play station', '3 x 3'
Gudrun Bittner, Fiona Larkin, Laurent Pernot, Kate McCullough, Angie Halliday, Luke Collins
Ends 25 May 2006
Gudrun Bittner: ’Deaf Eric’, 2004
Gudrun Bittner was born 1980 in Salzburg, Austria. Studied MultiMedia Art with speciality in Film Studies. External term in the Southampton Institute for Media Art. Since 2002 lives and works in Valencia, where she absolves doctoral studies in the Fine Arts Faculty in the program “Visual Arts and Intermedia”.
Gudrun Bittner works with audiovisual media, with which she creates critical visions over the actual world. She is especially interested in the impact that neo-liberal politics have over local communities; trying to analyze, convert and devolve – often in an ironical way – signs and messages used by multinational companies and the mass media to create public conscience.
Flat Eric, the mascot of the Levi’s company is deaf and dumb. In a monologue in sign language he talks naïvely about his life. About his best buddy George and about his sexual experiences in his home-country China.
“We will commercialize the most worn casual clothes in the world. We will clothe the world.”
– It’s a pure volume thing.
Fiona Larkin: ‘I wouldn’t give them the light of day’. Stop motion /drawing, 38sec
Prompted by a radio interview with a woman from Ardoyne I wouldn’t give them the light of day naively records failed attempts to obscure the daylight, something we take for granted. As the outside world becomes blurred through the amalgamation of drawing and stop motion, these vain attempts make apparent a sense of increasing isolation and insularity.
Laurent Pernot: ‘To the Imagined Friend’. Experimental film, 2003
A young man writing in his room is surrounded by a series of surreal images; a visual poem on the persistent conditions of loneliness and the oppressive effect of unexpressed love.
Note: To the Imagined Friend is not a fiction or documentary, it makes appear a subjective feeling, by including testimonies in particular, and by using metaphor and poetry. This film is much more perceptive than descriptive, more sensitive that dramaturgic. The role of the editing, images and sounds, take part in the creation of a universe rich in symbols.
Kate McCullough:’ It’s All About Me’, 2005
Kate is a second year student at the University of Ulster, Belfast.
“Theses pieces were inspired by old family photographs, but mostly by my own memories and perceptions of my past. I have created an illusion of human interaction by layering five different pieces on top of one another, but each in reality is in solitude.“
Angie Halliday: 'Untitled work in progress', 2006
"It doesn't affect the fate of the nation, so don't
wail, Beth. It will be good for my vanity; I was
getting too proud of my wig. It will do my brains good
to have that mop taken off; my head feels deliciously
light and cool, and the barber said I could soon have
a curly crop, which will be boyish, becoming, and easy
to keep in order. I'm satisfied; so please take the
money, and let's have supper."
(Jo March in Little Women: Louisa May Alcott 1989, Little Women, Penguin Books, USA.)
Luke Collins: ’Episodes 13 through 21 (my urge is natural)’, 2006
The music rises, a momentary title appears / Cut / (We are addressed)
Previously on... We flit from fragment to fragment, those moments which make
sense of (and confuse) what is to come. Those moments which form what is to
come / Cut / Episode title / Cut / Prologue. (Shown). Our guide navigates
for us, coaxes us, indulges our desire to seduction and leads us to a point.
He shows us a place where our hairs bristle and our urges. Poses for us /
Cut / Titles. (Shown). That familiar feeling rises. We settle back into this
(that!) reality. Reacquaint with old friends for new adventures / Cut /
Opening shot. (Shown).