Daniel von Sturmer

To be honest I’m struggling to connect with Sturmer’s work on circuit, I can appreciate it as an examples of materiality but not much deeper than that. However the works he has listed on his website seem very intriguing as both work and installation. I also really like the way they relate more directly to cinematographic practice, and examine the idea of expectations of actions.

Here is an interview

Maria O’connor – Dark Light

 Dark Light (2014) is an essay-film concerned with themes of philosophy, aesthetics and animal. This genre has a potential for enabling viewers to freely cross between discourse and image, language and light. In a somewhat paradoxical move, the aesthetic strategy for Dark Light aims to initially develop a struggle between language and light, confounding a capacity to negotiate between image and text. Yet, coincident with its concerns for animality—both inside and outside ‘us’ humans—the film slows its encounters of language and image through a carefully orchestrated un-tethering of our desire for mastery. Dark Light thus defies closure or narrative suture. With /horse/ as its key motif, its animal-word, it attests to that strange, most uncanny animality of being-human. Composed through seven discrete poetic episodes—Kant, Nietzsche, Heidegger, Agamben, Derrida, Deleuze & Guattari—each episode inflects to the proper of a masculine tradition in Continental Philosophy, broaching a thinking of memory, nature, aesthetics, ethics and the animal, in the spoken languages of German, French and Italian. Another feminine voice acts as a spacing or interval between these episodes—a voice of sexual difference—responding to, countering and encountering the textual traces of the metaphysics of animal being.

 

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Dark Light (2014) is an essay-film concerned with themes of philosophy, aesthetics and animal. This genre has a potential for enabling viewers to freely cross between discourse and image, language and light. In a somewhat paradoxical move, the aesthetic strategy for Dark Light aims to initially develop a struggle between language and light, confounding a capacity to negotiate between image and text. Yet, coincident with its concerns for animality—both inside and outside ‘us’ humans—the film slows its encounters of language and image through a carefully orchestrated un-tethering of our desire for mastery. Dark Light thus defies closure or narrative suture. With /horse/ as its key motif, its animal-word, it attests to that strange, most uncanny animality of being-human. Composed through seven discrete poetic episodes—Kant, Nietzsche, Heidegger, Agamben, Derrida, Deleuze & Guattari—each episode inflects to the proper of a masculine tradition in Continental Philosophy, broaching a thinking of memory, nature, aesthetics, ethics and the animal, in the spoken languages of German, French and Italian. Another feminine voice acts as a spacing or interval between these episodes—a voice of sexual difference—responding to, countering and encountering the textual traces of the metaphysics of animal being.

Hye Rim Lee

From circuit:

Lee’s photos and video installations tell a fantasy tale based on an intermingling of Eastern and Western popular culture and the study of new technologies and how they influence tradition.

The graphics used inevitably refer to the manga tradition, but are mixed with Western aesthetic ideals, thus giving life to transgender, transcultural characters who live in an imaginary world governed by testosterone. Through an exploration of videogame dynamics, intended for a male public, and a fascination with new technologies, the artist analyses aspects of popular culture, globalization and especially femininity in relation to the media. Through her numerous works she demonstrates that the exploitation of the female body is still very much a relevant question.

 

http://circuit.org.nz/film/boom-boom-super-heroine-super-beauty-installation-record-starkwhite-gallery

Saskia Olde-Wolbers

The video works by Saskia Olde-Wolbers, are haunting and engaging narratives. Slow motion, highly symbolic montages are set against melodramatic voice overs. Made with imagery that is a simplified surrealism, they look as though they were computer generated, however they are intricately constructed and set up with analogue techniques. I think that makes a huge difference to the final aesthetic, especially when you compare works like Placebo and Interloper to Day-Glo, which was computer generated.

See a review here

Early Film Asthetic

Georges Méliès – A Trip to the Moon

Considered a pioneer of a lot of early film special effects, I love the aesthetic of filming a theatre production with painted sets etc rather than using a more typical location shoot.

 

Buñuel – Un Chien Andalou

I expected this to be much more heavily surrealist, given the famous sliced eyeball shot, has its moments.