haus: Boros Collection

We're going in.
Bunker in East Berlin: The Boros Collection.

www.boros-collection.com

after shot:
"yeh, that was awesome."

Now.. beer.

Q&A with Keith Telfeyan: video art

Gallery captions fanclub?

It's always nice to know the name of who made something. It's also great to know the title, as artist's often use the title to imbue the work with deeper meaning. A year created and materials used seem appropriate, I suppose. Beyond these simple things, I think any other blurb about work is usually gratuitous. The most crucial information should be evident in the art. If the curator feels the need to explain something, whether it relate to the work or the audience, so be it. Often, though, the audience will lean too heavily on what's written and not enough on the work itself.

Your own video work?

My video work exists on the Internet, but not necessarily because it should. It is not the ideal way to watch the sort of videos I make. I have shown work in theaters, which I think is great. Not all video art belongs in an auditorium, but I like to think that many of my pieces can command that sort of 'ultimate viewing experience.' I want my work to have a viewer's undivided attention. That's hard to do online. In a gallery, I like to maximize focus on the video by emptying the room of any other distractions: walls as bare as possible, external sound muffled, etc. General white cube gallery etiquette. I like using projectors and screens, depending on the work. These materials have meaning. What other contexts exist for video? Computer screen, projection, television screen, bedroom setting, gallery setting, theater setting... Outside can be cool, I suppose.

Full reel viewing or just a glimpse?

It depends completely on the video. Working with time is so exciting because people always expect something else to happen. Artists play with this expectation. After viewing enough film/video in one's life, you get a good sense of how to read these things. Is there a narrative structure here? Will there be a payoff? Or will it maintain this same situation and mood perpetually?

I do not believe that video art need to be viewed in any specific way generally, but as a viewer, I will read the clues involved and make up my mind given its parameters. Generally, if there is a posted showtime or formality to the screening, it should be viewed longer. If it's more casually set up, it can be viewed shorter. The main rule is this: Watch something as long as you like. Keep watching if you're inclined (whether that be out of curiosity or enthrallment).

Sit or stand?

Context is key with everything. The context in which you experience the moving image often dictates how one feels about the piece. Like, watching a movie in a theater from the front row, head tilted up, will often ruin your experience, even if you thought it was a good movie. When I enter a space that shows moving images, I respond to that space. Does it want me to sit on a bench? Are people already occupying that bench? Should I just remain in the doorway? Should I stand at the wall or sit on the floor? I notice these things almost before I notice the work itself.

In general, all video work in galleries should be shown as the artist intends. For my videos, that would mean: as comfortably as possible, with ideal image size and volume level. Some video artists build discomfort or other barriers into the artistic experience. It makes sense for certain pieces to be viewed on one's feet; others offer you a couch or even bed to watch it from.

Once I am actually absorbing the piece, I will decide how long to commit to it regardless of my physical position. If I decide it's bad or just not for me, I'll get up even if comfortable. If I'm loving it and the room is crowded and seats are taken, I'll stand as long as possible to remain in its trance.

Friday 12/07/2013

haus: carousel

on a carousel...

art: stucco feet

"Damn. Walking all day around this museum, my shoes have given me blisters."

art: best foot forward

Yep, we've all been here. Can't afford a model? You can always paint your foot.

haus: contemporary art

contemporary art: "giant tower of weird." -Ash.

Miguel Inumerable

Dickson Schneider

Name: Dickson Schneider

Alias: the chessman

Nationality: USA

Gender: male    

Year of Birth: 1955    

Height: 5'10"

Weapons: all media

Gang: tapir

Motive: Free Art for the masses

Alibi: to change how art is valued, considered, experienced.

Ivan Sukovic

Name: Ivan Sukovic
Alias: Radovan
Nationality: Montenegrin

Gender: Male
Year of Birth: 1981

Height: 188 cm
Crime: digital art
Gang: Prenzlauer Berg
Weapon: multi-media
Motive: Der Himmel über Berlin
Alibi: ART is the ALIBI

Francesca Ulivi

Name: Francesca Ulivi
Alias: FU
Nationality: italian
Gender: female
Year of Birth: 1990

Height: 5' 2''
Crime: multi-media
Gang:  Müggelstrasse
Weapon: multi-media
Motive: BERLIN
Alibi: i believe in art
Officer’s Statement:     .^^^.   <---->  .!!!!!.

Sebastien Pesot

Keith Telfeyan

Name: Keith Telfeyan

Alias: Keith

Nationality: USA

Gender: Male

Year of Birth: The 80s

Height: 6'

Gang: Tapir

Crime: Film/Video & Photography

Weapons: Cameras and computers

Motive: To make an experimental film about the poetic & sublime

Alibi: I identify with visual world of the beautifully prosaic. My impulse is to capture the light of that world and organize it into my own emotional expression.
Officer’s Statement: Propensity toward intoxication, socializing and spending too much time on the Internet

Ashvini Ray

Name: Ashvini Ray

Alias: AshRay

Nationality: Australian

Gender: Female

Year of Birth: 1990

Height: 168cm

Crime: Sculptor/Installationer

Gang: Tapir

Weapon: My bare hands and the assistance of stolen/imported materials

Motive: Residency

Alibi: I like making things.

Officer’s Statement: She likes making things.

haus: i spy

Is it a bird? Is it a plane? No, it's curious sunglasses.

art: eraser rash

eraser rash:

art: energy conservation

This guy has the right idea. 

ARTWORKS NEED YOUR GENEROSITY IN RAISING AWARENESS TO THE INADEQUATE MOBILITY SUPPORT PROVIDED IN GALLERIES TODAY. NOT ALL ARTWORKS HAVE THE CAPABILITY TO COMMUTE UNAIDED IN SOCIETY. THANK YOU FOR YOUR DONATION.

haus: the never ending gallery

This place goes on & on & on & on & on… I think the architect likes vanishing points. 

Dickson: "I did it! I found the end!"

Guard: "He must have come from the outside. I've been standing her for so long. I miss the sun."

at the Hamburger Hauptbanhof

haus: bright idea

During the artist's talks, someone has a lightbulb moment. Its a pretty bright idea.

art: mother of an artist

mum: "Son, you need to find yourself a real job."
  son: "Shucks. What am I doing? Do I have what it takes to be an artist?"

art: that's a relief

"Now men, we're in a gallery here, look cultured."

art: holy crap

Apparent holes in the artist's memory...

Alice Stokes

Name: Alice Stokes
Alias: Fräulein

Nationality: Australian

Gender: Female

Year of Birth: 1987

Height: [no idea]

Crime: blogger and drawer

Gang: Tapir residency

Weapon: 0.3mm Drawing Mechanical Pencil

Motive: Internship (Master of Art Curatorship, Sydney Uni) & Residency (escaping Sydney-town, Australia)

Alibi: "I like to draw"

Officier's Statement: advanced-staged-addict/user of bad jokes