I’m a huge fan of Curt Cloninger’s work, especially his virtuosic but often profoundly moving ( and how often do you hear that word in connection with new media*?) Playdamage sequence.
Here he simply mashes up a section of a 1971 Acconci video with a Jack White cover of a U2 song.
Actually to say mashes up is making it more complex than it is which is – visuals – Acconci; sound – U2 through White. Genius – Cloninger.
*except of course for the ridiculous Bill Viola, where it’s so clearly used by the very easily pleased.
Slightly traducing the spirit of the project where
the two artists mix, hack and otherwise mutate
and abut up to 9 videos simutaneously in the same web page
as a (very welcome) online adjunct to the current Drawing Surrealism
show at LACMA, we’re featuring a couple of the component parts.
(Because we love both these artists and we want to publicise
everything they do, which is never, ever, dull.)
To view it properly go (and keep on going back) to the project page and to learn more go here.
‘I’m a writer (poems mostly) and photographer, living and working
in Amsterdam. My age is 41. See also. The last five years I’ve made
so many pictures due to the digital workflow that by accident
I discovered a way to give all those pictures that I don’t use
a kind of meaning by putting them in a clip that I made.
Most pictures are from Amsterdam. I made
the clip with iMovie.’
We’ve featured Anthony Rousseau’s excellent work here before
this is one of many great pieces you can see on his blog.
I’ve focussed in on this one because I think it’s particularly interesting
in its capacity to be genuinely disturbing in a number of ways over a short spell of time.
Made from appropriated Prelinger footage, Rousseau says it is Une construction filmique dont la ligne directrice est la
traduction d’angoisses et de peurs infantiles.
‘A filmic construction of which the directorial line is the translation of childhood fears and anguish’
Now, before I read that, I was thinking what Rousseau had done cleverly
& to powerful effect was to deploy many of the tropes of the horror genre
so we fear for, not with, the child.
But then I suppose many of those devices are indeed rooted in
our peurs infantiles & in fact we do both.
Smart. Smart, rich, good.