performance Archive | malenki.net

SOMEHOW, NOTHING APPEARS TO BE HAPPENING, OVDJE OR RATHER, WENT A HOLE, CRNA RUPA

Robert Schlotter — Thu, 03 Aug 2023 18:29:37 +0000

One reoccurring theme in Vutuc’s work is the transmission of information, complete with its natural selection, alteration and deformation throughout time. Here, captured images – fragmented, curated cuts of reality – are presented to be not just explored, but challenged in their fidelity as the question of their physical density gets rivaled by the comparable weight of copies; Vutuc pairs up the seemingly static format of photocopiers, celluloid and Super 8 film and, then, projection techniques – playing with layers of surfaces and transparencies as varying vibrations also audibly resonate, life fuses with machinery through celluloid and confusion, then doubt are introduced by a duality of projectors competing for validity in their respective outputs. — Aymeric Nocus

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office figures

Robert Schlotter — Thu, 17 Nov 2022 19:00:17 +0000

When I moved into my studio in 2019 I was told that the building, probably from the 60ies in an industrial area of Hamburg and had once been a custom office, would be torn down soon to build a new living and shopping area. The room itself was small, squared and had a kind of platform at the two windows where I imagine the clerk sitting at their desk. The floor was a yellowish-brown linoleum and apart from that the room was empty when I moved in. In this dusty and frumpy atmosphere, I noticed little traces in the room, leftovers, stories from whom might have worked here. Scratches along the wall, probably from an office chair scrubbing. Holes from nails, at some places still screws in the wall. Crumbling plaster at the ceiling. This was the starting point of the series Office Figures. I started to fill the space with geometric shapes, stellar constellations, softened corners – and continued until I had to move out the following year. All materials used for these interventions in the room are discarded and found objects.

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The Body Will Thrive

Robert Schlotter — Sun, 21 Feb 2021 14:13:05 +0000

This book groups my photographic research on dance and movement of the past six years. It can be read as a choreography in which the rhythm of the dance is accompanied by the pace of turning each page. — Lore Stessel

Whether we float high above snow capped mountains or dive deep below the surface of the ocean, to where air bubbles beautifully twinkle, Lore Stessel’s images are breathtaking. (…) There is something all-encompassing in her works that reaches from the stratosphere, up above the globe, down to the charming wrinkles on the back of an anonymous nude. (…) Lore Stessel’s “images”, (…) generate (…) a fragile, threatened image, so close in its organization, its granular texture, and its emergent aspect, to certain Seurats — an incomparable image which makes one dream of a photographic substance distinct from subject matter, and of an art in which light creates its own metaphor. (1) — from Nico Anklam, Up above the mountain, down by the sea. Painterly encounters of a photographic kind.

(1) Hubert Damish, Five Notes for a Phenomenology of the Photographic Image. In: October, Vol. 5, Photography (Summer, 1978), p 72

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Cinéma

Robert Schlotter — Thu, 07 Jan 2021 11:40:25 +0000

Cinéma is the publication to an earlier work, a film with the same name, Marte Aas directed in 2010. „Cinéma escorts you through the history of film, passing the chronophotography of Edward Muybridge, the Lumière-brothers’ The Serpentine Dance (1898) and Richard Serra’s Hand Catching Lead (1968). Cinéma informs you of how modern man treats movement. It shows how the gaze of the film has become our own, how we have internalized its double approach — from behind and in front of the camera lens — and unconsciously made it ours. At the same time, Cinéma disturbs the acquired obviousness in our way of seeing. It is undoubtedly a performance on film.“ — Marit Paasche

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