Question & Answer session with Inge Lise Hansen at the Wapping Project

As part of the ‘Undiscovered Landscapes’ season, curated by Marta Michalowska, running at London’s Wapping Project bunker-like event space (shown here prepared for a different event), a number of films by Inge Lise Hansen are being shown on loop for the duration of one week. The artist herself engaged in a short question and answer session at the venue on 9/12/11. The films shown on that occasion were ‘Adrift’, ‘Proximity’ (previously detailed on these pages), ‘Parallax’ and ‘Travelling Fields’. The questions were largely posed by the curator with the session being opened up to floor briefly at the end.

The main points of interest for me were as follows –

  • The artist started off creating large scale environmental stop frame animations (with soil, rocks etc) but moved away from intervention to observation of the environment over the course of producing the films shown (2004-9)
  • A sense of dislocation gained from being in expansive, featureless landscapes prompted the artist to investigate the effects of visual dislocation by inverting/rotating point of view.
  • Geographic/spatial concerns are prominent, especially within the context of Northern European culture (the artist herself is Norwegian).
  • Temporal concerns are also very important – the artist expressed an interest in the ‘subversion’ and ‘shifting’ of time.
  • Although a strict system was observed in the shooting of most scenes (stop motion with fixed interval time and tracking position shift), the process of editing and addition of audio saw the introduction of artistic direction which steers the end result away from a more purely process-driven, Structural Film-like output.
  • Over the course of producing these films, the artist came to the point of view that she had taken this particular artistic direction to a natural conclusion and it is now time for something different (no details were forthcoming!)

Battery Powered Tracking Shots

Have now got the tracking set-up running from battery power which will allow me to shoot anywhere I can access (with kit). I tried a tracking shot of a very overgrown curb which has made me realise that ‘less is more’ in terms of composition, or in the words of veteran cameraman Barry Braverman,’exclude, exclude, exclude!’.

I also tried a variation on the straight ‘edge’ position, opting for a diagonal instead. There is some background interest/movement which works quite well in complementing the limited interest of the dark edge.

Research into Practice – week 10

This week was advertised as a narrative/non-narrative seminar. I was disappointed to find that we were expected to watch Cach̩, which is an excellent but 2 hour long film, in the seminar room with a noisy server unit. I went to see this film when it first came out in the UK at Screen on the Green in Islington, digitally projected, sitting in a comfy seat without distraction, as this film deserves. But my main gripe is that surely we would have been better told to watch the film in advance and then discuss it during the seminar itself. I left straight away, explaining that I had already seen the film, later emailing the lecturer concerned to see if there was any discussion or outcome at the end of it that I need to be aware of Рhe did not reply.

Research into Practice – Week 9

For this week’s session we were asked to develop our research poster ideas while sitting together as a group, so that we could present, feedback and critique each others ideas. This was the first time in some time that I had heard from the other members of the group about their individual projects. Some are more advanced than others. My own ideas are still not full formed, having settled on the idea of somehow examining observation in some of the films I have been looking at recently. I’m still not sure what my angle will be.