Moshe Ladanga

Archive for December 2007

The Moving Image

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“In representational films sometimes the image affirms its own presence as image, graphic entity, but most often it serves as vehicle to a photo-recorded event. Traditional and established avant garde film teaches film to be an image, a representing. But film is a real thing and as a real thing it is not imitation. It does not reflect on life, it embodies the life of the mind. It is not a vehicle for ideas or portrayals of emotion outside of its own existence as emoted idea. Film is a variable intensity of light, an internal balance of time, a movement within a given space.” –Ernie Gehr, January 1971

After the assessments I’ve been thinking about my own motivations for pursuing this passion, and all the paths that take their root from it. When Ayhan came to the MA Forum he videotaped some interviews and he sent them back to us a couple of weeks ago. It is quite a surprise to watch it, watch yourself I mean, talking and explaining who you are as an artist and the slight hints of struggle that only you can read in your own body language, betrayed by your own video image- strange.

Which leads me to examine my own videos, the self-portrait in particular; I watched it again recently and again, my own hand betrays me. The techniques, the grain, the rhythm, all of them took the form not of an idea or concept that I have of myself, but a movement, an act. It’s as if I caught myself with my own eye, my own camera, not really knowing the shape, the form, the meaning of who I am. Filming yourself is like flinging a rope down a building you never meant to climb. Once you have the footage in your timeline, that rope is cut, the footage becomes its own snake.

Nikolas once told me that portraiture is all the same; you always end up painting yourself. This paradox, the eternal question of representation (is it art? is it true? or is it a cunning conceit?) always surfaces from the depths whenever I make something. From my experience the best thing you can ever do when confronted with this hydra-head is to throw it as far away as you can, release all the preconceptions, associations and attachments you have and start making the thing. Trust that the risk pays off, that whatever ideas you had about the thing (even the ones you worked on for months) will return in a better form.

What Ernie Gehr says so well comes from the practice of art, not just the thinking of art; in fact, I can go on and on about this (so does Katrin and Nikolas) and what I constantly battle with in this course is the never-ending pressure to prove my practice through the words of others, through the knowledge acquired, compiled, stamped, sealed and disseminated. It is quite maddening, having to think through other people’s thoughts so that you can claim your own.

But there is a twist to this- as much as I complain about it, the experience forces one to be keen, and the constant questioning does in fact make you very aware of who you are, what you want, where you want to go. It sharpens your instinct as well as your skill. And in no small measure, I began to cultivate a healthy dose of respect for work that takes more than an afternoon of staring and gawking.

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Martin Puryear (please go the MoMA website)

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Odilon Redon (MoMA)

The act of looking, of perception, can be actively engaged. It is not simple, this conscious act. Surrounded by simulations and swimming in the psychological residue of marketing tactics, it is growing more and more difficult to discern. What I hope to achieve in my own work is this, being able to create a space for people to look and see. The moving image I realize is a demanding art form, one that holds both the beast and the beloved, so to speak. My question now is, in a moving image collaboration, can this space be created?

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Written by mosheladanga

December 18, 2007 at 8:54 PM

MADA 1 Assessment Presentation

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Moshe Ladanga

MA Digital Arts

Camberwell College of Arts

University of the Arts London

December 5, 2007

 

 

*Please click on the images

 

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Drawings

 

 

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Exposure as Identity

 

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Video Studies

 

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Studies on Symmetry

 

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Collaboration

 

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Paper Work