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limoges practice lives of the intersection of moving image performance and installation she was born in Canada

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and studied fine art at the undergraduate level at Concordia University of Montreal subsequently she

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studied at the graduate level I Goldsmiths University in London where she received her mfa presently Lynn

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teaches studio practice in the VA and fine art programs at the university of hertfordshire in the UK her work has

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been exhibited in solo exhibitions internationally at the consumer house bent on young and Berlin at steve turner

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contemporary in los angeles at the musée d’art contemporain new morale at daniel

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i’m a contemporary art in london and a program in berlin she has also shown

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widely and group exhibitions and also have wide screenings of her work and some of these have occurred at the

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palais des Vosges are in brussels rooster vine Wolfsburg in Germany the

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10th international incident involved I Emil the centro cultural monterosso in

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Spain menoth da sank in Quebec City otro galleries 53 art museum in China and the

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National Gallery of Canada at the present when dividing time equally between three cities Montreal

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where she exhibits frequently and is represented by gallery donald brown at london where she teaches and finally

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berlin wishy hazard studio tonight lynn is going to be in conversation with dr.

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Susan Lord the head of department and they associate and an associate professor of film media here at Queen’s

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University she’s also affiliated with the graduate program in cultural studies as well as the department’s of art and

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Gender Studies here at Queen’s University Susan lords research is located in the areas of cinema media

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arts cosmopolitanism new media gendered spaces and the city and cubed cinema and

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visual culture susan is undertaking curatorial projects specializing in media arts and work with artists groups

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and I was from Centers for over 20 years her current projects are concerned with citizenship practices in the media arts

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and civic spaces of post-colonial worlds she’s receiving numerous research awards

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from the social sciences and Humanities Research Council of Canada the Canada Council the Ontario Arts Council and

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queens university we will begin this evening with a presentation by Lynn Mars which will include screening of her work

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camera opera and the philharmonia project this will be followed by a conversation between lane and Susan

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after this we’re going to open up discussion to the audience and for the discussion period i invite you to make

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use of the two microphones looking each aisle because we’re recording this event so without further ado please join

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me and giving a warm welcome to Lake Marsh the second visitation titled

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camera work in labor fifty other two engineered sensations can I offer a film

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in a television studio and a safe installation from the home any project Nelson Symphony number five filmed from

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production studio of content this grouping brings together art words that

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are working with for interfering with the means of production camera prefers

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in this talk to the performance of the camera which of these words takes on an

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active role and at times can see as a kind of autonomous agent while framing

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labor refers to the way in which the installations recontextualize the work

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or performance of people who work in production of television images when the

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production actions through artistic intervention and the reframing of the

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behind-the-scenes new events for situations emerged in the installations

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in these works music also has an important framing function organizing

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arrangement of the performance illness bodies gestures and cameras as well as

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through effect where the expressive quality music invests the scenario or situation with heightened drama or

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intensity the first work well show is click the televisions jr. was shot is

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kind of opera Wow natan 2008 camera offer was filmed on the set of dust

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while a German current affairs television program is broadcast live in studio it’s a programmer someone from

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the left-right come in and debate an issue in media the news presenter this

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is an image of observation from the Himalayan trail the words install to

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resemble the opera’s of television studio using lighting mantras on you

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Nicole screams on wheels speakers on stands and a kind of studio floor

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matting surface the piece is to

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synchronized video channels and it’s out 12 in Islam and here I’ll show you six

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you

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you

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you

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you

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okay so Conrad opera developed out of an invitation to create a one-minute video

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artwork for television it was a competition between 10 connect and then

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the zenith of event which would be broadcast during a summer in space of

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commercials 2008 so along with the one minute touches thought I developed this

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larger installation and the basic concept i guess was created a new artwork that restaged the filming of a

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news program where the new script for content was replaced with the mechanisms

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of filming creating a kind of deceit disorientating / dramatics and images

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hence the title camera opera well which also speaks to me is construction of

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experience students back tacular so is in a way I was trying to think about presenting televisions based on

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television to begin with a minute develops into the installation I want a

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reversible of the cameras in conventional news broadcasting they became a subject and the performance of

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filming became the action the work denies the cameras traditional role of related information and instead exposes

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their participation in status as subjects I begin my research by

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observing the process of filming for live broadcast I was able to watch on the studio audience and from

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to control room where the composition of outgoing the programming takes place and

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I really love watching the camera operator to move gliding across the floor authorities wheeled tripod and

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began to see it as a kind of wall sword dance and from the production control

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room really fascinated me where the views of the continuous camera feed essentially outtakes the shots for the

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camera sort of searching for its frame or being dragged across the studio floor and these sorts of incidental shots have

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another kind of intention for me anyway describing how space is arranged or

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inscribe through and by the camera views so I developed a pitch for the producer

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of dust well David yonkers to use the studio and two make four so I got

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permission and collaboration of the entire crew and presenter to work with

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them first sort of a fixed time after the production of their program I

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approached a day as a kind of performative intervention there was no

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chance to rehearse or pre-planned crew had to work with what kind of came out

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of that feeling on that day so my strategy was to design a certified

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choreographies operators and you can see the drawings

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are just where where they live sort of yeah the back of the room and only comic

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really would move towards presenter to

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circling the inside to outside three on the inside one on the outside or on that

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inside and then them spinning around in circles themselves so I directed them

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through these movements from the control room so I didn’t control through that I’ve got the headset on as well and to

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talking it through these kind of choreographies we shot for two periods

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of 25 minutes each kind of trying to replicate the length programming that we

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would normally film and from that Ontario I convinced about a 12-minute

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installation in order to coordinate and

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facilitate timing the camera operators movements I play Strauss losses in TV

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studio while we filmed the choice of stress losses was really more as a tool

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not start at all but I knew it would be familiar and readable and recognizable

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to the camera operators and any editing process I’ve used the music to sync all

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five cat foods so once I began editing i realized that music is wouldn’t work it kind of not only

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described as a flow of Cass’s camera operators but it also added this sort of

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excess and punctuation and elastic sense over dramatic ization of the images that

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I was looking for while at the same time nothing’s really happening on stage of

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the presenter the cue that i gave the presenter was that it was the moment for

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broadcast and she had her cards and i just never gave her that q2 to begin um

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in the installation the music is edited

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so that on one hand of God the the right the right monitor imagine the right side

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speakers of the left home to anatomy lesson sneakers and so those moments where music is in stereo or are the

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moments where there’s two filmed two filmed moments in time when when the

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music starts to slip I’ve sink or when you have to image that to set music

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having it in a different time those music those film images are having a separate time so you get this kind of

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spatial sense three two music in the installation itself I can enter the next

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work I’ll show shot on sight of a Berliner funny football it’s the second in a series of

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three installations forming in phila money project and some of you that appear last week would have seen the

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bruckner keys again the relationship between cameras music and production in

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the television experience was what brought them to the site mateas one of the camera operators from comic opera

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told me about the in-house remotely controlled camera system and invited me to come and watch them film concert or

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broadcast from a small city of houston hall here’s installation shot of Nielsen

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Symphony number 5 which was exhibited at programmable in the installation consists of two synchronized in

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projections one video is production team so and face this is a video production

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team filmed on the night of them broad camera the night that they are filling

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constant broadcast and the other video is it is a dry run into rehearsal of the

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camera shots that are going to perform or the concert just film just before the

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concert now become a bit more clear and then in the initiative work the videos

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are separated by this divine wrath at a sex approve on a diagonal basis they work with architects to party to design

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and construct at the architecture installation so you kind of coming into the space underneath way underneath the

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sort of stage of you that rap and there’s a little a little way that you

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can kind of put inside the structure creates two spaces that are called the

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auditorium seating Saint John writes the split is averted

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by placing the control room above and the stage view underneath so i’ll show

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you the two video sequences first the

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team up the entire captain fear 6-foot

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via ride home ines no 150 tons a front

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for fixing that the thumbprint on dreams are two dicks at lunch after high no

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such a conference title sponsors it has a Toronto Islands want the itouch times

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in Sonic I got ya from fear captain Phil

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give us a femto on print I satellites up

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169 fo guides no sex advices are condemned us afterwards

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decision yeah pitch it off as if you Lara after Isis left after my exercise

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I’d covidien awnings Austin all right after thrill as long as I’m on bond because all Lexus brief a mis

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amigas Inafune willfully having warning signs with greater fear by four

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completions on film photography American film scene 1 12 at a conference more

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formal transition often Zeidan vixen

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time that the other night scene Amano assets y tu mamá de la Paix ‘ entrance

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fee efficient ep one comes up the a

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thumbprint side vector six fathoms

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zipper death on guy right on afterwards and relax 930 up in truth

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on 50th on dry conditions on me go on I love that on fear and spa 2012 tonight

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exit trance

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on fear of death on Jack’s on Finn podium finish movie on all six books

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arrived here that’s here tip of the adult role I proved a thumb drive on

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non-food aligns exactly upon fear isine I am that you haven’t all small Nike up

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and seen directly applies if you got

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times I stood up and reality institutions to music album watch from that the cuttlefish

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one click that applies in the voltage

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modulating fear not it’s a fruit

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or zip scuttled wall lift it up and talk

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on I’ll extractor fans Minds our puzzle comedy channel should off the ends or

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not folded ah Sophia fume is nothing’s

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right they are conferred on physics I

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from drying out in shock on film that’s a control

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on Cygnet 80 miles on limits Adam cut

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the film and a fear nice Titus I flipped Ethel 30 not it’s

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after one I see I from fear he is exposes I nasty up in front english

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throne after effing tour service on

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going after at once

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won’t feel nasty a convicts

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on feminine attire

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okay and so at the same time

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synchronized to what they would be doing so the camera motions and direction that

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they’re doing is played out here to the

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music

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you

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you

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Oh

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so the concerts are filled by these six remote control cameras that are distilled in the hall and the Lea forces

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of team is given the scores in advance all the team members are trained in

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music and to greater extent the camera

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operators sometimes less but they all have a musical training and background and so from the score and an intimate

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knowledge of the layout of the orchestra and places of the cameras in the hall they develop the choreography of camera

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shots mrs. the studio that they work in so they’re just looking through the camera feeds at the concert hall and

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during the rehearsals and first performances in terms of performance deserve to retreat nights they refine

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and practice this choreography and on the final night of the performance broadcast live for non lying or cinema

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theater audience each team member has a specific role we hear them calling out a

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series number is corresponding to the bars music and the camera angles that are filming positions as they play and I

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realize that you don’t get all the details of this information explicitly and I don’t translate a German language

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although even if you understood German it’s hard to tell anyway because it’s a

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kind of specific coding language but I think that they’re counting that there is a sort of

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almost like an assembly line kind of a production going on what was important

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for me to relay was the concentration the coordination and the gestures that I saw as an alternative translation of the

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score a mediated construction of the experience of the concert and an

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alternative performance of considerable virtuosity the dry rental video so

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showing the camera choreography highlights to me again the idea of the cameras subject and quite interested in

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how to counter perform that’s where I would be without the intended subject so the musicians aren’t there and in this

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absence is substitution for the intended subject or shot itself and this brings

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them suspect the camera as a kind of former again the frame is often

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incidental we sort of we see a narrative going on in the background this is the

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miss is this sort of hour or so before the concert in the beginning is of the

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piece that’s very quiet in this technicians come on stage and start

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arranging the instruments and putting out the books but all this is kind of

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going on in the background and not really for the cameras in the relationship between

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what was happening is it has a kind of disjunction way the music again unifies

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these elements broadcasting Nielsen symphony as performed by the cameras and

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by the orchestra punctuated by the voices of the film technicians so in the installation you’d have the voices of

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the technicians can improve one side of the space and the music connected to the stage from from the other side of space

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with some of the music behind the voices of the technician because when they’re working in the room they also have the

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music is being fed into that room so in

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the installations in both installations camera opera and Nielsen needs a new number 5 i’m trying to create a space at

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points to i guess i’m calling it an expression in structure the

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installations invite the viewer of the exhibition to bear witness to the parceling out of their experience

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so I was at the first presentation of that I went to hear you speak in the

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cultural studies seminar the other day as well and and I came visit you in the

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studio and every time I feel like I how did something like like thesis like or

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something to say about your work that I see and I come to another event within

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it unravels I and I just let myself go but there are a couple of things that

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have kind of come to the surface so I’m going to start by just asking you if you

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could elaborate a bit on the the way in

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which you’re thinking about and using the idea of Labor so we had a brief chat

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about this in your studio but I I just set that question up a little bit by saying that you you talk about in your

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talk talk about the production of production and that that’s what you’re

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filming us what you’re showing displaying so there’s this kind of the display of labor of the production and

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you’re also obviously involved in showing the creative creative time in

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the sense of the politics of time in ennis maybe a soft p way at this point

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but of creative labor the the way in

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which there’s a kind of labor drama of Labor and that you really get in both the

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works where it’s the intensity of the people who are doing the filming and the

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recording and you you have their skin and hair and the sweat of the and the

35:38

and their their their pleasures or so so

35:44

I just there these days people are for you know every few years people reinvent

35:51

ways of talking about the relationship between art making and labor and

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recently ish some people have been talking about the shift of work to occupation or immaterial labor as a

36:08

result of information economies and things like that so these are just some kinds of like bits of terrain that of

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discourse that’s out there and I just wondered if you could talk a little bit more about how you’re thinking about

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labor in the way that when you talk about the your engagement with with

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production okay I guess you know I

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haven’t really thought I haven’t leave out through this thesis

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so much but I am fascinated with and I almost want to use that word virtuosity

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like that there’s a kind of specificity in a lot of this production around the

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spectacle or around these these kinds of productions of events and I think on the

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one hand kind of just fascinated by it and and also interested in interfering

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with it or or or playing with it somehow and at the same time I’m also going to

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say I guess I’m also thinking about the labor of the camera it as an apparatus or is it you know like what it what it

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does and the work that it does and in an innocent how it’s how it’s shaping this

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experiential and in the installations

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themselves I think what I’m trying to do is maybe pick pick these apart a little

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bit and try to create another kind of configuration of them I mean it’s still I don’t want to just be a you know

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document what’s going on behind the scenes necessarily although kind of its almost sometimes enough fascinated by it

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but I want to have somehow have this interruption or interference that i was talking about so um so yeah and I’m

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thinking about those moments of I mean

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in these words they’re pretty active but

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maybe with camera where the presenter isn’t you know so that the moments that are about pause about support about

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anticipation about not just when there’s kind of activity happening or also the

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woman’s that I’m quite interested in

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that’s wanted to hear you talk more about that and I now that you mentioned

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the camera offer one of the things that is so dramatic about it is this

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incredibly intense visual field like it’s so packed with surfaces and with

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the apparatus and it’s there’s so much to see and then there’s this incredible

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music that’s playing that there’s so much to hear and then there’s this

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figure there who’s just standing there in the midst of all of this intensity

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right of a fact end of visuality and all

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of that so it it made me okay I’m

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they’ll prob sorry but it made me think of a sick

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freak Krakouer and his 1920s stuff that he was writing about the picture Palace

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and the cult of despair in the cult of distraction and these ideas of a pure

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externality and that the glitter of the of the spectacle of the space in which

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something is seen and the something that scene sort of matters almost not given

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as this other about this other this other thing that is where all of this

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sort of parceling of a fact is taking place and so I just I wonder if you

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could sort of talk a little bit to that the fact that we’re in Berlin with these

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works and that you’ve got this this show of the left and the right and this woman

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who’s gone they look you give it to her finally to moderate something about the

40:48

left on the right in this like crack our moment of the new picture Palace every

40:57

space so i just want i don’t know yeah it’s not again a question it’s just yeah so that’s due out I mean the duel and

41:05

is the title for the show and I think that the the setup is already there also

41:14

an in terms of spectacle you know bringing somebody in from the right and on the left and they’re going to obviously disagree and it turn into this

41:21

kind of heated debate and and so it’s a kind of an orchestration already and I

41:27

think that that orchestration was something that I was thinking about

41:32

extending I with all this sort of you know camera / / doing the camera away

41:42

and and I think that there’s you know working in Berlin and an in German

41:50

culture and I met Anna outside of working in Berlin and encountering German culture as an outsider there is a

41:57

lot of control there is a lot of rules there is a sort of a set way to anything

42:03

and I’m really interested in kind of trying to go in and mess that up a little bit you know and at the same time

42:10

what’s kind of raised that there is an openness to me going in there and messing things up so on the one hand i’m

42:18

not really sure how like these guys all

42:23

agreed to participate in this event and then when I went back to show the the

42:30

word to them I brought like big case of

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beer and you know nobody kind of like I

42:45

think it was really interesting that they were sort of interest I mean nobody cared I don’t know when you only the

42:52

presenter and the producer were really excited about it and the guys who work

42:59

there were but they were open to doing it although when they were doing and I think they thought it was complete you know nonsense and could you so this is

43:06

kind of strange openness but but the rules are really important and the protocol is really important and you

43:13

know i think that the presenter in chem robber really holds that sense of control in the work while all this stuff

43:23

is kind of going on around you and and she’s she’s she’s so fixed and she’s

43:29

so good at being fixed it’s pretty incredible I have another point that I

43:39

ask you about a man we could maybe toss it open to the audience but I the film

43:47

Romani piece that you showed us last time was for four sectors of screen

43:56

right divided and this time we’re seeing the same operators can’t the same camera

44:05

operators inside the studio but in a linear kind of format yeah and now

44:11

they’re edited so we have and there’s something very there’s something

44:16

incredible about the way headaches produce a certain kind of time at a certain anticipation and there’s a lot

44:23

of suspense and there we get to watch

44:30

them as a crew and yet we get these individuals and so there is this very kind of dramatic staging and you use

44:37

editing in a very way so I just wondered you could talk about your practice in that sense as

44:43

someone who assembles images of this in

44:48

the way in which you work as a didn’t in the creation of time in that sense an

44:55

attitude drama yeah I mean I I guess I

45:00

look for a logic in in in the material I don’t start with a fixed notion of how

45:07

something is going to come together you know I camera off broad for someone and

45:14

I wasn’t sure if it would be one screen or five screens or I just I was musing

45:19

what was in the Senate and it was interesting because I filmed in three different times of the fella money they

45:27

were three different teams so that burger team is a different team from this team and each team has a very

45:35

different way of working and I think the fill the money purposely haven’t uses

45:41

different groups of people because they also have a different way of filming and so for different music like that the

45:48

bruckner he is more bombastic and has these kind of more rough cows and these

45:53

guys are much more technical and in the way that the word and and what happened was and I did a number of different

46:01

things like filmed all the teams that I you know I filmed the stage I did a

46:06

couple of other exercises as well and it sort of happened that each installation

46:12

had its own logic that really could have came from a material and so I yeah I

46:21

think I can’t put my finger on exactly but it’s sort of it for me the the word

46:29

really emerges in the in the editing process so I have certain ideas about of

46:36

course how I want to frame things and and I generate a lot of material but the

46:44

editing and the installation always comes from that materials of it i play with it and try to see about you know

46:51

how does that until then speak to me so the so for example in the in the

46:56

bruckner piece which some of his songs on we didn’t say that televisual screen

47:01

the screen of the that they’re looking at we’re seeing multiple feeds really came through as a sort of logic and that

47:10

was because of the way that certain characters were were animated and

47:16

adjusters that were happening across the screens and that started as again just a

47:21

kind of I wanted to see all the phase at the same time I broke them into force

47:27

crackers and I watched the whole thing and I went oh my god this works like the

47:32

budget you know whereas with when I did that but the meals in case it didn’t it didn’t work and it didn’t translate and

47:39

what happens in the Nielsen piece which i think is quite strong is the sense of

47:46

the so that the activity is less fish in Brooklyn activities very visual in

47:53

nielsen um the the sound of the other technicians voices that are happening

48:00

behind you know so you have the guy with the glasses is the camera operator and you just hear all the stuff that’s

48:06

coming at them and it feels almost like it I don’t know like a stock trading floor or something you know this by cell

48:14

you know she’s this is the tent and this is all coming at him so that that was

48:20

something that I really wanted to come out in the edit in in that single screen

48:25

version and and the and the choreography

48:33

for that nielsen keep so so also the music is very you know the music is a is

48:39

a modernist piece of music from 1920 so the architecture of the hall itself

48:47

seemed to me to fit with that music and because the music has this it’s a kind

48:54

of march and it it has these moments where the harmonies kind of collide and

49:00

it gets sort of angular in a way and so

49:05

the type of seeds and the way that the

49:11

architecture of the stage is laid out just seemed really appropriate whereas an Bruckner it didn’t it didn’t work I

49:19

tried filming musicians warming up for pronouncing work so you know I test things out thank

49:30

you further questions from the floor down

49:38

I’ll go to the mic it’s really simple

49:45

question then just with this on the screen I’m thinking about staging in the

49:50

exhibition stage of the Nielsen piece and I just wanted to ask you about you

49:56

to tell us a little bit more about the staging and how you were thinking about that so if I understand it when these

50:03

people they can’t see the other piece and know their knees yeah yeah so I didn’t I didn’t want you to be a there’s

50:09

that there’s a tiny in the first slide I show there’s a sort of tiny spot in the

50:14

installation where you can kind of almost see you can see that there’s two projections that you can’t watch the

50:19

move very well so I wanted them to separate it I didn’t want you to have that you know very I look at the guys

50:28

push button and seeing with the button what happens to button necessarily um the way the architecture in this piece

50:35

works is that you it divides so the idea was ok let’s think of how to how to

50:41

divide the room so that two projections could happen in the same room but also

50:47

trying to think about seating and a site so we decided to divide the room on a

50:54

diagonal basis so the ramp starts at the back wall and then goes all the way

50:59

across the gallery and ends up front and you the door you come in under that

51:05

architecture and there’s a sort of hallway that runs side so the stage view is set underneath

51:15

where all the scaffold that’s holding up the ramp so you have that sense of the kind of backstage or an apparatus and

51:22

then you can walk to the other side and it’s just there’s wood a wood surface with carpet then you just can climb up

51:29

there and sit if you like you’re sitting on a hill actually more than an auditorium but and and you can watch the

51:35

team so again you know kind of simply trying to four foreground the team as

51:42

the side main event in a way so you see the stage pace first as you enter so you

51:50

go by that it doesn’t invite i’m spending time and sitting down with it well there isn’t there is our site there

51:57

is a place where you can sit but what tendons happened where people went to

52:02

the voice people came in and they went straight up first they went yet they

52:08

went to the voice first if that was kind of interesting but you you would you had

52:14

to make a choice because you could sort of make out that there was sound and a

52:21

production here and then be the other screen instead of

52:27

that way so you could you could go either way I’m not I don’t have an order

52:33

put yeah but you’re gonna but you’re

52:38

also kind of reversing where you’re kind of invited to look it’s bent alliances yeah come to the that performance that

52:45

what’s usually it yeah

52:53

there are two my courage is the mic yes we need people to use them it’s being recorded somewhere it seems like

53:05

it’s reasonable to see the work in the tradition of institutional critique

53:10

right and there’s always been this issue institutional petit where the

53:17

institution invites you to critique them and there’s you know this has been going on for decades this kind of issue and I

53:25

wonder where institutional tea in general is at now and when saw your first piece that seemed that

53:31

you know the behind-the-scenes investigations why have I mean it seemed

53:39

like this really sophisticated version of something that we might have seen a david letterman show 20 years ago their

53:47

service you know there’s something else going on here and it seems like it’s really not so much about ideology

53:54

routine now as it is about I don’t know some kind of a playful investigation of

53:59

the apparatus and maybe some kind of anesthetic supplements to the spectacle and I don’t know that’s just an

54:06

observation I just I guess my question is whether you think that observation is fair I do think they also praised for

54:13

span and I you know I’m not we thinking I mean I think it’s a line of

54:18

institutional critique I guess but I’m not thinking along those lines

54:24

necessarily but maybe I’m thinking more along the lines of some of the early video artists who kind of went and tried

54:32

to work with television broadcasting and try to get into those spaces that you

54:37

know when when video first came out that we’re very exciting and maybe that’s also my investigation is to sort of

54:44

somehow as an artist infiltrate these you know studios are these production

54:52

sites and and and you know rearrange so

54:59

so i guess i think that the work probably lies more in a sort of thinking

55:08

about mediation rather than the institution and how how these images are

55:14

however how it’s a constant mediation we need

55:39

okay Ferland I’m gonna ask you why he’s really stuck when you talked about the ambivalence of the camera operators in

55:45

camera opera and how they felt about your production of that word guys what if he could speak a bit about the

55:51

philharmonia project how the camera operators in that piece perceived your

55:56

your project um yeah it was it was interesting that the guy who’s sort of

56:05

the conductor of the team news who’s signaling the chain too cute for the

56:12

camera is that he was super nervous and because we had I had a camera on his

56:21

butt beside his monitor and then there were two of us with cameras on the side kind of and it’s a tiny space and he

56:28

he’s before and i’ve been i’ve been in the room observed I’ve kind of been

56:34

working with them and other teams are observing them another teams and photographing film a little bit myself

56:40

for a while but when we actually did a shoot they were like before cameras in there and he said oh my god I’m too

56:48

nervous you can’t do this you can’t film and I said you’re the minute that music starts you will not know I’m here like

56:54

really they are so concentrated when they’re working but they just didn’t

57:00

didn’t get a honestly they didn’t even know like they weren’t even there and it’s

57:07

almost that they almost like are holding their breath for 45 minutes that’s what it feels I mean they’re not that it’s

57:12

that and so that was that was really interesting and then when when it was

57:17

over to be kind of you know and eventually he became aware of his surroundings in his spacing any kind of

57:24

a government right no food and they they

57:32

were they were more interested in in

57:38

seeing the material afterwards and coming to the exhibition and I think

57:43

that’s also because I don’t know they I

57:51

think they are maybe more aware or more

57:57

interested in that speciality of what they do it’s a new area filming and it’s

58:04

a kind of involves a new technology that the phone money has in place so that you can go you know like everything is

58:11

compressed at that time and so they were they were sort of interested in seeing

58:17

how their work translated whereas I think the camera operator

58:22

camera off Rover we’re more jaded about like going they just go in every day we

58:28

film these programs every day and there they they they didn’t maybe under they didn’t see or understand their

58:34

participation as much as maybe the fellow mommy

58:51

I’m interested to know why work in Germany when you said you felt outside

58:57

Oh couple of reasons I I did a residency

59:05

there so I have been based in here for a while and made have made working button

59:14

and I did a residency in 2007 in Berlin

59:19

and kind of found have often tried to

59:24

infiltrate or get into these sort of situations or into some kind of institution or something and I found

59:31

that there was a an openness in Berlin in any way and I think that a big part

59:36

of it is that the imperative to make money is not so strong it’s a very

59:42

culturally active city and you don’t you a lot of money to live and so that

59:48

pressure is often people have time for things whereas in London even when people are interested money as time and

59:56

so it’s hard to find it’s hard to just hop getting hard for me to get into things and do things and this is a

1:00:05

little biologic the biographical thing there too I what I can I have adopted in

1:00:11

I found later on that my family’s my birth mother was German so interested sort of

1:00:20

that some of its in a cultural stereotypes German is that’s sort of

1:00:30

side thing it was mainly just circumstances that brought me there and then and then finding finding people

1:00:39

that are interested in and want to cooperate on those kinds of projects or Calabria

1:00:58

you

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