Big inspiration from Bjørn Melhus

Skærmbillede 2018-04-17 kl. 16.30.49

Bjørn Melhus, born 1966, is a German-Norwegian media artist. In his work he has developed a singular position, expanding the possibilities for a critical reception of cinema and television. His practice of fragmentation, destruction, and reconstitution of well-known figures, topics, and strategies of the mass media opens up not only a network of new interpretations and critical commentaries, but also defines the relationship of mass media and viewer anew.

BM is using voice replacement in many of his video installations. Again and Again was the first one which crossed my way in my research of artists who works with video and voices.
Voice, beat, repeated characters and editing has a funny approach but after a while, it’s like getting hypnotized and it’s becoming more serious and a little scary.

Again and Again
DESCRIPTION:
Taking on themes of human cloning and biological science, Again & Again uses repetitive symbolism and video effects to question the relationship of self-design and aesthetic responsibility as well as the development of biological technologies and plastic surgery alongside a popular consumer culture.

In the two next examples, BM works with multiple screens / split-screen. The repetition, the rhythm and the editing are interesting for me to observe according to my work. I understand that repeating and an underlying beat have a good effect on focusing the attention.

Deadly Storm 333
DESCRIPTION:
The installation is composed of three sets of three vertical flat screen monitors installed onto 3 walls, each set depicts the same androgynous figure seemingly reporting on breaking, real time events. Each news anchor speaks in a selection of terms and sound bites, accompanied by graphics and visual tropes that have become synonymous with contemporary new broadcasts. Tension and paranoia are constructed through the tonality of speech and accompanying sound effects, as each anchor reports on an “ongoing situation”, which is never defined.

The Theory of Freedom
DESCRIPTION:
The installation is composed of three sets of three vertical flat-screen monitors installed onto 3 walls, each set depicts the same androgynous figure seemingly reporting on breaking, real time events. Each news anchor speaks in a selection of terms and sound bites, accompanied by graphics and visual tropes that have become synonymous with contemporary new broadcasts. Tension and paranoia are constructed through the tonality of speech and accompanying sound effects, as each anchor reports on an “on going situation”, which is never defined.

 

 

Conversation with Wilhelm Freddie

Recorded conversation from 1972
Duration: 1 hour 40 minutes

This is a summary of a conversation between Wilhelm Freddie and the Danish artist Per Kirkeby which took place in 1972. The recording is unedited and belongs to Per Kirkeby.

My notes are mostly about WF’s view on Surrealism and less about his personal story.
I made it in note form, to let his statement talk for them self and make it more easy for me to go back later.

Skærmbillede 2018-04-13 kl. 14.12.08

Surrealism is not an art direction, it is a state of mind/view of the world and the keyword is freedom. Freedom for the individual and in the society.
The Expressionist escape from reality, Surrealism wanted to find the way into reality.

Definition of Surrealism: The distance there was between dream and reality, the gap. For us, it was a matter of building a bridge over the gap. Make the inner and outer reality identical. That was Surrealism.
Aesthetics and moralism have nothing to do with surrealism. Perhaps they could have been there but then it was unconscious because it was not our intention.
Surrealism is based on the theory that the subconscious, the dream, the drives and instincts are the only absolute unchangeable in human life. This attitude was in conflict with the external political situation of the period (the 1930s). Surrealism denounced dictatorship because freedom was the solution.

WF had many cases, national and international, with police, authorities and other people; He was imprisoned, young right-minded destroyed his pictures into pieces, a man tried to strangle him after watching an exhibition, paintings were confiscated by the police and stored away, etc. Under the second world war, he escaped to Sweeden.
In 1937, he was invited to the first international Surrealistic exhibition at New Burlington Gallerie in London. His paintings were seized by customs and never arrived at the Gallerie.

The authorities were concerned about choking the audience, they thought the paintings were morally objectionable, they thought it was pornography.

The magic flower:
In connection with a happening, he would give a flower that was part of the set-up to a girl among the audience. But she did not want it, she reacted as if it was a plague-infested. The importance of the flower change.
WF understood that things may have a different meaning than the visible. It was what he describes as magic. Later on, he used this insight in his work.
Previously in the history of surrealism, the subject had a symbolic role for unconscious mental content. Now it’s replaced by a magically-functioning: image, object or action, which is being conveyed by an active mental energy that can interfere with the relationship between man and the outside world. Although this action is also symbolic, it is a symbol of real intervention

Skills are not the most important even I started as a naturalistic painter.
I was focused on the hallucinatory picture and recognizable and its value.
Now I’m interested in the value/interpretation of objects (its own value), a value I then use. All my things have a relation to the surrounded reality.
When something becomes a prop, I have to change it, find out something new.

Collage and the use of photos in painting:
The confrontation between the outer reality and my own created reality, I made it work together in one piece (picture). One highlights the other, I let the two things fit into a higher unit.

The surrealist attitude is built into me, but I am Wilhelm Freddie.
What I do today is decisive for next-generation action.

Loving Vincent

I’m glad that I saw the movie Loving Vincent and especially in a cinema;  a large screen is necessary to get the full impression.
When I heard about the movie I was concerned if the filmmakers didn’t manage to create the scenes in the spirit of Van Gogh, like if you read a good book and afterwards gonna see the movie and found it fare away from your own interpretation.
Official trailer:

The making of:

Voice replacement test 5

The actor repeated the text, again and again, there is a little different in timing and movement between the characters, which I find interesting. It is like they are aware of each other; helping to repeat the text.
When I first saw the footage in After Effect, it annoyed me that the actor is moving his head after every word, but now I think it is fine because its a little strange.
I scaled the frame in order to have more space above the talking heads and I toned the background into the same colour to give more focus to the heads.

I become curious about how it will be to use project mapping.

AR and status

Lots of video tutorials tell you that it is easy peasy to learn how to make AR by using Unity and Vuforia. A nice girl was able to explain how to do in 3 minutes.
I made my self a mantra: Yes I can and started downloading a trial of Unity and Vuforia.
I saw other tutorials, but I’m still not there.

Unity welcome tutorial:

https://unity3d.com/learn/tutorials/topics/interface-essentials
Lynda.com:
https://www.lynda.com/course-tutorials/Virtual-Augmented-Reality-3D-Weekly/553699-2.html
https://maker.pro/education/how-to-make-augmented-reality-apps-learning-resources-for-beginners

Right now, I have fun working with live footage, sound and animation in After Effect, I will give it more time, before looking at AR.