I am happy to present artist and film maker
an artist statement,
Algorithm modulus of Image, a text by Fred L'Epee
- and an interview.
Sunday, 22 December 2013
“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.”
Friday, 20 December 2013
Monday, 16 December 2013
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
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
Inspired by Politics and the English Language, George Orwell, 1946l
|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.
|Galerie Sherin Najjar, Berlin (videos shown both inside and outside the gallery )|
Frankfurter Allgemeine Zeitung
Thursday, 12 December 2013
HISTORIEN OG HISTORIEN
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.