Wednesday, September 1, 2010
Wednesday, July 21, 2010
PARIS CHANDALIER X3
Paris Chandalier (sic) X3 is conceived as a three channel video installation.
The piece began as a parody of YouTube travelogues and evolved to include an examination of context and meaning derived from music and its effects on visual perception. My intention was to parody the customary city travelogues strung together for many of the world’s great cities by piecing images of their most famous icons. In Paris, these are the Eifel Tower, Arc De Triomphe, Champs Elysees. In my version of the “travelogue” the Eifel Tower is not recognizable when it appears, and often not perceived at all in the abstract photos that depict it or the other landmarks.
The piece utilizes a series of about 80 images shot in Paris in December and January 2009/10. The images are all of light and capture the “City of Light” in an abstract painterly manner that transforms it into pure light and color. Intended to be seen from three monitors that are suspended, as a triangular chandelier the work continues my exploration of “Photo-Chandaliers” a term I coined to describe the objects I created that combined elements of both. These Photo-Chandaliers evolved from my 1982 performance “Chandalier Fashion Show” starring Jack Smith. In 1984 I co-founded East Village performance club Chandalier (often spelled Chandelier by others.) There the Photo-Chandaliers were created initially as part of the décor. Subsequently, they have evolved and in Paris Chandalier X3 I am striving to transform the abstracted photo images of the city of light hanging them from video monitors as a chandelier.
To the images I wanted to add music and chose three distinctly different renditions of Cole Porter’s classic song I Love Paris-a personal favorite. With the music I was interested in giving the flavor of the city as an American in Paris. I discovered as I produced the tape that each of the renditions of the classic song created a unique quality though in each sequence the images remain identical. The timing was shortened or elongated to fit the music but the visual sequence remained identical. Yet, each song creates a unique atmosphere, which interacts with the images distinctly. Together the three sequences create a much more vibrant portrait though albeit it remains an abstract one.
Paris Chandalier X3 is intended to be seen ultimately as a three channel work. I envision the viewer able to move around the suspended triangle of monitors, each playing a single version of the song, which are of different lengths. As the three sound areas interact I am interested in the soundscapes that will be created where the songs bleed into each other acoustically. Since the songs are of different lengths, these acoustic spaces will be in constant flux as different sections of each song overlap. To transform the uploaded Paris Chandalier X3 into a three channel piece: place 3 laptops or I-pads in a triangle, FF to beginning of each channel, and start all 3 versions simultaneously.
Saturday, February 27, 2010
Wednesday, February 24, 2010
Saturday, February 6, 2010
THE SILENCE OF MARCEL DUCHAMP
BY ELA TROYANO & UZI PARNES
AT THE 60TH BERLINALE--FORUM EXPANDED
Thursday, Feb. 18 at 9pm @ Kino Arsenal 1
The title of this live film performance comes from a graffiti – the silence of Marcel Duchamp is overrated – found on a wall in an abandoned pier on the West Side Highway in New York City. The piers were a meeting ground for gay sexual encounters in the late 70’s and early 80’s. Partly in ruins, with long hallways, open rooms, broken windows, all surrounded by water, the piers were photographed, written about and filmed before they were torn down by the 90’s. The piers no longer occupy a physical space but they have since evolved into a historic artistic presence, becoming a metaphor for a shared past.
The performance includes music by John Zorn: Beuysblock, a portrait of the late artist Joseph Beuys. It begins with images of the pier, male torsos, cave like drawings, urinals, the Hudson River, a spectacle memorializes the creatures that inhabited the piers. Toy soldiers seen through broken shards of glass are a playful take on the „Uzi“ machine gun, referencing his expatriate Israeli and Jewish upbringing. His torn Barbie dolls and drag divas are superimposed on Troyano’s projections: a burst of fireworks and ballerina shadow play. What appears to be an image of a graphic fence is a projected fragment of a small mesh evening bag, one of the few things her mother was able to bring from her native La Habana, Cuba.