Data : Salon XVIII
28 November 2012
- ALEXANDRE LAROSE
- PAUL RAPHAËL
- FÉLIX LAJEUNESSE
"Aller/Retour" by Alexandre Larose is a film installation and performance whereby Larose sequentially activates four 16mm film projectors. Because all the projectors do not run exactly at the specified rate of twenty-four frames per second, Larose occasionally stops one of the four projectors to maintain the tension in the film loop. The visual sequence, created in collaboration with Heather Reilly Reid, was made by layering directly inside the camera (by superimposition) circular paths of a cyclist on the Kondiaronk Belvédère of the Mont-Royal. To simulate the continuous motion and to close the film loop, Larose optically printed the photographed sequence and generated a cross dissolve when the cyclist is about to reach the end of the path. The performance ends when Larose shuts down each projector one after the other.
"Kobe" by Paul Raphaël and Félix Lajeunesse is a 3D video, which was shot during a twenty-day stay in Igloolik and its neighboring regions. The principal subject is the daily life of Kobe: a ten year old Inuit boy. The video follows Kobe playing with his friends, on a hunting expedition, preparing food, etc. The montage itself is composed of a series of forty long-duration (ranging from 30 seconds to 2 minutes) shots with no camera movement. The sequence is arranged chronologically, though the narrative effect of the chronology is only apparent upon viewing a considerable portion of the film.
Specially for this Data : Salon, the installations will also be on view November 29th and 30th, 12pm to 5pm, so as to coincide with “Looking through time: temporality and presence effects in recent moving image arts”, a colloquium organised by McGill's Moving Image Research Laboratory (MIRL). The topical focus of “Looking through time” is “temporality, presence, and the moving image”, in other words, the subjective experience of time and the impact of moving images on this dimension of a spectator’s viewing experience. The purpose of “Looking through time” is to consolidate recent graduate research on temporality and the moving image from several local Humanities departments and to bring this research into dialogue with the work of local emerging artists whose projects open new trajectories for research on temporality and spectatorship.