about

what s on

exhibition
3,14LIVE
screening
performance
sound

past exhibitions
archive

upcoming

learn

 

 

 

 

Banner

Exhibition

The Blank Stare - 2013
14' 43" - HD-video

The Blank Stare is the last film in the silent film trilogy in which explores the inward gaze (introspection, reflection, daydrea-ming and magical thinking). The film consists of a sequence of five rooms in which people, creatures and spirits are all connected by their gaze. Here arises an inward look, for the characters in the film, but also for the spectator of the film. In a seamless linkage the film moves from a scene of an everyday waiting room to an observation room in a mental institution, what could be the prayer room of a religious sect, a company of creatures in the future and, finally, to a space where infinity awaits.

The Blank Stare does not have any spoken dialogue, but is supported by a sound environment and a music composition by Job Chajes. The sets were designed and build by Gabriel Lester.

Katrine Sunde
"I C"
Video screening
21.03.-04.05.14

Gabriel Lester
The Silent Trilogy
- The Blank Stare,
2013
- The Big One,
2011
- The Last Smoking Flight,
2008
Video
21.03.-04.05.14
Opening 21.03. 18:00

GILLES AUBRY
"L’Amplification des Âmes"

sound shower

L’Amplification des Âmes (The Amplification of Souls)
is an audio essay on the amplified religious soundscape of Kinshasa in the Democratic Republic of the Congo (DRC). In 2011, Aubry recorded the sound of several christian neo-pentecostal church ceremonies in Kinshasa. The use of powerful sound amplification systems is an essential element that contributes to the creation of new ‘urban religious identities’, while simultaneously sustaining some traditional elements.
21.03.-04.05.14

The Big One - 2011
17’ 24” – RED to HDV

The film depicts a grand spectacle, where a group of people partaking in the lottery rite, are observed as they proceed through the various stages of the ceremony and imagine destiny unfolding. The film depicts both man’s desire for change and a sense of (cosmic) justice, as well as the gaze inward, when the characters in the film seem to undergo an inner search, looking for what they could imagine would happen if they were to become the lucky winner. A lottery draw, a spectacle that follows the logic of narrative drama, without proposing a plot or characters.

Katrine Sundes´s work I C is an extensive series of photographic images carefully selected and sequentially presented as a slide show. The images are an abstraction, a term delineating to a method more than a style and movement. The abstraction is of our eyes abstraction of nature. The abstraction in photography proceeds in a reductive manner. The starting point is a complex situation, and by increasingly leaving out non-essential elements, moves on towards essential elements, to ‘pure’ knowledge. In this work, the centre of our eye.

Conseptually Sunde progress in an inductive manner. Her research is exploratory. She begins with an idea, in order to create a new complex of positions or typologies. We might say that the abstraction here transforms matter into something intellectual, while conceptually transforms something intellectual into matter.

The Eye is the organ of vision. The combination of pigmentation and pattern in the iris, makes each eye unique. This unique pattern in the human iris is formed by 10 months of age, and remains unchanged throughout one's lifetime. The probability of two irises producing the same random pattern is nearly impossible, and a distinctive iris pattern is not susceptible to theft, loss or compromise. When a human die, the pupil dilate completely and is no longer susceptible to light stimuli. Lack of life one sees in the eye. From historical times in the west, the eye has been viewed as the mirror of the soul. The eye revealed happiness, lies, sorrow etc., and while in traditional Chinese medicine the eye is used in diagnostics. The eye is the window of the heart.

One could also talk about the work in terms of microphotographs. With the microscopic vision and by focusing in on particular segments of a whole, it abstracts the objects to such an extent that they end up creating a very own world as seen in some of the images. The pictures they generate become autonomous images in their own right, the origins obscured in some of them.

Seeing such a large series of irises, and how they compare and contrast to each other, constitutes also as a form of structure-based images. Placing IC within New Topographic movement. With their pure form and pattern, each image is an object in itself. Any detail that might detract from the core theme is excluded, and distilled away. The work is made for comparisons of viewpoints. The eyes can be appreciated for their aesthetics, re-presented, and re-framed individually. However, it is the repetitive structure and how they relate to each other, that pure essence of the work.

The photograph can also be an expression of human ideas and symbols: a pictorial equivalent of abstract ideas, visions, hopes and dreams. «I C» as in «I see» and «Eye see» focuses on human relation and interaction. She poses a number of questions such as if we as individualists are able to see the other as just that, an individual. Do we see the other as is? Do we see them differently? Do we focus on only being seen ourselves? Are we like Narcissus, the beautiful Greek, who discovered his own refection and fell in love with it? Like fixated, not realizing it was merely an image, he became unable to withdraw his gaze and leave his reflection. He died staring at his own mirage.

Katrine Sunde combines photographic techniques – convincingly combined creativity and technical expertise to an impressive compositional degree. She has clear references to photographic history just as much as she strive to transcend it and move forward. The power of the work is the stark elegance of the images and the fascinating effect of repetition. IC does not necessarily demand explanations and instructions for us to perceive and comprehend them properly, but rather seek a direct, immediate and convincing pictorial effect. IC is simply accessible. The work draws an intuitive, spontaneous and enthusiastic response.

The Last Smoking Flight - 2008
23’ 44” – RED to HDV (2008)

A triptych – clouds, airplane and smoke – the film depicts a group of passengers in a small airplane trapped in time and space; on the way from somewhere on the way to nowhere. The passengers are gazing both inwardly as well as outwardly, and seen wrapped up in thought, lost as much in their imagination as the airplane is in time and space. The film meditates on the ephemeral: the way life and ideas eventually pass and fade away. Simultaneously this work is both a tribute and a lament to a highly potent and versatile symbol of the 19th and 20th century.

Gabriel Lester, the world-renowned artist, is for the first time, exhibiting his silent film trilogy. It consists of the following works: The Blank Stare, The Big One, and The Last Smoking Flight.

Gabriel Lester works impressively cross very diverse disciplines. This includes cinema, music, performance, installation, sculpture and architecture, with a strong theatric flare as a red thread tying his artistic oeuvre together. The artist is an innovator of the visual language. He speaks of his work in terms of «rom a desire to tell stories and construct environments that support these stories or propose their own narrative interpretation. » Distinctly the driving force of the artist’s practice is an investigation of perception and observation. In general, one could say that Lester practice is cinematographic without essentially employing film or video, but posing a fragmented and atmospheric exploration of the powerful narrative media and its qualities. Then again, when the work is filmatic, Lester perfects techniques like editing, cutting, repositioning and perspective to create tension, suspense and drama. The viewer is offered minimalistic and atmospheric abstraction which allude ways to relate to the world and focus on the means and aspects that constitute our perception and understanding of it.

Parallel with his exhibition at 3,14, Gabriel Lester also exhibits in the 19th Biennale of Sydney (21 March–9 June, 2014).