machinehunger

machinehunger

canadian theorist Anik Fournier writes about LivingTomorrow in
Opening up the Image of Possibilities through Archival Gestures (pdf)

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http://www.youtube.com/profile?user=randomrules09&view=playlists

http://www.pulse-art.com/newyork

PULSE PLAY > New York 2009
Random Rules: A Chanel of Artists' selections from YouTube
Curated by Marina Fokidis

Many believe that since the launch of YouTube in 2005, the history of the
moving image has diverted from its canonical route. The website, which
makes it possible for anyone who can use a computer to post a video,
reaches millions of people daily. Like no other time before, it is now possible for amateur videos, music videos, film footage, commercials and news segments as well as (in some cases) artists' videos to be mingled together in a random way, free of any preconceived hierarchy or system. According to Fokidis, the active use of YouTube is a form of curating and 'Different people's 'playlists' are transformed into exhibitions and 'tagging' becomes a process of random archiving.'

For PULSE PLAY> Random Rules, Fokidis has invited several emerging and established artists to create their very own playlists thereby presenting these artists not only as artists, but as curators and as collectors as well.

Artists include Andrea Angelidakis, Aids 3D, AVAF, Pablo Leon de la Barra,
Erick Beltran, Keren Cyter, Jeremy Deller, Cerith Wyn Evans, Dominique
Gonzalez Foerster, Dora Garcia, Rodney Graham, Annika Larsson, Matthieu Laurette, Ingo Niermann, Miltos Manetas, Ahmet Ogut, Angelo Plessas, Lisi Raskin, Linda Wallace.

The selections will be available simultaneously in the video lounge at the Fair and online as a YouTube Channel

My playlist is a selection of people singing 'I touch myself' a 1991 song by the Australian band the Divinyls.

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In her video non-western Linda Wallace subtitles her fascinating,
rhythmic montage of Dutch vistas, highways and people with long strings
of numbers. These "facts and figures" describing Dutch society slide
through the images at a fast pace, for instance: the total number of
non-western immigrants in 2050, the percentage of non-westerners in the
biggest cites, and the total numbers of non-western young people.
Wallace knowingly uses bureaucratic "truths" rather than the complex,
contradictory and dynamic daily reality that the statistics hide. What
do these statistics do? The inclination towards statistical
essentialism, where lives become stuck in unambiguous, unalterable and
irreconcilable identities is characteristic of the contemporary public
debate, and bears a striking resemblance to the corners and straight
lines of the Netherlands landscape.
(Dr Jolle Demmers, Centre for Conflict Studies, Utrecht University)

non-western | are you or have you ever been

by Linda Wallace
Amsterdam November 2008
installation and single screen version
production assistant: Emile Zile
non-western central-loop duration: 13.30min

non-western premiers at the Kasseler Documentarfilm and Videofest
in Kassel, Germany on Thursday November 13

a version of the work can be seen in its chapters
at the urls listed below:
http://www.undergrowth.eu
http://www.the-shadowlands.eu
http://www.allochtoonen.eu
http://www.mysafehouse.eu
http://www.off-the-radar.com

go to the youtube site to see them in higher-resolution
http://youtube.com/profile?user=machinehunger

review of the Back to Berlin exhibition in RealTime arts.

Friday April 27 and Friday May 4, lecture and presentation of works at the Academy of Fine Arts in Split, Croatia

shadowlands: a presentation of recent video work by Linda Wallace at the International Centre for Contemporary Arts (ICCA) Bucharest, Romania
April 20, 2007.

entanglements screened as part of the Limited Access program at Parkingallery, Tehran. 8-15 March 2007

Back to Berlin
An exhibition of video works by Linda Wallace
from January 31 to February 11, 2007
NewYorkRioTokyo Gallery Berlin
Back to Berlin was a transmediale partner event.

The video works shown in Back to Berlin speak to the experience of being between places, of being here, there and there, all the time immersed within the strange overlap of media and televisual non-space and lived realities.

The three video works are filters for one or another global media event.

entanglements (2004) takes as its starting point the 2003 invasion of Iraq as seen through the siphon of Australian television. Concurrent with the invasion was the hit series The Block, a home renovation competition. These and other images, for example, pictures from the 2002 Moscow Theatre Siege are woven together and projected through curtains, as television becomes the window on the world.

The three-screen LivingTomorrow (2005) began as one thing and ended as something quite different as a significant event pierced the narrative mid-production. This event was the murder of Dutch filmmaker Theo van Gogh in late-2004. The murder is woven into a larger story told by hand-made subtitles over segments cut from the soap opera The Bold and the Beautiful, itself the highest rating television show on the planet watched daily by over 450 million people. Showing in Berlin will be the 'immersive cinema' 3 DVD version, the original was a random database-archive work.

TOR, the most recent work is by comparison simpler and shows snippets from the journey on the M19 bus down Berlin's Kurfuerstendamm on the evening of Germany's win over Argentina in the 2006 World Cup. The faces in TOR beg the question: who are the Germans?

The art of Linda Wallace invites us to reflect upon our televisual environment. Day-time soap operas, classic cinema, European song contests, news broadcasts and the pervasive images of war and terrorism are juxtaposed and interspersed in both linear videos and multi-screen projections. Her work takes as its starting point the context of communications media which she describes as 'a vast labyrinthine media-datascape'. Our relationships with both the natural and urban environment, and with each other, are increasingly negotiated via electronic means. This is a world in which commercial television actively maintains conventional and homogenous categories around identity, politics and gender. In response, Wallace fragments, re-mixes and re-dubs the television image, introducing a spectrum of meanings back into the digital screen. This is not to say that she is attempting to reinstate a kind of truth. Rather, her project forges links between cultures as they are mediated in a televisual landscape.
from the essay by Victoria Lynn
essay, German translation by Andreas Kallfelz

to contact Linda Wallace put :: lwallace ::: then the at, followed by::: xs4all.nl