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Photo by Alison Nguyen during production shoot of Ghost line by Shona Masarin and Cori Olinghouse
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I became more and more removed from aesthetics
“It was the distinction of Jean Arp to have at a certain moment discovered the true problem in the craft itself. This allowed him to feed it with a new, spiritual imagination. He was no longer interested in improving, formulation, specifying an aesthetic system. He wanted immediate and direct production, like a stone breaking away from a cliff, a bud bursting, an animal reproducing. He wanted objects impregnated with imagination and not museum pieces, he wanted animalesque objects with wild intensities and colors, he wanted a new body among us which would suffice onto itself, an object which would be just as well of squatting on the corners of tables as nestling in the depths of the garden or staring at us from the wall…To him the frame and later the pedestal seemed to be useless crutches…”
Alexandre Partens in the Almanach Dada
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Ballet Mécanique by Fernand Léger
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Ballet Mécanique is a Dadaist post-Cubist art film conceived, written, and co-directed by the artist Fernand Léger in collaboration with the filmmaker Dudley Murphy.
Notes from screening at Anthology Film Archives:
beautiful entrancing rhythms
camera work - jump cuts - pull you in and repel you simultaneously
magnetic pulls
great cubist rendering of the body - lips, eyes, framed in sections against post industrial machine movement
organic - in-organic in sync and out of sync
barrage of imagery
landscape overlays
lost in time and space
images of mind, memory floating, transposed - creating pattern
revealing pattern - commonality of gestures
double meanings
collage - simultaneity - variety (variety of Keaton, vaudeville)
beautiful collage rendering of paper Chaplin puppet at end - eccentric dance via animation cut and paste
puppetry
language of symbols, images
slapstick of camera and movement -
Pictured: Stan Laurel
“Hardy walked a thin line between playing heavy and playing fatty. Laurel adopted a retarded squint, with suggestions of idiot savant. Their characters were at sea, clinging to each other as industrial capitalism was breaking up and sinking. Beautiful losers, they kept it funny, buoying our spirits. Laurel and Hardy… forever.” (from Ontic Antics: by filmmaker Ken Jacobs)
Laurel is a slow slow slow clown - very innocent, naive - keeps his cool - little tension - great movement of eyes, eyebrows, mouth - signature faces - in moments of pause. Body language of ridiculous absurdity - slow to register disruptions.
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Created by Lauren Simkin Berke
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Production still taken by photographer, Alison Nguyen during film shoot of “Ghost line” with film artist, Shona Masarin.
Pictured: Cori Olinghouse
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Photo by Andrew Jordan (Pictured: Kai Kleinbard as blob character)
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Photos taken from a live performance of Ghost lines, performed as part of Movement Research at the Judson Church June 4th, 2012.
Photos by Ian Douglas
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Film still by Shona Masarin (pictured: Cori Olinghouse)
Interview with Cat Gilbert about my “Ghost lines” project with Shona Masarin which combines elements of dance to create a “vintage” 16mm film.
http://the22blog.com/2012/09/04/an-interview-with-cori-olinghouse/
(via the22magazine)
Posted on September 17, 2012 via with 4 notes
"Ghost lines" is a movement practice that uses an archival impulse to conjure a vaudevillian past.
As a project, it manifests in a variety of ways – through film, live art happenings, live performance, as photos, drawings, and an ongoing freestyle movement practice.
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