The Screen Matter In-Lab presents its first event: Traveling Sync, created and presented by Imri Kahn and Van Eyck participant Beny Wagner.
Traveling Sync is a film and video programme integrated into a performance lecture which brings together a group of artists and filmmakers who work with moving image. The work addresses the problems of representation through the metaphor of synchronicity.
A selection of the artists, writers and artefacts include: Peter Campus, I Love Lucy, Andrew Norman Wilson, Jill Magid, Kimmo Modig, Michel de Certeau, Standard Time, Wendy Chun, Rosi Braidotti, David Lynch, Shirley Clark, Graham Kelly, among others.
Traveling Sync will take place right after the presentation by Katerina Gregos
18:45 - 19:45
Website Screen Matter In-Lab:
Traveling Sync is a film and video program integrated into a performance lecture which brings together a group of artists and filmmakers who work with moving image. The performance lecture will take the shape of an overall montage, creating a fluid sequence between the bodies and voices of the performers in space and the moving images chosen for the program. It aims to create seamless transitions between virtual images and physical presence. The program has been conceived of as a long-term narrative project, which will continue to shift and evolve with each new presentation.
The performance presents various positions and materials from the past and present, using the syncing of image and sound as a conceptual starting point. Here “sync” is explored metaphorically in order to address the integrity or believability of representation and modes of contemporary mediation. The program highlights the artistic practice of ‘unsyncing’ as a possibility for political engagement. Using both a selection of time based art practices and found artifacts extracted from our mediated landscape, it explores those gestures that utilize the failures inherent in the illusion of synchronicity as a strategy with which to forge new spaces for contemplation, agency, and beauty.
What is a Traveling Sync? It is the nightmare of the digital film editor, the late night film streamer, the internet-cafe skyper. The traveling sync is well known source of anxiety to all prosumers. You start watching a video and slowly the sound starts wandering away from the image’s pace, or the other way around. Synchronicity is broken, at some point it is lost completely. Two different compression rates resist the illusion that they are one in the same. The immersive experience the film promises slowly turns uncanny, forcing you to make a decision: when can a traveling sync no longer be ignored? What are the limits of spectatorship? At what point do you leave the cinema, press restart, Command Q?
A traveling sync sows the seed of anxiety in an immersive experience and then watches it grow. As transparencies slowly turn to opacities, new transparencies are revealed. The traveling sync interferes with the effort expended by the prosumer in filling the gaps of representation delivered through media technology. This is where disbelief can no longer be suspended, where you suddenly find yourself ejected from the immersive experience, looking at it from outside. The traveling sync is where the pains immaterial labor meet the material productive agency.
The screening program has been conceived of and curated by:
Beny Wagner is an artist based in Maastricht and Berlin. He graduated from Bard College, New York, in 2008 with a degree in Liberal Arts. He is currently a resident at the Jan van Eyck Academy, Maastricht, NL. His multimedia practice focuses on the convergence of language, perception, and material. He has exhibited internationally, with solo exhibitions at Import Projects, Future Gallery, Kleine Humboldt Galerie, White Columns. He is the recipient of the Sol Lewitt Award, and Nelson B. Delevan Award. He participated in Labour in A Single Shot with Harun Farocki and Antje Ehmann. His work has been featured in Artforum, Spike Magazine Quarterly, Frieze Magazine and Kaleidoscope Press. He has published essays in 60Pages and Block Magazin.
Imri Kahn is an artist and writer based in Berlin. He studied screenwriting at the Sam Spiegel School for TV and film, Jerusalem, and fine arts at Bezalel Academy, Jerusalem, and at the University of Arts, Berlin. He worked as an assistant for filmmaker Peter Przygodda, and collaborated with Hito Steyerl as a researcher and performer. His work focuses on the experience of remediation through technology and religion. His writing has been published in The New Inquiry, Post Digital Cultures and Kol Hair magazine, Jerusalem. His text “Your text here” is forthcoming from Baca publishing. Winner (with Lior Sharmiz) of “Best feature film”, at Achtung Berlin Festival 2010 and recipient of a Knispel Stipendium 2008.