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the archive project
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The whole exercise was elaborating on the unfamiliarity, distance, excitement of the unknown that comes with approaching an archive that is found or an archive-in-emergence, collapsing the search and the production: search is already production.The idea of forgetting and rediscovering – approaching something that was forgotten and rediscovered between generations and collapsing it into the history of one's personal process. How to document the present, how to hold it? Based on standard-8 footage found during a trip home to Peru that was shown to successive viewers (Giles, Emma Hedditch, Greg Pope) in the artist's south London bedroom with their conversations and responses recorded on video. Maps of the past as present, the present as its own archive, the relations between the pictorial and the real, remnants of a collective history made new as collective process. First shown at “Convulsive Initiatives”, Century Gallery, London 2002, curated by Marina Vishmidt. Voice over on 30 Years ON Affectivity Retained by Collective History Inspires Virtually Everything by Charlotte Prodger and Marina Vishmidt. Written, Produced and Edited by Melissa Castagnetto. Thanks to David Leister for standard 8 transfer.
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An Anagram of Ideas on Art, Form and Film, Maya Deren, 1946. A pattern of local work is set against a pattern of the State constructingcommunity through the emergency of war and emergent modernism.Revolution: document as education of the idea it records in action. Communityis the indivisible location, the State’s own home ground made astate of mind. The indivisible location is the cinema as the final locale, ourlocal.“Each element of an anagram is so related to the whole that no one ofthem may be changed without effecting its series and so effecting thewhole. And, conversely, the whole is so related to every part that whetherone reads horizontally, vertically, diagonally or even in reverse, the logicof the whole is not disrupted, but remains in tact. (…) In an anagram all theelements exist in a simultaneous relationship. Consequently, within it,nothing is first and nothing is last; nothing is future and nothing is past;nothing is old and nothing is new (…) except, perhaps, the anagram itself.”From the preface to An Anagram of Ideas on Art, Form and Film, Maya Deren, 1946. Presented in Oberhausen kurrzfilmtage as part of the program: Heute leben wir Today We Live Curated and presented by Ian White. Films by Emma Hedditch, Jimmy Roberts & Melissa Castagnetto |
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