0:04

linds residents here at queen’s was developed and produced by the agnes Etherington but in really important

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partnership through the cultural studies program here at queen’s we thank the

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principles development fund administered through the office of research services for their generous and crucial support

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other collaborators include the fine art program in visual art film and media

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department the school of music and the Department of languages literature’s and cultures all here at queens and then in

0:35

addition local and international partners modern fuel artist-run center

0:41

here in Kingston corridor culture also in Kingston program I see i intervene on

0:46

cultural international at the université de quebec Mr Al and the School of

0:52

Creative Arts the University of hair pitcher at the UK so all of these groups have come together around this event to

0:59

make it possible for us to bring Lynn here I also have to thank my colleagues here at the Agnes Etherington Art Center

1:05

especially Pat Sullivan and Chantel Russo for their work he supported this event and a special thanks and

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acknowledgement is due to Sylvie Horton for spearheading this initiative she suggested we pursue this I said oh I

1:20

don’t know we’ve never been able to do that and there’s so many things she pursued during her tenure here she just

1:26

went out and did it so a Bravo Sylvie as many of you will know she’s departing

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soon and this will be her last public event with us she’s departing to be go

1:39

full-tilt as executive director of the Montreal biennial I have to thank her for her outstanding work here at the

1:45

Agnes during her tenure and wish her every success on the ambitious project she is now undertaking

1:52

Lynn Marsh I have to introduce Lynn Marsh she’s an internationally acclaimed

1:58

artist whose practice lies at the intersection of moving image performance

2:03

and installation she investigates specific sites as we’ll see tonight on

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and architectures through location-based filming and behind-the-scenes views she

2:16

explores how the cameras performance reconfigures social space she’s had many

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solo exhibitions i’ll list a few here they’ve been held at the concealer house atheneum berlin steve turner

2:28

contemporary los angeles the musée d’art contemporain montreal danielle arnaud

2:33

contemporary our london program berlin her works also been included in group

2:38

exhibitions and screenings at the palais des bizarre Russell’s construing Wolfsburg Germany the 10th annual

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istanbul biennial centro cultural monterosso spain many art quebec city

2:53

oakville galleries in canada and 53 art museum china and the National Gallery of

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Canada she lives in works between montreal berlin and london please

3:05

welcome Lynn Marsh

3:20

I’ll use this Mike everyone can hear me yet but thank you jan for that introduction and i’d also like to thank

3:28

silly for putting forth this proposal and the ideas eddington Arts Center in

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partnership with the Cultural Studies program for bringing me here as visiting our in some residents I’d like to I look

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forward to presenting a body of work over the next six weeks in this series of public presentations where I hope to

3:48

extend the dialogue and discourse outward generate discussions discover

3:54

crossover interests to reflect and to develop new ways forward for my practice

4:00

for the first presentation I’ve grouped together three projects a new video installation that I’m in the process of

4:06

working on titled Anna and the tower this is a co Commission with the goethe-institut Toronto and the Toronto

4:13

International Film Festival a recent video installation from the Phil himani project Bruckner Symphony number five

4:19

movements one and four completed in 2011 and too short early animation pieces

4:25

cowgirl and future stories and venus icy blue made in 1998 this grouping will

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connect older animation work through to new work with a focus on an evolution in

4:38

my practice in relation to performance screen based video installation it can

4:43

briefly be mapped as performance to the camera for video from a more traditional

4:49

trajectory in my early animations performance captured and Riaan scribed

4:55

by the camera creating a dialogue between documentary and performance in the film imani work and a kind of

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combination of the two in the new work and on the tower where the performance is derived from a staged enactment of

5:08

one’s labor or profession so we’ll start with two clips from

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cowgirl and future stories and Venus icy blue they’re about two and a half minutes each

6:19

sell sell sell sell sell sell sell sell sell sell sell sell sell sell sell sell

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sell sell sell sell sell sell sell sell

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sell sell sell sell sell sell sell sell

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sell sell sell sell sell sell sell sell sell sell sell sell sell sell sell sell

6:53

sell sell sell sell

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perfect ssssss ssssss ssssss ssssss

7:19

ssssss ssssss ssssss

8:12

okay and hey

8:49

hi

9:48

Oh

10:00

you

10:44

cabron venas developed out of a process of negotiating my subjectivity in the world and out of a process of taking

10:51

hold of image culture and it’s inevitable presence and making a space to inhabit it on my own terms these

10:57

works are influenced by a traditional trajectory of performance to camera for video screen presentation while

11:04

responding to the situation of performance to video where the site was often the studio domestic space or white

11:11

wall my question was how could i displace the studio where could it go at

11:17

the time in 1997 the Pathfinder mission to Mars was prevalent in the media and a lot of digitally enhanced imaging was

11:24

being shown I became very interested in researching these and other NASA renderings as a backdrop for a set of

11:31

borrowed and invented and invented gestures the backgrounds are taken from

11:36

collected 3d animation footage i sourced from NASA and the Jet Propulsion Laboratory that were made from satellite

11:43

mapping data gathered by the Voyager and other NASA data collecting missions the

11:51

camera in these works this is an image from another animation work but similar

11:57

set up the camera in these works is always central and fixed the camera

12:03

delineates the stage or image box and performance space in the studio I worked

12:08

within these parameters imagine imagining the audience through the camera in the final video sequence

12:14

instead of the camera instead of the camera I’m moving through the space in

12:20

the way that we normally experience 3d fly throughs the space and figure give the impression of constantly rushing

12:26

towards you yet the figure is almost always fixed at a distance from the

12:32

viewer the works are presented as large-scale floor-to-ceiling projections I was

12:40

interested in creating a virtual illusionary space rather than a cinematic one where you’re constantly

12:45

confronted with the seemingly advancing figure and landscape I was interested in

12:54

the kind of slip over of the virtual into the viewer space in the gallery or the illusionary feeling of the viewer

13:00

passing over into the virtual realm the double act of filming a filming of a

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performance in this case a symphonic concert was the process for the next work i’ll show the fill himani project

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Bruckner Symphony number five movement one and four this work was shot on site

13:17

at the berliner philharmoniker concert hall interestingly what brought me to

13:24

the Philharmonic site was the camera system mateas one of the camera

13:30

operators who had worked with previously on projects told me about the in-house remotely controlled camera system and an

13:37

amazingly complex way in which a small technical team filmed live concerts for

13:42

broadcast for audiences online or in theaters from a small studio housed

13:47

above the cot the hall the project consists of three separate video

13:53

installations today i’ll show you brooke the bruckner concert and the video adheres to the real-time performance

13:59

length of movements one and four so that’s about 50 minutes I’ll show you

14:06

about five minutes here this is the ends of events in your hands

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lon is nonsense yeah it was awesome 15 Ian rights in VF c aishwarya here sly

14:25

the vigilance book by epsilon 0 62 fear

14:31

and slicing and striding into zoom out and that it will slice yes yeah you know

14:40

here are treasures fearful until you fazool income infer afternoon place to

14:50

look for life on focusing on the field these eggs what’s all look smaller only

14:57

fear name here his woman out until again not center

15:06

fighting the Iron Man suit on

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after Zuma away i commenced yet stay acknowledge it second

15:33

I f ines fear I’m Sofia I’m taking phys

15:39

Ahmad

15:50

turf its police Tim swore like 10 zoo Martin Atkins visiting us

15:56

our participants Oh

16:05

Tyson blow me down that yeah

16:13

business person from session fixation I I have two antique my answer

16:20

undetectable veg to view 15 yeah I’m trained Lipton 15 same other for the

16:28

luminal car till I miss a lot whereas of you

16:33

but yet soon

16:40

given 5 selection of human up into your shell

16:46

nothing that I guess some would just is exile on it yes sir I’m a scuba yes

16:51

you’re in transition no up hi it’s in focus often mine soon hello

17:02

Matt I Heinz my ions which was about future young try stay here 15 when I

17:08

fulsome do i switch off not that it’s I’m swathy can we get you from

17:18

trying to achieve from 20 Obama joined a

17:23

nice what he advances Hines 15 I’m taking flight in from sin and the tick

17:35

sure Chuck firm in traffic towards for small talk after photons woman in the

17:40

camera is a garage off instrument yeah

17:50

yes yes yes

18:02

yeah octa sponsors walls h2

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dude I see

18:16

more important in stage two

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prices from filtration flood safe I’m tikva zoo lil I’ve invited on the

18:27

diffuse x + 4 20 miles excellent / slime Isaac sports for every sports worth

18:34

trapped in a food cart in business little yeah I underlies the farthest

18:39

point ah 15 just by Charlotte 15 it was a lot I ain’t sleep since I fear my

18:50

vision from rising vixen I feel ya Lex

19:01

mafia fun yeah fam I’m taking fizzled in the evil eye fish this is an installation shot from the presentation

19:08

at the plasters of in Montreal in collaboration with the museum Tampa Bay what was really great about this

19:14

presentation was that the piece was situated between the musée and the concert halls and the plasters of the

19:22

work is presented with tiered seating here made from stage risers where you can sit up a little higher and look down

19:28

into the image kind of mimicking an auditorium of course the technical team

19:33

are presented as the performative event in a reversal rather than the orchestra

19:38

the video image is split into four continuous unedited shots replicating

19:44

the multi-camera televisual displays systems used by the technicians this is

19:52

what the room looks like i’ll briefly explain the general process for filming

19:58

these concerts there filmed by a six remote controlled cameras that are installed in the concert hall so they’re

20:03

fixed in the concert hall and in this team there’s there’s a number of

20:09

different teams that film for the fill himani and they all have their own particular style of filming and their

20:14

own style I guess of working so in this

20:19

particular team we had the climb camera operator who is at the very end he’s operating all six cameras from a small

20:26

console kind of with a joystick and he can control the movement pan

20:31

zoomed focus beside him his his assistant and the co-director of this

20:36

team the camera assistant is calling out sets of numbers these are camera in the

20:41

cameras and the camera positions so 217 camera to position 17 465 camera for

20:49

position 65 this is the assistant is also giving instructions pan to the

20:55

center position 10 seconds for example in the middle we have the vision mixer

21:01

operator kind of vulgar and who sees the

21:07

camera feeds he he selects the camera that then goes live and he pushes the

21:13

button to go live closest to the camera listen to the table we have the team

21:20

member that I call the conductor and you can see there that he has a camera feed directly on that conductor and he’s

21:28

counting time he’s keeping time for the team he’s calling out the bars of music and his score is marked with the cues

21:35

for the camera he signals the exact moment of the change of shot now I

21:40

realize you don’t get all of this information explicitly in the work and I don’t translate the german language when

21:46

i present it although even if you understood german it’s a little bit hard to follow because it’s a very specific

21:53

coded language what was important for me

21:58

was to relay the concentration coordination and gestures that i saw as

22:05

an alternative translation of the score a mediated construction of experience through the spectacle and a performance

22:12

of considerable virtuosity

22:18

the filming of the technical team is on the one hand observational and documentary in its presentation of the

22:25

real life activity however the placement of the cameras the tightly focused framing and limited view creates an

22:32

abstraction of the scene this abstraction who pulls into focus the coordinated gestures the apparatus of

22:39

job performativity the simultaneously recorded music is also in part

22:44

documentary the orchestra is playing the sound is piped into the studio and is

22:49

recorded as part of this activity yes at all yet it also functions as a kind of soundtrack adding intensity to the drama

22:57

already being conveyed by the scenario the third work i’ll present is the

23:04

newest project and on the tower it’s actually not quite finished I’m in the editing process and working out the

23:11

design for the installation however I wanted to bring it into the conversation so I’ll show you a preview clip here of

23:18

the third section it the pieces about 20 minutes and this is about five minutes

23:43

sony a55 treat our identified

23:56

so they are 553 traffic cessna skyhawk orbiting down 100 25 left

24:10

saudia 553 continue approach will shake to 80 degrees 15 knots

24:25

so they are 553 go around runway blocked I say again go round

24:40

saudia 553 Roger climb fortitude 4,000 feet and turn left heading 300 for new

24:46

approach

25:05

saudia 553 continue approach your number to win check to 80 degrees 14 knots

25:42

your wings nano nano 7 severe thunderstorm warnings have been issued for 20 miles northwest of the airport

25:49

moving very fast to the east and winds up gusting 30 knots

26:07

few rings nine and an 07 how does it look out to the east do you need any

26:12

assistance your wings 9 and 9 07

26:21

your wings nano nano 7 approved early frequency

26:41

our floor 268 Yankee identified

26:55

airflow 268 Yankee we have a thunderstorm just northwest of the airport moving through the area now the

27:01

wind is 0 70 degrees 15 knots gusting up 190 knots

27:41

our floor 268 Enki we have a second part of the storm moving through the area now

27:46

the wind is now a 300 degrees 15 knots gusting 190 knots with heavy rain at the

27:52

airport

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our floor 26 a janky you turn right heading 250 vectors for the other sundays awesome right

28:44

our floor 268 Yankee TURN RIGHT heading 020 maintain 1500 feet until established

28:50

on the localizer cleared ILS conveys all seven right and then the tower was shot

28:59

at Magdeburg rushed at airport in the air traffic control tower the airport is a former Soviet Air Base located about

29:06

two hours outside of Berlin it was recently rebuilt and opened it in 2010

29:11

as magdeburg quartet international at the time of my filming there were no

29:16

scheduled flights the airport and tower await an economy to come at some point

29:22

in the near future the work features ana a young air traffic controller fresh out

29:29

of her training who works in the tower she recites a script of air traffic control dialogue that represents a

29:35

choreography of directions not unlike stage directions I encountered Anna

29:43

while researching this project I was interested in air traffic control as another example of job job

29:48

performativity relying on a very high degree of specificity with its own

29:55

phraseology I was making parallels between the technical team in the

30:00

philharmonia project and the behind-the-scenes work of air traffic controllers orchestrating movement

30:06

between air and ground after many attempts to get into an operating control tower which was really really

30:12

not easy we finally got a break at Magdeburg cost yet here I met a very

30:18

enthusiastic anna excited about her new profession radiating so much potential

30:23

and energy yet with nothing to control I was struck by the sense of latency of

30:30

waiting and of speculation in relation to this scenario I approached the tower

30:38

site as a studio as a kind of rehearsal space and as a stage where anna

30:44

practices and enacts the performative language of air traffic control i see

30:50

this as a kind of conjuring a hallucinatory narrative of flights imagined or to come

30:56

I also returned to a frontal fixed camera position where Anna performs

31:02

directly to the camera referring back again to a more traditional practice of performance to camera just to briefly

31:09

summarize before Sylvia and I have our conversation each of these works considers the physical and conceptual

31:15

frame of the stage interchangeably with the studio the stage can be understood

31:20

as a model of spectatorship in relation to the communal and the studio as a frame for a process of creation in

31:28

action in the final installation that these works the image plane can be seen

31:33

as an interface between the viewer and the stage where the spectators role is

31:39

active in interpreting and positioning themselves in relation to what is being

31:44

presented I guess I’ll launch in and my first question is the question of the

31:51

avatar I think that’s really important one when I Seon ah IC er as a scream she

31:56

is kind of empty and void and this time

32:01

around I was thinking of the you know the work that feed behind on PA ave encino said I’ve been doing with an

32:09

anime that they purchased and I guess in the late 90s and have shared with a

32:15

number a number of artists to give her various form so from something that was

32:21

the most inexpensive enemy character that you could buy they have over

32:28

the last 15 years worked with her and given her and freed her and given her

32:35

personality and and more recently she became an actual figure in various

32:40

performances so I think it’s kind of a really interesting connection to think

32:46

of the early work when you’re conquering marcin missin various planets to this

32:54

new work so I don’t know if that makes any sense to you yeah I think there is

33:00

something I did really think about Anna in terms of an avatar what’s amazing is her ability to be very very present and

33:06

very absent at the same time and it was I think in a way a natural gesture that

33:12

I picked up on and not necessary that I directed her through is something that I that I found in her and she I don’t know

33:20

if this comes from like selfies in a way like just sort of this a generation

33:25

being so comfortable with with with an image culture with a very flat image

33:32

culture but she she was able to almost

33:37

like see herself performing outside of herself she was able to be this kind of

33:42

avatar for the job that in a way I think that is about these sorts of aspirations

33:48

and it is about a kind of projection into the future and a way to sort of allow I don’t know if the Avatar also

33:56

allows us to project on to them so the empty shell gets filled with our expectations with our desires with our

34:03

longings anyway and I think that Anna somehow is able to embody this just in

34:09

her in her stare and her fix gains back at us or through us or beyond us I can’t

34:16

quite tell the time I guess my other

34:22

question is you know you close your presentation by talking about the

34:27

and how you know the kind of projects that you put forth allow for the

34:35

audience to or require that yawns reactive in some kind of way and and I

34:41

guess our dialogue has been very much your work has really influenced me in thinking about exhibition and exhibition

34:47

making and the kind of experiences at

34:52

exhibitions about and and disabled and the way that we position and move

34:58

audiences to make your own performances so if we are thinking of the three types

35:05

of experience that you’ve presented tonight one is an immersive kind of

35:10

screen of an animation type so it’s your

35:16

embedded in this thing it’s much bigger than you and it’s very very surreal then we move to the brook the proposition and

35:25

your questions away from this image and it’s an image of control so it’s an

35:32

image where we have four men controlling something that we can’t see and then you’re putting us in a way in the same

35:38

position at some distance controlling them in some way and then with Anna New

35:45

York still working on the details but made it you know if you could talk to us about the way that you understand and in

35:52

the way that you think about what the audience will do or might do

35:58

kind of political notion of that mm-hmm well first I’ll start with with what I’m thinking about for this project I’ve

36:05

just shown you one section but the piece will be in three sections so it’ll be

36:11

three screens but they will not be playing simultaneously there’ll be one

36:17

one screen to screen three screens and I’m not sure the image will also move it

36:24

may it may not make sense now because I haven’t but there were a couple of images where we were in daylight and so

36:30

those are also video stills so we have the day we have the Twilight or the

36:36

magic hour and then we have the night time and the there’s three sort of

36:41

separate performative atmospheres I’d say that happened in that time and and

36:48

it’s really important for me that the image then shifts also I think that some

36:54

of those sequences are more or are intended to be more cinematic and read

36:59

as cinema and so the screen that I built so that image should reflect a kind of more cinematic screen and and for

37:07

example this piece I feel is much more video somehow I mean it’s all shot on

37:13

video but is much more video and so it should be presented in a different kind

37:18

of screen and I and I would like the viewer to be to have to navigate or I don’t think they’re going to move from

37:24

room to room but but move through some kind of construction of these different screens and yeah I think I’m a lot of my

37:35

work revolves around this notion of the spectacle and and end stages and so I

37:43

tried to replicate a relay some sort of relationship between stage audience also

37:50

in the installations and and whether that’s being kind of you know completely

37:55

closed up I remember maybe for the for the early work being influenced by God

38:03

lost mean a video King American where you had the bill viola

38:10

where you had that birthday party and you were like this close to this massive image of this you know which just became

38:18

this digital pix elated image so so in the only work I did push I think in I

38:26

was doing back projection so I pushed the screen really close and also you couldn’t interfere with the projection

38:34

at any time that’s so that why the back projection was really important in that work and you’ll see if you come to some

38:43

of the other talk some of the other installation models that I’ve used for the film on new project where there is

38:50

there is a kind of play with auditorium in a number of different ways so that again you you have that another kind of

39:00

setup which i think is you know that that sort of seating does suggest

39:05

communal it does sort of suggest this idea that your your collective even if you’re one or two that that you can

39:12

imagine the other spectators in that space or you or you understand the absence of those other spectators in

39:18

that space and so making room for more people than maybe a video installation would normally have in a gallery save is

39:25

a con was a conscious decision and and well we’ll see what happens with that in

39:32

the tower yeah and I guess I’ll one more

39:37

and then we’ll open to everyone because I’m sure you’re dying with fabulous questions so the I guess what was

39:45

interesting again this time around looking at the work is thinking about the kind of temporalities

39:51

in play so I’m thinking of the animation what you know what you have there is

39:59

kind of a past future so it was kind of

40:04

the future of the 60s that you’re pushing back and I think the kind of you

40:10

know roles that you’re playing with of course barbarella and a kind of a certain you know certain moment a

40:18

certain kind of image and finally with the rover we got to see what that thing actually looked like we’re no longer

40:23

just fantasizing and so you know there’s that moment so it’s it’s kind it’s like

40:29

our parents or grandparents future that you’re kind of catching up with and when

40:35

i’m looking at anna it’s a very different kind of temporality because it’s a future that is a fabrication that

40:42

will never come it’s the future that was constructed with the fall of the berlin

40:48

wall in 1989 it’s the neoliberal future it’s an airport that’s been created

40:54

there for I mean that you’re saying there’s no flights coming in there

40:59

probably will never be it doesn’t make any sense so it’s one of these just like

41:05

she is they’re very present with really empty the space that we’re surveying has

41:10

no function and probably never will so it’s it’s a space of expectation of

41:17

latency but it’s it’s kind of a an

41:22

expectation that will remain in expectation and there’s no kind of destination for the expectation so I

41:29

don’t know if you could talk about the notion of time and maybe you’re kind of

41:34

strategy as you’re filming this you know it’s a closed space

41:40

yeah yeah I think um well going back to

41:50

to to the early animation work I think there was a moment of utopia when we started you know with the Pathfinder

41:56

mission we were able to sort of see this new possible destination for habitation

42:01

you know like and there was that talk and I think it’s starting to emerge again a bit of a talk around you know

42:08

putting up you know sending people to live on Mars and so I kind of thought

42:15

all I wanted you know I want to conquer this I want to I want to be the first partisans days you know so the

42:26

temporality is like you say it’s sort of future looking in backward looking at the same time in a way and and and and

42:33

they are based on this it’s a based on desires of the time i remember in 1997

42:38

1998 I thought I’m never going to wear jeans again I’m going to wear plastic pants forever like like the whole club

42:46

clothes you know that there was a sec Tia and of course new went back to Jean but you know so it yeah I guess a lot of

42:56

these at like science fiction a lot of these kinds of projections are based on

43:02

on desires that are actually a little bit pre predated and that’s happening

43:07

certainly in the in the early work in the in the film imani project there is

43:13

in a funny way there’s there’s a nice link the former director of the phil

43:21

hartmani the berlin philharmonic orchestra was completely obsessed with

43:31

creating a filmic archive of his legacy

43:36

in a way so rather than having a monument or something set up outside of the the actual

43:44

architectural site he was obsessed with filming all of Beethoven’s symphonies

43:51

and he would spend months and years doing this so he’d start off in the

43:57

orchestra with the orchestra in the hall filming a concert and then he’d bring you no specific instruments and

44:05

musicians into studios and light them in certain ways and and and yeah so one of

44:12

the reasons why the Berlin Philharmonic concert hall has this kind of up very I

44:18

mean the Mets doing it too but but the concert of the Berlin concert hall was one of the first to have one of these

44:24

kind of state-of-the-art systems where they could capture and broadcast

44:31

immediately online so like massive compression is happening and and so that’s one of the reasons why so there

44:37

so again there was this aspiration and again it links back to the past because it’s a kind of memorial or trying to

44:44

create a legacy in and the digital concert hall so all of these concerts get stored online in at something called

44:51

the digital concert hall you can call them up again and so again this kind of future past things and and in this work

44:58

I mean I was I was thinking about sort of the way that you no matta speculation

45:06

and models work you know you build the model rather than the than the building

45:12

models around what’s actually happening in the world you you create a model and

45:18

you you know build and they will come kind of thing and I think that’s what’s happening and and and really this is

45:25

really known for having a lot of those kinds of models actually where where

45:33

there’s a lot of contested side so it is a lot of possibilities

45:42

and and and it takes a long time for things to move but they’re never quite sure in which direction to move and so

45:49

this airfield is really in the middle of nowhere it’s it’s still magdeburg is the

45:55

closest town but it’s still good you know I don’t know yeah okay I can’t

46:03

remember how many kilometers I don’t know if it’s that sort of 90 kilometers it’s still quite a way from magdeburg

46:08

and there’s no transportation links so it’s a little bit like I don’t know if some of you are familiar with ryanair

46:14

you have to sort of be bused in from some other city for an hour or two hours and you land in this kind of empty space

46:22

and then and then you come out her and so um there is this speculation and and

46:29

and Anna’s kind of part of that she has this she know she has so much enthusiasm

46:35

for what she does and she’s just she’s like dying for this thing to happen and

46:41

and and I don’t know you know maybe it

46:47

will but it doesn’t feel like I look up

46:54

to questions that this is a very has been wonderfully enjoyable so and I’m

47:01

looking forward to watching all 55 50 minutes of the of the the middle work

47:08

that you showed I have two questions and one of them is just a fault well it’s

47:15

not really questions to comment that when I was watching her I was thinking about these things of the boredom and

47:21

expectation and the projection into the future and what do you do with empty space or empty time and how do you fill

47:28

that time when you’re young and you’re able-bodied and you’re fit and you’re

47:35

you know and you’ve got no one there to dance with so it made me think about in

47:43

actually semiotic SAT the kitchen and market rossler’s pc and at a very

47:50

different kind of effect but nonetheless this similar kind of space of aboard Amendment and isolation and so

47:57

how anyway that’s a comment but I wonder if you could talk about what you how you

48:06

understand the temporality of spectacle and so what is time how do you how do

48:14

you think about the relationship or what kind of temporalities spectacle is

48:20

because sometimes people talk about it as empty time or monumental time or whatever but there seems to be other

48:27

another kind of time then you have going on for spec yours the spectacle that

48:33

you’re engaging with in these yeah hard question I I can I don’t know if this is

48:41

going in that direction but what I have been trying to think about is this

48:47

notion of support in terms of the spectacle so not particularly monumental

48:54

time but the the pauses the the the

49:07

moments of participation that are in between the events I guess and I think

49:15

that’s the place that I’m most interested in and I think that’s enough in a way and when when if I have an

49:23

opportunity to show another section of this in the beginning you see quite a bit of that so the the I leave her

49:33

lingering a lot I leave her waiting for the next gesture or waiting for him and

49:39

that happens a lot in other works as well camera opera you’ll see where I i have a newscaster on a stage and I have

49:48

cameramen up filming around her and tell her that I will give her the cue to

49:54

speak but I never give her the cue and so I haven’t quite formulated my thesis

49:59

on it yet but I think it’s something around that notion of of the way in

50:06

which participation or support happens in the in-between moments and trying to

50:13

render that space visible somehow one of your early animation piece was also that

50:19

games when you win at one level there senator before you get to the next level

50:26

and so I remember that piece that was very much about trying to kind of occupy

50:31

that space in between the two parts of the game so we have time for one more

50:42

thank you again for your presentation I kind of a straight for a question about

50:48

the active spectatorship and a couple different strategies you’re using one

50:56

regarding the installation of it which so there’s the blood set of physical bodily activation and I wonder if you

51:03

could comment on how you see active spectatorship or some of these films and

51:13

videos as activating the spectatorship maybe without the physical

51:20

infrastructure and if that’s possible mm-hmm well I think I’m more and more

51:26

I’m I’m I’m framing in such a way that I don’t you don’t really know what’s going on and it takes a while and I think not

51:32

in that sense that’s a that’s a big part of that activity where there tends to be

51:38

I mean the bruckner there’s a lot of suspense there’s a lot of you know you you’re working hard to try to figure out

51:46

what and why you know and I and I don’t like to give the whole story the

51:54

conclusion is not important to me so that you figure out what’s going on it that you that you that you have all the

52:01

inside information isn’t isn’t important and I think that there has to be a kind of self-contained pneus to the work even

52:12

though it’s open-ended at the same time but you know it had it has to it has to have enough of the of the cues and the

52:19

clues for you to have an understanding of an emphasis or a focus and in that in

52:27

the tower the same thing is happening you don’t really know if she’s an actress or if she works there there are

52:33

some clues in the middle section where where I show her more in the leg up from

52:40

the outside of the glass and you kind of feel her comfortable and working in this space but you know again that sort of

52:49

those kinds of questions that the work asks of you to to engage if you if you

52:57

stay with them and you engage i think is another part of that I’m spectatorship which is different from interpretation

53:03

which is different from trying to create meaning or interpretation but just actually to sort of get your head around

53:09

the scenario in a way to move on to those places maybe

53:18

thank you

53:34

you

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