Kill Your Timid Notion 10
Our last KYTN festival was a mixture of investigation groups, live performances, screenings and installations at DCA. The festival looked to strip music, sound, film and moving image back to their core ideas and explore them with artists and audiences. “One thing my films tend to do is examine a property or quality of a film in a radical way. Being radical is a modest form of being extreme. They each examine an axiom of cinema¹ and say, ‘What if?’” Taking a cue from this quote from Morgan Fisher, the last KYTN festival brought together open-ended proposals for image, sound and dialogue to be explored through investigations, performances and talks.
ReadWhat we said at the time:
We have little to no idea as to how KYTN will go this year, and that’s deliberate. We don’t want to know, we want to find out. Instead of knowing in advance what is going to happen, we want to ask people (artists, you, ourselves…) to make some simple proposals that we can then all investigate and see what we can produce, together. We humbly submit KYTN as an attempt to (or a have a stab at it at least): do what Morgan says above, strip back music & sound, film & moving image to their core, think about how they might be refocused and used to say something about the world we live in now, test afresh and for ourselves the implications of the radical concepts these art forms are built upon.
So maybe art isn’t some object or performance or film or whatever that you look at: it’s the process that produced it. And so…
From Mon 21 – Fri 26 Feb we’ll be hosting a bunch of different ‘Investigation Groups’ that we’d like you to, well, investigate.
We want you to get involved in the processes used by the artists at KYTN this year, and maybe help develop those processes together. In fact, some of the artists might need your help in delivering their performance at the weekend.
We don’t just want you to come along and watch stuff, but if you can¹, we’d like you to come along and do stuff too. KYTN is a chance to get involved in the making and doing, undertaking and changing of experimental forms of music and film. The more you do, the more we’ll all (you, we and the artists we invite to Dundee) get out of it.
How well it goes will be up to you as much as it is up to us. So we’d like you to be involved.
1. An axiom is an apparently self-evident statement: a kind of starting point or truth, from which other systems can be derived and things worked out.
2. Radical concepts (axioms) which now have whole traditional systems derived from them (what is music and what isn’t, how audiences should respond to things and how they shouldn’t, how a film should be constructed, what the purpose of art should be….). But every system is derived by people (with specific interests) and so rests upon a whole bunch of assumptions (political, ethical, aesthetic…). Maybe you don’t agree with those assumptions? Maybe they’re holding us back? Maybe it might be interesting to address ourselves to those (pre-everybody-else’s-assumption) axioms again: today, here and now, together and draw our own conclusions…
KYTN 10 was featured by Sight and Sound which includes an interview with Morgan Fisher, written by Melissa Gronlund here. It was also previewed by Andrew Eaton for Scotland on Sunday here; Rosalie Doubal for the List here and Gareth K Vile for the Skinny here.
Programme Events
Festival Launch
Christof Migone Jarrod Fowler
Jarrod Fowler and Christof Migone kick things off with performances involving edible plants, a saw, dandruff, and Christof responding to the prompt: “as far as you can for as long as you can.”
Hotel Diaries 1-8
John Smith
These simple, one-take videos, relate personal experiences to the current conflicts in the Middle East via the most basic of means (a hotel room, a camcorder, John’s personal thoughts, concerns and convictions).
Investigation – Christof Migone
Christof Migone
Can we use sound, repetition and difference to personally and collectively engage with space, time and labour?
Investigation – Taku Unami
Taku Unami
With Taku we’ll carry out some simple proposals for doing almost nothing, for re-thinking sound with whatever comes to hand.
John Mullarkey
John Mullarkey
John Mullarkey sets in a wider context our understanding of Alain Badiou and Francois Laruelle, two of the most radical philosophers in Europe today.
Urban Peasants
Ken Jacobs
Do almost nothing: re-present (unaltered and arranged by chance) silent family home movies handed down to Flo, (Ken’s wife) and follow them with a “teach yourself Yiddish” cassette tape.
So Is This
Michael Snow
Investigate film as language, via the language of film reduced to the basic units of film and language. A film as text in which each frame is a single word.
Investigation – Loïc Blairon & Marc Baron
Loïc Blairon Marc Baron
Loïc and Marc are proposing a series of investigations into the tension between improvisation and recording and how it can be used to engage with different spaces and environments around Dundee
Lunch Break
Sharon Lockhart
A slowed down single tracking shot along a corridor as workers at the Bath Iron Works, (Maine, USA) take their lunch break.
Standard Gauge & ()
Morgan Fisher
A double bill of Morgan Fisher films that ask what can be achieved by a simple structural method of commenting on scraps of 35mm film, re-shot on 16mm film and what happens to meaning (if anything) when ‘insert shots’ are relieved of their original duty of providing crucial plot development for a variety of other movies?
Investigation – Summing Up
Summing up of the investigations with a reflection on what has been done that week and what could be done the next.
SpeedDataRadio
Resonance Radio Orchestra
A changing pool of people (40 or so at a time – artists, audiences, etc) talk for 90 minutes in a simultaneous series of open-ended round-table discussions, structured like speed dating, and mixed live as both a concert and for radio broadcast.
Video Times
Kevin Atherton
Conceived of as a dual publication, video cassette and booklet, to be presented as an installation. The content of the videotape is the artist watching television.
Sea Oak
Emily Wardill
A film installation as both allegory and investigation of The Rockridge Institute and their research into ‘framing’ and the use of metaphor within political discourse.
Mattin
Mattin
Taking a scalpel to the relationship between performer and audience: cutting something out to see what’s left, a drastic subtraction and shift of emphasis.
I never needed the metaphor until I started describing the real
Loïc Blairon
A simple, gracefully bold set-up to allow Loïc to trace connections: of comments upon comments upon comments, of sounds next to sounds next to sounds.
Smith/Stewart
Smith/Stewart
Smith/Stewart set up allegorical situations over which they often have little to no control, but which instigate explorations of dependence and trust, the body, sex and death.
Film Programme 1: Inventory
Various Artists
Noir & Perfect Film
Ken Jacobs Mirko Martin
A double bill of A (imageless) film of nothing but a sound recording and its transcription and a found film of news interviews about Malcolm X’s assasination, where the filmmaker decided to add nothing to it, except our attention.
Film Programme 2: Repetitive Actions
Emma Hart Guy Sherwin Morgan Fisher Various Artists
Setting up a minimal procedure to explore the interaction between a person and the (documentary) film/ video process. What initially seems simple ends up contrarily distanced and intimate, public and private.
Film Programme 3: Collective Actions
Various Artists
Individual experience separated by physical boundaries (of space, time or ability) suggested as communities of collective experience by (perhaps voyeuristic) artists.
Screening Room & Teatro Amazonas
Morgan Fisher Sharon Lockhart
A double bill. A simple first person, Dundee-specific tracking shot that approaches the cinema/ screen/ space the film will eventually be shown in and in Brazilian opera house, a fixed camera gazes at a local audience from the stage: a choir, hidden in the orchestra pit, sings and gradually fades to silence.
Hit Parade
Christof Migone
Can we use sound, repetition and difference to personally and collectively engage with space, time and labour?
Marc Baron
Marc Baron
Three speakers play back pre-recorded sounds, Marc listens and responds: “What is played is the imperfect witness of what I listen to (or maybe better, how I listen).”
Overheard (Suspension of Belief Sketch 4)
Resonance Radio Orchestra
There are core ways in which our listening to the radio differs from other kinds of listening. What happens when we pay attention to how we pay attention?
Poetic Justice
Hollis Frampton
A cinema of the mind, a film to take place in the viewers’ imagination(s).
Film Programme 4: Substitution
Various Artists
Acting at the minimum. Each film here substitutes one small thing for another, (ironically) transforming received meanings by the simplest of actions; often kind of funny too.
Film Programme 5: Catalogues
Various Artists
Are artists powerless in the face of technology? These often whimsical and amusing films are minimal technological interventions and appropriations but maybe also rigorous takes on the role of popular media and culture in our hyper-technological world.
Semiotics of the Kitchen & To Pour Milk into a Glass
David Lamelas Martha Rosler
Stripping back the domesticated ‘meaning’ of (everyday, mundane, kitchen) tools to reveal “a lexicon of rage and frustration.” Plus an allegorical use of mundane, everyday things as an examination of how meaning is constructed in film.
Film Programme 6: Production
Ken Jacobs Various Artists
The production of moving image (film) by the mechanically, unfalteringly repetitive manipulation of mass-produced materials (film), in order to explore three different allegorical representations (films) of repetitive human actions and labour under capital.
Film Programme 7: Duplication
Various Artists
Nothing if not repetitive, film is founded on the incremental succession of minute difference. But how does repetition of the same play out, and is it a tool to comment on the standardising repetition of the mass media?
Morgan Fisher – Screening and Chat
Morgan Fisher
Morgan Fisher is a filmmaker of great wit and charm who uses the tools of experimental film to dissect the basic presuppositions of commercial cinema.
Taku Unami
Taku Unami
Taku’s actions strip back musical performance to one of its original proposals: what is an action and how does it create a situation for spending time together, for paying attention?
Jarrod Fowler
Jarrod Fowler
What is the radical concept at the core of ‘rhythm’, expanded from simply musical or mathematical notions to encompass personal, social, collective rhythms?
Unstable, fragile but daring together
Emma Hedditch Howard Slater Laurie Pitt Liam Casey Mattin
Instead of the one-way monologue of normal performance, what would be the result of an actual collective dialogue? Where would it go?