Saturday 13 November 2010
Presented by Rachel Pimm
Following on from Episode Two's Art Shopping Channel, Rachel Pimm returns this week to present the final episode of 'From LuckyPDF TV this is Auto Italia LIVE'.
Rachel produces work commenting on lifestyles and aspirations in both the public and domestic realms, using existing networks for collaboration. Her presenting for this project combines recognisable styles including variety, catwalk and chat shows, amongst others.
One of the founding members of Auto Italia, Rachel Pimm graduated from BA Fine Art at Central Saint Martins, and has exhibited at FormContent, JTG, Paradise Row and SPACE. She has since worked on projects including Household's Poundshop, and the Dissent season at the ICA. Rachel is currently programming a centenary season at the Ritzy Cinema in Brixton, and later this year commences work in the design team for the Ideal Home Show.
Open Music Archive
Through re-enactment and lip-synching, Open Music Archive present a series of musical vignettes structured around public domain recordings; from 1920s blues and jazz to 1960s soul via 1930s dance band crooners.
Al Bowlly's 1936 newsreel appearance is scrambled ('You've Got What Gets Me' reversed and flipped as 'Me Gets What Got You've'), Leroy Carr's 1920s blues performance 'Six Cold Feet in the Ground' is transformed by a future 1970s TV performance by Lou Rawls, and Vaughn De Leath's 1927 crooning of 'Are You Lonesome Tonight?' is melodically de-saturated and retroactively mutated by a 1960s monotone female Elvis.
Eileen Simpson and Ben White work at the intersection of art, music and information networks, and seek to challenge conventional mechanisms for the authorship, ownership and distribution of culture. Their ongoing project Open Music Archive is an initiative to source, digitise and distribute out-of-copyright sound recordings, and is a vehicle for collaborative projects exploring the material's potential for reuse. They have previously exhibited at Mexico's Ambulante Documentary film festival (2010); 17th Biennale of Sydney (2010); Gasworks, London (2010); ICA, London (2008) and Cornerhouse, Manchester (2007).
The Enlightenment Gallery, in conversation with Alan Kane and Giorgio Sadotti with special guest appearances from Lœcia Prancha and Sara Nunes Fernandes, aka Negociatas.
The Enlightenment Gallery is a newly established cooperative consortium with the aim of commissioning and supporting artists in the development of significant new projects and exhibitions. The focus of the organisation will be artists whose practice imbues its context and relationship to an audience as part of the material of the work. The organisation will operate from a physical space but the location, timescale and form of each project commissioned will be open to question and driven by the artists and their practice.
Alan Kane was born in Nottingham, and lives and works in London. He has had numerous solo exhibitions, including; Life Class: Today's Nude, for Artangel and Channel 4 Television; The Stratford Hoard at Stratford Station as part of TfL's Art on the Underground series (2008); Steam Powered Internet Machine in collaboration with Jeremy Deller at Turner Contemporary, Margate (2006) and Folk Archive in collaboration with Jeremy Deller at New Art Gallery, Walsall. His group exhibitions include Rude Britannia, Tate Britain, London (2010); On Portraits, On Publications, On Performance, On Public Art, The Modern Institute, Glasgow (2010); The Future Demands Your Participation, Minsheng Art Museum, Shanghai (2010); Insiders, CAPC Musee D'Art Contemporain, Bordeaux (2009); Amateurs, CCA Wattis, San Francisco (2008).
For more information on Giorgio Sadotti, please see The Guide, The Guardian, July 10, 2010. p. 38
Lucia Prancha and Sara Nunes Fernandes (both b.1985, PT) met in Lisbon in the early 2000s and have been collaborating since early 2010. Sara currently lives in London and Lœcia in S‹o Paulo, where they met in July this year and began working collaboratively for three months, calling it a residency. The project resulted in a solo show, "Uma exposicao de Lœcia Prancha and Sara Nunes Fernandes" [An exhibition by Lœcia Prancha and Sara Nunes Fernandes], at Sopro gallery, Lisbon which runs until the 27th November, and a publication. The book "Desaparecemos de repente juntas" [The two of us girls disappeared all of a sudden together], published by The River People Publications, will be launched mid-November in Lisbon and will feature at CNEAI book fair at Galeria Vermelho, Sao Paulo, later in the month. They are in the process of finalising a new video, made in collaboration with Bruno Moreira, which will be screened at the Terreiros film programme for the 29th Sao Paulo Biennale.
Kelly Large, The End of the Whole Mess
Kelly produces brief, uneasy texts referring to a series of fragmented events, which operate as interruptions to the main broadcast.
Kelly Large is plagued with anxiety about her lack of visibility in the art world. Consequently much of her work examines the currency that 'being public' affords an artist. Recent projects and exhibitions include: 744 x 744 x 744, a solo show at Limoncello, London, that presented work resulting from research into the least popular books containing the word 'artist' from the British Library collection (2010); Our Name is Legion for Beacon Art Project, a video work that attempted to produce a spectacle of mass participation within a small, rural Lincolnshire town (2009); Me, Myself and I, an exploration of the function of the artist-in-residence, The New Art Gallery, Walsall and Announced & Alarmed, two announcement works for 'This is the Gallery and the Gallery is Many Things', Eastside Projects, Birmingham (both 2008).
Sarah Blaszczok, Trailer Park
With research in film and drama, narrative structure and episodic forms of watching TV, Sarah is interested in familiar ways of viewing recorded images by both suggesting and deconstructing narrative strands. Filming and editing the footage herself she is currently exploring an aspect of 'lo-fi' content within the Hollywood film aesthetic of the movie trailer, and its three act structure:
1. Lay out premise of film 2. Drive story Ð end with climax 3. Strong piece of orchestral music teamed with a visual montage of emotional and powerful moments. (Wikipedia, 'Film Trailers')
Adhering to the typical form, style and editing of feature film trailers, a collection of shorts, titled Trailer Park, have been made for this week's episode. By applying different editing techniques to the same stock footage, the 'trailers' suggest a range of film genres. Through filmic knowledge and experience the audience is able to imagine a longer narrative or complete film that is suggested through the 'trailer'. These shorts take on another role within the episode in which they are now viewed, reconsidering the role of adverts on TV as a possibility for mini- drama, occurring within or between the 'action' of a programme or programmes.
Sarah Blaszczok works in London and is a graduate of MA Fine Art at Wimbledon.
Arran Ridley and Daniel Swan, live video portraiture with a soundtrack from Reality Klub
Having both produced title graphics for previous episodes, Daniel and Arran now team up for a live video drawing portraiture performance. Members of the studio audience will be selected to sit for a collaborative portrait executed with a pair of Sony 'Family Studio' XV T33Fs.
Dan Swan and Arran Ridley are both London-based artists with backgrounds in Graphics and Animation
Reality Klub is art/music duo Billy A.B. and Rahul Bery.
Marcus Galen Mitchell, Domestic Majestic
Domestic Majestic commemorates the foreclosure of 129 West 119th street, a three-storey brownstone located in the Mount Morris Park district of Harlem, New York that formerly belonged to Mitchell's surrogate aunt. The ten minute video simulates a "walk-through tour" of the house that conflates architectural features of the interior advertised in commercial property listings, with the banal archaeology of nostalgia and displacement.
Marcus Galen Mitchell is an independent curator, artist and writer based in Brooklyn, New York.
Lewis Bassett and Richard Houguez, an interview with David Graeber
As part of an ongoing enquiry into the Barbershop or Salon as a site of radical politics and a productive space for experimenting with affinity as a politicised friendship, Lewis Bassett and Richard Houguez invited David Graeber, author and lecturer in Anthropology at Goldsmiths, to explore his ideas of anarchism as a viable political philosophy; communism as a precondition of human relationships (or economics); precarity and ideas of what is common, all during a free hair cut.
Titles by Lucy Stokton
Lucy Stokton primarily works with video and is interested in using poetics and cinematography to inform her practice, with the act of collecting old and forgotten films informing the aesthetic and stylistic core of her work. Lucy experiments with the dichotomy between analogue and digital qualities, both conceptually and critically, and is interested in exploring how television has lost the power and sanctity that it once held as the centre for the family unit.
Backdrop by Yuri Pattison