Sunday, 22 December 2013

I am happy to present artist and film maker 

Fred L'Epee 

Next follows:

an artist statement, 

Algorithm modulus of Image, a text by Fred L'Epee 

 - and an interview.

Fred L’Epee - filmmaker - artist statement

Fred L’Epee

Artist Statement

“In my personal path as artist, I always see our being as an eternal procession. We belong to the process of the geometry of universe. Abstraction with forms and indefinite lines towards an ultimately unknown destination. The narrative of human being. As a post- atomic myth or pre-war blues. We always choose the sense of belonging and farewell.

We belong of our movements which are expansion of our cycles. The structure of our human geometry. Time is the rotation of our existence.

As well the distance is a perpetual geometry which controlling our way of life, the perception of our cogitation. In response, we create the movement. Through this movement, we use the memory into our psycho- affective system in the purpose to imagine our freedom, our cries, our drifts, our social struggles. In exile, all we are. We belong to this path. And we use it as an ultimate form of being. The Ideal is definitely established.

This movement is related to the circulation of our emotional system. Through this, here is the path of our metamorphosis. Without this; world is nothing.”




Algorithm modulus of Image by Fred L’Epee

Algorithm modulus of Image
Aspect   Concept   Mediation

The experimental visual art is currently a cultural necessity in the sociological concept of our being. This is an emotional matrix as well as in our need for identity in parallel to our contemporary expression.

In addition to its form and its content, experimental visual art is an alternative tool that allows common
access and who redefined the archaic laws of an elitist cinema. Touching the image becomes perception, animation, composition of the emotional decomposition.

Visual art also allows to create neo-movements such as physical, mental, psychological; and metaphysical.

Attractiveness  Interactivity  Expressiveness

It is a transdisciplinary medium conveying our emotions by its multi-disciplinary forms and opening   
important gates in our current culture. Its design deliberating the simultaneous and spontaneous perspectives in perfectly consistent with our algorithm lifestyle.

The image is an  immutable human ressource. In its generality, Visual experimentation is a transposition which alterates into an evolutive abstraction. The creation and its renaissance. Genesis.  Art evolving, enables us to evolve in a total parallel. Perpetual oxygenation for our mind and our body.

In this impossible world, experimental visual arts allows us the possibility. The image is a force field whose experimental uses have no gravity. Paradox for a world order. The cause of a vital need of a necessity for a language and common access. Currently, this is what we seek.  Social interaction; and cultural connectivity are key words. Here is the art mediator.

‘The Image of the awake consciousness’.

Fred L'Epee
Artist + Film maker




Interview with Fred L'Epee

Monday, 16 December 2013

His legs wobbled under him

It's happening to me again.
The soft-drink stand fell into bits. Molecules. He saw the molecules,
colorless, without qualities, that made it up. Then he saw through, into the space
beyond it; he saw the hill behind, the trees and sky. He saw the soft-drink stand
go out of existence, along with the counter man, the cash register, the big
dispenser of orange drink, the taps for Coke and root beer, the ice-chests of
bottles, the hot dog broiler, the jars of mustard, the shelves of cones, the row of
heavy round metal lids under which were the different ice creams.
In its place was a slip of paper. He reached out his hand and took hold of
the slip of paper. On it was printing, block letters.
Turning away, he unsteadily walked back, past children playing, past the
benches and the old people. As he walked he put his hand into his coat pocket
and found the metal box he kept there.
He halted, opened the box, looked down at the slips of paper already in it.
Then he added the new one.
Six in all. Six times.
His legs wobbled under him and on his face particles of cold seemed to
form. Ice slid down into his collar, past his green knit tie.
He made his way down the slope, to Junie.

Time out of Joint, Philip K. Dick, 1959

Friday, 13 December 2013

Stills from NOBODY IS INTERESTED IN THE FUTURE, video, Lars Buchardt 2011

FRIENDLY FIRE - List used in the installation Friendly Fire, 2003, a collaboration by Johanna Lassenius, Peter Frimand, Iben Dalgaard and Lars Buchardt

Fragment (text on wall) shown at 
The Map is not the Territory,
Esbjerg Art Museum  2008

aerial ordnance
trench interment
post-hostile period
interdictional nonsuccumbers
arbitrary deprivation of life
nation building
armed reconnaissance
carefully targeted actions
deconflicting the airspace
encourage the enemy on all sides
war on terror
collateral damage
air supremacy
war theater
psychological consolidation activities
vertically deployed anti-personel devices
servicing the target
counterforce exchange
limited nuclear war
crisis management
hemispheric hygiene
violence processing
directive improvement
force package
psychological operations approach
contaminated remains
fourth generation warfare
friendly fire
aversion therapy
peace enforcement
good neighbor policy
health alteration
pre-emptive self-defense
aggressive defense
pre-emptive strike
controlled flight into terrain
incontinent ordnance
national security
kinetic energy penetrators
area denial munitions
defoliant operation
air support
military necessity
soft targets
executive action
military police action
non-hostile casualty
target opportunity
post-traumatic stress disorder
operation infinite justice
health alteration commitee
muscular multilateralism
proactive measures
riot control agent
shock and awe
operational exhaustion
surgical strike
target audience
compliance assistance officers
war-fighting rationality
deferred maintenance
wet work
accidental delivery of ordnance equipment
crew transfer containers
energized fences

Images and text here:

Related work, Doublethink / Dobbelttænk


Anti-Camouflage, 2011

Still from the video

The Synthetic Quality

Watch here:

Words Fall - a short video by Lars Buchardt, 2012

Inspired by Politics and the English Language, George Orwell, 1946l

In-between kings

The Synthetic Quality

Still (tegning/drawing) From the video The Synthetic Quality

The Synthetic Quality

The work is made entirely from still images.
It deals with the phenomenon of Verfremdung and demonstrates principles
of “set-ups”; numerous images and sequences are visualisations of a kind of scene 
changing and displacements in both time and space – as when colours change by means 
of a trick, theatrical illusion, or sleight of hand, or, for instance, when the sky above a hill
suddenly turns black as if a set piece was removed by an invisible stage hand. The
soundtrack plays a part in all this, certain sounds are completely out of synch or
seemingly arbitrary; the sound of water, for instance, a repeated motif, is without
obvious logical connection to the sequence of images. There are also sounds that 
seem to come from behind the set such as the sound of keys locking a door and footsteps 
down a stairway; maybe these sounds are made by a scene technician locking the place up and
going down the stairs - and home.
The video deals not only with itself but also with the manipulative and fake methods that we are 
all presented with and subjected to in almost all visual narratives in mainstream culture in which 
all elements, no matter how alien they are to one another, are brought together in a synthesis 
that, on the face of it, is persuasive and “true”.
Lars Buchardt, 2013.

Watch here:


Galerie Sherin Najjar, Berlin (videos shown both inside and outside the gallery )

Frankfurter Allgemeine Zeitung

Thursday, 12 December 2013

BLINKVIDEO video site

Tekst om Peter Frimands udstilling Dobbeltsyn, Albertslund Rådhus, 2012


Dette sted synes at være uden fortid. Imidlertid historiceres det nu:
en endeløs montage træder i stedet for historien.
Overvågningskameraerne registrerer noget det menneskelige øje,
eller de de der færdes her, ikke ser. Dette ´noget´ er som et billede
af en parallel virkelighed, noget der er ved siden af eller skudt
udenfor. Det er forskudt i tid og rum fra det sted vi færdes i, men
med bevidstheden om eksistensen af den endeløse registrering af
vore bevægelser og handlinger i arkitekturen opstår ikke bare
følelsen af at befinde sig i en slags fotografisk dobbelteksponering,
men også af konstant at have et blik rettet mod sig. Om det er et
menneskeligt eller kunstigt blik, er i denne sammenhæng
ligegyldigt. Et blik er et blik, og er under alle omstændigheder
regulerende og begrænsende, kontrol bliver til selv-kontrol.
Rummet, arkitekturen og adfærden fordobles idet alt dette
historiceres: videooptagelserne ville, hvis de blev klippet sammen,
blive til en tavs montage, det elektroniske panoptikon ville gengive
fragmenter af menneskers adfærd i det offentlige rum, og det er i
dette tilfælde et rum, der i sin modernistisk-utopiske oprindelse var
tænkt som åbent, fælles og frit.
Registreringen ville som film, som kunstværk, måske være mest
interessant i kraft af sin suspense: i de spøgelsesagtige sekvenser,
ændringer i lys, skygge og mørke, og ikke mindst i kraft af hvad
den ikke ville vise: kameraernes døde vinkler, de skjulte steder, de
skjulte handlinger, den skjulte historie.

Og udenfor, tæt på, ligger de kunstige bjerge.

Lars Buchardt

Anti-Utopias - great website about contemporary art. Must see.