Wrestle Mania, Video, 2018
Wrestle Mania Installation (film and sound)
Duration 00:07:28
Digital Video Projection & Vocal Composition
*Anne Friedman’s observations into early film relates how making and observing cinema revealed a way of seeing the world. She references Irigaray, Baudry, and Decerteau’s observations towards the gender of the observer, (the flaneuse) as having very different theories of the body and the visual, but what all have in common is that
THEIR THEORIES CONVERGE ALONG THE ASSUMPTION THAT THE BODY IS A FICTION, A DECORPOREALIZED SUBJECTIVITY SLIDING FLUIDLY AMONG A VARIETY OF POSITIONS.
If cinema removed the body, statiscized it, modern technology and the screen exacerbated the removal even further, although perhaps this liberated the body from the convention of the engendered Male Flaneur by providing another way of fluidly moving among a variety of positions. If this is the case, what is the body’s place in this century considering the abundance of screens. This year, my work seems to flow through the space between architectural apertures, windows and doors, and their technological counterparts, screens, through tactility and acoustics. And so it is that I wrestle in order to create a catalog of seeing. Not yet a completed piece of work, but a way to discern the shot of the Flaneuse, a mobile observer, from the Flaneur, the idle gazer.
I’m wrestling with whitespace (in which I mean the strangeness of normative homogenous space), care, and intimacy, of being in contact with another, of being human, of becoming other through the layers of stitching required in its construction, the stitch of a body to another, the stitch of a man-made skin, the stitch of the shot on screen. Maybe I owe these most recent thoughts to Corso’s Haraway reading, A Manifesto for Cyborgs, in which Haraway offers a new criteria for becoming or the strategy of territorialization. Maybe we’re all cyborgs here, plugging in and out of each other, shifting thought by the things we reveal, the ideas we share and so my cyborg self sings a lullaby to dream.
Duration 00:07:28
Digital Video Projection & Vocal Composition
*Anne Friedman’s observations into early film relates how making and observing cinema revealed a way of seeing the world. She references Irigaray, Baudry, and Decerteau’s observations towards the gender of the observer, (the flaneuse) as having very different theories of the body and the visual, but what all have in common is that
THEIR THEORIES CONVERGE ALONG THE ASSUMPTION THAT THE BODY IS A FICTION, A DECORPOREALIZED SUBJECTIVITY SLIDING FLUIDLY AMONG A VARIETY OF POSITIONS.
If cinema removed the body, statiscized it, modern technology and the screen exacerbated the removal even further, although perhaps this liberated the body from the convention of the engendered Male Flaneur by providing another way of fluidly moving among a variety of positions. If this is the case, what is the body’s place in this century considering the abundance of screens. This year, my work seems to flow through the space between architectural apertures, windows and doors, and their technological counterparts, screens, through tactility and acoustics. And so it is that I wrestle in order to create a catalog of seeing. Not yet a completed piece of work, but a way to discern the shot of the Flaneuse, a mobile observer, from the Flaneur, the idle gazer.
I’m wrestling with whitespace (in which I mean the strangeness of normative homogenous space), care, and intimacy, of being in contact with another, of being human, of becoming other through the layers of stitching required in its construction, the stitch of a body to another, the stitch of a man-made skin, the stitch of the shot on screen. Maybe I owe these most recent thoughts to Corso’s Haraway reading, A Manifesto for Cyborgs, in which Haraway offers a new criteria for becoming or the strategy of territorialization. Maybe we’re all cyborgs here, plugging in and out of each other, shifting thought by the things we reveal, the ideas we share and so my cyborg self sings a lullaby to dream.
