Kay Schuttel

Live 7.30 2014

My point of departure was to deconstruct the principle of film by separating its three key components: audio, imagery and time. By means of live performance and real-time playback or both:

If the wall would be the floor 2016

A room without gravity:

Moving the Frame 2016

Public become performers:

BeeldTaal 2015

An estrangement between the sound and image:

How are you 2017

Upon each encounter the phrase is replayed, each time emphasising the performance of language distanced from its original meaning:

Viewpoint 2016

Control the reality:

0:0 2015

Visual descriptions of physical spaces:

Déja Vu 2013

The effect of mediatised reality:

Live 7.30

Video- and sound installation with live performance, 07.30 min

An installation comprising an iPad placed against the window, framing a real-time ‘screening’ of what was taking place outside the window, three headphones playing the sound from the microphone I carried with me, and a digital timer. During a performance of 7:30 minutes I traced the space, entering and leaving the screen’s frame, while carrying a microphone to playback the sound of my footsteps over the headphones. As the live ‘recordings’ of sound and image become synchronised within the frame, the abstracted components come together instantaneously transforming my movement through the frame into film.

My point of departure was to deconstruct the principle of film by separating its three key components: audio, imagery and time. By means of live performance and real-time playback both in sound and on screen, I bring these key components back into relation with one another in a form that questions the principles of three-dimensional and two-dimension reality and representation. In this work I literally and figuratively trace the edges of the frame in the eyes and ears of the viewer, with the aim to heighten the audience’s awareness of mediated constructions and their effects on our perception.

Artist-in-Residence: DordtYart, Dordrecht

If the wall would be the floor

Performative audio tour, map and headphones, 08.00 min

A site-specific audio tour using the exhibition space as an installation to explore the perceptual experience of a room without gravity: allowing the imagination to work against the force of gravity within the space. Based on video material of astronauts in outer space, I explored rotational body movements that give rise to a sense of disorientation and weightlessness. The audio guide encourages the viewer to un-imagine left and right, up and down; just as in outer space, everything is brought into a slow, continual rotation: the wall could be the floor, the ceiling the wall and the floor the ceiling.

Using their body to steer their imagination, guided by the audio offering instructions for various physical and perceptual exercises, the viewer is co-creator of a new perspective of space: space without gravity. In turn, audience members become performers, transforming the space into a stage as they enact this gravitational shift in perception: sensing a new lightness in the release and turn of a limb, the slow flex of the spine, rotation of the head, taking a seat on the wall – or rather the floor. The accompanying map shows the walls to be the floor, further ‘unseating’ the audience with the illusion of walking on walls.

Group exhibition with the theme <Gravity: Eve’s, Isaac’s and Mine>

Moving the Frame

Live performance with audio tour, 07.00 min

A site-specific audio tour for the Vrijthof Plein in Maastricht. Members of public were given headphones through which they could hear detailed descriptions of bodily movements and postures that they were in turn invited to adopt. The headphones were also a visual reference to audio guides for tourists. The descriptions are based on my observations of postures and movements of people taking photographs in public spaces. As the audience follow the instructions on Vrijthof Plein an interesting convergence of actors comes about, those who are actually taking photographs and participants of the work who are concentratedly assuming the prescribed posture. The key difference being that the participants aren’t holding an actual camera.

The members of public become performers and their various postures form a choreography. However the performer is unaware of the particular action they are mimicking. Through the pace and detail of the description the poses become abstracted and the participant is unable to recognize the seemingly unconscious postures the body adopts when capturing a photograph or video. The apparatus directs the body and frames the view in such a way that these actions become unconscious. While we are taking a photograph, what is visible within the frame has our full concentration – not the posture our body assumes in order to see what we want to capture.

Artist-in-Residence: The Drive of Walking, Van Eyck, Maastricht

BeeldTaal

Five-channel video installation with headphones, 09.30 min, In collaboration with Susan van Hengstum

A five-channel video installation echoing a live AVRO Radio 4 interview with Van Hengstum and myself. Radio coverage with the aim to describe our artistic process for this visual artwork in words is mirrored by our visual description of the radio interview by means of a camera filming us from outside – looking in through the window of the Torenkamer (Tower room).

Radio 4’s incentive to facilitate the production of an artwork and discuss this as a part of their live programme would seem to come from a need to follow and gain insight into artistic processes. Yet paradoxically, through the medium of radio, the process can only be expressed in words while the subject is visual art. From this role as ‘their subject’, by turning our gaze back onto the radio makers, making a visual recording of this radio slot as a key part of our ‘artistic process’, this tension becomes magnified.

For the final video installation, the original audio of the radio programme is (re)combined with the visual material from the video camera. Through the combination of interior and exterior footage, an estrangement between the sound and image comes about; though they had originally belonged together they could never be perceived in this particular way. The work was installed in the former Film Museum in Vondelpark, where the original recording had also taken place. Through this mirroring of descriptions throughout its process, production and installation, the work brings a form of mise en abyme into effect.

Torenkamer Vondel CS ism Radio 4, AVRO/TROS

How are you

Site-specific performance (choreography and text), 30 min.

A choreography in which five performers walk in loops, greeting each other with the rhetorical question: ‘how are you?’ Referring to a film scene in the streets of American suburbia, the sequence is repeatedly enacted and literally rewound in real-time: the performers retracing their steps, walking backwards, to then start again from the top. Upon each encounter the phrase is replayed, each time emphasising the performance of language distanced from its original meaning.

Intrigued by the social codes and unwritten rules embedded in everyday exchanges, this intervention explores the performance of these three words on encountering someone in the street. The scene becomes a mirror reflecting the looped rounds of daily movements and the intentionally unasked and unanswered phrase: ‘how are you?’

Artist-in-Residence: Vermont Studio Center, Vermont, USA.

Viewpoint

Video- and photography installation, 3 hours video loop and 25 photographs.

A video work, observing tourists capturing the viewpoint-view of the Holy Mountain of Montserrat, accompanied by a series of 20 near-identical photographs of the tourists’ screens displaying their snapshots of the Holy Mountain. At this heavily visited viewpoint, I was captivated by the echoed repetition in tourists’ behaviour and bodily movements. Returning there daily, I was struck by how everyone took exactly the same photograph.
Besides the self-made snapshot acting as evidence for having been somewhere, my sense is that framing the image (as seen through a device) also offers the possibility to filter and ostensibly ‘control’ reality. The influence of this new way of perceiving has a huge impact on the behaviour and movements of tourists in public spaces. In this video it becomes apparent how these capturing devices direct the movements.

Artist-in-Residence: Can Serrat, Barcelona

0:0

1:1 Symposium, Het Nieuwe Instituut, Rotterdam. An audio track describing physical spaces, composed for the 1:1 Symposium about 1:1 scale models. In collaboration with Susan van Hengstum

With the principle of a 1:1 representation as our point of departure, we set out to create a work in which its representation takes place in the viewers’ imagination – without the existence of a physical equivalent. The participants of the symposium each received an MP3 player with headphones. The audio track consisted of ten literary passages giving visual descriptions of physical spaces. Based on these descriptions images are formed in the mind’s eye: a 0:0 scale model. This work is a research into the effects of audio in relation to imagery.

Déja Vu

Two-channel video installation with headphones, 05.40 min.

Two-channel video installation simultaneously screening ‘real-life’ conversations performed for the camera and reenactments of the same conversation between college students.

In various College Towns in Upstate New York, I asked students if I could capture their ‘real-life’ conversations on camera. After this initial (ostensibly authentic) take, I asked them to repeat their conversation in exactly the same fashion. What was striking in this process was the students’ effortless ability to perform this ‘documentary’ scene and then spontaneously repeat their conversations with uncanny likeness. Instinctively acting ‘natural’, ignoring the camera’s presence: understanding the principles of documentary or reality television was simply a given. By showing take 1 and take 2 simultaneously, I question the authenticity of their conversation in front of the camera, and consider the effect of mediatised reality and reality television. Have this generation become actors within their own lives?

Artist-in-Residence, Troy, New York. Screening Free Cinema at W139, Amsterdam.

Through video, photography and performance I explore the influence of mediated realities on our perception, behaviour and bodily movements. Erasing one dimension, the screen literally reduces our three-dimensional reality to a surface: a framed and filtered representation. My focus is on the performative aspect of our behaviour framed and dictated by the screen.

I deconstruct, abstract and reassemble key components from these media and their use – sound, image, frame, time, space, bodily gestures – and stage moments in which these abstracted ‘live’ and mediated components are recombined in altered forms or different contexts. Participants ‘play’ the role of themselves characterised by the medium; at times my own presence in the work is used to frame the transition between these different dimensions of reality and behaviour.

The works describe our unconscious and prescribed bodily postures, performed and abstracted language, and our tendency to frame in order to filter and ostensibly control our everyday in- and output: what we see, how we are seen and how we see ourselves. By separating, performing and recontextualising layers of representation and behaviour both on and off screen, I aim to describe the construction of these media and observe how they in turn describe us and our perception.

kayschuttel@gmail.com
Studio: LAB 111 (2.03)
Arie Biemondstraat 1091054 PD Amsterdam