Archive

Overland, Platform Garanti, Istanbul, 2007
Overland, Platform Garanti, Istanbul, 2007

Overland, Platform Garanti, Istanbul, 2007

(artist talk)
website of the space

Workshop : Overland
Tuesday 11th September // 12:00-15:00

Please join us on Tuesday 11th September 2007, 12:00 at Platform Garanti,
Istanbul, for the introduction of the curatorial project, 'Overland: London
to Beijing'. The event will take the form of a workshop discussing issues
related to the project and global movement of art and we are delighted to
welcome contributions from:

Russian curator and writer Viktor Misiano who will talk about his recent
projects.

Andy Weir, from the London-based artist collective allsopp&weir, who will
discuss their work which investigates rituals of calling, exhaustion, and
affects of voice and language.

We will also be presenting a compilation of videos curated by Moldovian
curator Stefan Rusu featuring works by Central Asian artists such as Abildsaid
Atabekov, Veceslav Ahunov and Ulan Djaparov.

Hans Askheim and Tom Keogh will present 'Overland: London to Beijing', a
curatorial project by four curators taking the form of a six week train
journey from the UK to China, transporting and exhibiting a commissioned
artwork along the way. The project explores what it means to curate across
borders and how this relates to the contemporary curating culture of
biennials and art fairs. The two other members of the curator team are Claire
Davies and Miranda Pope.


Text (presented with video)

The amplification device is a sonic weapon made with whatever comes to hand; an old watering can, pipes, tape, debris found washed up and collected at the edges of the city. It takes on a modular form, in a constant process of being built and rebuilt, its motion can be arrested at any moment, put into use, and then reconfigured. it offers an improvisation between the body, which adapts around its form, and other individual component parts of the machine

The player confronts its possibilities one by one. testing and probing the limits of its capability, hoping to fully maximise the intensity of his encounter . He tips and taps his voice against it, warming up and starting to become immersed. Its sound effect is first strictly regulated according to the timetable of passing aircraft. every time a plane passes, he stops building and calls. The call is neither a protest nor an attempt at communication, it is just sound. an exhausted voice at the edge of an airstrip passing as wind through a tube.

Slowly, it starts to collapse from within. The player is not shouting at the planes but calling them to him. Shaman of the airstrip, he is the cause and they are the effect. Eventually, tired of invoking the roar and shudder of engines, he turns his back on the planes and beats out his own rhythm, his sound becoming part of the sound around.

The film bears an uncertain relation to the events at the airstrip. Produced through the rephotographing and reanimating of 12,000 individual still frames, it takes cinematic movement down to its component parts and rebuilds it slowly, like learning to walk. Its surface effect is hyperdigital nostalgia, oscillating between future and past so the present is bypassed, or expanded as the moment of the sound of the voice.

I had an experience recently when my perception split into 3 parts. first i heard voices, then i saw lips moving, then i saw myself struggling to respond, but things had moved around again and a new sound had come, to be followed by a new out-of-sync image, then back to seeing myself again too late. i was always just slightly out of my own grasp.

The cinematic body is always possessed by a voice outside of its frame. synchronisation of time and texture allows for the illusion of match. shifts allow the voice to function in other ways. It can be given the power of invocation, as in Amplification Device, or in another scenario, in Nudge Nudge... the power of infection. The repetition of a phrase motif starts to differ from itself with every iteration, and produce something new, a stammering with the power to re-animate a body

Nudge Nudge... masks a secret which must remain unspoken. It is known but cannot be said, 'say no more' as it is too big for a body to bear, or it is the exhausted body, exhausted of every possibility, unable to speak, voiced by a ventriloquist demon.
Ref:
Date:
Location:
Photographer: