1. Beth Shapeero – Cardowan Roller
The frame is close up to the point of abstraction showcasing the painterly and hypnotic qualities of the relentless motion.
2. Jen Martin – Paddlers for Life
The film titled – Paddlers for Life was made at Port Edgar in Edinburgh at the end of August, last year. The film was made on a request to me, to help out. The port Edgar Dragons are one of many dragon boat paddling groups, whose purpose is to allow for people recovering from cancer, particularly after breast cancer – to be able to exercise gently and socialise among others. The group at Port Edgar were suffering from dwindling numbers, as a minimum of eight are required in a boat that sits 16, to go out. In order to raise awareness, this film was made – artistic in its style, lyrical or essayist in a way – I did not intend for the film to preach, to order or to instruct. After spending the day with the group I realised that the joy that came out of that day – the chat and laughter – would be the way I made and edited this film sing to others through it’s character alone.
Originally shown on a flat screen with a couple of headphones in the Maggie Centre – ‘Maggie’s Centres are for anyone affected by cancer. They are places where people are welcome whenever they need us – from just being diagnosed, or undergoing treatment, to post-treatment, recurrence, end of life or in bereavement.’ in Edinburgh and at various open days. This film is also archived in form of a DVD at the Glasgow Women’s Library and the Macmillan Cancer trust are also aware of it.
3. Phoebe Amis – Emptiness
This is one sequence out of three that were installed on three Selti Tvs with headphones for one viewer/listener at a time. The three sequences repeated many of the same images and sentences said. I am interested to see how (awful) it is to have to sit through one sequence (the shortest) in a group with everyone facing the same way, and how the bad quality square image looks more pixellated as it goes from hand-held to head-sized to big-big-big, and looks less and less like it might have been a real thing once in your hand.
The three channel video installation looped.
4. Gary Zhang- Heads
The work entitled ‘Head’ was originally made as an installation, set to loop on a 15″ TV on a plinth. The work is essentially a collage of slowed down portrait shots taken from a number of films, which cut together to form a continuously turning head. In installation the intention was to use the effect of the gaze with the film pictorial space and the physical objecthood of the TV in combination for a sort of liminal trance-like 3D space.
5. James Stephen Wright- Reduction (Complexity)
This performance involved me being completely submerged in strawberry jelly which is set around me inside a box I am using a snorkel to breath for the approximate 2 and a half hours of being inside the gelatine. Once the jelly has set I am released from my chamber to exist once again in a world that isn’t concentrated down too only one matter.
Fiction and fact get muddled in modern everyday life; I use this to create new ways of looking at the world to ease my understanding of subjects. Experimenting with the experience of being human in personal, social and cultural circumstances, which generally forms into a humorous spectacle. Along side this humor is a sense of living in a worldwide state of a fascination with the end of all life, or perhaps a new beginning. Using the dystopian ideals of a not too far future according to the over hyped media I have created a fictional premonition, which can be all too true. This future invented history is where I place my performances amongst the unrecognizable landscapes, species and culture.
6. Richard Krantz – First Kiss
First Kiss is originally a video-installation, where the video is displayed on a monitor standing on the floor. The monitor is surrounded by different cables and a DVD-player partially hidden underneath them. The video is 5:30 minutes long, showing the message: NO INPUT IS DETECTED COMPUTER 1 After 5 minutes, the static screen begin to change, and flickering and blinking in different bright colors. The message is, however, always the same. A water bottle is standing on top of the monitor, next to a DVD-disc, that hasn’t been inserted. Around the monitor you can spot other tools usually used to install work, along with a jumper in a cardboard box. The title of the work is a way of adding to the suspense and expectations of the work.For From plinth to popcorn, I made a shorter version of the film – the whole thing is now 1 minute long and the flickering colors starts after around 40 seconds. It would just be too much playing a 5 minute video showing a static screen in a cinema context, I feel that the suspense is there even this way.
7. Delphine Dallison – The Boys
’The Boys was inspired by a speech given Andrea Dworkin, first wave feminist, found in a copy of Adbusters. Dworkin’s inflammatory language although admired by many in the feminist cause represents for me all the reasons why I felt alienated from feminism for the last two decades. Her rhetoric only serves to further reinforce the divide in a concept of gender binary, which I believe is obsolete. Recording the speech read aloud and breaking it down through repetition acts as a means of symbolically deconstructing a rhetoric, which has set back feminism 20 years. This video was originally shown in an exhibition in a white cube gallery space, as a looped video displayed on a TV on a plinth with surround sound.
8. Ailsa Margot MacKenzie – Prelude
Video piece played on loop with Our Actions by Todd Braylor Pleasants in the Grace Clark Fyfe Gallery within the Bourdon building of GSA. The work was shown as part of the 3rd year Sculpture Term 2 in March 2012. Description: >>><<< >>>Harmonious movement<<< >>>of light, matter and sound<<< >>>perfect paradoxes of the metaphysical<<< >>>framing the infinite and opening the finite<<< >>>the search for the answer to everything<<< >>>dreaming to remember waking to forget<<< >>><<< >>>Sequence<<< The sun, the planets, the stars projected onto flatness, light moved through water, fabric spun in water- light still moving, melted wax into water, black tape jerked around in water, darkness with constellation lights, light reflecting on broken mirrors in the form of a chess board, paper shapes spinning in water, horse hair being moved like waves, white cube being moved into the empty squares of the mirror chess board, the sun… All within the confines of a white L-shape geometric structure. Visuals all made in the L-shape. Music all composed by Ailsa Margot MacKenzie facing the wall of another space: improvising to the visuals using a digital piano and GarageBand.
9. Anna Lomas – The Shock of the New
Through appropriated footage from the 1980 BBC documentary television series The Shock of the New we see the acclaimed art critic Robert Hughes fall victim to subversive tactics. Previously intended as a projection in a gallery space, the footage has already undergone a transformation from its original form of television documentary that has then been re-appropriated to form an artwork. The Shock of the New on a journey of re-contextualization, from television to gallery to cinema, where previous meaning is transmuted.
10. Alexander Storey Gordon – Untitled
This film, abridged and edited for From Plinth to Popcorn, was originally part of a larger project entitled Drive In Theatre. This project occupied some disused playing fields on the edge of Dundee and combined multiple layers of performance; dance, theatre, and, film. The different elements of the original piece where tentatively linked through shared imagery space and the actions of the viewers, who lit the work using high power focused beam torches. Due to this disconnection from original context of work the film is now interestingly abstracted from its original form, many of the images are freed from their subservient role to the text and choreography.
11. MollyMae Whawell – Lini
This piece was shown as part of a group exhibition which explored ‘the other side of the road’ – the Queen’s Cross area of Glasgow. The film depicts Helina, and old German woman that I met and came to befriend at a tea dance in a community centre. She sings one of her favourite songs. The piece was originally shown on a loop projected onto a large screen in a lecture theatre. Though this environment is very similar to that of the cinema, the fine line between exhibition screening and cinema screening is a very interesting one and I still think the change of context will alter how the piece is read. Whilst the gallery audience were free to walk in and out of the film screening perhaps missing the start or end, the cinema audience will be confronted with the piece start to end and they won’t have the chance to see it more than once. The piece is shot in such away that it would sit very comfortably in the cinema environment, but this context change could have a strange effect, it looking perhaps like a small part of a longer film, a scene floating alone without the conclusions or answers neighbouring scenes
12 .Gavin Mottram- Untitled 2012
‘Untitled’, 2012, is part of a body of work that is concerned with the relationship between voyeurism and film, referencing recognisably traditional cinematic forms in an attempt to explore the mechanisms by which the direction of the spectator’s gaze is seduced by methods which aid in the objectification of the subject on screen.
13. Gordon Douglas- Car Chase
The video piece I am sumbitting for showcase for From Plinth To Popcorn was made in 2011. The film was originally on loop on a large box television in the corner of an exhibition. My intentions about the work were for it to appear brainwashing-esque in its approach to ‘selling’ the cars, with the video’s loop demarcating a rotating plinth (a la car showroom). In the video, the cars all follow the direction of the clip before it, and then follow the course that they would on the silver screen or the television, and are then cut off by another car travelling at the same angles. Long the same vector path. This leads to a narrative between all different pieces of cinema involved, and also to adverts that were broadcast on television, establishing a loop of cars in perpetual motion, promoting their multiple styles, eras and movements. What I find particularly interesting is the abstraction from the varying contexts within the work, the regular characters in the car chase are muddled up, the villains and heroes become one and the same, and the professional drivers for advertsare equated with the fictional characters. Any fictional context to the footage is lost and what is focussed upon is the formal showcase of the automobile. With the work installed in the cinema space at the CCA, I see the context changing for the work, not dramatically, but instead of this implicit brainwashing going on of a younger audience (Tv on the floor), the film will take on more of a trailer quality, or at least the commercials at the beginning of films. As a space for remembering the past, the cinema trailer will then become a homage to and advertisement for the past reminiscent of nostalgia films. I wanted to keep the footage relevant to its original contexts and have returned the various ratios (which were standardised for a 4:3 television) to their original different sizes. I have one this, so as to lessen the abstraction, but also to confuse the narrative with emphasis being on the difference between advertising and cinema.
14. Aleksandra Roch and Justyna Ataman – Life Design
The work originated from performative interventions at the Glasgow’s Ikea Store. The performances were concerning relationship between commercialized fiction and personal reality as well as connections between economy, sex and power. At the beginning we have collected Ikea’s display photo frames, which we used to insert portrait photographs taken in our own domestic environments. We have put the frames around the display rooms’ area. Following this we appeared in these spaces, wearing identical costumes and wigs. The colors of our outfit were gold and purple, symbolizing power and wealth. We were approaching Ikea customers with a request to take a photograph of us and to position and direct us within the space. The work is composed from the video documentation of the performance and photographs made by the audience/Ikea customers. Originally the video work was presented in the exhibition context, the installation consisted of a wall projection and an office desk, where the video was played simultaneously on the Macbook ( controlling the projection). Changing the presentation of the video from the installation to the cinematic context requires readdressing certain aspects of the work. Within the installation there is a timeless loop of the footage, supported by other visual objects, it does not require a narrative character. For the cinematic presentation the video has to be self contained, therefore we attempted to find ways of achieving that, by adding sound and changing the film’s duration. (Additional footage from the event.) We are very interested in presenting this work in another context and having an opportunity to share it with a wider audience. We are interested in a feedback of how the subject matters addressed in this work will be perceived through the prism of the cinema/movie industry.
15. Douglas Morland- Errors- Pegasus
Commissioned for Glasgow band Errors’ limited edition VHS video release New Relics in 2012, the work was developed using processes and techniques that arose from a meditation upon the materiality and physicality of information storage and broadcast. Intended to be part of a VHS-only video release, the inherent characteristics of this anachronistic visual medium prompted me to embrace the degraded and sub-standard image quality so readily associated with VHS and to work in a highly physically involved manner when putting Pegasus together. Beginning in the digital realm, I scoured Youtube for random, associative imagery, including old amateur films and public health warnings from days-gone-by, which already seemed to possess an odd air of temporal displacement. I then filmed directly from the screen of my laptop while these played in real time, zooming in on image details. I then transferred what I had digitally recorded to analogue video and played it through an old damaged CRT television and filmed the screen while it played, altering colour, brightness, contrast and tuning settings in real time as I filmed. This resultant material was then returned to the digital Hard Drive and edited and finished using video editing software.
16.Liam Fogerty- Moondust
Moon dust was originally made and used in an augmented reality app for Becks beer’s Green box project. Large green cubes were placed around the country. When these were viewed through the Green Box app on a smart phones one of the animations would play. Each face of the cube played a different animation along with a section of audio. I adapted the work into a video that combined the parts and audio together.
17.Alex Harvey- No Title (Documentation)
This is the documentation of an instillation I made (with the help of my friend Liam Fogerty) in the generator room of the Barnes building of the GSA. The film begins as straight documentation but it becomes more playful in an attempt to convey something of what it felt like to being in the space and so it becomes another work in itself. I am interested in presenting this film within the context of From Plinth to Popcorn as way in which to examine a process of delineating the work from its original form. This process has taken place in stages, from its original installation, featuring three separately screened films on three separate screens, to the documentation, reducing it to one film, and, now, its recontextualization of a single film, containing three screens on the single screen of the cinema.
Overtoun Bridge was part of an installation going by the same name using video, objects and photography. The footage and audio was recorded on site at Overtoun Bridge just outside Dumbarton. Overtoun Bridge was originally made to be looped and contained footage of the space it was shown within. These sections were intended to change in accordance with the venue it was screened within and therefore have been altered for this event.