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after Africa \ “So long, Farewell” (sunset) / a yard of ashes (continuous cross dissolve) / “Oh! How I hate to get up in the morning!” (sunrise), 2012


durational performance, video triptych, 3 channel projection, 3 parabolic speakers



 


after Africa \ "Oh! How I Hate to Get Up in the Morning" (sunrise) 2011-2012 

QuickTime movie:  loop (part 3 of multi-channel HD video/audio projection) 63:27 minutes

after Africa \ a yard of ashes (continuous cross dissolve) 2011-2012

QuickTime movie:  loop (part 2 of multi-channel HD video/audio projection) duration indefinite

after Africa \ "So Long, Farewell" (sunset) 2011-2012 

QuickTime movie: loop (part 1 of multi-channel HD video/audio projection) 49:07 minutes

Protected by a 360º dolly track set in a boreal cattle farm in western Quebec, an east African girl in colonial school dress performs in rounds on a 19th century German piano. The left and right videos are captured in a continuous-take in which the camera explores the girl, the piano and the field as the dolly travels continuously counter- clockwise for the duration of the sunset (Rogers and Hammerstein’s 1959 WWII musical The Sound of Music, "So long Farewell.") (left channel) and clockwise for the sunrise (Irving Berlin’s 1918 WWI anthem, "Oh! how I hate to get up in the morning!") (right channel). The child's disciplined recital is supported by a chorus of field crickets.


pianist: Deborah Dawit; girl in the field: Ruth Dawit; camera: Victor Poirier; sound recorder: Roland Simmons; dolly/grip: Christion Schnobb; production assistant/dolly: Andrew Smith; additional editing: Edward Folger


In the centre video a blue helmeted ‘military humanitarian’ outfitted for every hazard labours over a wide red broom and a yard of ashes in a multi-layered continuous cross-dissolving loop. The breath is laboured, the gesture is determined. Sound of approaching Antonov engines signal danger. Sudden violence erupts outside the frame. The sweeper keeps sweeping. The last cry is abruptly silenced. We are returned to the sweeper’s fatigued, but no less determined, gesture. The breath is laboured. The broom is heavy. Futility leaks through the cracks between the aural and visual elements.


camera: Victor Poirier; sound recorder: Roland Simmons; production assistant/dolly: Andrew Smith; additional editing and sound mixing: Edward Folger


nichola feldman-kiss ©2012



exhibitions


2015

Ottawa Art Gallery, Ottawa


2014

The Esker Foundation, Calgary (Terms of Engagement, Christine Conley, curator) http://eskerfoundation.com/

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

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


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