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MAY 6, 2008. FROM 18:00 TO 19:45
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Per Platou
Per Platou is a curator and artist who studied Communication theory, Criminology and History of ideas at the University of Oslo and City of London Polytechnic. He has extensive knowledge of and experience with production within the music and media art scene, with special focus on electronic media.
In 1989 he founded dBUT – a small music label, distribution and production company. Since 1995 he has co-directed the art group Motherboard with Amanda Steggell. This group has produced a number of performances, installations, seminars, worklabs and other activities closely connected to live art and media art, both in Norway and internationally. Per has also curated a number of exhibitions and events, among them Written in stone - a net.art archaeology (Oslo 2003), Bekmörk (Belgrade 2003) and Reality Check (Oslo 2004/5).
Per Platou worked as a curator/programmer for the Norwegian Short Film Festival from 1995-2007, and is currently the director for the Production Network for Electronic Arts in Norway (PNEK).
Web: www.liveart.org |
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Lecture by Per Platou
Per Platou will lecture (in English) about the current media art scene in Norway, and will show during the lecture this video selection: |
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#1
Kim Hiorthøy: Kim makes sense of it
3 min, video, 1998
Kim lies in bed, bored. The Kjartan arrives and wants to show him his latest experimental film.
(courtesy NFI, international dept) |
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#2
Rolf Aamot: Northern Lights (3 min excerpt)
orig 10 min, 35mm, 1991
The film is a variation of nature’s own imagery – the Aurora Borealis – over the north and south poles. Both “films” are created by electromagnetic waves. Art and nature merge.
(courtesy NFI, international dept) |
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#3
Jeremy Welsh/Robert Worby: Spatial Traces1- Urban Flows
5 min, video, 2007
The video is remixed from material used in the art installation “Moving Toward, Drawing Back, Passing Through; Each Moment In Time A Point In Space” which was shown at Bergen Kunsthall in November 2005. The installation consisted of six projections onto screens with different formats (vertical/horizontal) that floated clear of the gallery walls. Images were shot in the streets of New York, then edited and processed in Final Cut Pro. The aim was to create a multi-layered, flowing stream of impressions that would simulate the sensation of drifting through a dense urban environment.
Sound and image were created separately and combined in the editing process. Welsh & Worby have collaborated on film and video projects, theatrical performances, installations, musical performances and recordings since the mid seventies. |
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#4
Marianne Heske: Welcome to Leo the Lion
2 min, video, 2007
Eight decades after the birth of Metro Goldwyn Mayer studios, artist Marianne Heske made a short movie honoring MGM's most visible star, Leo the Lion. When financier and art collector Christen Sveaas visited Heske's studio to view the project, he told Heske an old family legende about his uncle Reidar, a Norwegian-born architect who worked at MGM. Uncle Reidar was in the studio during the filming of the now famous roar, but Leo was reluctant. According to the story, Uncle Reidar pulled the lion's tail to make him roar. Leo roared. The rest is history.
(courtesy NFI, international dept) |
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#5
Bjarte Mørner Tveit/Ole Mads Vevle: Annamme
2 min, video, 2006
A little story about acceptance
(courtesy NFI, international dept) |
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#6
Martin Slaatto: Unregistered jumper
10 min, video, 2000
He wants the princess, wants the girl. But there’s a barrier there, a wilderness, a forest of fear. A fear that eats him up. You only have to exhale to know, know that you are.
(courtesy NFI, international dept) |
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#7
Ivar Smedstad: Mater nexus (3 min excerpt)
54 min, video, 2001
Electronic stage design for the theatre play "Mater Nexus" by Lene Therese Teigen. The video was projected on a large backdrop on stage. Still images of 43 women in the age ranging from 3 months to 93 years were morphed together, with a transition time of 90 seconds. It is not possible to distinguish when one person becomes the next, which gives the piece the feeling of one continuous 54-minute morph from a baby to an old woman. |
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#8
Thomas Kvam: Eurobeing (3 min excerpt)
orig 22 min, HD video, 2006
Eurobeing moves in a dystopic landscape between politics, film and media critique, unfolded in a stylized animation universe. In the film, the news coverage's sensationalism and our own prejudices are being parodized, either as pointed towards the American, Arabic or the European. The film presents a collage of chaotic news reportages, which fight for the spectators attention, which play the role as "Eurobeing" or the cynical audience.
The film uses the term "Eurabia", which points to a long European utopia tradition referring to Thomas More and Jonathan Swift. With the extension of the word to "the desecularised zone of the U.S of Eurabia" a future where western values and political Islam, religious beliefs and neo-liberalism converge, is implied, and where the real conflict takes place between a secular and a religious perception of the world. |
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#9
Vibeke Tandberg: Taxi Driver Too
8 min, 16mm, 2000
Taxi Driver Too is a looped 16 mm film in which I drive a taxi in Manhattan at night. The film has no beginning or no end, and it is quite eventless. I don’t take passengers, only drive around trying to look like a New York taxi driver. In real life I don’t know how to drive, so for the shoot I set up a steering wheel in the passengerseat so that it looked like i was doing the driving. While shooting, I mixed between having a driver drive the car, and having the car towed by a truck, without this being shown in the film.
The film is based on Martin Scorseses «Taxi Driver» from 1976. I used a particular soundtrack from this film as background for my driving. In the original «Taxi Driver» this music is the background for Travis Bickle’s (Robert de Niro’s) monologue where he builds up to the climax of the film. I used this beautiful music by Bernhard Herrmann because I wanted to create a tense atmosphere. In the original film the music works like a build up to something fatal, as it does in the original «Taxi Driver», but in my film it is a build up to something that is never happening as I do nothing in my film than driving around in a loop. The intentions of the hero in my film is not to make the world a better place, but to drive around in New York at night trying to look like a New York cabbie. |
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#10
Knut Åsdam: Notes Towards a Dissipation of Desire
3 min, video, 2001
Within a suspended room, the video uses photographs, drawings and moving images to deal with a search for political meaning or political desire. It shows scenes from political protests where the protesters are matched in number by the police and where both groups enter a symbiosis in relation to both the city and political architecture. While the protest scenes represent a desire to have a voice —even within a form that is stale —the drawings represent a condition of apathy and a breakdown of language and the body. Architectural shots frame the video within the economy of the city, architecture of surveillance and ghosts of social programs. |
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#11
Jannicke Låker: Sketch for a rape scene
7 min, video, 2003
The video had the intention of being a work that shows the production of an action scene. Both the actors and the film team are visible on screen. The story is based on a representation of a rape. The work is about the situation during the production (the shooting) and the relation between director and actors. The male actor has problem in performing his role as an abuser. And an awkward situation between the director and the actor arise. In his role as an abuser, the man becomes a victim of the director’s mental violence. The scenes are repeated, over and over again, interrupted new take etc. The result/outcome shows the repetitions of the scenes.
(Ironically the video, during the production, changed character and became something different than “planned”. That’s exactly the “stunt” in my works. The director was supposed to rule during the production, but in the real situation, the power instead alternated between the actors. During the editing of this material I discerned that the staccato, fumbling and weak action had the value of being rather strange and humorous.) |
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#12
Liv Bugge: I let you go so I can hunt you down
12 min, video, 2004
In this video Bugge goes hunting for an “aesthetic” man in the backstreets of Brussels to model for a sculpture she intends to make. She picks out a West African who agrees to accompany her to her studio, whereupon they drive off in her big, black Mercedes. In the car the man seems uncertain and frightened; he looks neither at the camera nor at her, and a cloud falls across their conversation when Bugge tries to find out more about the man’s background and history. The reason for this “cloud” is that the conversation is subject to market constraints and the relationship is a roleplay between seller and buyer - the man is being bought as a cheap “model” and will be sold as a “unique” art object. Whereas latent violence is something very real for the African man, Bugge comes across as the privileged impresario. The work culminates in a lengthy sequence in which the man is gradually covered in plaster, until he is entirely white and thus indeed “unique”.
The transformation of this penurious black man to an aestheticized fetish brings us to a point on a broader canvas from which Bugge shows how vulnerable the social subject becomes when forced to survive in the global market’s field of synthetic commodification. It is precisely in the exposure of this manmade and constructed reality, which consequently can also be altered by humans, that the documentary proves most vital and necessary. |
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#13
Bodil Furu: Radio
4 min, video, 2007
The short story takes place in a radio studio a few minutes before a live interview. A female radio host tries to calm down a nervous young man. A discussion starts. In a moment of self-doubt his insecurity takes over, while the radio host tries to convince him otherwise. The young man questions his own rhetorics and legitimacy as a spokesperson – the decision has to be made; go through with the interview or not. When the aired song fades out and the conversation meets its end, his agenda is still hidden, the same is the outcome of their discussion. The film ends when the radio hosts switch to the live interview. |
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#14
Lasse Gjertsen: Hyperactive
3 min, video, 2006
"Drumsolo" using only a camcorder, my mouth and what looks like timeconsuming editing, but it really wasn't, haha, it took me a day in total :P NO IT'S NOT PROPER BEATBOXING, I KNOW. But that wasn't my aim either, Jesus Crist.
(description from YouTube)
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(c) FIFVC 2004-09
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