disorient

umelci/artists: francis gomila, claire davies, lynne marsh, richard phipps, andrew hardie, zuzana hruskova kuratoky a koordinatorky: zuzana hruskova albertsen & rashida davison 2005-11-30

"4QA" Umelci v konverzacii so Zuzanou Hruskovou. November 2005 LYNNE MARSH ZH: Tvoje prace su znacne naplnene nespocetnym mnozstvom sci-fi kmenov a v mnohych pripadoch multi-osobnym zjavom. Kto/co je tvojim alter-egom v tejto hre? LM: Ano, mam velky zaujem o pojmy replikacie. Multiplikacia figury je zakladom vyzvy, ktorej pociatky maju korene v pretazenosti elektronickou informaciou. Vyzva je zvycajne reprezentovana kmenom, tlupou znamou prostrednictvom science fiction filmov, a taktiez ako 3D simulakra. Jedna sa o multiplikovanu navnadu, strategicky servirovanu ako diverziu v napatych situaciach- zobrajuc otazku:" Ktore je realnym?" Je to zabavne, nepomyslam o charakteroch v zmysle alter ega. Ked su raz stvarnene, citim ze su odo mna velmi oddelene. Z tohto dovodu zvyknem pouzivat kostym ako sposob seba-nespoznania. Necitim, ze by moja praca bola o expresii seba-reprezentacie, aj napriek tomu, ze sa jedna o mna vlastnu. Narabam so samou sebou v ramci existencie historie, v ktorej umelci pouzivaju samych seba ako material a taktie,z pretoze je mi umoznene predstavit si ?alter/inake moznosti". Pocitujem potrebu performovat ?uveritelne alternativy. Napriklad v "Ballroom" sa stavam objektom (projektorom, zrkadlovym balom) tak isto ako performerom-antenou. ZH: Existuje nieco co ta pritahuje, alebo strasi pri pomysleni na klonovanie? LM: Reprodukcia momentalne obyva mnozstvo sucasneho diskurzu. Tema bola prinesena do popredia vedomia verejnosti prostrednictvom science fikcie a jej sucasneho spodobnenia, cyberpunku, a taktiez technologickych vynalezov v oblasti artificialneho zivota, dalej je tu Human Genome Projekt, geneticke inzinierstvo a klonovanie. Co ma najviac pritahuje, su pojmy reprodukcie v zmysle digitalnej a technologickej replikacie. Klon nasleduje hranice individualneho a pohranicie kolektivneho, kym sa usiluje o natlaky na subjekt a natlaky politicke. Ak nahliadneme do 19. a 20. storocia, tu doslo k zmene individualneho masou. V sucasnosti sa jedna o podobnu situaciu, no v zmysle nahrady klonom, aspon z imaginarneho hladiska. ZH: Hovoriac jazykom Konecna/ Nekonecna. Zazila si niekedy moment, ked si chcela / nechcela, aby sa nieco ukoncilo a preco? LM: Slucka (v zmysle opakovania) je dalsou pomockou, ktora ma priitahuje- dalsia z produktov digitalneho. Milujem pojem nekonecnosti, tak ako vlny narazajuce na okraj plaze. Mnohe z mojich prac boli skonstruovane ako nekonecne cykly a tym obyvaju svojsky casopriestor. ZH: Citila si sa niekedy v urcitom zmysle predavkovanou pocas prizerania sa na konkretne video? LM: Myslim, ze sa citim predavkovanou jedine vtedy, ked nahliadam na svoju vlastnu pracu. Moje prace su velmi casovo konzumujjuce, zvlast vtedy, ked pracujem na zvuku. V mnohych pripadoch mi pocas prizerania sa na vlastnu pracu pride vyslovene zle. Definitivne sa citim okuzlenou, ked si spomeniem na Laso, pracu Salla Tykky- sposob vystavby filmovej skladby, hudba a intenzita lasujuceho chlapca vie priniest slzy do mojich oci. FRANCIS GOMILA. ZH: Vo vztahu k dizorientacii? povedal by si nam nieco o socialnom kontexte tvojej prace? (NIGHT OUT.2002. 11?:35) FG: Night Out vyustuje z pozorovaneho socialneho vzoru, alebo charakteristickeho socialneho spravania sa, ktore nachadzam v mnou obyvajucom prostedi. Susredujem sa na aspekt socializacie, alebo a konkretne tato praca ilustruje antisocializmus. ZH: Poznam tvoju pracu ako internu zalezitost (adoptujes elementy externeho, kym ich travis a finalne nezne vypluvas von). NIGHT OUT je filmovo kontinualnou pracou smerujucou odniekadial-niekde. Scenar nema ziiadne extra filmove vstupy, je autentickym zaberom doplnenym hudbou. Akokolvek, citim ze plynulost narativnosti je ticho prerusenou obsahom. Bezsmernost hlavneho protagonistu, jeho zamietnutie a snaha o retro-spojenie s realitou by bohla vyzniet autobiograficky. Alebo sa mylim? FG:V NIGHT OUT sa stavame svedkami poulicneho konfliktu muza a zeny. Hadka prichadza do nevyrieseneho stadia, ked pasivno-agresivny muz je vytlaceny zo skupiny pocas prichodu policie. Toto video sa odohrava v realnom case a neobsahuje ziadne nadbytocne editovanie a vizualne efekty. V ulohe divaka sme pozvani nasledovat cestu zraneneho muza vracajuceho sa do sceny jeho blaznovstva, tak ako sa povestny pes vracia k jeho zvratku. Moja praca sa zriedkavo spolieha na konvencny linearny klimax (pointa),aplikovany mechanizmus je casto cirkularny. Praca je anti-klimaktickym zazivanim v zmysle, kde nevieme, co viedlo tohto muza do neprijemnej situacie. Night Out je cinema verite, ktore vyustuje v cistej obzervacii. Nereprezentuje voyeurizmus, no viacmenej urbanno-socialny balet, ktory sa pravidelne v rannych hodinach odohrava pod mojimi oknami Aj napriek tomu, ze sa pojednava o cisto newcastelsku skusenost, video v ziadnom pripade nie je autobioografickou zaleziitostou; hovori o osobnom stave, ktory je univerzalny. Aj v pripade, ze sme sa nikdy nenachadzali v pozicii tohto protagonistu, mozeme sa identifikovat s jeho situaciou. Jedna sa o totalny kolabs- akekolvek plany a intencie muza na pociatku vecera boli v skorych rannych hodinach zruinovane. ZH: Citil si sa niekedy infikovany po prezreti urcitej prace, alebo precitani urciteho textu? FG: Viac nez infikovany. Povedal by som oplodneny. Oplodneny naporom energie, tak vyzivnej ako dobre jedlo, tak uspokokojivej ako gratifikujuci sex. Je to nieco podobne ako videt pravdu veci, i ked len na zlomok sekundy. ZH: Kde si myslis medium videa smeruje? FG: Myslim si, ze video a vyznam slova video, to iste ako pojem disco cochvila prestane existovat. Vznikaju audiovizualne inzinierske technologie, ktore splyvaju do jedneho digitalneho masmedia. Buducnost je isto zalozena na tekutej biotechnologii, v ktorej umenie bude inhalovane, travene zaludkom, ci priamo vstrekovane do zil pozorovatela. RICHARD PHIPPS ZH: Co si myslis o casoplynuti vo tvojich pracach? RP:Frustrujuce, nemam pravdu? ZH: Ako si sa sam vyjadril: pracujes s detajlami ako nepodstatnost, rovnakost a elementami banalnosti. Co ta motivuje? RP: Zivot! ZH: Co si myslis o gamblovani a zavislosti vo vseobecnemu vztahu k umeniu? RP: Neexistuje ziaden rozdiel. Obe su hrami, niektori hraci podvadzaju lepsie, ako ini; niekedy vyhravas, niekedy prehravas. Umenie je zalozene na udrzovani si odstupu a vedomosti, kedy treba odstupit. ZH: Vedel by si sa predstavit v ulohe umelca narabajuceho s inym mediom nez videoma vyjadrujuceho tie iste pocity? Co/ake medium by to bolo? RP: Ano, duet s Kylie Minogue- ?Spinning Around?. CLAIRE DAVIES ZH: Ako si sa vyjadrila, Claire. Nerada o svojej praci hovoris, radsej robis umenie. No nemozem si pomoct ? tvoja nedavna praca nas podozrivo nabada k nazeraniu tajuplnych a nadcasovych enviromentov. V ulohe pozorovatela za scenami citim nieciu pritomnost. CD: Dufam, ze pozorovatel si bude zakazdym moct odniest svojsky zazitok, zazitok, na ktory umelec samotny nebude mat vplyv. Mam na mysli mnohe interpretacie a percepcie - aspon tak originalne, ako sam pozorovatel sam osebe. Nechcem individualne prace zbytocne komentovat. ZH: Suhlasila by si, ak by niekto nazval tvoje najnovsie digitalne studie kinematografickymi malbami?? CD: Nie, nevylucila by som tento nazor. Referencia je dost priamociara. Co sa obsahu tyka, minulosti som malovala a v mojich terajsich pracach vidim suvislost s tymto mediom. ZH: Matchbox study (Landscape) & Matchbox study (Seascape)- prace scasti vznikli ako reakcia na vystavny priestor galerie HIT. Alebo sa mylim? CD: Vystavny priestor je v mojom pripade vzdy fundamentalnym uvazenim, a to hlavne vo vyvojovom stadiu prace. Chcela som vytvorit intimne prace, ktore by boli efektivne a rezonovali by s konkretnym intimnym priestorom. ZH: Ked sme sa stretli, vyjadrila si sa nadhernym vyhlasenim v zmysle: Neviem, co by som robila, kebyzrazu vypli elekrticky prud? Vied sa predstavit pracovat v inom nez digitalnom mediu? CD: Myslim si, ze je mozne narabat s akymkolvek mediom, ked sa jedna o umelecky zamer umelca. Akokolvek, urciete medium bude fungovat lepsie a urcite vobec. Zvykla som malovat a pouzivat fotorafiu a kolaz. Sposob, ktorym narabam s digitalnym mediom je prepojeny s procesom zmienenych medii. No digitalne medium je pre mna viac vyzyvavejsie. Technologiu, s ktorou narabam, pouzivam dokonca. No je to vzdy konkretna idea, ktora ovplyvnuje to, ako sa praca vyvija.Moje metody presli prirodzenym vyvinom od platna ku kamere. ANDREW HARDIE ZH: V tvojej interaktivnej tvorbe privadzas ludi k tomu, ze nakoniec urobia to, co chces aby urobili. Akokolvek, pri participovani z tvojich prac necitit ziadne nasilie a manipulaciu. Kolizie, ktore kreujes su sofistikovane. Chcel by si sa vyjadrit k tomuto fenonmenu? AH: Stalo sa mi osudovym, ze som vo filmovom svete pracoval s ludmi, ktori boli pozadu. Vacsina filmovanych sekvencii neprevysuju 5-10 sekund, preto nema zmysel ziadat ludi, aby hrali. ZH: Jedna z tvojich prac priamo naraba s realnym mozgom, kym ho nezne masiruje. (Memory manipulation,1999).Je to jedna z tvojich skorych prac. Mohli by sme vediet viac? AH: Memory Manipulation je praca vytvorena pre Space Time projekt. Jednalo sa o narodnu schemu propagujucu vedu prostrednicvom umenia- na tuto temu respondovali viacere umelecke institucie. Queens Hall Arts centrum v Northumberlande (severne Anglicko) pracovalo s pamatou ako takou. Vybrani umecli sa zucasnili tyzdnoveho workshopu spolu s GCSE studentami a pracovali na videach prave na tuto tematiku. Mojim respondom blo video-Memory Manipulation. Jednalo sa o neznu masaz ziveho mozgu, zatial co divaci boli vyzvani k nahodilemu opakovaniu skomponovanych ciselnych sekvencii. ZH: Kde medium videa smeruje? AH: Myslim si, ze v najblizsom case podstupime velke sance. Ludia sa budu staviat k videu inym sposobom. Predstavenie ?High Definition? systemu bezpodmienecne vo video pracach prinesie rast. Bude zaujimave vidiet technologicke vymozenosti vyvijajuce sa tym istym sposobom ako sme to zazili vo sfere digitalnej fotografie. ZH: Citil si sa niekedy zmateny po zhliadnuti urciteho videa? AH: Nie som si isty. ZUZANA HRUSKOVA Q: Francis Gomila FG:V UNWANTED nachadzame silny vyznam odstranenia akysi akt vymazania, ktoreho zvysky predsa len zostavaju uschovane vo flasi. Mohla by si sa vjadrit o stave tekutej pamate? ZH: Samozrejme. Tekuta pamat je pristupny koniec - nieco, coho by som sa jednoducho mohla zbavit splachnutim do zachoda prisudenim konca velmi racionalneho. Tekutina je akousi privatnou databazou, ktora je nenavratnou v roznom ponimani?nieco podobne ako ked rozpravame jazyk, no snazime sa nerozpravat nim. FG: Tvoja praca je plna tichej agresiu. Vidime zapas, boj, niekedy destrukciu. Keb to bolo vo videu, alebo vo fotografii, jednalo by sa o zapas lasky a nenavisti. Alebo sa mylim? ZH:Tenky platok priestoru (fotografia), tak isto ako cas samotny, moze byt silny ako zemetrasenie. A prave tento fakt som nemohla obstat. FG: Tvoja praca by mohla byt vnimana ako jemne reflektujuca tvrdu realitu zivota. No mnohe z prac nesu v sebe minimalizmus a poeticku jednoduchost, ktora je transformovanou do niecoho nejasneho. Mohla by si sa vyjadrit k pouzivanym mechanizmom? ZH: Jedna sa o pripad folklorneho liecitelstva: uzivanie mocu- jeho konzumacia ma terapeuticke ucinky. Pacient obsah vypije, posle ho spat do obehu systemu a finalne vyluci v celej svojej cistote ? ziaden odpad v odpade. V UNWANTED znovuprejednavam a vraciam obsah spat do kolobehu, tak dospievam k satisfakcii. Moj hnev odide samozrejme, iba docasne. FG: S prudom zamenitelnych a presahujuco reprodukovatelnych moznosti v oblasti digitalneho image spracovania. Kde si myslis fotografia smeruje? ZH: Nerada ilustrujem svet. Rada ho zijem. To je dovodom, preco fotim- fotim defenzivne. Rok dozadu, povedala by som, fotografia bola v mojich rukach neziva/mrtva. Citila som sa predavkovana. No dnes mam o fotorafii inu mienku- myslim si, ze sa dostala za sferu akcie beriem ju velmi specialne ako matrix, nie ako jednonocovu duplikovatelnu manieru.

We stand before a paradoxical alternative: either we shall never reach the end, or we are already beyond it. We always harbour the illusion that something will have an end-point, that it will then take on a meaning, and will allow us retrospectively to restore its origin and, with this beginning and this end, the play of cause and effect will become possible. We stand, then, before a paradoxical alternative: either we shall never reach the end, or we are already beyond it. So unable to locate an end, we strive desperately to pin down a beginning. Jean Baudrillard We have passed beyond the true and the false, beyond good and evil, and there is no way back. On this view, there is a kind of point of irreversibility beyond which things lose their end. Canetti Following the success of Disorientation - the first part of UK/Slovakia art exchange- we are delighted to present Disorient, the final part of this exciting exchange. Disorient is an exhibition that aspires to introduce six UK artists who have between them achieve regional, national and international status. Its synopsis touches the beginning-ending-sphere of believable & unbelievable. It is fascination by the unknown and projection of expectation. Referring the database of existencial validities and notions, the exhibition lingo offers wide territories of non-endings, situations of collapse, artificial pretence & no-way-out scenarios. INTERVIEWS WITH THE ARTISTS We are in exchange, universally. All our conceptions lead back to it at some point or other, whether it be commodity exchange or that concept of symbolic exchange which I?ve used a great deal and which is, in way, its opposite. The fact remains that exchange, in fact, grounds our morality, as does the idea that everything can be exchanged, that the only thing that exist is what can assume value, and hence pass from one to another. Jean Baudrillard "4QA" Artists in conversation with Zuzana Hruskova Albertsen LYNNE MARSH ZH: Your work seems to be filled with a decent amount of sci-fi tribes and many times a multi-self-appearance. Who/ what is your alter ego in this game? LM:Yes, Im very interested in the notions of replication. The multiplication of the figure foregrounds the challenges posed by the overload of electronic information. This challenge is visually represented by the tribe, a trope made familiar through science fiction movies as well as the 3D simulacra, a multiplied decoy strategically unleashed as a diversion in tense situations, begging the question which one is the real. Its funny; I dont really think of the characters as my alter ego, once they are imaged I feel they are very separate from myself. This is why I use costume as a way to not recognize myself. I dont feel the work is about an expression of self-representation even though it is me. I use myself because of the history of artists using themselves as material in their work and also because in order to imagine these "alter/other possibilities" I need to perform the make-believe alternative. For example in "Ballroom", I am becoming an object (projector, mirror ball) as much as an aerial performer. ZH: Is there anything what attracts you or scares you when thinking of cloning? LM: Reproduction occupies much of contemporary discourse at the moment. It has been brought to the forefront of public consciousness by science fiction and its recent embodiment, cyberpunk, as well as technological advances in artificial life, the Human Genome Project, genetic engineering and cloning. I would say what mostly attracts me are notions of reproduction i.e. digital and technological and replication. Other and same, the clone re-traces the borders of the individual and the frontiers of the collective, exerting pressures on the subject and on the political. If, in the 19th and 20th centuries we consider the masses the alter to the individual, it is now being replaced by the clone, at least in an imaginary sense. ZH: Talking the Ends & Beginnings. Have you ever experienced any moment when you did/didnt want something to end up and why? LM: The loop is another devise I am very attracted to, another by product of the digital. I love the notion of endlessness, as waves hitting the shores of a beach. A lot of my pieces have been constructed as endless cycles and they seem to occupy another space-time dimension in this way. ZH: Have you ever felt overdosed in a sense when looking at certain video work? LM: I think the only time I very fell overdosed is when looking at my own work. My work is very time consuming and especially when I am working on sound design, the number of times I have to look at the work can literally make me sick. I have definitely felt overwhelmed, Salla Tykkas Lasso comes to mind, the cinematic build up in the sound track and intensity of the boy lassoing brought me to tears... FRANCIS GOMILA ZH: In relation to disorientation - do you wish to say something about the social context of your piece (night out/ 2002. 11:35)? FG: Night Out arises from an observed social pattern or characteristic social behavior to be found in the community that I inhabit. And as such focuses on one aspect of socialisation or as this piece illustrates; anti-socialisation. ZH: Knowing your work being quite internal (fostering the elements of external while digesting it and finally gently spiting it out).The Night Out is quite cinematically continuous piece of work. It goes from somewhere to somewhere. And I guess it doesnt contain an additional intercuts, except of music accompanienship. However, I do feel the fluency of this narrative is silently disconnected by its content. The nowhere direction of protagonist, its refusal and retro-connection with reality could feel quite an autobiographical. Am I wrong? FG: In NIGHT OUT we witness a conflict between a man and a woman in the street. The row comes to an unresolved end when the passive-aggressive male is ousted from his peer group by the arrival of the police. This "real time" video employs no cuts, no visual effects as we follow the journey of the "wounded" male returning to the scene of his folly, just as the proverbial dog returns to his vomit. My work seldom relies on a conventional linear climax (a punch line) the mechanism employed is frequently a circular one. This piece is in effect anti-climatic in the sense that we dont know what led to this man?s predicament; all we experience is the effect. Its the still point of a moving world where the dance is. Night Out is a piece of cinema verite that arises from pure observation. Rather than reflecting on the surveillance or voyeuristic aspects, for me the piece represents an urban social ballet, one that is performed on a regular basis in the early hours of the morning under my window. Though very much a specific Newcastle experience the piece is in no way autobiographical, it speaks to us of a personal state that is universal. Even though weve might have never been in the position of this protagonist, we can all identify with his predicament, in as much as what ever his plans and intentions were at the start of the evening, by the early hours of the morning they have all totally collapsed. ZH: Have you ever felt like being infected when viewing a certain piece of work, or reading a certain piece of writing? FG:Rather than infected, I would say impregnated. Impregnated with a surge of energy as nourishing as a good meal, as gratifying as great sex. Its like seeing the truth in all things, if only for a split second. ZH:Where do you think the medium of video is heading to? FG:I think video and the term video, like the term disco, will soon cease to exist. There are already signs of the image/ sound engineering technologies fusing into one digital mass medium. The future must surly lie in liquid biotechnology in which art will be inhaled, ingested or simply injected directly into the spectators veins. RICHARD PHIPPS ZH:What do you think about time passing in your work? RP:frustrating isnt it? ZH:As you expressed, you work with details of unimportance, sameness? and the elements of banal and mundane. What motivates you starting at this level? RP: Life! ZH: What do you think about gambling in relation to art in general? RP:there is no difference, both are games, some players bluff better than others, sometimes your on top, sometimes your down, the art lies in staying the distance and knowing when to quit. ZH:Could you possibly imagine yourself working in another medium while expressing the same feelings, attitudes.etc. ? What would it be? RP: Yes a duet with Kylie Minogue - spinning around. CLAIRE DAVIES ZH: As you expressed- Claire, you dont like talking about your work as much as making it. But still, I cant help myself - your recent work suspiciously invites us into secretive and superficial environments. As the viewer, I can feel someones presence behind the scenes. Would you like to say something about this? CD:I would hope that the viewer will always take something of their own away from the any given piece, something that the artist has no influence over. This can be many different perceptions or interpretations, each as unique as the viewers themselves, I couldnt possibly comment on any individual one. ZH:Would you disagree if someone would name your Matchbox studies a cinematic paintings? I wouldnt disagree, as the reference is quite clear. I used to paint and I can see the influence of my previous medium in the image content of my current work. ZH:Matchbox study (Landscape) & Matchbox study (Seascape) was partly produced as a reaction to actual gallery space. Or am I wrong? Would you consider the source of this piece being important? CD:The exhibition space is always a fundamental consideration in the initial developmental stages. I wanted to make intimate pieces that would be effective and have resonance in this particularly intimate space. ZH:When we met you said a beautiful statement. I do not know what I would do if the electricity would cut out something in this sense. Could you possibly imagine yourself working in another medium while expressing the same feelings, attitudes, etc.? What would it be? CD:I think it is possible to use any medium to express your intent as an artist, but some will obviously work better than others. I used to use paint, photography and collage. The way I use digital medium is still linked to this process, but it challenges me more. The technology employed is used as a means to an end, it is always the initial idea that influences the way the work evolves. Overall my methods have involved a necessary but natural evolution from the canvas to the camera. ANDREW HARDIE ZH:In your interactive work, you make people do what you want them to do. However I dont feel any force of manipulation when participating. The collisions that you create are more likely to be sophisticated. Would you like to say something about these conditions? AH:I've been fortunate to work with pretty laid back people on the filming. The majority of sequences filmed are no more than 5-10 seconds long so there is not really a sense of asking someone to 'perform' when filming. ZH: One of your works directly uses brain, while gently manipulates it (Memory manipulation,1999). This is one of your early works. Could we know some more details about this piece? AH:Memory Manipulation was made as part of Space Time projects. This was a national scheme to promote science through the arts in which various arts centres responded to different areas of science. Queens Hall Arts in Northumberland worked with 'memory' and we ran a week long workshop with GCSE media students to produce video works on the topic. Memory Manipulation was my response and involved a brain being gently massaged whilst the audience were invited to repeat random sequences of numbers. ZH:Where do you think the medium of video is heading to? AH:I think there will be big changes in how people approach video in the coming years. The introduction of High Definition will no doubt see a growth in constructed video works and it will be interesting to see if the technological advances follow the same pace as we saw with digital photography. ZH:Have you ever felt like being intentionally confused when viewing a certain piece of work? AH:Not sure WORKS ON THE SHOW Francis Gomila, NIGHT OUT In Francis Gomilas "NIGHT OUT" we witness a conflict between a man and a woman in the street. The row comes to an unresolved end when the passive-aggressive male is ousted from his peer group by a timely arrival of the police. This "real time"video employs no visual effects to soften our capacities, with the exception of a superimposed melancholic song colouring our sympathies, as we follow the journey of the "wounded" male returning to the scene of his folly just as the proverbial dog returns to his vomit. The high vantage perspective of "NIGHT OUT" doesnt merely restrict Gomilas own creative identity. Rather, he presents us with paradigms and proposes the situation to be within our own grasp. The language is gestural, without manipulation, so fluent, that the ordinary quality of it could easily insult our expectations. There in lies the parallel dialogue between our desires in effect upon the observation of the world, and the encapsulated narrative of the expectations in effect within the desires between two people. Gomila has a great repertoire reflecting the circular reasoning of man and his state in failed social conditions. "Night Out" presents these motifs not only within the confusion of the central male character, whose assumptions for the evening have utterly collapsed, but also as we think in response,"if you could only see yourself!" We are thus reminded that any judgement has secured us firmly as a peer, and thereby also as a participant. written by artist Hannah Finlator. Lynne Marsh, BALLROOM video installation, 2004 Ballroom is a digital film loop with choreographed sound presenting a woman, athletic and glamorous, suspended upside down in the centre of a dancehall; her glittering, sequined costume reflects light onto the backdrop of a sumptuous interior, like a human mirror ball. As she spins around with increasing speed, sending the reflections whirling, the soundtrack reaches a cresendo. This is a theatrical spectacle for which we are the audience, yet is what we see 'real' or an imaginary happening? Lynne Marsh creates work that locates itself at the intersection of performance and cinema. She explores female identity within the endless possibilities of virtual worlds, as her alter ego plays within and explores a fantastical performance space. The work relies on the spatial and immersive properties of multimedia and historical connotations of installation as the artist manipulates and choreographs her figures and the environments they inhabit. Richard Phipps, IF YOU KLING TO ME, I LL KLONG TO YOU! video installation, 20min If you Kling to me, I ll Klong to you! Is a twenty-minute digital video piece, where to be honest nothing much really happens, but this is intentional? A Roulette wheel is central to the screen and is stuck in a perceived perpetual spin. There too is a ball bouncing in tandem with the spin of the wheel, also locked in a perceived perpetuality. If you Kling to me, I ll Klong to you! Conveys the banal the mundane, and sameness and it revels in its unimportance. Perhaps this absurdity is overlooked or considered something to bypass or hurry through I want the viewer to consider these issues. It has a certain lack of excitement and little or no entertainment value-unless you?re an existentialist-and is devoid of any climax. Obviously banality has its merits and rewards but these arent instant. Cultures appetite for wall-to-wall entertainment and short attention span ensures that banality doesnt work for many. Either way the Roulette wheel proves that waiting is wonderful to some and merely an "endurance" to others. Claire Davies, LANDSCAPE/SEASCAPE 2005, flat screen projection Manipulated matchboxes from supermarket LIDL. This cinematic piece of work references the everyday, while playing with formal properties of anti-aesthetic imagery. However her films transcend both the crudeness of the object and its insincerity. Domestic activities and kitsch representations of pleasure are re-invested with an aesthetic beauty. Andrew Hardie, JUMP.REVERT 2005 interactive installation Zuzana Hruskova, UNWANTED? 2001-2004 Disliked, unwanted photographs, bleached archive of artist Trying to loose the memory of the past I attempt to integrate the future into a present action. I bleach my photographs as I get frustrated of not being able to put an end to them. Renegotiating it and putting it back into circulation, I finally feel satisfaction. My anger has gone. ONE YEAR AGO I bleached my photographs. Being sick of them, people in them, and bored with their smell. Feeling itchy when touching them. It is good what happened, my mind could possibly rest- for now. ONE YEAR LATER I still feel same about the medium. Despite what it causes to my eyes, despite how much it can please me, or grow my pain. It is forensic, it is stupid, useless and stereotyping! And the photographer? Well behaved maniac.

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