Patience in Virtue of Débordement
curated by Remco de Blaj
catalogue text by Alex Hetherington
Notes here (brought to mind) form a conversation on the experience of these moving image works, what and how they observe and how the artist works with her subjects, time, identity, space, spaces and layers of consciousness 1-2-3-4, the female gaze, masculinity, work, labour, craft, task, gesture and position, conveying, the camera, play, slowness, objects given over to and found symmetries with the material qualities of the film, the processes of it’s making. Approach to poetic ambiguity, documentary, observational cinema and a sense of art within the everyday, and engaging with the everyday, bringing to mind similar intentions, framing sensibilities, and empathies with the practices of film maker artists Anna Lucas, Catherine Sullivan, Margaret Tait, Ute Aurand, Allison Gibbs and Rosalind Nashashibi.
Spoken Footnotes on Horsebox, “Documenting a demonstration film, subject of work, making craft, ambiguity, and performative, this piece made me think about Anna Lucas…inspection of the workshop, the studio, about function and design, then becomes itself a character, looking at the making of an object to become an object of looking.”
Spoken Footnotes on Eyes Cast, “Outside and inside, places and states where outside and inside are very different, there are sense of conscious and unconscious ‘outsides’ and ‘insides’, flows to nature consuming, return, to chaotic states: Scenes in St Elizabeth Friedhoff cemetery in Berlin, close by the Berlin Wall Memorial Museum: the Wall’s states of difference and opposition, an indoor and outdoor museum.”
“Plumpe denke” , or crude thoughts, Bertolt Brecht, the camera shaping thoughts, thinking live and aloud, acting, performance, theatre, ideas about empathy. Body and mind, physical and conceptual, hinged together and overlapping: Silent visual poem, about the camera as a device of thought and thinking.