Monday, August 9, 2010

Second Live Projection 2010, Betty’s Nashville, July 22nd

Live set that evening at Betty’s Grill, 49th & Charlotte:
Sugar Skulls [Ben Marcantel]
Black Patch [John Adams, Joe Garcia, Nathan Vasquez, Adam Bednarik]
Doberman [Scott Martin, Ryan Norris]

Scott Martin and I had talked one evening after a set of his at Betty’s about doing some video projection during one of his shows. He asked me if we could work that out because he wanted to play with some images really going on around him.
I lucked into it really. Only one other time has Scott called me accidentally, but one Sunday morning, Scott called and woke me up, asking if he could get in my liquor cabinet on a dry, eventful Sunday. I had to refuse because I currently don’t have a liquor cabinet, and was not who he thought he was talking to. I got the opportunity to ask him if he had any shows coming up though, and right then and there we made arrangements for Alcamy Henriksen and I to provide video for his show that following Thursday. I agreed immediately on our behalf.
The next few days were set-up for Alcamy Henriksen and I to get together to view, shoot, compile, and edit something for the occasion. With two laptops, two projectors, and two screens, we shot many films on top of and beside one another. Some of these films being paired had already gone through various multiple exposure, performance, and re-filming processes.
The images we worked with were both commercial and generated by working artists we know, a lot of which was work of Alcamy’s. My awareness of the film work being done among Ben Marcantel, Dustin Zemel, and Alcamy Henriksen is that upon which my enthusiasm and ability to create such a live video environment are contingent.

Stills from film;
Compiled by ABA & ASPHH; edited by ASPHH, 2010.
The show was a great success. The music, all around, was yet another incredible showing of just some of Nashville’s immense pool of dedicated and extremely talented artists and musicians. I am amazed, as usual, and dually honored to have been a part of it. Having heard and seen the progression of these musicians over the past ten years, there is hardly any effort left to lacking. The opportunity to collaborate with these artists to create a more succinct environment in which their work can be experienced is an opportunity not to be turned down.
Alcamy worked crazy hours and by her determination we were well over prepared with footage for the show. My heartfelt out to she and Scott for the great work, initial invite, and the desire for collaboration. Let’s fucking do it again!

Wednesday, August 4, 2010

First live projection 2010, Georgia Copeland's housewarming, June 13th

A very eventful night. Met a Nashville painter Richard Heinsohn, grandson of Miguel Fleta. I was assisted in part by Joseph Hudson’s bringing some Kuchar and Hollis Frampton discs. I used two screens, one smaller, folding up from its case on the ground; the other a standard tripod projector screen. I used two projectors, one much larger than the other. Larger screen and projector showed just a segment of “Weird Faction – Grand Detour – Portland, Oregon – 6/25/10,” mailed to me by Dustin Zemel, a filmmaker and curator currently working in Portland. The smaller screen showed “Goodiepal Presentation – MPH – May 2010 – Portland, Oregon” in its entirety. This too was mailed to me by Dustin Zemel.
These showed simultaneously as the sun finally began to sink. Beforehand, when visibility was hindered, Alejandro Jodorowsky’s “Fando y Lis,” and, off of the McSweeney’s Wholphin No. 9, Jörg Wagner’s “Motodrom” were shown on the clapboards of the back of Georgia’s house.
The third and final projection was Jodorowski’s “El Topo” shown on the dense, lush vegetation of the back yard. The contrasts of rider, horse and desert, sky were the goals, and they affected brilliantly! Faces emerged - whole characters disappeared when the wind blew. It was a huge image as well, maybe twenty or more feet wide.
During this, the smaller screen with smaller projector was showing very colorful text-based film by Hollis Frampton.
The contrasts and qualities of the films of this final part of the screening paired perfectly and stunned individually. We ended with Spenser Susser’s “I Love Sara Jane,” a highly entertaining short film made last year in Australia also introduced to me by the contemporary film quarterly Wholphin.

Tuesday, August 3, 2010

Art Sabotage: Break In/Out - May 7th, 2010

After mentioning it twice between us, ASPHH and I decided to take over an unoccupied apartment in her building for a couple of hours on Friday, the 7th of May. We sent out close to twenty-five emails at three pm, followed by another dozen or so text messages, giving eveyone five hours to react. The exhibition was therein scheduled that evening from seven until nine, followed by a film screening across the hall at a properly occupied apartment.
The works displayed were paintings, drawings, photographs, plaster molds, and other works on paper, glass, and chalkboard. During the exhibition, Aleksandr Medvedkin's Happiness played on a wall while the sound art disc, part of Stockholm-based Styx Forlag's Autistisk Skilskrift publication provided the soundtrack. This audio addition was originally released in 2006 as supplement to the book of the same title, and features, among other artists, works by Leif Elggren, Sten Hanson, CM Lundberg.
Due to the process of presenting these works, and the place in which it was executed, there were many unexpected, unforeseeable, and palpable though intangible authors and attendees, in the curatorial and viewing processes. The time constraint certainly had great effect on the exhibition as a majority of the work shown did not arrive until just ten before seven. The space constraint of hauling the audio/visual equipment and art work in a compact sedan; the effect of viewing art for a short window of time in an unoccupied apartment in which none had permission to be, all had significant authorship and presence in the show. These presences, these constraints, were of immense help, across the board.
The constraints mentioned in getting the work to the apartment are self-descriptive. It's hand was apparent in the selection process of the curation. The time constraint followed a similar trajectory, but to a lesser extent as the two respective collections from which we culled the exhibit, containing original works by artists, almost all still living and working in San Francisco, Nashville, New York, Stockholm, and Los Angeles, are housed in three locations central to the room we temporarily inhabited for the exhibit. Of course, with further planning, plenty of other works could have been requested, reclaimed, or created for the show, but the required intentionality for this exhibit to have happened did not extend to that possible function, it is out of scope. The need and desire met, were equal, and as the progenative wave, the monad made another equal, another palpable, intangible third whose presence was of substantial breadth to provide the necessary force to assert itself.

photo: Ben Marcantel; image: Alcamy Henriksen, “10012009-11202009, TN/CA/TX/AZ" 2009, [42 Polaroids]

photo: Ben Marcantel; image: Marc Byndas, "Universitá (immobile)," 2005 [ink, paper]