I’m still reflecting on the video works presented at the “Strange Days: Memories of the Future” , the exhibition curated by Massimiliano Gionni, the artistic director of the New Museum in New York, who brought those film and video installations by twenty-one of today’s most radical image makers to the Store X in London.
I was struck by the visual effect of a military thermal camera used in this video installation by an Irish artist Richard Mosse and cinematographer Trevor Tweeten. It anonimised and dehumanised the victims of Syrian crisis even further, stripping them of their individuality, presenting them as bodies and numbers in cold monochrome. Yet it also brought their aliveness out in an incomparable way. Sensitive to heat, this heavy-weight camera accentuates or invades the spirit of life and conflict more than any other technique could. Shots taken from great distances let us, the Western Audience, surveil the movements of people and events unfolding on the shores thousands of kilometers away from us.
Not many people attended so I was among lucky few really to see the films on a big screen, as I don’t think there is many events like this. In fact I have been always on a look out for video art festivals in London but everything seems to have gone digital nowadays (with LUX being an exception on occassions). At Videovada I also attended the Analogue Video Workshop (have been looking for something like it for 7 years!!) and the demonstration of Praxis Live, which was aimed at people who had already experimented with the interactive audio-visual software before.
Max Richter 1921
Bruce Neuman – Clown Torture
Tony Hill – A short history of the Wheel
Ai WeiWei- Dumbass (the music video)
Karen Cytter, Video Art Manual
John Wood and Paul Harrison – The Only Other Point
Dryden Goodwin – Linear
George Barber – Waiting for Dave
Hito Steyerl – How not to be seen
Jeremy Deller in collaboration with Jens Petersen (sound designer, Sigur Ross) – English Magic
This was my favourite video, shown on Venice Biennale in 2013