WHITE MOUNTAIN OG SCRIPTYCH
Er du nysgjerrig på hva arkitekturfilm er?
Architecture Film Festival London, ved Anna Ulrikke Andersen, gjester og kuraterer program med arkitekturfilm i fokus, og samtaler med filmmskaper Ollie Palmer som er til stede under visningen.
Anna Ulrikke Andersen vil kuratere en visning på AMIFF med de to britiske kunstnerne Emma Charles og Ollie Palmer som begge var del av festivalens konkurranse. Som tidligere Competition Director ved Architecture Film Festival London 2017 drev hun festivalens internasjonale konkurranse, som mottok 154 bidrag fra 33 forskjellige nasjoner. Hun var kurator av ”From Above”: et utvalg kortfilmer som ble vist ved ICA under festivalen. Anna Ulrikke Andersen er filmskaper, kurator og arkitekturhistoriker, bosatt i London. Hun arbeider med en PhD avhandling i arkitektur ved The Bartlett School of Architecture, UCL, hvor hun grunnla The Bartlett Film+Place+Architecture Docotoral Network i 2014.
ArchFilmFest London er en seks dager lang festival dedikert til arkitektur og film, grunnlagt av Charlotte Skene Catling og Manuel Toledo-Otagui. Festivalen finner sted annethvert år og består av visninger, utstillinger, symposium, workshop og en en internasjonal film konkurranse. Den første utgaven av festivalen, som tok for seg tematikken "Scale", fant sted på de to arenaene ICA og Bargehoues, Oxo Tower Wharf mellom 6. - 11. juni 2017.
White Mountain is a 16mm docu-fiction film is set primarily in the Pionen data center, a former Cold War-era civil defence bunker in Stockholm redesigned in 2008 by architect Albert France-Lanord as a data center to house servers for clients, which at one point included Wikileaks and The Pirate Bay. Starting by surveying the rough topography of the surrounding Södermalm landscape, the film gradually pushes beneath the surface, illuminating the ordinarily concealed network infrastructure. As the camera idles on the florescent-lit server stacks, issues of privacy, surveillance and digital sovereignty inevitably emanate. Located 30 meters under the granite rocks of Vita Bergen Park in Stockholm, the hydrogen bomb proof subterranean hub has been constructed with direct references to science fiction films such as Silent Running, and the classic Ken Adams set design. Part Bond villain lair, part retro-futuristic spaceship, fish and lush greenery coexist alongside the flashing lights of the data storage systems. Playing on the science fiction aesthetic and with poetic narration written by Jussi Parikka, White Mountain uncovers the varying forms of temporality brought about through an exploration of data space and geology. Gathering vibrational and electromagnetic sound from the rock face above the data center as well as deep inside the server room itself, a soundscape has been created both revealing and processing the reverberations of the hidden environment.
Emma Charles (b.1985) is a London-based artist. Working with photography, sound and moving image, her practice explores the way contemporary value systems of time, productivity and labour are altered through technological progress. Recently Emma has situated her research towards the materiality of the Internet, going beneath the urban veneer to uncover the hidden infrastructures within our technologically driven modern life. Emma holds a MA in Photography from Royal College of Art. She has exhibited and screened at Jerwood Visual Arts, London; Serpentine Galleries, London; ZKM, Karlsruhe; HKW, Berlin; Jeu de Paume, Paris, LUX and ICA, London and is the recipient of a 2015 & 2017 Arts Council England award, ZKM commission and has been published in ‘Reset Modernity!’ edited by Bruno Latour (MIT Press).
In Scriptych a couple attempt to communicate from afar using an interface which translates their movements into words. Structured across three micro-acts, Scriptych takes precision in choreography to an extreme, embedding sensors on dancers which measure their movements and control both the music and the words spoken aloud, in real time. The couples’ communication becomes increasingly fragmented as the piece develops, posing questions about the location of meaning in messages and movements, and the impossibility of communicating true intent.
Ollie Palmer (b.1985) is a British artist and filmmaker based in Rotterdam. He was artist-in-residence at the Palais de Tokyo's research lab, and holds a PhD by Design at the Bartlett School of Architecture, University College London on the subject of scripted performances. His work has been exhibited in galleries worldwide, including a large human computer at the V&A Museum, dancing ants at London Zoo and FutureEverything Festival in Manchester, and an over-knowledgable surveillance cameraat the Royal Institute of British Architects. He formerly taught at Masters level at the Bartlett School of Architecture and he is alumni of the Bartlett’s Interactive Architecture Lab.