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Image: Chronique d’un été, 1960. Dir. Jean Rouch and Edgar Morin. Film still.
About
Formed in 2004, no.w.here is a not for profit artist run organization based in Tower Hamlets that combines film production alongside critical dialogue about contemporary image making.
As an artist run platform no.w.here has supported the production of artist works, run multiple workshops and critical discussions and actively curated performances, screenings, residencies, publications, events and exhibitions. no.w.here's national and international projects explore political and aesthetic questions around contemporary image production and systems of distribution and no.w.here’s ideas come directly from a participatory artistic practice that does not take these terms for granted.
EMAIL
info[at]no-w-here.org.uk
3 comments:
the text made me think about "walking", lygia clark's work 1964 http://www.lygiaclark.org.br/arquivo_detING.asp?idarquivo=17
<< the work that happens at the instant of the act of cutting ... >> the temporality of the gesture in the living space
http://www.afterall.org/online/artists-at-work-karen-mirza-and-brad-butler
Here are the text quotations that we used in the session:
As we know to be framed is a complex phrase in English: a picture is framed, but so too is a criminal by the police or an innocent person (by someone nefarious, often the police) so that the frame is to be set up, or to have evidence planted that ultimately ‘proves’ one’s guilt. The frame builds and confirms acts for those who would name them as such. To learn to see the frame that blinds us to what we see is no easy matter. And if there is a critical role during times of war it is precisely to thematise the forcible frame, the one that conducts the dehumanising norm, that restricts what is perceivable and, indeed, what can be. Although restriction is necessary for focus, and there is no seeing without selection, the restriction we have been asked to live with imposes constraints on what can be heard, read, seen, felt and known and so works to undermine a sensate understanding of war. This not seeing in the midst of seeing, this not seeing that is the condition of seeing, became the visual norm, a norm that has been a national norm”. BUTLER, J. (2009) Frames Of War: When Is Life Grievable?, London, Verso. (p100)
“The film image impresses us with its completeness, partly because of its precise rendering of detail, but even more because it represents a continuum of reality which extends beyond the edges of the frame and which paradoxically, seems not to be excluded. A few images create a world. We ignore the images that could have been, but weren’t. In most cases we have no conception of what they might be” MACDOUGALL, D. (1975) in Hockings (Ed) Principles of Visual Anthropology, New York: Mouton de Gruyter.
"With some art, there exists a disjunction between what we know to be the real - ie. 'I will meet you in an hour at home' - and the limits of language. Hardly a sentence goes by that does not merit interrogation, hardly an image goes by that does not merit interrogation, unless the decision was taken to suppress precisely that. Which is why so often for life to proceed, it's a matter of measures not being taken. It is not that so many images and words are clear and transparent and not open to the need for impossible and endless interrogation. It is rather that an arbitrary ideological decision is made to curtail such, in the interests of getting things done (GIDAL, P. (2008) Andy Warhol Blow Job, Afterall Books. p14)
Something must be stated precisely, but time is lacking, and we are not sure of having been understood. Before we have done, or said, what was necessary, we've already gone away. We've crossed the street. We've gone overseas. We can't go back (Extract from Critique de la Separation)
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