|Artists showing works at ramfoundation|
|Sol Archer (NLD)|
Archer primarily works with the moving image, building a co-extensive space where the intersections of global and local narratives reveal themselves in the residues left in bodies and spaces. The images, memories and records of people on whom these overlaps settle in the form of event, trauma or change become story, where the teleologies of nation, war, trade, technology, progress, and peace reconstitute the local microcosm, and how the impossibility of picturing this sublime difference of scale can be represented.
Commandeering tropes and techniques from documentary, and the aesthetics through which these techniques make questionable claims to truthfulness; the appeal to archive, the ‘talking head’ interview, the roaming ‘observational mode’ of cinéma vérité, the journalistic address to camera, and the instrumentalisation of conversation as a site of production. With editing manoeuvres of musical pacing, black slug, and the material qualities of digital editing Archer corrupts these techniques and chronologies to focus on the poesis of film, the construction of memory and the making material of systems of power.
If, for example in Death comes Home to Farm, 2014, a nuclear bomber falls from the sky and destroys your home with you in it, what does that singular trauma become and how does it continue to perpetuate, sustained in memory, in telling, in scars on the body, in transmission to your children and your children’s children. The way it metastasises through a community; village, town, family and how it articulates against the record made at the time. In ‘Death comes Home to Farm’, against the military inquest, and contemporaneous eyewitness accounts made within days of the crash with the technical requirements of the official register, privileging the seen, the chronological, the mechanical, and the subdued tones of legal, military, and engineering language.
Dispatches from Futureland is a situational study of the inhuman scale and constructed spectacle of international industrial sites, and the theatrical spectacle of unionised demonstration against it. The film operates in the future orientated a-temporality, and science fiction influenced aesthetic of capitalist futurism.
|Works by Sol Archer|
|Born of Concentration (2015)|
|Dispatches from Futureland - 2015|
|HD Video - 26 minutes (30 minutes with leader)|
|Kunstenaars elders / Artists elsewhere|
|Inge Rook interviewt
Marjolijn van den Assem en Wessel de Jonge en Rob Michels
|Judith Kuipéri: Het mannetje van Tomas Schats|
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