Christopher Joseph
Producer
Producer - Artists Film/Video,
Screenwriter,
Script Editor,
Writer.
South East
About Me:
My Work and Credits:
Look What They Done To My Song - 41mins Artist: Michael Curran
About:
https://www.mattsgallery.org/exhibitions/look-what-they-done-to-my-song
For this new commission, Michael Curran (Artist) presents a site-specific installation exploring themes of spectacle, performance, narrative order and the dynamic that is created between sculptural composition and film.
Three songs – The Devil is Afraid of Music, What have they done to my song, Ma and How does it Feel to Feel? – were performed and filmed in the exhibition space of Matt’s Gallery, creating an open recording session and film set for three days. Through the subsequent editing process, the recorded material is subjected to radical temporal shifts through the use of overlays, speeding up, slowing down and repetition. This manipulation creates a series of rhythms, counterpoints and silences and explores the construction of song and narrative expectation, forming a drama (or crisis) of performance. The songs themselves are at stake, their survival questioned through these processes of translation.
The overall feeling is that of a séance in which the enquiry becomes what have they done to my song?
For this new commission, Michael Curran (Artist) presents a site-specific installation exploring themes of spectacle, performance, narrative order and the dynamic that is created between sculptural composition and film.
Three songs – The Devil is Afraid of Music, What have they done to my song, Ma and How does it Feel to Feel? – were performed and filmed in the exhibition space of Matt’s Gallery, creating an open recording session and film set for three days. Through the subsequent editing process, the recorded material is subjected to radical temporal shifts through the use of overlays, speeding up, slowing down and repetition. This manipulation creates a series of rhythms, counterpoints and silences and explores the construction of song and narrative expectation, forming a drama (or crisis) of performance. The songs themselves are at stake, their survival questioned through these processes of translation.
The overall feeling is that of a séance in which the enquiry becomes what have they done to my song?
Photos:
