EDIT/COPY/CUT/FILM/PHOTOGRAPH/PROJECT

VJ And Digital Arts

Lead Artists: James Green and Adrian Ball
Venue: CAN, Green Fish Resource Centre, 46-50 Oldham Street, Manchester, M4 1LE

VJing is a visual art form that has gained huge popularity over the last couple of years, particularly on the music and club scene. To VJ is to mix video live, much in the same way a DJ mixes music. The great advantage of this, over using pre-edited video, is that the VJ can respond directly and immediately to what is happening on stage and ‘video jam’. VJing is now an exciting and integral part of CAN production work and an important part of the direction in which we are developing our digital arts work with young people.

The VJ group will create video clips around the central themes of the project. Participants will be taught video and animation skills as well as training in how to VJ for a live event. The VJ workshops will teach participants how to create and mix live video and images. Participants will learn a whole range of skills, from filming and gathering images, to editing and adding effects through to learning how to video mix. The end result will be video projections of live VJ jams during the final performance.

Intensive workshops will be every Wednesday, 6-9pm from 23 August @ CAN

.. is a collective of film directors founded in Copenhagen in spring 1995.

DOGME 95 has the expressed goal of countering “certain tendencies” in the cinema today.

DOGME 95 is a rescue action!

In 1960 enough was enough! The movie was dead and called for resurrection. The goal was correct but the means were not! The new wave proved to be a ripple that washed ashore and turned to muck.
Slogans of individualism and freedom created works for a while, but no changes. The wave was up for grabs, like the directors themselves. The wave was never stronger than the men behind it. The anti-bourgeois cinema itself became bourgeois, because the foundations upon which its theories were based was the bourgeois perception of art. The auteur concept was bourgeois romanticism from the very start and thereby … false!
To DOGME 95 cinema is not individual!

Today a technological storm is raging, the result of which will be the ultimate democratisation of the cinema. For the first time, anyone can make movies. But the more accessible the media becomes, the more important the avant-garde, It is no accident that the phrase “avant-garde” has military connotations. Discipline is the answer … we must put our films into uniform, because the individual film will be decadent by definition!

DOGME 95 counters the individual film by the principle of presenting an indisputable set of rules known as THE VOW OF CHASTITY.
In 1960 enough was enough! The movie had been cosmeticised to death, they said; yet since then the use of cosmetics has exploded.
The “supreme” task of the decadent film-makers is to fool the audience. Is that what we are so proud of? Is that what the “100 years” have brought us? Illusions via which emotions can be communicated? … By the individual artist’s free choice of trickery?

Predictability (dramaturgy) has become the golden calf around which we dance. Having the characters’ inner lives justify the plot is too complicated, and not “high art”. As never before, the superficial action and the superficial movie are receiving all the praise.
The result is barren. An illusion of pathos and an illusion of love.

To DOGME 95 the movie is not illusion!
Today a technological storm is raging of which the result is the elevation of cosmetics to God. By using new technology anyone at any time can wash the last grains of truth away in the deadly embrace of sensation. The illusions are everything the movie can hide behind.

DOGME 95 counters the film of illusion by the presentation of an indisputable set of rules known as THE VOW OF CHASTITY.

“I swear to submit to the following set of rules drawn up and confirmed by DOGME 95:

1. Shooting must be done on location. Props and sets must not be brought in (if a particular prop is necessary for the story, a location must be chosen where this prop is to be found).
2. The sound must never be produced apart from the images or vice versa. (Music must not be used unless it occurs where the scene is being shot).
3. The camera must be hand-held. Any movement or immobility attainable in the hand is permitted. (The film must not take place where the camera is standing; shooting must take place where the film takes place).
4. The film must be in colour. Special lighting is not acceptable. (If there is too little light for exposure the scene must be cut or a single lamp be attached to the camera).
5. Optical work and filters are forbidden.
6. The film must not contain superficial action. (Murders, weapons, etc. must not occur.)
7. Temporal and geographical alienation are forbidden. (That is to say that the film takes place here and now.)
8. Genre movies are not acceptable.
9. The film format must be Academy 35 mm.
10. The director must not be credited.
Furthermore I swear as a director to refrain from personal taste! I am no longer an artist. I swear to refrain from creating a “work”, as I regard the instant as more important than the whole. My supreme goal is to force the truth out of my characters and settings. I swear to do so by all the means available and at the cost of any good taste and any aesthetic considerations.
Thus I make my VOW OF CHASTITY.”
Copenhagen, Monday 13 March 1995

On behalf of DOGME 95

Lars von Trier Thomas Vinterberg

Be there or be square, 7 hour technicolour Dream

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Apologies. Translated poorly by http://www.systranbox.com (but it gives some idea!)

During several years, Åsa’s agencies have acted by a sensible kind’s back of film and scene. In the series “study’s traveled film”, with agencies that “Midget&Shit” and “The woodsat twilight”, built scenes of scenografier and still. “Touch it! Fairy electrical it! Love it!” is a perfomance and installation on Färgfabriken last winter that comprized a scene construction with light, pressure materials, post offices’ and elements from earlier appearance. In instatallationen played Åsa with your band “Revlon9”.

In your first separate exhibition shows now Åsa Cederqvist the film – Mr X.

Mr. X associates we normally with a big section in some evening newspaper and a scramblad portrait picture. X farms to have connection to the lower or the very the topmost world. Åsa Cederqvists Mr X concerns itself in the (lower) unconscious and the (upper) the superficial world. The surface is his instruments that X uses in order to try to reflect your unconscious and to define your longing after eroticism.

Åsa Cederqvist
Bimbo, Throw up

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Åsa Cederqvist will work on two projects during her time at Tensta Konsthall.

Bimbo is an investigative and extroverted project with two different branches that remain connected.
a) An investigation of the concept of a bimbo. Where does the expression come from? Can a man be a bimbo? Are there advantages to being a bimbo? Has is become socially accepted to be a bimbo?
b) An investigation of the fascination that female blondes incite worldwide. When did it begin? Was it Anita Ekberg or was it some porn movie? Or is it a cultural difference in the heredity aspects of sexuality and lust?
The purpose is to maintain a personal view of the project as opposed to living up to some strictly regulated investigative method. Åsa Cederqvist uses her on point of reference to illustrate interesting contradictions that the artists has encountered through her own experiences and realizations.

Throw up is an intuitive working method that focuses on keeping to a direct and emotional means of expression all the way. The artist’s chosen approach is to not force herself into a concept of meaning for the work before she considers it finished. Åsa Cederqvist experiments with different materials to arrive at a sticky, often textile and sculptural kind of painting.

In Åsa’s work there is an apparent fascination with, and highlighting of, the other side of things, the ugly side, which is expressed in the choice of material and the composition. The strange thing that happens is that the ugly becomes beautiful, which raises the question of what makes something beautiful or ugly.
While Åsa Cederqvist’s work often inhabits a flirtatious and erotically charged world, it can also represent the complicated mental intricacies of human beings, where a slight tug on a rope can have a major significance.

“I am fascinated by the links between different things. A material ecstacy and the creation of a living and erotic tension within inanimate surfaces. It is pleasant, and funny. A creative form of vomiting.”

Åsa Cederqvist is an artist and director. Since graduating from the art department at Konstfack, she has worked as a director, and has also toured London, Paris and New York as one of the three members of the band Revl9n.

2006/04/06 20:39

1.The assumption that living in a disintegrated mechanised society blinds and deafens us to the integrative qualities of both pre-industrial and post-industrial living.

2.The reason for this is that the animal adaptability that we are born with can disappear once we have adapted to the rigidity of simple machines such as the assembly line. The tragedy of mechanisation.

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