Experimental filmDigital artSound worksPopGen Projectanonymous waves White Page GalleryTransitory EncounterWritingIndex and ArchiveAbout me

The Other Side


Perfect Users meet dadaland collective:

This film has been modified from its original version. It has been formatted to fit this screen.



The anonymous waves White Page Gallery is proud to present This film has been modified from its original version. It has been formatted to fit this screen. by Canadian film maker Khanhthuan Tran.

This film has been modified from its original version. It has been formatted to fit this screen. (2019) references contemporary instances of film appropriation such as Anne McGuire’s Strain Andromeda The (1992) and David Claerbout’s The Pure Necessity (2016). Two distinct layers of appropriated film are superimposed to depict a series of scenes showing people watching a disaster film on television. Together, this recontextualizes the original actors’ performances and mise-en-scene in an attempt to disrupt the surface illusion of reality, trying to break the image, and expose a hidden reality. The disaster film genre is thematically transformative: from destruction arises reconstruction, form follows function: disaster cinema is used as a metaphor for the transformation of film, from analogue to digital and the transformative process of modification within film appropriation.

Process One

#monalisa


The anonymous waves White Page Gallery is proud to present its inaugural exhibition #monalisa – a film by Jennifer Anderson and Vernon Lott (USA). Shot in slow motion over 3 days at the Louvre in Paris, and then edited down from 40 to 11 hours (the film makers had originally conceived a much shorter documentary but were so fascinated by the footage they left many of the takes intact), the film is an extraordinary document of our times. We are very excited to partner with Jennifer and Vernon to bring you this world premiere!

Jennifer Anderson and Vernon Lott's new experimental nonfiction film, “#monalisa,” immerses viewers in the pre-COVID-19 museum experience.

Each year, approximately ten million people visit the Louvre, and according to Henri Loyrette, the Louvre's former director, “eighty percent of the people only want to see the Mona Lisa.” But how many people actually look at the famous painting? Or do they just take a selfie? Filmed on a GoPro consumer camera, "#monalisa" is an interrogation of the relationship between art and technology.

Additionally, in a world where our attention spans are waning (a 2013 study conducted by Microsoft found that the average person's attention span was 8 seconds--one second less than that of a goldfish), "#monalisa" invites viewers to slow down and observe; to this end, the film was shot entirely in slow motion and the filmmakers kept the editing to a minimum--the longest shot is 45 minutes. As a result, the film turns visitors to the Louvre into works of art themselves. The film is a contemplation of human behavior and a meditation on looking.

"#monalisa" features cinematography by Nandan Rao and a wall-to-wall score by Peter Broderick and David Allred. At eleven hours, "#monalisa" might be the nineteenth longest experimental film ever made, and the score the second longest musical composition ever released. It's not necessarily meant to be watched from beginning to end. Viewers can click around on the link and watch it in any order.

gli

Cooking lessons with Nigella

West Cape


Selected for One Minute Volume 10 curated by Kerry Baldry 2020

Open call for the exhibition The Other Side



Open call for creatives working in any medium at any stage of their careers to submit work for the online exhibition The Other Side, curated and hosted by the anonymous waves White Page Gallery. The exhibition explores the themes of alienation, isolation and loneliness and poses the questions: What effect does new technology and political systems have on these conditions? What impact does the prevalence of these conditions have on a coherent society? 

Submissions close August 31 2020 and the exhibition will launch later this year. More information and submission form can be found at the anonymous waves White Page Gallery website page.

I fell in love too young

I fell in love too young to know all that existence under threatening skies the limit of my patience is a virtue to be cherished little ones and twos a crowd three monkeys swing high and low down rider on the plains of the desert served after the mainline shoots and leaves without saying goodbye to all that matters not to me myself and I want you so much ado about what I said last to arrive at your destination unknown to science and art intertwined forever in our hearts and minds over matters of the heart and soul dancer in the skies above us and them changes everything now and again you say what you really mean to me all the time and space travel to the city of orange days and purple nights in black chiffon and lace my shoes together we walk together down this road to nowhere man and woman together in holy grail drinking from the cup of chance encounters with strangers in the night of the long knives and forks in the road less travelled too far and away from home is where the heart beats to a different drum and bass caught in a river that flows and ebbs to escape it's past caring about you don't love me you have never loved mea culpa and all that latin festivals that go bang in small doses of life giving medicine that helps I need somebody all the time not just anytime sooner rather than later on this evening when the sun goes down on me forever in my mind that wanders through the twisting lane overtaking the rest of the field where poppies grow and bodies decompose this poem of love me tender is the night before us who wait for a dawn that never comes...

symbanity

Click on graphic to go to page

an idea that destroys


an idea that destroys is an 'automatic' poem that endlessly generates different combinations of words and phrases. A homage to Jean Tinguely. You can view the poem by clicking here...