Light Field

San Francisco / Fall 2017

 

Matters of Practices/Actions/Doings: work by Kerstin Schroedinger

Kerstin Schroedinger in person
presented by Light Field
Thursday, April 13, 2017 @ 8pm
Artists' Television Access (992 Valencia Street, SF, CA)

The Man Who Could Not See Far Enough Peter Rose 1981 / 33 minutes / USA / 16mm / sound A powerfully formal, analytic inquiry into the nature of vision and cinema… painfully beautiful images of mysterious events and things that split, multiply, migrate and quiver with a hallucinatory vibrance… a rich fabric interlacing the metaphysical with the ironical.” -Sally Banes, The Village Voice

The Man Who Could Not See Far Enough
Peter Rose

1981 / 33 minutes / USA / 16mm / sound

A powerfully formal, analytic inquiry into the nature of vision and cinema… painfully beautiful images of mysterious events and things that split, multiply, migrate and quiver with a hallucinatory vibrance… a rich fabric interlacing the metaphysical with the ironical.”
-Sally Banes, The Village Voice

 
Fugue Kerstin Schroedinger 2015 / 8 minutes / Germany/Canada / 16mm / sound Fugue is a formal and physical experiment in order to understand the relationship between image, sound, and movement. The movements and the setting are informed by motion studies that were conducted and filmed at the beginning of the 20th century with the aim to use filmmaking for analyzing motions of manual mechanized labor as well as concepts of biomechanics that elaborate the relation between body and mind as a form of actor’s training. In the film, the movements that are recorded are also printed on the part of the film strip that is read as optical sound by the light sensitive sensor of the projector. What you hear is what you see. The image recurs as movement and the movement recurs as sound. -KS

Fugue
Kerstin Schroedinger

2015 / 8 minutes / Germany/Canada / 16mm / sound

Fugue is a formal and physical experiment in order to understand the relationship between image, sound, and movement. The movements and the setting are informed by motion studies that were conducted and filmed at the beginning of the 20th century with the aim to use filmmaking for analyzing motions of manual mechanized labor as well as concepts of biomechanics that elaborate the relation between body and mind as a form of actor’s training. In the film, the movements that are recorded are also printed on the part of the film strip that is read as optical sound by the light sensitive sensor of the projector. What you hear is what you see. The image recurs as movement and the movement recurs as sound.
-KS

 
Matters of Practices/Actions/Doings Kerstin Schroedinger 2016 / 25 minutes / performance Through an exploration of movement and sound, rhythm and physicality in the material film, I examine the relation between sound and physicality and sound and the body of film. I analyze the technical procedure of movement of film and movement of the body, and the links between those sounds and movements in order to understand both the actual and active part of movement as a component of the film material as well as the consequences the material has for social and physical bodies. -KS

Matters of Practices/Actions/Doings
Kerstin Schroedinger
2016 / 25 minutes / performance

Through an exploration of movement and sound, rhythm and physicality in the material film, I examine the relation between sound and physicality and sound and the body of film. I analyze the technical procedure of movement of film and movement of the body, and the links between those sounds and movements in order to understand both the actual and active part of movement as a component of the film material as well as the consequences the material has for social and physical bodies.
-KS


Kerstin Schroedinger is an artist working with video, sound and text. Her historiographic practice questions the means of film production, historical continuities and ideological certainties of representation. Her films and curatorial practice are often collaborative. Recent films include Fugue (2015), as well as Rainbow’s Gravity (2014), Red, she said (2011) both with Mareike Bernien. Her work has been shown at the Whitney Museum of American Art, MIT List Visual Arts Center Boston (2016), FMAC Mediathèque Genve (2016), The School of Kyiv – 2nd Kiev Biennale 2015, Forum Expanded of Berlinale, Short ٍFilm Festival Oberhausen, International Film Festival Toronto, amongst others.