The Train Films
| dc.contributor.author | Sherwin, Guy | |
| dc.date.accessioned | 2008-10-09T10:29:04Z | |
| dc.date.available | 2008-10-09T10:29:04Z | |
| dc.date.issued | 2006 | |
| dc.identifier.citation | In: Association Les Voûtes, Paris, France | |
| dc.identifier.uri | http://hdl.handle.net/2436/38789 | |
| dc.description.abstract | The work develops the possibility of film as performance, specifically the live interplay of multiple projectors with the artist as performer. Its content forms part of a wider investigation by the artist into rhythmic spatial movement across multiple screens and the temporal and spatial illusions this creates. Overall, the work’s radical import is to prioritise film as a multi-faceted, open-ended system. The work builds on structural film of the 70s and the renewal of interest in “expanded cinema” (Dortmund, 2004). Several aspects of space and of movements between spaces are considered. For example the three-screen film “Camden Road Station” 2004 involves interaction between the profilmic space (of the station itself) the implied space created by the three projectors (overlapping, adjacent, stacked) and the physical space of the venue onto which the images are projected (the arched brick wall at Voutes). | |
| dc.language.iso | en | |
| dc.relation.url | http://www.wlv.ac.uk/Default.aspx?page=15431 | |
| dc.title | The Train Films | |
| dc.type | Digital or visual media | |
| refterms.dateFOA | 2019-12-05T13:11:29Z | |
| html.description.abstract | The work develops the possibility of film as performance, specifically the live interplay of multiple projectors with the artist as performer. Its content forms part of a wider investigation by the artist into rhythmic spatial movement across multiple screens and the temporal and spatial illusions this creates. Overall, the work’s radical import is to prioritise film as a multi-faceted, open-ended system. The work builds on structural film of the 70s and the renewal of interest in “expanded cinema” (Dortmund, 2004). Several aspects of space and of movements between spaces are considered. For example the three-screen film “Camden Road Station” 2004 involves interaction between the profilmic space (of the station itself) the implied space created by the three projectors (overlapping, adjacent, stacked) and the physical space of the venue onto which the images are projected (the arched brick wall at Voutes). |
