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Uriel Orlow – Between Art and Anthropology

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Uriel Orlow – Between Art and Anthropology

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20 Hz observes a geo-magnetic storm occurring in the Earths upper atmosphere. Working with data collected from the CARISMA radio array and interpreted as audio, we hear tweeting and rumbles caused by incoming solar wind, captured at the frequency of 20 Hertz. Generated directly by the sound, tangible and sculptural forms emerge suggestive of scientific visualisations . As different frequencies interact both visually and aurally, complex patterns emerge to create interference phenomena that probe the limits of our perception.

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20 Hz observes a geo-magnetic storm occurring in the Earths upper atmosphere. Working with data collected from the CARISMA radio array and interpreted as audio, we hear tweeting and rumbles caused by incoming solar wind, captured at the frequency of 20 Hertz. Generated directly by the sound, tangible and sculptural forms emerge suggestive of scientific visualisations .

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Practical task: Exporting material and archiving your work

1.     The atlas group archive: Look at the site –what is its function?

Make a short, stand-alone piece of content, that contains edits and text and export it and add it to a group padlet for your research group.

What is in your material that is valuable and should be made more of?

Is there a piece of footage or extract of an interview that can inform or develop your ideas? It doesn’t need to be long.

·      Prepare the clip for viewing through edits, transitions and text. Ask yourself what you want the piece of content to show and how you should cut it. Is there any information you need to add?

·      Export the clip as and MP4 with H264 codec

·      Upload it to your youtube channel

·      One person from your research group should make a new padelt to host your maerial – invite all other members of your group to the padlet as ‘editors’

·      Add your video to the group padlet, adding relevant metadata:

o   Title

o   Who / where / when was the material recorded?

o   What does the material show?

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The Atlas Group was a project undertaken by between 1989 and 2004 to research and document the contemporary history of Lebanon, with particular emphasis on the Lebanese wars of 1975 to 1990. Raad found and produced audio, visual and literary documents that shed light on this history. The documents were preserved in The Atlas Group Archive with a selection available on this site.

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Art | The Atlas Group | Lebanon | Walid Raad

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The Atlas Group was a project undertaken by between 1989 and 2004 to research and document the contemporary history of Lebanon, with particular emphasis on the Lebanese wars of 1975 to 1990. Raad found and produced audio, visual and literary documents that shed light on this history.

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"In The Girl Chewing Gum a commanding voice over appears to direct the action in a busy London street. As the instructions become more absurd and fantasised, we realise that the supposed director (not the shot) is fictional; he only describes - not prescribes - the events that take place before him.

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A view across the border in Nicosia, the divided capital of Cyprus. The camera looks over the rooftops of the Greek Cypriot south to the mountains of the Turkish Republic in the north, where a display of nationalism is enhanced by filmic means. Moving between macro and micro perspectives, Flag Mountain sets dramatic spectacle against everyday life as the inhabitants of both sides of the city go about their daily business.

"John Smith's Flag Mountain records a vast flag, the insignia of the Turkish Republic of Northern Cyprus, painted onto the side of the Kyrenia mountains overlooking Nicosia, the divided capital of the former island nation. The flag, situated in what is officially understood under international law to be 'Turkish occupied' northern Cyprus, is accompanied by the legend 'Ne mutlu Türküm diyene' ('How happy is he who can say "I am a Turk"'). The statement, a quote from the founder of the Turkish Republic, Mustafa Kemal Atatürk, is clearly legible from the south of the city and its surrounding countryside. Deliberately provocative, the flag was produced by refugees from the southern village of Tokhni as a memorial to the 84 male, moslem members of their community aged between 13 and 74, who were murdered by a right-wing militia (allied with the Greek military dictatorship). The massacre was said to have been in retaliation to the Turkish invasion of the north of the island earlier in 1974.

Film-making, being time-based, records change. Flag Mountain however can be seen to record stasis. The flag sees the political problems of Cyprus literally writ large and in lights. Deceptively simple, the work documents the flag over a 24 hour period, filmed from a balcony in southern Nicosia. The film opens with the broadcast from a minaret in the north hastening people to prayer and closes to the sound of bells ringing from the towers of Greek Orthodox churches in the south. The martial Istiklal Marsi (Independence March), national anthem of Turkey and the unilaterally declared Turkish Republic of Northern Cyprus, accompanies footage of flags of these territories being raised between the minarets of a mosque in the north, adjacent, in the camera frame, to the vast, painted flag (and a casino). The scene then turns to night where the flag is marked out, piece by piece, with synchronised lights like a strange, stellar constellation. The frames flicker between day and night and, when accelerated, take on a stroboscopic quality so that, momentarily, the flag is stripped of its overbearing political charge and becomes a abstract cipher. A device to be deconstructed by editing and analysed formally until dawn breaks and a flock of birds fly in front of the camera, disrupting the exercise.

Flag Mountain thus sits within the same absurdist tradition, descended from Dada, that Jasper Johns tapped with his (1954-1955), where overly familiar iconography is re-rendered or reconfigured and treated as abstract. The work exposes the eccentricity of a polarised city, nation and island, trapped like so many others by conflicting notions of identity imposed upon them by outsiders." Rob Tufnell, notes for exhibition at Tanya Leighton Gallery, Berlin 2010 46th Oberhausen International Short Film Festival, Germany ARTE Award for European Short Film

16th 'Encounters' International Short Film Festival, Bristol, England Special Commendation 'Best of British'

'Long Short Film Night of the Political Film', CinéMayence, Mainz, Germany Best Film (ex aequo)

An alternative version of this work (without titles, for seamless looping) is available for gallery installation.

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Flag Mountain (Southern Nicosia, looking towards the border with the Turkish Republic of Northern Cyprus) - LUX

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A view across the border in Nicosia, the divided capital of Cyprus. The camera looks over the rooftops of the Greek Cypriot south to the mountains of the Turkish Republic in the north, where a display of nationalism is enhanced by filmic means.

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Using video from multiple sources to piece together an analysis of real-life events

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Who is the man in the yellow t-shirt? (Killing of Zak Kostopoulos) (English)

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Interweiving political investigations with personal history

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A filmmaker turns forensic detective as she pieces together hundreds of photographs in search of what she believes to be a buried history, only to find herself inside the story she is researching. The Host investigates the activities of British Petroleum (BP) in Iran; a tale of power, imperial hubris and catastrophe. While the tectonic plates of geopolitical conspiracy shift in the background, the film asks us to look, and look again, at images produced by the oil company and personal photos taken by its British staff in Iran- including the filmmaker's parents- not for what they show, but for what they betray. The Host is about the stories we tell about ourselves and others, the facts and fictions we live by - and their consequences.

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A filmmaker turns forensic detective as she pieces together hundreds of photographs in search of what she believes to be a buried history, only to find herself inside the story she is researching. The Host investigates the activities of British Petroleum (BP) in Iran; a tale of power, imperial hubris and catastrophe.

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Also Known As Jihadi (2017) follows the progress of a young man’s journey from France to Syria, and back to France where he is incarcerated for allegedly joining Daesh. Based on real events, and drawn from thousands of pages of judicial documents, the cinematic work employs the so-called landscape theory (fukeiron in Japanese).

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Also Known As Jihadi (2017) follows the progress of a young man's journey from France to Syria, and back to France where he is incarcerated for allegedly joining Daesh. Based on real events, and drawn from thousands of pages of judicial documents, the cinematic work employs the so-called landscape theory (fukeiron in Japanese). The theory originated in the film AKA Serial Killer (1969) that is codirected by Masao Adachi, who was the subject of an earlier film work of mine: The Anabasis of May and Fusako Shigenobu, Masao Adachi, and 27 Years without Images (2011). In Also Known As Jihadithis most recent film, the character's paths to radicalism are rendered purely through a series of landscape shots filmed at the locations traversed by the subject: a biography determined not by what the subject did, but by what the subject saw, and one that questions how these landscapes reflect the social and political structures that are the backdrop for a journey of alienation and return. This new film builds on a link between some of my previous work and the events that are occurring with increasing frequency in many parts of the world. I started thinking about this film more than a year ago, before the events in Paris of November 13, 2015 and before those at the Charlie Hebdo offices in Paris in January 2015. From this vantage point, I wanted to make a film that affirms the position of trying (not) to understand. Or, in the words of Pierre Zaoui, to make a film that "aims to understand and not to understand at the same time-to understand up to the point that one no longer understands-and also to show, refusing to understand or explain, so that with a dreadful feeling of confusion we are surprised to find ourselves understanding, discovering a subtle sympathy, telling ourselves that maybe monstrosity is our shared condition."

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Also Known As Jihadi (2017) follows the progress of a young man's journey from France to Syria, and back to France where he is incarcerated for allegedly joining Daesh. Based on real events, and drawn from thousands of pages of judicial documents, the cinematic work employs the so-called landscape theory (fukeiron in Japanese).

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On using archive material, on research and archive and making connections between categories of material

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Harun Farocki – Cinema, Video Games and Finding the Detail | TateShots

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Kamel Mennour Gallery presents: “GROSSE FATIGUE” BY CAMILLE HENROT (2013)

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Directed by Erwann Lameignère
production : Collectif Combo / kamel mennour

Extracts from the video Grosse Fatigue (2013, video, color, sound)
courtesy the artist, Silex Films and kamel mennour, paris
Original music by Joakim. Voice by Akwetey Orraca-Tetteh. Text written in collaboration with Jacob Bromberg
Producer: kamel mennour, Paris; with the additional support of Fonds de dotation Famille Moulin, Paris
Production: Silex Films
Silver Lion - 55th Venice Biennale, 2013
Exhibition view « Grosse Fatigue », kamel mennour, Paris 
Project conducted as part of the Smithsonian Artist Research Fellowship Program, Washington, D.C.
Special thanks to the Smithsonian Archives of American Art, the Smithsonian National Museum of Natural History, and the Smithsonian National Air and Space Museum 
© ADAGP Camille Henrot

Screenings in gallery kamel mennour from February 5th to March 22nd, 2014

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Essay film
'This Was Told to Me is a personal essay film set in the once notorious 'Bandit Country' of South Armagh, Northern Ireland and explores themes of memory, identity, love, loss and exile. The film combines photographs, video, text and sound materials to create a road movie that melds documentary and narrative, past and present.'

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2017 - 15mins
This Was Told to Me is a personal essay film set in the once notorious 'Bandit Country' of South Armagh, Northern Ireland and explores themes of memory, identity, love, loss and exile. The film combines photographs, video, text and sound materials to create a road movie that melds documentary and narrative, past and present.

Screenings
Pull Focus Festival, Belfast (2018)
Belfast Film Festival (2018)
IndieCork, Cork (2017)

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Essay film

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The accumulation of moving images and sounds that make up Medium Earth comprise an audiovisual essay on the millennial time of geology and the infrastructural unconscious of Southern California. Focused on the ways in which tectonic forces express themselves in boulder outcrops and the hairline fractures of cast concrete, Medium Earth participates in the cultures of prophecy and forecasting that mediate the experience of seismic upheaval. The desire to evoke the hidden substrata of the planet gives way to a morphological interpretation of the face of the earth. As an experiment in channeling the system of fault lines buried below California, Medium Earth animates the stresses and strains of physical geographies undergoing continental pressures.

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The accumulation of moving images and sounds that make up Medium Earth comprise an audiovisual essay on the millennial time of geology and the infrastructural unconscious of Southern California. Focused on the ways in which tectonic forces express themselves in boulder outcrops and the hairline fractures of cast concrete, Medium Earth participates in the cultures of prophecy and forecasting that mediate the experience of seismic upheaval.

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Documentary form, with voiceover, plus animated elements

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Where Shapes Comes From is a moving image work which considers how science translates nature, on an atomic scale.Filmed in the mineral sciences laboratory at the Smithsonian Museum of Natural History, a scientist goes about his daily work in rock and mineral preparatory labs; cutting up large meteorites and preparing mineral samples for scientific study. Accompanying this, mineralogist Jeff Post describes the coming together of atoms to form matter. He details formations of organised structures and patterns as if they are happening in real-time, in front of our eyes, transcending time and space.Raw seismic data, collected from the land forming Mariana deep sea trench, has been converted directly into sound and controls computer generated animations, which are composited into the labs. They depict interpretations of visual scientific forms associated with atomic structures, and the technologies which capture them. Sitting alongside these animated formations are hand-made assemblages of discarded materials and other curiosities, which now bear human signatures. They unite in bringing a sense of playfulness and personal touch to the ordinarily rigorous framework of science.By combining these scientific processes, languages and products associated with matter formation in the context of the everyday, they become fantastical and strange encouraging us to consider how science translates nature and question our experiences of the physical world.

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Where Shapes Comes From is a moving image work which considers how science translates nature, on an atomic scale.Filmed in the mineral sciences laboratory at the Smithsonian Museum of Natural History, a scientist goes about his daily work in rock and mineral preparatory labs; cutting up large meteorites and preparing mineral samples for scientific study.

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Documentary /
Narration over footage

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© Forensic Architecture

Ground Truth is an ongoing project that aims to provide historical and juridical evidence on behalf of communities in the illegalised Palestinian Bedouin villages in the northern threshold of the Negev/Naqab desert, Israel. While forced physical displacement and illegalisation render these communities non-existent on maps and aerial imaging, state-led land works and afforestation transform and erase their land and material cultural remains. The project aims to document and collate disparate legal, historical, and material evidence for the continuity of the sedentary presence of the Bedouin population on this land, as well as traces of their repeated displacement and destruction by government forces.

Read more: https://www.forensic-architecture.org/case/ground-truth/

Inquiries contact: info [at] forensic-architecture.org

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Clip: 'Indonesia - Forest Fires

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ICA

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Video of Algiers estate: part of 'Connectivities' @ Mucem, Marsei

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Video of Algiers estate: part of 'Connectivities' @ Mucem, Marsei

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Mucem Museum, Marseille

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Cosmopolis est une nouvelle plateforme biennale consacrée aux pratiques artistiques enracinées dans la recherche et les nouveaux débats sur le cosmopolitisme.

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now-now, a pan African gazette - in print quarterly and online

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Harun Farocki: filmmaker, artist, media theorist
Elsaesser, Thomas. Afterall Iss. 11,  (0, 2005): 54-63.

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Harun Farocki: filmmaker, artist, media theorist
Elsaesser, Thomas. Afterall Iss. 11,  (0, 2005): 54-63.

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Harun Farocki filmmaker artist media theorist

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Jen Webb

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Resemblance, Representation and Reality

Language and Representation

Representation and the Subject/The Subject of Representation

Representation and the Political World

Representation in the Consciousness Industries: Art and the Mass Media

Conclusion: Representation and Ethics: The Problem of the Gap

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Resemblance, Representation and Reality Language and Representation Representation and the Subject/The Subject of Representation Representation and the Political World Representation in the Consciousness Industries: Art and the Mass Media Conclusion: Representation and Ethics: The Problem of the Gap

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Anand Patwardhan: Narmada Diary

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"Beware. You will always be inside, deep inside laboratories, factories, ski resorts, or Swiss bunkers hidden in the mountains. Armin Linke has succeeded in doing with film what he has been doing for years with photography: situate the envelopes inside which our existence unfolds"
- Bruno Latour, 2011

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El Junquito

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Fugitive Images is a not-for-profit artist’s and filmmmaking platform with the aim to research, analyse and respond to the conditions and mechanisms of economic, political and military power.

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Taskafa: Andrea Luka Zimmerman

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TAŞKAFA - Stories of the Street / Bir Sokak Hikayesi - Trailer

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Yalan Dunya Film presents an essay film by Andrea Luka Zimmerman featuring text and readings by John Berger

"A work as profound as it is protesting". (Sight & Sound Critic’s Choice, best films of 2013, Sukhdev Sandhu).

“A whisper of what we do to people” (Hackney Citizen, London Film Festival, October 2013)

"In other words, what is true of dogs and other animals – that some humans seek to exclude them from their lives for the sake of a ‘sanitised’ (bourgeois?) existence – seems also to be true of people". (WJRC Brown, Notes from the LFF)

“At once a genuinely singular portrait of a world city in transition, an affecting and committed study of those marginalized by globalization and an empathetic vision of resistance through a wholly different register of belonging, Taskafa is that rarest of breeds, a work of poetry and praise, singing of the heightened daily joys that come from a true comradeship between species.” (Gareth Evans, Film curator Whitechapel Gallery, London).

Director, Camera: Andrea Luka Zimmerman
Readings from his novel King: John Berger
Producer:  Gulen Guler 
Co-Producer: Bill McAlister
Editor: Alper Sen (Artıkİşler Collective)

Taşkafa: HD, 66 minutes, 2013; a Turkish / UK Production; English, Turkish, German (English subtitles)
© Yalan Dunya Film Yapim Ltd / Andrea Luka Zimmerman 2013

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Turner Prize 2010: The Otolith Group | Tate

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The Otolith Group was founded in 2002 by Kodwo Eshun and Anjalika Sagar. Eshun was born in London in 1966. He studied English Literature at University College, Oxford (1985-1988). Sagar was born in London in 1968. She studied Anthropology and Hindi at the School of Oriental and African Studies, University of London (1994-97).

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Collective filmmaking

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Describing the ideas behind ‘Anathema’

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UVP Insights: Kodwo Eshun on The Otolith Group's 'Anathema' at UVP

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For more information on the exhibition of The Otolith Group's "Anathema" at Urban Video Project (UVP), go to: www.urbanvideoproject.com or look for UVP on Facebook at: facebook.com/urbanvideoproject

Kodwo Eshun discussed the work of The Otolith Group in a live stream as part of a screening of their piece "The Radiant" at the Everson Museum of Art in partnership with UVP in Syracuse, NY on November 12, 2015. This event was held in conjunction with the exhibition of "Anathema" at Urban Video Project's permanent architectural projection venue onto the facade of the Everson Museum of Art from November 5 - December 19, 2015.

This exhibition is part of "UVP 2015-16: We Were Never Human", a year long program of exhibitions and events at UVP and partner organizations exploring the shifting idea of what it means to be human.

ABOUT THE WORK
“Anathema,” 2011
Run Time, 37:00

More info: www.urbanvideoproject.com/artists/the-otolith-group-anathema

PORTRAIT PHOTO CREDIT: Sean Henry-Smith
Insights Video Edit: Neven Lochhead for Urban Video Project

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By Other Means by Harun Farocki at the Neuer Berliner Kunstverein (n.b.k.)

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harun Farocki - Interface