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Danielle Arnaud: Lynne Marsh : Camera and Calisthenics - 6 Nov 2009 to 13 Dec 2009 Current Exhibition |
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Lynne Marsh, Stadium 2008
single channel HD video and audio 10min 54sec |
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Lynne Marsh : Camera and Calisthenics 6 November - 13 December 2009 Lynne Marsh's practice is located at the intersection of performance, cinema and the status of the image, at the convergence of cultural and social concerns that operate in speculative fiction, choreography, and staged events. Marsh's recent video works shot respectively in a sports stadium and a TV studio investigate the inscription of individual bodies in architectural environments built specifically for mass consumption and mass cultural expression. Using codified cinematographic techniques, her vocabulary draws on the languages of digital animation, sports coverage, television broadcasting, and the cinematography of the early twentieth century. The Olympiastadion in Berlin is both setting and protagonist in Stadium. Using a combination of footage shot on location in the stadium, 3D animation created from the architects� model of the recent renovation, and composite footage of a performer, an uncanny dialogue is played out between architecture and the individual. Amplified by the symmetry and repetition of both space and gesture, Stadium builds a tension between the pedestrian movement of public space and physical ideals reminiscent of early Olympic callisthenic dances and design. The figure�s white costume and a haunting musical soundtrack contribute to the other-worldly sensation produced by the work. A constant interchange between the performer, her surrounding architecture, and their mediation through video, challenges the viewer to redefine their perception of the represented space. The distance between performer, space, and viewer, is reduced via rhythmic, sweeping and multiple camera perspectives, as the three culminate in a swirling, dizzying spectacle. Stadium draws on modernist cinematic and performance traditions in relation to visualizing the mass, fusing these with influences from contemporary music videos and science fiction/fantasy films. It is a continuation of the use of �found� architectures in the work (whether they are representations of natural phenomena or designed architectural spaces) and their relation to human investment by immersion, physical engagement and imaginative contemplation. This work contributes another layer of abstract narration and dramatic tension to on-going experiments with video, animation, and psychological space. Filmed on the set of a German current affairs television program, Camera Opera uses the metaphor of the stage and its drama to call attention to the television studio as a performative space. It makes evident the process of creating a dramatized social and political reality in the TV studio through the mechanisms used to stage the event. The montage challenges the stability of the �news� script and invites consideration of the simulated, constructed orientation of the television experience. By staging an exaggerated choreography of images the viewers� attention is drawn to the system of representations evoked by performing the �news�. Camera Opera renders the mechanisms of filmic, news-like delivery bare, confronting us with the fictional mise-en-sc�ne through which we access �reality�. The re-framing of the spectacle overflows its confines in Brechtian delight, creating a disorienting topology of televised space itself. Marsh�s works also rely on the spatial and immersive properties of multimedia installation, as well as on the historical connotations of installation as medium and form, to create parallel and speculative spaces of reflection and spatial inhabitation for the viewer. Lynne Marsh was born in Canada and has been living and working in London since completing her MA at Goldsmiths' in 1998. She has exhibited internationally, with recent solo shows including K�nstlerhaus Bethanien, Berlin (2007), Steve Turner Contemporary, Los Angeles (2008), and the Mus�e d'art contemporain de Montreal (2008). Recent group exhibitions include Nightcomers, 10th Istanbul Biennial (2007) and There is no audience, Montehermoso, Vitoria-Gasteiz, Spain (2009). Her videos have been screened at the BFI Southbank (2007) and Artprojx at Prince Charles Cinema (2009). Marsh�s work will be presented in an upcoming solo at the Globe Gallery in Newcastle and as part of Catastrophe, Qu�bec City Biennial in 2010. A monograph on her recent works produced by the Mus�e d'art contemporain de Montreal and the Mus�e r�gional de Rimouski will accompany the exhibition. Marsh is Senior Lecturer in Fine Art at the University of Herefordshire. |
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