumping and falling people, culled from movie history. With this montage of the cinematic topic of the falling body in space, Pietsch visualizes the ambivalence between the terrible yearning for death and despairing liberation.
“Tuned” is a found-footage film, a collection of scenes, in which subjects are presented in various forms of intoxication. To this end, Pietsch combed through works from the entire history of film and made a montage according to his own dramaturgy. The spectrum of his source material ranges from early silent movies to computer-processed films - from Charlie Chaplin classics to Andy Warhol's Trash to David Cronenberg's eXistenZ. The way the eyes move, or the eyelids fall shut, or the eyeballs roll upwards, or the mouth opens, or the motions the hands make - right away, we associate them with either hallucinations, drugs and so on.
Nicholas & Sheila Pye
“Loudly, Death Unties” (2007, 11 mins)
“A young man and woman’s isolated life is interrupted when a child burrows her way into the back room of their dilapidated shack. Like the wail of a banshee, she begins to play a haunting song to them on her violin, warning them of death. Unable to get into the mysterious room, they become increasingly perplexed and frustrated by her presence. When the woman becomes to begin unaffected by the forces of gravity, the man must decide to heed the banshee’s call and say goodbye to his lover. “(1)
Nick and Sheila Pye are a collaborative artist duo who stage videos and photographs in dramatic contexts. Using themselves as models, they situate their characters in domestic situations that amplify the surrealism or mystic aspects of the everyday.
“Her Invisible Time” (2006, 5:43mins)
"Her Invisible Time" follows an individual's journey through the bustling environment of New York City. It is about feeling isolated amongst the masses, about being alone when in the company of many. The video plays with speed to emphasize this feeling of isolation, straddling the fine line between the bliss of solitude, and the loneliness that accompanies being alone. This quest delves into the dichotomy of sombre tranquillity amongst urban chaos.
(1) Nicholas & Sheila Pye (14 Novembre-2 Janvier 2008), catalogue exhibition, Alexia Goethe, London, p.39