Adele Eisenstein on Wed, 7 Jul 1999 17:34:44 +0200 (METDST)

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Syndicate: Perspectival weekend in Budapest (fwd)

The Mûcsarnok (Kunsthalle Budapest) and the Soros Foundation C3 Center for
Culture & Communication, in collaboration with the Orokmozgo Filmmuseum of the
Hungarian Film Institute, have the pleasure to invite you to the screenings of
David Larcher
including a discussion with the author
within the framework of the Projected Perspective screening series
Friday, 9 July 1999, from 6.30 pm
at the Orokmozgo Film Museum, Budapest, Erzsebet krt. 39, tel.: 36.1/ 342.2167

David Larcher

Granny?s Is (GB, 1989, video, 78?)
Remembering an old woman in fragmented and alienated associations. The attempt
to find one?s own history in the image of the late grandmother. An attempt also
to bridge the gap between a sentiment and its linguistic form with the means of
video aesthetics. A radically experimental work.

VIDEÃ?VOID: Trailer (F, 1993, video, 33?)
 From the trace produced by a single drop-out is created a series of digital
landscapes that provide the backgrounds for the flight of the Zenonian arrow
towards void.

The absence of information in a drop-out creates the space which defines a
coincidental arrow on a collision course with the proverbial flying equation
asymptote. The central Ã? interfaces the French word vide with the English void?
these meet in the real world of the River Vidus as if flows through Void the
town. The tape is spun off the top of a monopole and folded into cypher space;
a simulation referenced to the occasional Elysian field magnet as it tries to
attract that electron you?re not seeing before it gets to the hypothetical
target of your mind? reflection of its virtuality rather than anything real.

VIDEÃ?VOID: Text (GB/F, 1993, video, 29?)
The video surfs on the interface between sense/nonsense. The point of departure
is the space between an unsynchronized signal. From here it produces itself
through the mirror effect of self-reflection. The ?Deadline? takes its last
breath, which is just enough for the transit of a floating significant. Through
their conscious use, the ?void? of such phenomena as drop-outs and misguided
chromonance signals suddenly turns into an image ?texture? that constitutes
meaning. Out of the hiss of false information  universally known effects 
spaces and landscapes of a dark, novel beauty take shape.
?I will make a poem of pure nothing.?  David Larcher

ICH TANK (F/D, 1983-97, video, 50?)

Psychobabble in a bubble
In a loose sort of way it focuses on psychoanalytic forms and procedures.
Lacanian ideas, schemas, underlie much of what goes on in the tape. His
categories of Symbolic, Imaginary, Real translate particularly well into video,
whilst his formulas and diagrams often rely on visual analogies. His seminars,
?The eye and the gaze?, ?The line and the light?, refer directly to optical
phenomena, and his later concerns with topology and knot formation lend
themselves to illustration in a visual format. These ideas will not be referred
to directly; rather they will be made implicit. The tape will conform to the
analytic hour (50 min.), which would coincide neatly with the TV hour of 52
minutes. The presence of the 3  Fish, Ich, Analyst (once again Symbolic,
Imaginary, Real)  will reinforce the illusionary nature of I-dentification, my
interpretation being seen to derive from a common sense Euclidian version of
space. The aquarium acts as a framing mechanism. The analyst will in principle
remain outside the frame. He will play the role of supervisor, security camera,
lecturer/teacher, etc.

There will be visual ambivalence in the fact that I will look 12 years older a
different moments of the tape.

- Rudolf Frieling, after David Larcher


The Mûcsarnok (Kunsthalle Budapest) and the Soros Foundation C3 Center for
Culture & Communication have the pleasure to invite you to the lecture of
Martin Kemp and Antonio Criminisi
a special presentation of the Perspective on Perspective scientific symposium
Monday, 12 July 1999, 6 pm
in the lecture hall of the Mûcsarnok

Perspective by Hand and by Computer

Martin Kemp has, over a number of years, been investigating the perspectival
construction of Renaissance paintings, using a range of visual and written
evidence, including technical examination of paintings and drawings. More
recently, Antonio Criminisi has been devising programmes for the reconstruction
of 3-dimensional data from 2-dimensional images. The intention of the paper is
to conduct a dialogue between the two modes of analysis, in such a way that the
historical is informed by the technological, and the technological is
undertaken with full awareness of the historical realities. The material will
range from hand-drawn analyses to animated images on computer with special
studies of Masaccio?s Trinity and Piero della Francesca?s Flagellation.

MARTIN KEMP was Professor of the History and Theory of Art at the University of
St. Andrews, British Academy Wolfson Research Professor (1993-8) and is
Professor of the History of Art at the University of Oxford. He is the author
of Leonardo da Vinci. The Marvellous Works of Nature and Man (1981, winner of
the Mitchell Prize), The Science of Art. Optical Themes in Western Art from
Brunelleschi to Seurat (1990), Behind the Picture (1997, winner of the
President?s Prize of the Italian Association of America), and Imagine e Verita
(1999). He is currently writing a regular column in Nature on art, science,
image and culture. He is completing From a Different Perspective: visual angles
on art and science from the Renaissance to the present day.

Mûcsarnok (Kunsthalle Budapest), Budapest XIV., Hõsök tere

Adele Eisenstein
Symposium/International project coordination
C3: Center for Culture & Communication
Pf. 419, H-1537 Budapest, Hungary
(Budapest 1014, Orszaghaz u. 9)
Phone: +361 214 6856  Fax: +361 214 6872

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