Latest video reviews
Grapefruit Parts by Sandra Louise Dyas and LeAnn Erickson
A second film by old friends Sandy Dyas and LeAnne Erickson for The Serendipity Project, which we introduced with their earlier video, fuze. In the description on Vimeo, Dyas notes, “This collaboration was inspired by Yoko Ono and the serendipity of chance. It is our second chance operation/collaboration, both were inspired by Yoko Ono and her book “Grapefruit”.”
As in fuze, Erickson’s selection of images and Dyas’s selection of sound clips do seem to be in conversation—an uncanny effect, which I think says as much about the nature of collaboration between seasoned artists who know what they’re doing as it does about the nature of videopoetry. One thinks of the famous quote by Louis Pasteur: “Chance favors the prepared mind.”
Most of us amateur video-makers quickly discover that random mixes of text, sound and images tend to result in little more than a vaguely poetic fog. One of the reasons that Dyas and Erickson don’t fall into that trap, I think, is because they deploy fairly limited vocabularies of images and words or phrases: poetry lives in rhythm and repetition. And viewers can be relied upon to fill in semantic gaps, because that’s basically what we’re doing all day long with snatches of overheard conversation and chance fragments of others’ lives, consciously or unconsciously looking for connective threads—and regularly stepping back to try to see larger patterns. Any good poet, whether for the page or the screen, understands this instinctively: you have to leave a certain number of gaps for the audience to fill or leap on their own. That’s how the poetry happens. And it’s definitely happening here.
Speech by the Leader on the Occasion of the Future by Jan Baeke and Public Thought
This 2020 videopoem by Public Thought with its lyrical and absurdist send-up of political discourse seemed like an excellent way to kick off the New Year. Dutch poet Jan Baeke and designer and media artist Alfred Marseille note in their description at Vimeo:
SPEECH BY THE LEADER ON THE OCCASION OF THE FUTURE presents images of speaking leaders in an outside world that ignores those images, along with the language and tone of political speeches and their poetic disruption in slogans and subtitles.
See the full text on the Public Thought website. From the notes:
Fragments and paraphrases in the text originating from the New Years Address to the Nation by Vladimir Putin, delivered on 31 December 2019, Tayyip Erdogan’s message on hanukkah, M.J. Cagumbay Tumamac’s poem “A Planned Brief Documentary on a Teenage Boy in a Badjao Village”, Bùi Chát’s poem “April”, Anne Carson’s “TV Men: Artaud”, and Sueyeun Juliette Lee’s essay “Shock and Blah: Offensive Postures in ‘Conceptual’ Poetry and the Traumatic Sublime”.
Audio and video fragments originating from the annual address to Russia’s Federal Assembly, by Vladimir Putin, delivered on 20 February 2019, the 2020 New Year’s speech by Xi Jinping, Speech by President Recep Tayyip Erdogan – Democracy and Martyrs Rally, 8 August 2016, Speech by Kim Jong-un at the Inter-Korean summit, 19 September 2018, televised speech by Kim Jong-un, 1 January 2018, Boris Johnsons’s speech: “I share the optimism of President Trump”, 3 February 2020, Donald Trump Memorial Day speech at Fort McHenry, 25 May 2020, Victor Orban at government news conference, 10 January 2019.
fuze by Sandra Louise Dyas and LeAnn Erickson
An experimental film that showcases the role of the viewer in creating videopoetry. As Iowa City-based visual artist Sandra Louise Dyas explains in the Vimeo description, ‘”fuze” is a collaborative video created for Homegrown Stories that relies on chance and serendipity. LeAnn Erickson (video) and I (sound) worked separately, only knowing the length of the piece and its title.’
Homegrown Stories has been nurturing creative collaborations for many years. This year we were interested in creating a more hands-on collaborative project among our loyal and talented collaborators. We invited sound and image artists who have contributed great work in the past to take part in this year’s Homegrown Stories theme – The Serendipity Project.
Twelve individuals were formed into six collaborative pairs. The pair of artists selected a title for their video piece and a designated length. They then worked separately with one collaborator creating a soundtrack inspired by the title and the other creating a silent image track. At a designated time, these two separate tracks were combined.
Using collage, organic image, music as sound, and a variety of structural schemes, these collaborative videos reveal the random magic of Serendipity.
The Serendipity Project 2024
Other videos for the project that don’t include text in their soundtracks are still well worth watching, but the magic here lies in just how well elements of the text do complement the imagery, culminating in a shot of a horseshoe crab which, as an environmentalist knowing something of the plight of horseshoe crabs, I found quite moving.
We’ve shared Dyas’ work here before: her 2016 videopoem River Étude. LeAnn Erickson, a professor of film and video production at Temple University in Philadelphia, is new to Moving Poems. Here’s her website.
Unseen by Sjaan Flikweert
Director Helmie Stil calls this “A poetry film about the feeling of isolation, struggle and being unseen.” A woman holds, releases and inhabits her breath underwater until she begins to seem less substantial than her suit of bubbles. The often-eerie similarity between Dutch and English is exploited to full effect, as the words on the screen meet their whispered counterparts for an effect at once intimate and menacing, especially as violence is described but not shown, and the viewer struggles to interpret the actress’s struggle: Is she swimming or drowning?
The poem is by Dutch spoken-word artist Sjaan Flikweert, and a final line of text, which appears after the poem seems to be done, reads, “1 in every 5 women endures domestic violence.” Then the title appears, this time to translate not a spoken Dutch word but only a sharply indrawn breath. A stand-out videopoem.
Laurels/Les lauriers by Daniel H. Dugas
A wonderfully subversive new videopoem by Canadian poet, digital artist and musician Daniel H. Dugas, who introduced it in a public post on Facebook:
I have been thinking for a while about the mechanics and implications of submission fees when applying to moving image festivals. I favour the open model, meaning that submissions are free and no prizes are given. I feel that sharing with others is enough. I admit that it is always nice to win a prize, but if everybody has to lose something in the process, it might not be the way to go.
So, I made a videopoem about fees and laurels (see link below for the English and the French versions). During my research I stumbled upon Stop Charging (And Paying) Submission Fees by Martha Knox, an artist from Philadelphia. It is enlightening and to the point. I encourage you to read it. It might change the way you see the world. https://wordsonwoodcuts.blogspot.com/…/stop-charging…
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Synopsis 𝘓𝘢𝘶𝘳𝘦𝘭𝘴
In Ancient Rome, laurel wreaths were worn on the head to symbolize triumph. The meaning is the same today, but if you want to get laurels for cinematic prowess, you must wage your artistic war on screen and pay a submission fee. Then you might get the ‘Best’ laurel for the category you applied under. Of course, some festivals don’t subscribe to this “Pay and Play” philosophy, and that’s excellent! And then, some festivals don’t charge entry fees and will even pay the selected artists!
Synopsis 𝘓𝘦𝘴 𝘓𝘢𝘶𝘳𝘪𝘦𝘳𝘴
Pour les Romains de l’Antiquité, les couronnes de laurier étaient portées sur la tête pour symboliser le triomphe. La signification est la même aujourd’hui, mais si vous voulez obtenir des lauriers pour vos prouesses cinématographiques, vous devez mener votre guerre artistique à l’écran et payer des droits d’inscription. Vous obtiendrez alors peut-être le prix du “meilleur” dans la catégorie à laquelle vous avez postulé. Évidemment, il existe des festivals qui ne souscrivent pas à cette philosophie de « Pay and Play » et c’est tant mieux ! Il y a même des festivals qui n’exigent pas de frais d’inscriptions et vont même payer les artistes sélectionnés !
