Tag Archives: video

Jerwood Drawing Second Prize Winner, Elisa Alaluusua

The winners were announced on 15 September of the Jerwood Drawing Prize 2015. The Second Prize of £5,000 was awarded to Elisa Alaluusua for her 7-minute video, Unconditional Line. She completed MA degrees at Manchester Metropolitan University and the University of Lapland before commencing her PhD at CCW. Her prizewinning video drawing depicts the take-off and landing of a flight.

Alaluusua said, ‘My drawing practice varies from graphite on paper to videoworks – both of which have played a part while I have been conducting my PhD research at UAL on the topic of sketchbooks. Often my work explores restrictions set around particular parameters, such as my large-scale 24h Drawings, completed in that time without sleep and pushing physical and mental boundaries. Unconditional Line “explores a line across the skies and recreates it on screen. This particular trip belongs to a continuum of invisible lines drawn between London and Luusua in Finnish Lapland. The lines on the ground speak their own foreign language of order and safety that should not be compromised. The video is a reminder of the experiences of our own journeys.”*

I have been using video for a long time now. At the beginning of the 1990s, in my art school we were the first year group completing our moving image projects on video rather than in film. Renting the cumbersome equipment was expensive, and we would use the linear editing machines around the clock. Over the years video has become an effortless means of expression for me where I work on my own on a project, planning, shooting and editing everything by myself. It is very much like composing a drawing with a more traditional media on paper – every mark or change works in a relation to the marks around it, the whole composition capturing time in the process. On the other hand, I truly enjoy collaboration such as running video projects – for example the Film/Video workshop for Westminster School’s annual PHAB course – or interviewing people for my videoworks. My final PhD exhibition will include thirteen such videoworks, and I look forward to putting that installation together in the spring of 2016.

There will be related events coming up on Friday 25th (SLAM FRIDAY: Artists’ Floor Talk) and Monday 28th September (SCREENING & PANEL DISCUSSION: A Singular Line) when I will be taking part in panel discussions.’ Tickets are free but need to be booked in advance on their website, using the links above.

EXHIBITION INFORMATION:

Jerwood Drawing Prize 2015
16 September–25 October 2015
Jerwood Space, 171 Union Street, London SE1 0LN
Mon–Fri from 10am–5pm, Sat & Sun from 10am–3pm Free
www.jerwoodvisualarts.org
Twitter: #JDP15 @JerwoodJVA

FROM LONDON THE EXHIBITION GOES TO:

  • Cheltenham Art Gallery and Museum: The Wilson (21 November 2015 – 31 January 2016)
  • Sidney Cooper Gallery, Canterbury (11 February – 9 April 2016)
  • Falmouth Art Gallery (23 April – 25 June 2016)

* Jerwood Drawing Prize 2015 press release

Top image: still from Unconditional Line, Elisa Alaluusua

Installation and the Moving Image

Film and video create an illusory world, a reality elsewhere, and a material presence that both dramatizes and demystifies the magic trick of moving pictures. Beginning in the 1960s, artists have explored filmic and televisual phenomena in the controlled environments of galleries and museums, drawing on multiple antecedents in cinema, television and the visual arts. In her new volume, Installation and the Moving Image, CCW Professor Catherine Elwes traces the lineage of moving-image installation through architecture, painting, sculpture, performance, expanded cinema, film history, and countercultural film and video from the 1960s, 70s, and 80s.

Sound is given due attention, along with the shift from analogue to digital, issues of spectatorship and the insights of cognitive science. Woven into this genealogy is a discussion of the procedural, political, theoretical and ideological positions espoused by artists from the mid-twentieth century to the present. Historical constructs such as Peter Gidal’s structural materialism, Maya Deren’s notion of vertical and horizontal time and identity politics are reconsidered in a contemporary context and intersect with more recent thinking on representation, subjectivity and installation art.

Elwes is a critic, curator and practitioner who was a pioneer of British video and feminist art politics in the late 1970s, who writes engagingly of her encounters with works by Anthony McCall, Gillian Wearing, David Hall and Janet Cardiff, and her narrative is informed by exchanges with other practitioners.

Professor Sean Cubitt of Goldsmiths, University of London wrote of the new book, ‘Critic, curator, historian of the moving image and artist, Elwes’ account of media installation is by turns authoritative, illuminating, intelligent and moving. Her eye and ear for the nuances of works and ideas, and most of all her emotional intelligence, brings her to the forefront of commentators on the most important art form of the 21st century.’

Discussing the book, Elwes said, ‘I was always fascinated by the spatial and sculptural possibilities of video, and back in the 1970s and early 80s I used monitors to create the windows of a house or the reflection in the “water” down a well. Where I enclosed and concealed the monitors in sculptural structures, other artists like David Hall and Tina Keane used the “box” itself as a building block for media installations that emphasised the specific nature of the technology. Once I started looking at other forms of media staging, works that used film, light, sound and live performance, I found that the whole history of avant-garde practices intersected in the “mongrel” discipline of installation art.

My approach to the book was that of a genealogist, tracing the various ancestors of moving image installation in sculpture, painting, architecture, performance and, of course, in the history of film and video. These come with their own cultural philosophies and social and political objectives. The question of spectatorship runs like a knotted seam through the entirety of the text, and I end with a consideration of what cognitive science can teach us about the ways in which we watch film, how artists and technologies “craft the viewing experience” (Tim Smith). My final word on the subject is a chapter in which I shift the discussion from the spectator to the producer of the work and ask, what’s in it for the artist?’

Installation and the Moving Image is published by Wallflower Press, an imprint of Columbia University Press, and is supported by CCW Graduate School. The book will launch on 15 June.