MY LATEST ARTIST'S FILM, "TIDES"

My film project "Visible/Invisible" has finally been completed, after some delays. The (independent) third part, "Tides", was no doubt the most difficult one to put together. I collected clips throughout the summer and autumn and finished it all just after the holidays. The clips were mostly ones that I just felt like staging, not entirely sure how to put together in the end. Others I collected as I saw something that I thought could be interesting material. Then I had to figure out how to use filters and when to create my own colours and effects (all colours are mixed by me).

The sounds took a while to edit. As I have explained in previous blog posts, they were based on some material I recorded on my camera while in London, as well as the sound of some carillons and church bells and my own voice expressing disturbing sensations (which left my voice damaged for six weeks!). On top of that I used a vintage copyright-free recording of Verdi's Ave Maria, which I tinkered with to give it a personal and contemporary feel. 

Synopsis:

In "Tides", the third and concluding part of the trilogy, the contrast between objective and subjective reality come to the forefront. There is an almost unbridgeable gap between a person's subjective experiences and their objective reality. Jean-Paul Sartre stated that humans come into being in the eyes of the other. This fundamental truth is one I have carried with me all my life. Very often, the environment remains unaware of the agony of the inner self, but it is also often asked to remain hidden because of shame. Sometimes distress brings on a desire to cover up and to present a pleasing facade. Paradoxically, this facade also acts as a wall that can be hard to surmount, especially if there is no one there to assist. The film aims to raise questions to do with imprisonment inside the body and mind, identity, connection and social adaptation - issues many disadvantaged people face in today's society. How can society help its members overcome shame?

Perhaps the imagery doesn't seem to correspond with the idea of being disadvantaged, but that is actually the point. It's about invisible illness and inner distress. The issues of physical pain and not feeling comfortable within one's body regardless what it looks like, are crucial aspects of the film. It's also about trying to connect with nature, animals and other humans. The sense of connection is one of the most vital things about our existence - if not even a condition for life. Though establishing good connections isn't always very successful in the world today, it's still what helps us survive and overcome some of our fundamental loneliness. There is a looming sense of the finality and ephemeral quality of life that we can only overcome through acceptance.

Tides refer to the idea of the rhythm of life and the contrasts; imprisonment versus freedom, quaint versus dreary, beautiful versus ugly, emptiness versus fullness, connection versus lack of connection, togetherness versus loneliness, pain and illness versus health, sanity versus insanity... inner and outer, claustrophobic and open... in short, many of the fundamental dichotomies that define our dual experience of life. The repetitive music also underlines the rhythmic, cyclical quality and "eternal return" (or "eternal recurrence") of our experiences and affects.

"Whoever thou mayest be, beloved stranger, whom I meet here for the first time, avail thyself of this happy hour and of the stillness around us, and above us, and let me tell thee something of the thought which has suddenly risen before me like a star which would fain shed down its rays upon thee and every one, as befits the nature of light. - Fellow man! Your whole life, like a sandglass, will always be reversed and will ever run out again, - a long minute of time will elapse until all those conditions out of which you were evolved return in the wheel of the cosmic process. And then you will find every pain and every pleasure, every friend and every enemy, every hope and every error, every blade of grass and every ray of sunshine once more, and the whole fabric of things which make up your life. This ring in which you are but a grain will glitter afresh forever. And in every one of these cycles of human life there will be one hour where, for the first time one man, and then many, will perceive the mighty thought of the eternal recurrence of all things:- and for mankind this is always the hour of Noon". (Friedrich Nietsche, 'Thus Spoke Zarathrustra')

Stills:

Before Christmas I shared this project with a young person who was unable to understand why I would want to make films. Why make films when my collages are already personal and intriguing? As this person hadn't seen the complete films and was only judging a few images, it was an especially hurtful (or thoughtless) remark. The imagery and sounds make sense only when stringed together. Even then you sometimes wonder how people in general perceive this kind of thing. Perhaps they also fail to see the point. Learning how to do films was a big challenge but it opened me up. I felt that I had more means of expression, as more dimensions (moving image and sound) helped me create something that seemed to encompass more of life. Now I quite feel like making something in 2D again.

Some people also feel prejudiced against the tools provided by software, however I (along with my photographer parents and my husband) feel that they are just as valid as tubes of acrylic paints are for a painter, and how you use them is dependant on your talent and creativity. As I have said before, less choice (i.e. simpler tools) can be a good thing as it forces you to try harder and think your project through a great deal more.

I put my heart and soul into it and would hope that the message comes across, and does touch somebody out there. It's all done with simple means that come nowhere near the kind of gear that some people have. That certainly bothers me, however I do not wish to believe that this fact would be in the way of true, heartfelt expression. What defines an artist is surely their desire to keep exploring themes and media, and the wish to expand one's expression.

All three films are now available as a DVD!
For a sound artist who uses her voice in creative ways not unlike how I have been imagining using the voice, check out Iris Garrelfs.
The distressed voices may also bear some resemblance to Wahn by Tangerine Dream (from the album Atem)

MARINA ABRAMOVIC - THE CASE OF THE VICTIM AND THE PREDATOR, WHAT DOES IT ALL MEAN?

Marina Abramovic during her performance "Rhythm 0" in 1974

Art is somewhere between reality and fiction, and this is where it can sneak under your skin - it can jolt you out of your day-to-day routines and fixed behavioural patterns, as it's almost real but not quite. At best it allows you to experience new thoughts and feelings, even experiment with them, within a frame work that is usually quite safe. I think most serious artists wish to provoke, and while a lot of artistic provocation can be seen as simplistic and coarse sensation-seeking, some of it can have a real impact on a person's consciousness. Interactive performance art, for instance, can give rise to role play that helps you question your own value systems, boundaries and social facade. I would think that good art balances somewhere between pleasing and displeasing the audience.

You have to admire Marina Abramovic for her persistance in using her own body, over and over again, for over 40 years, as her main artistic medium. I still have much discover about her performance art, and so this time I will only concentrate on one idea. In fact, it's about a piece of performance that happened a very long time ago, back in 1974. What I'm interested in is the constellation "victim versus predator". It really got me thinking, when a friend brought it to my attention. 

You can hear about the piece Rhythm 0 here in this video clip. With a few objects at hand, Marina put herself in the position of "victim" by allowing people to do things to her, using the items provided. They related to pleasure and pain. After a while, the atmosphere became aggressive and quite scary. People became provocative - one person dug thorns into her belly, and another put a loaded gun to her head. 

It's easy to be judgmental of the people who gave in to their aggressions. I think there's a great deal more to this set up though. For one thing, Marina is challenging the safe framework of art itself by introducing a lot of realism by being there herself and meeting the spectator, eye to eye. This is challenging art itself, as the situation draws closer to reality than fiction. The other important thing is that we are dealing with a very deep psychological issue that runs as a red thread through all of human life - it's the constellation of victim versus predator. This constellation is so much part of our consicousness and we all have feelings connected to these archetypal energies. It's also one of those troublesome issues that tend to get out of hand not just because of the very origins of these energies, but because they are so easy to identify with. While there are some people who are survivors in the deeper sense, i.e. they have risen above the dichotomy of victim and predator, most people identify to a very large extent with one or the other. It must be noted, that this usually happens subconsciously or half-consciously. Unconscious attitudes are part of our Shadow self, as defined long ago by Carl Gustav Jung. Whatever is half-conscious naturally lingers on the edge of the Shadow. Sometimes people are truly haunted by their shadow selves... but it's not always possible to know what's going on since that's in the nature of subconscious issues!

Victimization is typical in today's world, as it's easy to blame others for our misfortunes. As long as people aren't able to take responsibility for their experiences and trials in life, they will play the blame game. The people that are blamed are of course seen as predators or aggressors in one form or another. The people "on top" often dispise the "victims", who are seen as weak and incapable of "fixing" their own lives. They are often seen as the parasites who live off society and other people. Of course, these opinions are often unfounded, and at least partly imaginary. For instance, disabled people may be weak if compared with able bodied people, as they are unable to fit into a world that is designed for the fittest. It doesn't mean that they necessarily feel sorry for themselves and would be unable to contribute to society if given a fitting opportunity. The fitter people aren't always predators either, as many people simply aren't informed about the real state of affairs in the kind of complex reality that we live in.

So how does the Shadow work in practice? Our reality consists of constellations, i.e. relationships, most notably that of opposites. The interesting thing about them, is that opposites are two sides of one coin. You cannot have one without the other. Very often this means that a person is biased towards one side but not the other. Because the other side is the opposite of what we like to believe in, we tend to shun it and avoid having anything to do with it. Ironically, the more we fight it the more likely we are to attract it. This is because opposites go together!

For example (this is using the constellation of victim/predator as an example, but the same idea can be applied to any other psychological opposites. Note that the predator could be called many things, for instance the ones "in control", or "in charge", or "on top". Generally speaking, a victim appers weak and vulnerable while the predator seems strong and invincible):

• People dislike a trait in others that they embody themselves, and this makes them feel "triggered" when they come in contact with those who own this trait. In other words, it's a trait they haven't owned themselves, but in order to become more mature they ought to start seeing it in themselves. This acknowledgment of the real state of affairs is crucial to healing. In fact, reconciling opposites in our psyche is how we evolve mentally, emotionally and spiritually.
• Opposite traits go hand in hand. A person who has a tendency to victimize themselves have an unconscious desire to be an aggressor, or someone who is "on top". They are often passive-aggressive as opposed to aggressive. An aggressor/predator, on the other hand, has a secret "inner victim" they don't want to know about, but therefore need to embrace. People with opposite traits are drawn to each other, as like does seem to attract like (or opposites attract each other, as is naturally also the case with these constellations, depending on how we look at it). They are going to push each other's buttons and things could get really ugly... if the situation isn't acknowledged and integrated into the psyche. This is the route to world peace!
• There doesn't have to be a perfect match. Appearances can also cause people to be triggered. If someone perceives of another person as a victim who is fond of victimizing themselves, it may only be half the truth. Compare this with the case of the disabled person I used as an example above - the one who may be condemned unjustly. It doesn't mean the disabled person doesn't ever feel sorry for themselves, because we all do sometimes, and it's okay, because we're human... but it may be a great deal less than an arrogant and not very clear sighted onlooker might think. Sometimes it's enough to embody just a little bit of a trait that another person hates, to make them go off. When imagination is at play, facts tend to get distorted.
• Can someone trigger other people without embodying their traits at all? It's an interesting question... I think you can be incredibly intuitive and pick up on people's weak spots. Only if these weaknesses really bother you, do you have a problem that you need to think about. If not, then you've repressed that trait in yourself very succesfully, or just happen to have a knack, i.e. you're just very perceptive. You might think it's a good thing to trigger others to react, but that sounds dangerously arrogant to me.

People who are marginalized or otherwise in the position of the underdog, will feel victimized at times. This is a natural feeling, but it becomes unhealthy when there's too much of it. The same goes for the opposite, which is that people who are powerful often have bloated egos and have many weak spots that have been covered up. In the world today, this constellation is prevalent and very taught. It desperately needs resolution, but this can only be acquired through compassion towards the self and others, as well as mindfulness and awareness of one's self. Self-knowledge is the key, as it's the route to a greater understanding of one's own real strengths and weaknesses. One needs to admit, that as a member of the human race we are naturally at times victims and predators, and that feelings such as vulnerability and anger are all natural. 

In short, looks can be deceptive - some people have a lot on their plate which naturally leads to many complex emotions and inner experiences in general, and change becomes more difficult. Such a person can appear weak from certain points of view, when in fact they are incredibly strong for holding it all together. Perhaps art can help express these ideas so that people get jolted out of their habitual attitudes and behavioural patterns... whatever helps rise such issues into consciousness seems like a noble pursuit to me.