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exhibitions


2014–2015

The Esker Foundation, Calgary (Terms of Engagement, Christine Conley, curator)

Agnes Etherington Art Centre, Kingston (Terms of Engagement, Christine Conley, curator)

Mount Saint Vincent University Art Gallery, Halifax (Terms of Engagement, Christine Conley, curator)


until the story of the hunt is told by the lion / facing horror and the possibility of shame is a meditation on the violent cultural realities that have brought about great dislocations, global migrations, and mixes of people –that have evolved the multiethnic, multicultural and multinational identities embodied in the postmodern global citizen. This work confronts the residues of violent conflict reflected by the artist’s 2011 experience traveling with the Canadian Forces peacekeeping service within the United Nations Mission in Sudan.

Like an energetic cloud, the electronic landscape lifts with the breeze –converges into the distance, vanishes to a point. The installation reveals the barren aftermath of yet another episode of collective armed violence –too far away to bear in mind. While the artwork was conceived in memory of the people of Kaldak, southern Sudan, who were the victims of this calamity, until the story of the hunt is told by the lion / facing horror and the possibility of shame challenges the viewer to enter the scene along with the artist and official witnesses. The field of 61 floor mounted colour photographic light panels is created with animated flexible electro-luminescent (EL) backlight media and forensic style atrocity photography. A controlled fade animates the landscape with high frequency breath. The images are supported by a simple, discrete scaffold system. The battlefield is principally composed of documentation captured surreptitiously by military observers who were dispatched to investigate the incident. Inspired by the narrative elements shared with the artist by UN officials, feldman-kiss completed the gaps in the record with photos captured during her 2011 tour of the United Nations mission to Sudan combined with selected images borrowed from internet photo sharing sites.

The four channel immersive soundscape is composed for playback by a multi-channel hyper-directional sound isolating loud speaker system. The composition provides audio context to support the encounter with the weathered residue of human violence. Four sound loops include a substantially redacted artist recital of a first-person witness account of the battle aftermath supported by three channels composed of open source elements –locusts and flies feasting, birds of prey vying for scarce resources and an synthetic ‘neutral male voice’ performing a statistical reading of world-wide battle related death tolls in reverse chronology from 2014 to 1989.

For more information about until the story of the hunt is told by the lion / facing horror and the possibility of shame and other works by nichola feldman-kiss please visit http://www.nicholafeldmankiss.com/projectconflict_culture.html.



nichola feldman-kiss ©2014

 

after Africa\ until the story of the hunt is told by the lion / facing horror and the possibility of shame, 2011-2013



61 digital photographs, multi-channel spatial sound composition, animated electro-luminescent back-light media, Durantrans media, loud speaker system, plastics, wood, electronics, programming, approximately 250 square feet. Kaldak Payam, Jonglei State, Sudan 2011.


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