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Layla Curtis | Juneau Projects | Andrew Kötting | Back to REVOLVER homepage
|REVOLVER Part 1| Layla Curtis, Juneau Projects, Andrew Kötting | 5–23 September 2012 | Private View: Sunday 2 September 2–5pm|
Layla Curtis, Tong Tana, 2012
Layla Curtis spent four weeks in the rainforests of Borneo with the semi-nomadic Penan – one of the last surviving hunter-gatherer tribes in South-East Asia and acknowledged masters of tracking and hunting.
Her intention was to obtain point of view (POV) video footage of a Penan hunter’s solo journey with blowpipe and poisoned darts through dense jungle near Ba Jawi, one of Borneo’s last remaining pristine rainforest wildernesses. A Penan hunter agreed to go out with a head mounted camera as well as binaural microphones – designed to accurately record sound as experienced by the human ear – and the resultant recordings provide the material for this project.
I aim to place the viewer in the centre of the action and thus experience the journey from point-of-view of the protagonist. I aim to create a heightened sensory experience for the viewer and create an immersive viewing experience within the gallery space. Each of the films will comprise of a single take of POV footage – the content and pace of which will be entirely dependent on the self-determined course of the hunter.
Tong Tana is supported using public funding by the National Lottery through Arts Council England.
The artist would like to thank The Penan of the Upper Baram River, Sarawak, Borneo for their generosity and hospitality. In particular special thanks to Misa, Dennis and Sia. Thanks also to Lukas Fort and Craig Vear for all their continued support and advice and to Maxwell Clark, Tom Hewitt, Mike Prior-Jones, Gennie Rose and Peter Sercombe. Tong Tana was sound mastered by Craig Vear.
Juneau Projects, Čapexagon Series and Sleepwake, 2011
The system is set up to allow us to paint en plein air using the robotic arm: the arm is powered by a laptop and we are able to paint with it for as long as the laptop has charge. The system was initially conceived by us in an attempt to consider some of the aspects that are involved in producing paintings as a duo. There is a constant act of translation that takes place between us when we are painting and, with the Čapexagon works, this process is physically manifested in the robotic arm.
Juneau Projects are represented by Ceri Hand Gallery, London.
Andrew Kötting, Klipperty Klöpp, 1984
Klipperty Klöpp is a film of the artist repeatedly and energetically running round a field in Gloucestershire pretending to be a horse. The record of this activity is accompanied by a soundtrack where certain phrases, some from the artist, some from written texts, can be made out from layers of sound.
In all Kötting's work, there is a more or less active reclamation of deep strains of popular experience and folk memory for the digital age. His project, vitally, operates against the hollow ordering of reality and existence. He is closer to the Native American Coyote, to the trickster, harlequin and knave in his operation than to the career 'administrator' artist. He is most adept at 'making do', at mining the creative possibilities of material or structural limitation to invigorating effect.
Surpasses even the 'Running-Jumping-Standing-Still Film'... a dada classic.