As a strong believer in new forms of ‘collection outreach’, I’m very happy to have been part of an exciting collaboration with the prestigious Art and Design Academy ArtEZ in Arnhem. This year we commissioned an art work to Michelle van Ool, studying at the Interaction Design Department of ArtEZ, who was asked to find inspiration for her work in our collection. The brief was to engage with the material aspects of our film collection and to bring them under the attention of a wider audience. Without concrete goals in mind, we encouraged a reflection on the characteristics of the medium film. The student was quite free to choose any form or path that suited her.
During the following three months, Michelle was shown films from our nitrate and acetate collection with distinguishable and unique physical characteristics, as an inspiration source. It was clear from the beginning that as an interaction designer and a maker, she was interested in building a machine. Eventually she decided to focus on the technical process of film duplication and the importance of the negative as the ‘authentic’ carrier of information.
The result of this process is a machine called MEDIATED REALITY. This machine is able to perform film developing and printing in real time.
The idea behind MEDIATED REALITY is based upon Michelle’s fascination with the concept of visual perception and how reliable the medium of film is. With her machine she reveals the reproductive characteristics of the medium film and the loss of information inherent to the process of copying. Michelle concentrated her research on a specific film collection: the left overs of Naughty Boys by Eric de Kuyper. These left overs contained undeveloped footage locked in cans for more than 30 years.
In her own words: ‘Photographs often serve as proof of evidence in crime scenes. In the past, negatives were used because these are the first results of developing film. Mediated Reality is a machine that questions the reliability of this medium. This machine is able to both develop and copy film right away… By making a contact print of the original negative film, a positive copy emerges. During this process of copying, many other negatives are produced, which start to look completely different from the original movie’.
The machine allows you to watch in real time how a film reel is developed. The whole process of fixing and drying takes about 20 minutes. While some of us are familiar with this photographic process happening in the dark room of photographers, I was never able to see how ‘film’ develops before. Normally this process takes place in chemical tanks in film laboratories and is never visible. During the performance, the machine is working under the safe red light which allows the orthochromatic film stock (less sensitive to red light) to develop and copy itself unto another stock and produce first a negative and then a positive and then again a negative and so on. Every time the copy ‘appears’ under your eyes, it differs from the previous one. This is due to different factors like the chemicals getting older, the exposure time of the light source, the ‘slippage’ caused by the motor driving the film through the machine. All factors which are difficult to predict or even control and which give rise to surprising visual results when the copies are projected onto a screen.
The remarkable thing about this project is how Michelle van Ool, without prior knowledge of the film medium, managed to achieve these results by means of research and practical experimentation. In only three months she was able to get a grip on how the process of film developing and printing works and to design and build the machine from scratch.
The machine has been recently exhibited at the ArtEZ Academy as part of their final exam exhibition and I went there to see it working during a performance given by Michelle. Even though I had seen photographs of the machine before I was stunned to see how its complexity was translated into aesthetic beauty and functionality. MEDIATED REALITY is really well-thought and designed and it gives a fascinating insight into the magical world of the film medium from a young emerging artist’s perspective.
It is therefore an honour for us to add MEDIATED REALITY to our collection. Hopefully this machine will be exhibited and performed in and outside of EYE in the near future.
For this project I would like to personally thank Martijn van Boven, lecturer at the Interaction Design Department who has supported this collaboration from the start. Special thanks to Mark-Paul Meyer who guided Michelle in the difficult world of film development. And of course Michelle herself with her inquisitive and open curiosity towards our world of film heritage.
For more information and to see the machine at work, you can clcik here.
By Simona Monizza, Curator Experimental film, EYE Filmmuseum.Tag:experimental film, experimentele film, materialiteit, materiality, film medium, installaties, installation, interaction design, film stock
EYE is sedert enige tijd in contact met Mevr. Heleen Visser over de nalatenschap van haar man, animatiefilmer Maarten Visser. Visser maakte zijn films handmatig, in eigen huis, en gebruikte daarvoor een bijzondere techniek. Hij werkte veelal met mozaïekstructuren, waarbij hij de positie van de steentjes met stroken kon manipuleren. Deze week heeft EYE de drie installaties die Visser in zijn werkkamer gebruikte, in de collectie opgenomen. Eerder werd al een selectie van de filmapparatuur verworven. Er volgen nog nadere acties om ook de documentatie en de "hardware" (bestanddelen van de mozaïeken) te selecteren.Tag:Maarten Visser, installaties, animatie