Phil Collins: Marxism Today (prologue) at BFI

Artist Phil Collins talks about his installation marxism today, at BFI Southbank's Gallery from 3 February - 10 April 2011. The work features Collins' short film marxism today (prologue) (2010), first shown at the 6th Berlin Biennale, and a new companion video, use! value! exchange! (2010), which together explore through archive footage and contemporary interviews what became of Marxist Leninist teachers' expertise after the fall of the Berlin wall in 1989. Collins suggests that Westerners today are lucky, as we have a sense of ownership of our culture, whereas in Berlin, there is a sense of embarrassment as regards the past and subsequently memories of childhood school groups and songs have fallen away. Collins further describes why he has centred his research on the impact that the loss of this heritage has had on the German people.


VIDEO

Camille

In 2005 she released the album Le Fil, which was produced in collaboration with English producer MaJiKer. This album incorporated an avant-garde concept — a string, or thread ("le fil"), which was a drone that persisted throughout the entire course of the album. All of the songs in this album are based on the exploration of the voice, with only a double bass or double bass and keyboard as accompanying instruments.

OFFICAL SITE

Camille w/ Barbatuques

Uriel Barthelemi

S.E.U. - Infra Kitchen @ Fest. Orbis Pictus
Uploaded by asadjinnia. - Independent web videos.

AT THE JERUSALEM SHOW

'Jack asked me and explained the Jerusalem Show and I said OK because making a performance like this sounded like something I would really like to do. I changed the proposition a little because six hours is a lot and I didn’t want to just make something that focused only on the physical aspects of exhaustion. I chose the form of a triptych. I took this form because it is something that is used in religious art so I wanted to hijack the form because of the association with religious aspects of Jerusalem.

I use a language that exists in normal music but it’s more extreme or more radical. However there is always a continuum. Technically I use basic Max/MSP software which allows me to programme my own applications so I can develop special effects for the drums. The sequence works as if you are flicking a remote control. However, the first part of the triptych was more like a concert because it was not completely random. I had pre-programmed Part I. In the second performance I wanted to gradually discard the tools so that I had less and less tools to express myself with. The third and final part of the triptych will really be complete improvisation. I will have no other forms to help. It will be free drumming for as long as I can play.'

http://www.asa-djinnia.com/

Nira Pereg, Profile

NB. its very difficult to film in israel, israeli landscape is owned by cnn

Yael Bartana

NB.- reading the news/media in an active way, suggesting different narratives

NB 2. - editing according to the music of other film (editing according to [?])

Hito Steyerl

Life in Film: Hito Steyerl

eflux: Is a Museum a factory?

fluxus

The Fluxus artistic philosophy can be expressed as a synthesis of four key factors that define the majority of Fluxus work:

Fluxus is an attitude. It is not a movement or a style.[4]

Fluxus is intermedia.[5] Fluxus creators like to see what happens when different media intersect. They use found and everyday
objects, sounds, images, and texts to create new combinations of objects, sounds, images, and texts.

Fluxus works are simple. The art is small, the texts are short, and the performances are brief.

Fluxus is fun. Humour has always been an important element in Fluxus.