VIDEONALE.scope #5

Scope #5
Kevin Jerome Everson, *IFO*, 2017

Retrospectives: Sharon Lockhart and Kevin Jerome Everson

In Filmclub 813 / Filmpalette / Temporary Gallery, Zentrum für zeitgenössische Kunst

A film series by Videonale Bonn
Curated by Katrin Mundt

The two artists who are honored in this year's edition of VIDEONALE.scope have more in common than their American origins. In their films, Sharon Lockhart (*1964 in Norwood, MA) and Kevin Jerome Everson (*1965 in Mansfield, OH) create portraits of our present day that bring together documentary, fictional and theatrical traditions in a formally independent way. They show us found places that become scenes in which real people act, who are always more than just "themselves". They work with staging and reenactment, creating stretches and condensations of time and playing with the materiality of image, sound and cinematic process to retell reality.

Sharon Lockhart
In her films, Sharon Lockhart proceeds from observations of found actions or scenes - children at play, farmers working in the fields, athletes training, an opera audience performing - and condenses them into cinematic everyday choreographies. They clearly echo the traditions of avant-garde and ethnographic film as well as postmodern dance. Through precise framing, the use of long, static shots, and subtle technical and dramaturgical interventions, she creates scenes that directly involve us as viewers inside, even if the places and actors are alien to us. Her works are characterized by a special temporality that turns the experience of seeing itself into an event, and a kind of stage-likeness that not only frames the visible, but also always brings the invisible and the excluded into play.

Kevin Jerome Everson
Kevin Jerome Everson's work revolves around the everyday life of the Afro-American working class in an idiosyncratic cinematic language in which documentary and experimental traditions are combined with influences from sculpture and painting. He creates portraits of people and places that, despite their proximity and intimacy, are always recognizable as a play with different forms of staging. His interest is not in the unfolding of a narrative, but in individual scenes - both found and orchestrated. The rhythms of the work, the aesthetics of routinely executed everyday gestures, the spaces and artefacts, ways of speaking and accents of his protagonists inside as well as not least the visible and invisible distortions in the everyday landscapes of America combine in Everson's films to form a visual atlas of communities in motion.

Videodocumentation VIDEONALE.scope #5

Program VIDEONALE.scope#5

Date
Title
Genre
Thu, 07.12.2017
19:30h

VIDEONALE.scope #5: Sharon Lockhart

Screening

Teatro Amazonas, USA 1999, 35mm, 38'

In front of us we see an audience that has gathered in the famous opera house of Manaus, Brazil. In a single shot about the length of the minimalist choral composition performed there by (for us) invisible vocalists, the auditorium transforms into a stage on which the anonymous audience gradually differentiates itself into individual protagonists.

Thu, 07.12.2017
20:30h

VIDEONALE.scope #5: Kevin Jerome Everson

Screening

Muhammad Ali speaks in front of television cameras about the future of his children; the eyewitness of a murder retrospectively describes the events; a basketball coach gives a flaming motivational speech in front of his players; a professor sums up the situation of blacks in America in front of colleagues: The films in this programme revolve around the question of how and where (inner and outer) attitudes are appropriated and passed on and how and where they can articulate themselves.

IFO, USA 2017, 16mm/digital, 10'
Eason, USA 2016, 16mm/digital, 15'
The Citizens, USA 2009, 16mm/digital, 6'
Sugarcoated Arsenic, Kevin Jerome Everson & Claudrena N. Harold, USA 2013, 16mm/digital, 21'
The Release, USA 2013, 16mm/digital, 5'
Ears, Nose and Throat, USA 2016, 16mm/digital, 11'

Followed by an artisttalk

Thu, 07.12.2017
22:00h

VIDEONALE.scope #5: Sharon Lockhardt

Screening

Goshogaoka, USA 1998, 16mm, 64'

For several weeks, Lockhart observed the training routines of a female basketball team in Japan before, supported by choreographer Stephen Galloway, she condensed them into six ten-minute dance scenes in front of a static camera. The cinematic image frames the gym like a stage on which one's own and the other's can meet, mirror and reconfigure one another.

Fri, 08.12.2017
19:30h

VIDEONALE.scope #5: Kevin Jerome Everson

Screening

Six films about workers and work, which tell of the seriousness and concentration of repetitive practice and execution of gestures, of work as performance, which, enriched by experience, reveals not only increasing routine but also individuality.

American Motor Company, USA 2010, 16mm/digital, 10'
Sound That, USA 2014, 16mm/digital, 12'
Century, USA 2012, 16mm/digital, 6'
Fe26, USA 2014, 16mm/digital, 8'
Three Quarters, USA 2015, 16mm/digital, 7'
Company Line, USA 2009, 16mm/digital, 30'

Followed by a talk with the artist.

Fri, 08.12.2017
21:00h

VIDEONALE.scope #5: Sharon Lockhart

Screening

Stagings of bodies in front of the camera, from screen tests in the studio to space and movement studies at work and in play: Lockhart's first film Khalil, Shaun, A Woman under the Influence works in its three chapters through variants of the clinically objectifying gaze and its appropriations in popular cinematic genres. In a backyard in Lódz, Poland, the artist developed Podwórka, a film about the appropriation of a place, together with the protagonists, a group of children. Finally, in , the observation of two Japanese peasants not only brings into the picture the field they cultivate as a manipulated landscape, but also the film frame as a playable space.

Khalil, Shaun, A Woman under the Influence, USA 1994, 16mm, 15'
Podwórka, USA 2009, BluRay, 32'
NŌ, USA 2003, 16mm, 31'

Fri, 08.12.2017
22:30h

VIDEONALE.scope #5: Kevin Jerome Everson

Screening

The Island of St. Matthews, USA 2013, 16mm digital, 64'

A cinematic approach to the landscape of Columbus, Mississippi and the nearby Tombigbee River, which last burst its banks in 1973 and flooded vast stretches of land. The construction of a canal subsequently created the artificial island to which the film title alludes. In conversations with residents, observant sequences, recurring performative and sculptural motifs, Everson reconstructs the region in the south of the USA from which his family comes, but from which she has no material memories.

Sat, 09.12.2017
16:00h

VIDEONALE.scope #5: Kevin Jerome Everson

Screening

Quality Control, USA 2011, 16mm digital, 71'

Quality Control observes workers in a large laundry in Pritchard, Alabama, in seven long settings: the rhythm of the machines, the choreographies of the same operations while ironing, drying, changing clothes, customer conversations and pause chats. An anachronistic place where work still seems to be organized according to strict Taylor principles. Everson's motion studies, however, do not record the economic efficiency of work processes, but their aesthetic efficiency.

Sat, 09.12.2017
19:00h

VIDEONALE.scope #5: Workshoptalk Kevin Jerome Everson

Artist Talk

Kevin Jerome Everson talks about methods, materials and central aesthetic and thematic points of reference in his work with film. He explains references to his practice in other genres such as sculpture and photography and the positioning of his work between cinema and exhibition space.

Sat, 09.12.2017
21:30h

VIDEONALE.scope #5: Sharon Lockhart

Screening

Lunch Break, USA 2008, BluRay, 84'

The assembly hall of Bath Iron Works, a shipyard in Maine. The camera moves in a continuous movement along a narrow corridor, in which the individual workers or groups spend their lunch break. A film that is almost photography, capturing and liberating our gaze at the same time as the soundtrack unfolds in real time. The film thus remains in the balance between the real and the fictitious, standstill and movement. The infinitely stretching pause: utopian promise or swan song to a vanishing world of work?

Date
Time
Event
Location
Genre

Thu, 07.12.2017

19:30
VIDEONALE.scope #5: Sharon Lockhart

Teatro Amazonas, USA 1999, 35mm, 38'

In front of us we see an audience that has gathered in the famous opera house of Manaus, Brazil. In a single shot about the length of the minimalist choral composition performed there by (for us) invisible vocalists, the auditorium transforms into a stage on which the anonymous audience gradually differentiates itself into individual protagonists.

Screening

Thu, 07.12.2017

20:30
VIDEONALE.scope #5: Kevin Jerome Everson

Muhammad Ali speaks in front of television cameras about the future of his children; the eyewitness of a murder retrospectively describes the events; a basketball coach gives a flaming motivational speech in front of his players; a professor sums up the situation of blacks in America in front of colleagues: The films in this programme revolve around the question of how and where (inner and outer) attitudes are appropriated and passed on and how and where they can articulate themselves.

IFO, USA 2017, 16mm/digital, 10'
Eason, USA 2016, 16mm/digital, 15'
The Citizens, USA 2009, 16mm/digital, 6'
Sugarcoated Arsenic, Kevin Jerome Everson & Claudrena N. Harold, USA 2013, 16mm/digital, 21'
The Release, USA 2013, 16mm/digital, 5'
Ears, Nose and Throat, USA 2016, 16mm/digital, 11'

Followed by an artisttalk

Screening

Thu, 07.12.2017

22:00
VIDEONALE.scope #5: Sharon Lockhardt

Goshogaoka, USA 1998, 16mm, 64'

For several weeks, Lockhart observed the training routines of a female basketball team in Japan before, supported by choreographer Stephen Galloway, she condensed them into six ten-minute dance scenes in front of a static camera. The cinematic image frames the gym like a stage on which one's own and the other's can meet, mirror and reconfigure one another.

Screening

Fri, 08.12.2017

19:30
VIDEONALE.scope #5: Kevin Jerome Everson

Six films about workers and work, which tell of the seriousness and concentration of repetitive practice and execution of gestures, of work as performance, which, enriched by experience, reveals not only increasing routine but also individuality.

American Motor Company, USA 2010, 16mm/digital, 10'
Sound That, USA 2014, 16mm/digital, 12'
Century, USA 2012, 16mm/digital, 6'
Fe26, USA 2014, 16mm/digital, 8'
Three Quarters, USA 2015, 16mm/digital, 7'
Company Line, USA 2009, 16mm/digital, 30'

Followed by a talk with the artist.

Screening

Fri, 08.12.2017

21:00
VIDEONALE.scope #5: Sharon Lockhart

Stagings of bodies in front of the camera, from screen tests in the studio to space and movement studies at work and in play: Lockhart's first film Khalil, Shaun, A Woman under the Influence works in its three chapters through variants of the clinically objectifying gaze and its appropriations in popular cinematic genres. In a backyard in Lódz, Poland, the artist developed Podwórka, a film about the appropriation of a place, together with the protagonists, a group of children. Finally, in , the observation of two Japanese peasants not only brings into the picture the field they cultivate as a manipulated landscape, but also the film frame as a playable space.

Khalil, Shaun, A Woman under the Influence, USA 1994, 16mm, 15'
Podwórka, USA 2009, BluRay, 32'
NŌ, USA 2003, 16mm, 31'

Screening

Fri, 08.12.2017

22:30
VIDEONALE.scope #5: Kevin Jerome Everson

The Island of St. Matthews, USA 2013, 16mm digital, 64'

A cinematic approach to the landscape of Columbus, Mississippi and the nearby Tombigbee River, which last burst its banks in 1973 and flooded vast stretches of land. The construction of a canal subsequently created the artificial island to which the film title alludes. In conversations with residents, observant sequences, recurring performative and sculptural motifs, Everson reconstructs the region in the south of the USA from which his family comes, but from which she has no material memories.

Screening

Sat, 09.12.2017

16:00
VIDEONALE.scope #5: Kevin Jerome Everson

Quality Control, USA 2011, 16mm digital, 71'

Quality Control observes workers in a large laundry in Pritchard, Alabama, in seven long settings: the rhythm of the machines, the choreographies of the same operations while ironing, drying, changing clothes, customer conversations and pause chats. An anachronistic place where work still seems to be organized according to strict Taylor principles. Everson's motion studies, however, do not record the economic efficiency of work processes, but their aesthetic efficiency.

Screening

Sat, 09.12.2017

19:00
VIDEONALE.scope #5: Workshoptalk Kevin Jerome Everson

Kevin Jerome Everson talks about methods, materials and central aesthetic and thematic points of reference in his work with film. He explains references to his practice in other genres such as sculpture and photography and the positioning of his work between cinema and exhibition space.

Artist Talk

Sat, 09.12.2017

21:30
VIDEONALE.scope #5: Sharon Lockhart

Lunch Break, USA 2008, BluRay, 84'

The assembly hall of Bath Iron Works, a shipyard in Maine. The camera moves in a continuous movement along a narrow corridor, in which the individual workers or groups spend their lunch break. A film that is almost photography, capturing and liberating our gaze at the same time as the soundtrack unfolds in real time. The film thus remains in the balance between the real and the fictitious, standstill and movement. The infinitely stretching pause: utopian promise or swan song to a vanishing world of work?

Screening
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