amanda dawn christie - gallery installations

  1. These loops are intended to be played on CRT monitors in an installation context: one loop per monitor. There are many other loops and installation configuration of the monitors vary depending on the space and exhibition context.
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    Last Days of Snow is inspired by the impeding death of analogue TV and the snowy static that goes with it. Within the next year, all broadcasts of analogue TV will come to an end, and will be replaced by digital TV signals. For those who don’t have a digital conversion box, this means that their old TVs with antennae will no longer pick up signals. For those with the new digital TV conversion boxes this means that they will no longer get static or snow when the signal is weak – the channel will either be on or off. For this performative installation, Christie has walked around various locations with a battery powered portable black and white TV picking up a mixture of snowy static and TV channels; an activity that will no longer be possible in the next year.

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  2. This video contains both screens of a two channel projection based installation, and it has also been compressed.

    This work is non-linear and not meant to be watched from beginning to end. The viewer can enter into the installation at any point in the projection and stay for as long or short as they wish. Both loops are of different lengths, and in an installation context they would never be synchronized and the same images would never be seen next to each other twice.
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    Last Days of Cinema mourns the loss of celluloid projection in the face of digital technologies. More and more movie theatres are replacing their film projectors with HD digital projectors, some of which are linked up for satellite feeds. The material object of the film print is fast becoming a rarity. In those movie theatres that do continue to project from celluloid, many of them no longer employ professional or unionized projectionists. Instead, they have computerized systems that allow the popcorn and ticket vendors operate the projectors, which saves the theatre the expense of hiring actual qualified projectionists. The video footage in this installation was shot when Christie worked as a projectionist in a ninety year old theatre in Amsterdam. The videos document her route from projection booth to projection booth through both old and unrestored sections of the theatre as well as through fully modernized and computerized sections.
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    Film as a celluloid material is gradually being replaced by digital technologies such as high definition video and satellite feeds directly into movie theatres. 35mm celluloid film has been the standard for commercial movie projection since 1895, and it is now in its last days as cinemas around the world are gradually replacing their projectors for HD projectors and satellite feeds.

    The video footage in this work was shot while I was working as a projectionist at the Tuschinsky Theatre in Amsterdam. The Tuschinsky Theatre was built in 1921, during the silent era of film, back when film was still a spectacle and going to the cinema was a special event - long before the days of DVD rentals, low resolution data projectors, and youtube videos. The Tuschinsky Theatre had five cinemas within it, as well as two bars, a kitchen, over 900 light fixtures, custom made carpets, embossed wallpapers, fountains, a VIP lounge, a bathroom designated to the royal family, and several custom themed waiting rooms. Three of the five cinemas were restored for public use in 2002, and one of those three cinemas seats 800 people including the use of two balconies that wrapped around all the way to the screen with opera boxes.

    As a projectionist, it was a long and winding route from projection booth to projection booth, and it involved passing through many unrestored rooms, corridors, and hallways with torn wallpaper, graffiti, cracked walls, stained carpets, and random refuse. It was evident that these spaces were once resplendent, and by now they had become nothing more than a functional (if inefficient) route from one projection booth to another, which I walked (or ran) countless times a day as I loaded and unloaded movies throughout my shift at work.

    The footage in this double video projection was shot one day at work as I documented my routes from booth to booth and explored some of the unrestored and locked rooms of the theatre. This footage does not show any of the restored theatres, but focuses rather on the hidden spaces not accessible to the public.

    A recurring image in this work is the scene from within the projection booth where the image reflects back off the sound proof glass thus casting an inverted reflection of the movie back onto the wall behind the projector. The projectionist often stands with her shadow cast within the inverted image of the movie. The projectionist is able to watch the audience watching the movie and to watch her own image as a shadow cast within the movie behind her.

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  3. The original film is on 35mm. This compressed SD version is of lower quality and for preview purposes only.
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    Off Route 2 is a 35mm film loop portraying the anticlimactic aftermath of a car crash accompanied by artifacts from the film as well as flat screen monitors presenting details of the scene itself and of the film crew waiting patiently between takes. This installation seeks to subvert conventional cinematic portrayals of trauma and tragedy through focusing on moments rarely portrayed on screen while simultaneously revealing the artificial apparatus of cinematic construction.

    This is as much a performance art work of endurance as it is a fictional construct. The execution of this
    film demanded that the artist (who uses her own body in all of her films) hang upside down for extended
    periods of time in sub-zero weather.
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    In mainstream cinema, major tragic events such as this are often portrayed as climactic turning points in a
    story, yet in this instance, the bloody accident is the inciting incident, rather than the crisis or climax, and
    it has in fact already occurred off-screen before the cameras arrived. The emphasis of this film is on the
    events following the accident, when life seemingly continues as normal around the crash scene, the
    woman is conscious and waiting for time to pass in suspended animation.
    This car accident involves only one car, driven by only one passenger; the trauma is thus personal rather
    than a shared event. The event of the car accident was chosen for its blatant physical violence against
    the subject’s body, which stands as a metaphor for other invisible forms of personal violence such as
    psychological and emotional trauma related to any number of other personal tragedies such as medical
    illness, romantic break-ups, financial bankruptcy, and so on.
    Wildlife such as deer and arctic wolves are present in the scene and serve to build a sense of peaceful
    tension. The woman hangs inverted in silence in the realm of the animals – there is no music playing on
    the car stereo and thus the animals have not been anthropomorphized or transported into her world.
    Instead, she finds herself inhabiting their space listening only to the pheasants, crows, deer breathe, wolf
    grunts, and the highway in the distance. The deer and the wolves look passively yet with interest at the
    scene, and the viewer wonders if the wolves will attack given the scent of blood from the woman’s
    injuries, and yet the wolves loose interest in the woman opt to chase the deer instead.
    In the second part of the film loop, we see firefighters enter the scene to rescue the woman. At first it
    appears as a classic stereotype of damsel in distress. But as the camera tracks backward, we gradually
    see the boom mic, the dolly track, the boom operator, the assistant director, and other members of the
    crew. The firefighters continue the extrication process using the jaws-of-life and the sound of crunching
    metal and gasps of fear (as recorded from inside the car) dominate the soundtrack. The scene is at once
    artificial (with the revelation of the film crew) and real (as the director/performer is actually strapped inside
    the car as they twist and cut the metal). Once she is safely removed, the viewer can hear the confusion
    lingering in her voice as the assistant director comes to discuss the next scene. All of a sudden it has
    become apparent that the “damsel in distress” is actually the “director in control” as she discusses the
    next shot and thanks the firefighters for their help on the scene. Once she yells cut, the image rolls out to
    black and the loop begins again with her strapped upside down in the car.

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  4. this is compressed and shrunk down. for the performance it was two full video projections side by side projected on the back wall of the pool as water runs down over the tiled surface, interacting with the projected image.

    These video projections are slow and durational , but bare in mind that this is being projected onto a wall of running water and onto my body as well while I perform.

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  5. this is for my irriss peeps... i compressed it to get it up online... hope i didn't compress it too much.... i edited out my swimming body.... i am using some of this footage in my own work, but i feel like it's essentially texture that i am happy to share... use it as you will! yo! yo! yo!

    adc

    Uploaded 7 Plays 0 Comments

amanda dawn christie - gallery installations

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This channel contains preview videos for gallery installations. For now it contains only the raw videos, and not documentation of the installations themselves. documentation of actual installations is coming soon.

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