FRANCISKA LAMBRECHTS AND HONORÉ ∂’O
The duo Franciska Lambrechts and Honoré a'o have collaborated on a number of film and installation projects, the longest-lasting and most expensive being Instant Video at Our Age (2002-2004). For each version of the installation (previous versions were made for Kunstpanorama, Lucerne, 2000; Roomade, Brussels, 2002; and Programa Centro de Arte Mexico City, 2003), they shoot video footage of their immediate surroundings and then mentally structure and refine the images in the exhibition space, where they construct and deconstruct narratives from the video footage, creating a messy collage of images that become a film. In this way, each film is undone by the process of, making the next even as they comment on the proliferation of images in contemporary society. The piece is emphatically site-specific: the spaces in which the installation is built inflect the sprawl of elements used (projectors, light boxes, monitors, slide projectors...) while the nature of the institution itself (from low-budget art centers to more prestigious institutional settings) shifts its modes of presentation. Traces of all the different versions of Instant video at Our Age are inscribed in what is on view at any given moment. Even within a single presentation, the installation changes, announcing the passage of time through layers of taped lines that mark the place in which the screens, projectors or other machinery were located before they were moved. This constant re-making of the content of the installation blurs the divide between public exhibition and private studio and sets up unpredictable public interaction. And in the process, the idea and possibilities of film are transformed from mere mediums of celluloid or digital information to an element of sculptural experimentation. Fittingly, the duo's investigation into the impossibility of ultimately or definitively capturing reality results in no definitive version, no final film, and no fixed materialization.
-B.V./E.F.
http://www1.uol.com.br/bienal/24bienal/rot/eroteurdo01.htm
http://www.the-artists.org/ArtistView.cfm?id=F9BCF096-D04D-43F8-8AAFFD68D933B5EC
http://www.jahsonic.com/MarcelBroodthaers.html
http://www.galerie cartwright.com/honore.pdf
http://www.kunsthallelophem.be/php/incubation/nl/hon.php
http://www.muhka.be/toont_beeldende_kunst_detail.php?id=95&subbase=actueel&jaartal=
http://www.mechelen.be/stedelijkemusea/contour/lambrechtsdo.htm
http://www.hartware-projekte.de/archiv/inhalt/lamb.htm
http://www.argosarts.org/catalogue.do?bio=15
http://www.nikolaj-ccac.dk/aktivitet/say hello/billed3.html
http://www.mechelen.be/stedelijkemusea/contour/lambrechtsdo.htm
Honoré ∂'o (Born 1961 in Oudenaarde, Belgium; lives and works in Gent, Belgium), Franciska Lambrechts (Born 1967 in Ninove, Belgium; lives and works in Brussels, Belgium)
Instant Video , 2002-2004
Mixed media
Dimension variable
Courtesy the artists
Mixed media
Dimension variable
Courtesy the artists
The duo Franciska Lambrechts and Honoré a'o have collaborated on a number of film and installation projects, the longest-lasting and most expensive being Instant Video at Our Age (2002-2004). For each version of the installation (previous versions were made for Kunstpanorama, Lucerne, 2000; Roomade, Brussels, 2002; and Programa Centro de Arte Mexico City, 2003), they shoot video footage of their immediate surroundings and then mentally structure and refine the images in the exhibition space, where they construct and deconstruct narratives from the video footage, creating a messy collage of images that become a film. In this way, each film is undone by the process of, making the next even as they comment on the proliferation of images in contemporary society. The piece is emphatically site-specific: the spaces in which the installation is built inflect the sprawl of elements used (projectors, light boxes, monitors, slide projectors...) while the nature of the institution itself (from low-budget art centers to more prestigious institutional settings) shifts its modes of presentation. Traces of all the different versions of Instant video at Our Age are inscribed in what is on view at any given moment. Even within a single presentation, the installation changes, announcing the passage of time through layers of taped lines that mark the place in which the screens, projectors or other machinery were located before they were moved. This constant re-making of the content of the installation blurs the divide between public exhibition and private studio and sets up unpredictable public interaction. And in the process, the idea and possibilities of film are transformed from mere mediums of celluloid or digital information to an element of sculptural experimentation. Fittingly, the duo's investigation into the impossibility of ultimately or definitively capturing reality results in no definitive version, no final film, and no fixed materialization.
-B.V./E.F.
http://www1.uol.com.br/bienal/24bienal/rot/eroteurdo01.htm
http://www.the-artists.org/ArtistView.cfm?id=F9BCF096-D04D-43F8-8AAFFD68D933B5EC
http://www.jahsonic.com/MarcelBroodthaers.html
http://www.galerie cartwright.com/honore.pdf
http://www.kunsthallelophem.be/php/incubation/nl/hon.php
http://www.muhka.be/toont_beeldende_kunst_detail.php?id=95&subbase=actueel&jaartal=
http://www.mechelen.be/stedelijkemusea/contour/lambrechtsdo.htm
http://www.hartware-projekte.de/archiv/inhalt/lamb.htm
http://www.argosarts.org/catalogue.do?bio=15
http://www.nikolaj-ccac.dk/aktivitet/say hello/billed3.html
http://www.mechelen.be/stedelijkemusea/contour/lambrechtsdo.htm