Partial Facsimile at STRANGELOVE - FAD Magazine

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Partial Facsimile at STRANGELOVE

STRANGELOVE is an ‘International time based arts fair’ which starts next week on Thursday March 9th in Folkestone. Over the next few days we will be talking to some of the exhibitors up first we have Partial Facsimile.

MEDIA OS 5.1 – Partial Facsimile from Partial Facsimile Productions on Vimeo.

1. What will you be showing at Strangelove Festival in March?

Partial Facsimile will be performing our new concept album MEDIA OS 5.1 live in surround sound to bespoke visuals.

The piece discusses the present over-consumption of digital information and its entertaining, yet beguiling effects on human behaviour. It also addresses the consequences that an oppressive society has upon the modern day worker.

10 short films have been specifically developed for the individual songs, and informed by their lyrical content. Each one of the films is unique, but collectively they tell a story.

The visual artists hail from UK, Norway, Denmark, Bulgaria, Chile, Hungary and Italy, and they span a vast range of both age and experience.

– Matthew Dervenkov www.matthewdervenkov.com

– Innerstrings Lightshow www.facebook.com/innerstrings

– Felix Prater FelixPrater.com

– José Canepa jac-arts.org

– Daisy Rickmann www.daisyrickman.com

– Ann Mai Lunde Røge cargocollective.com/annmailunderoge

– Valeria Keller www.lensculture.com/valeria-keller

– Wenztel & Winlove www.wentzelwinlove.com/

– Ranieri Film ranierifilm.com/

– Dexter Ash dexterash.com

Partial Facsimile MEDIA OS 5.1 image for FAD 1

2. What mediums do you work with?

– Mixed media: Live musical performance with both traditional electrical and acoustic instruments as well as digital sequencing.
– Surround sound projection
– Experimental film: graphic digital design, stop-frame-animation, found footage, collage, acting.

3. How do you know when you have completed a work?

When the concept and live production unites.

4. How important is the presentation of your work and viewer engagement?

Creating an immersive environment for the audience is something we strive for within our work. This can be immersion within sound, the chosen space, visual projections or a combination of these elements. The clean presentation of our works is vital in order to help focus the attention of the audience whilst allowing them the freedom to explore the environment created for each piece.

We believe it is important that the audience interact with the work in order to feel that they are not just being spoken to. Furthermore, the research we do for our conceptual projects are of everyone’s concern whether they are part of the art community or not.

5. If you could choose to show your artwork in a non-traditional art setting, where would that be?

Partial Facsimile set out to conduct performances in spaces not necessarily designed for art purposes, the first one being in a Nazi office bunker in Hanstholm, Denmark. Furthermore, we performed a 2-hour long improvised piece to film in an underground WW2 air raid shelter in Brighton concerning communication technology developed through warfare (please see ‘Communication Certified’ ). In the Grand Magazine at Newhaven Fort (part of international sound & art festival Fort Process) we conducted an improvised piece using filmic scores to depict the industrial history of Newhaven and its future.

We would like to continue this mission of performing in non-traditional art spaces providing that the building’s shape and history ties in with the concept of the work in question. At present, locating an unused broadcasting station is at the top of our list!

6. With the increasing evolution of technology, where do you see film in the next ten years?

We are witnessing an increase in Virtual Reality equipment becoming consumer goods, and are predicting an increased use of this in both film and sound during the next decade.

7. If you could create a time based arts compilation, what would be on it?

Alvin Lucier “I’m Sitting in a Room” – 1981 (theme: resonating frequency of a room built up over time)

– Wintergatan “Marble Machine” – 2016 (music instrument using 2000 marbles)

Jamie Gillett “Neuro-Harp” 2014 (EEG controlled string instrument)

Robert Henke “Deep Web” 2016 (Kinetic audiovisual installation and performance in surround sound)

KMel Robotics “Flying Robot Rockstars” 2014 (The hexrotors creating music)

The Light Surgeons “SuperEverything*” 2013 (audio-visual live musical performance)

Royoji Ikeda “Datamatics” (ver. 2.0) 2010 (audio-visual installation drawn from pure data, DNA codes, hard drive areas and astrological star systems).

Spiritualized “Pure Phase” 1995 – (from the experimental shoegaze band’s second album Pure Phase)

The Tornadoes “Telstar” 1962 (60’s optimism captured in one track. Produced by our favourite producer Joe Meek)

Kraftwerk “Radioactivity” 1975 (pure genius)

Starts 9th March 2017 Folkestone www.strangelovelondon.uk



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