Today We Live. Curated by Ian White. With other films by Emma Hedditch and Jimmy Roberts. Oberhausen kurrzfilmtage, 2003
Convulsive Initiatives.Curated by Marina Vishmidt. Century Gallery, London 2002
The whole exercise was elaborating on the unfamiliarity, distance, excitement of the unknown that comes with approaching an archive that is found or an archive-in-emergence, collapsing the search and the production: search is already production. The idea of forgetting and rediscovering – approaching something that was forgotten and rediscovered between generations and collapsing it into the history of one’s personal process. How to document the present, how to hold it? Based on standard-8 footage found during a trip home to Peru that was shown to successive viewers in my bedroom with their conversations and responses recorded on video. Maps of the past as present, the present as its own archive, the relations between the pictorial and the real, remnants of a collective history made new as collective process.
A pattern of local work is set against a pattern of the State constructing community through the emergency of war and emergent modernism. Revolution: document as education of the idea it records in action. Community is the indivisible location, the State’s own home ground made a state of mind. The indivisible location is the cinema as the final locale, our local. “Each element of an anagram is so related to the whole that no one of them may be changed without effecting its series and so effecting the whole. And, conversely, the whole is so related to every part that whether one reads horizontally, vertically, diagonally or even in reverse, the logic of the whole is not disrupted, but remains in tact. (…) In an anagram all the elements exist in a simultaneous relationship. Consequently, within it, nothing is first and nothing is last; nothing is future and nothing is past; nothing is old and nothing is new (…) except, perhaps, the anagram itself. ”From the preface to An Anagram of Ideas on Art, Form and Film, Maya Deren, 1946. By Ian White