FILM AND VIDEO FESTIVAL
Artists are increasingly exploring media technology. as this year‘s Edinburgh Fringe Film and Video Festival highlights. Susanna Beaumont discovers art in new places.
She‘s called (iash (iirl and announces: ‘I am my own freak show.‘ She ha invented a new kind ol society called Lambdo.\loo. which you can visit like a city. Bill as with any other city. you might not always like what you see - there are no directions about how to get there. just a Web site address. llere. (iash (iirl hangs-out in a kind ol' cyb'iroquc world olencottntet's and inter-actions.
(‘ttt the Net site. (‘ue the bedroom scene. (.ilasgow artist Ross Sinclair is singing a sotig about expectations as he slowly sways in front ol‘a mirror. Across his back is tattooed RliAl. Lll’li. The video camera recording this intimate vignette appears to eavesdrop. There‘s not an ottncc ol~ selli- consciousness aborrt Sinclair. l‘inishing his song. he turns round and switches ol'l'the video.
(iash (iirl and Sinclair are both set to l'eature in the Iileyenth Fringe Film and Video Festival (l‘l‘VF) in lidinburgh (Sash (iirl on the Net and Sinclair on video. Billed as the l'ls‘s largest testiyal of contemporary rnov ing image media and titled. Serving .S’ZI‘L'fc’t'X/liuil.\‘ it will be showing on lilm. television and computer screens. more than l3()()
Terminal case: Christopher Evans’ Selt-Help
works by artists including Bill \"iola. Damien llirst. Sarah Lucas and l)inos and Jake (‘hapmarr
For l"l’\'l" co-directors Becky" Lloyd and Dave (’umings. the six—day event is an opportunity to show the latest work by artists experimenting with lilm. \ ideo art and interactive electronic art. It has also attracted a record number of artists. When asked it they describe themselves as artists or l'ilmmakers‘. 75 per cent ol‘cntrants preler‘red the tag ol' artist
.-\rtists are increasingly working in lilm. \ ideo and on the Internet. Besides the [frills/i :lr/ S/mrr. currently showing in lidinburgh. two London shows
I’run/(tmnHurt/H at the l('.-\ and Spell/mum! at the
E Haywood ~ involve lilm and video works by 1 .i established artists. Yet Lloyd believes galleries have only recently geared up to this shill from more traditional media. ‘.-\rtists have been using lilm for years. but certain London promoters are treating it as something new.‘ she says. "l'he Scottish artist Daniel ‘ Reeves has been using lilm since the early 70s. btrt 3‘ 7 his work is rarely shown in Scotland.‘ Lloyd and ('uaiings believe the Fringe Film and \'idco l‘cstival can rectify this.
l‘unding bodies are partly to blame lot the lack ol e\posure. since they are ol‘ten relunctant to loud screen work as opposed to other media. belieyes 5 Lloyd. (ialleries ill-equipped l‘or showing screen works aggravate the problem a video tnonitor in a corner of a bright white space. w here viewing can be ; interrupted by visitors viewing static works. is not the best way to watch a video work. lr‘l-‘\'l5 w as - originally booked into two lidinburgh galleries. but is now screening work at the 'l‘ravcrse 'l‘heatre and the Filmhouse. ‘\\'hen we asked artists il‘ they minded their work being shown in a cinema or theatre they said no.’ says Lloyd. ‘l’eople should be able to v icw our work ll‘ottt a comfy chair.‘
l"l"\'l" will also feature an Interactive .-\rt Gallery at the Filmhouse. Bringing to Scotland for the lust time (‘l)-R().\l work streh as :l/II/ Rum by l.ornlon--bascd .'\nd,\' (‘amcron and :\tl.\ll';til;tll Linda llcmcnt‘s ('_\'/2('r'//e.v/i (iir/nmuster. it will also ol'l'er a menu ol'
Web sites to surl. Speaking 0/ Swim and .t Sum/1’ Slut/1713’ Sphere 0/ Serious ('u/Itm'. both curated by (iregor Muir. w ill be screened. and work by artists exhibiting in The Britt's/1sir/Show. including 'l’acita Dean. (iillian Wearing. (leorgina Starr and Sanr 'l‘ay'lor-\\'ood. will also be leatur'ed. linioy sitting comlortably. there‘s serious view ing time ahead lat/ililmr‘g/i'v Herc/till I’ll/rec I‘l/m .'\II(/ lit/(w law/[ml is from Tue If) Sun 3/ .vl/n: tile/druid I//.~’/ 55/) JAN for furl/Mr III/(II'IHHIIHII.
A smashing victim
‘ . .34,
‘ .g 3. A l The body divided: With All This Who Could Go Home? by Cary Peppermint
Peppermint, who’s wearing brushed
Edinburgh and we’re speaking on the
’ real nice pyjamas,’ says Peppermint, . ‘but I think everyone could use a ‘ fashion therapist.’
‘ Home?, screened as part at
changes gender. At one point he’s 3 smoking a cigarette and there is a
Peppermint, suitable outtit
. permitting, is also to appear in The
f Mashed Potato Supper at Edinburgh’s
7 Filmhouse. In a live link-up to New
York, he will be shown at home,
; serving a supper ot mashed potato and
vodka to seven other multi-discipline
. artists. ‘lt’s a lot to do with speed and
phone. But the question: ‘What are you t transcending the body,’ explains
wearing?’ has to be asked. ‘They’re ; Peppermint. ‘How to leave the flesh
behind, the taking in and getting rid
ot.’ Why vodka? ‘It’s a by-product ot
. the potato, it has purity,’ he says. ‘The Peppermint is not that hung-up about last time we did this, we drank too
style, but he knows that just looking in much vodka. This time I’ll try and
the wardrobe can bring on an identity monitor the consumption.’ Peppermint
crisis. In With All This Who Could Go , is also particular about the quality of
the mash: ‘It must be well-mashed so
there’s no extraneous chewing. Added
milk is acceptable, but no butter and
detinitely no ketchup or gravy.’
‘I think lam in perpetual need at a tashion therapist,’ says Cary
cotton blue polka dot pyjamas that once belonged to his late uncle. Not that I can see Peppermint. He’s somewhere in New York, I’m in
Edinburgh’s Fringe Film And Video Festival, the 26-year-old multi- discipline artist appears naked, his body divided into tour. Clothed in an assortment ot mis-matched outtits, like a paper doll from the side of a cereal box, his body occasionally
Cary Peppermint’s With All This Who Could Go Home? is exhibited as part a of the Interactive Art Gallery at the Edinburgh Filmhouse, Tue 16-Sun 21 Apr. The Mashed Potato Supper is at the Filmhouse on Sat 20 Apr, £2.50 (£2 .
sense of despair. At another, children stare — they could be calling him names.
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