![]() ![]() Navigating the Game uses the system of gallery text applied as vinyl on the wall to present the solo exhibition Rogue Game at Spike Island structured as three ‘scenes’. ![]() Graphic Design: Warren & Mosley with City Edition Studio.Įxhibited: Rogue Game at Spike Island, Bristol, 2012. Scenes: The Architect Playing Dead The Heist. Scaleless and cut loose in time and space, the form and its shadow are both devised from the inter-relations of the protagonists and offer up a spatial narrative structure through which the protagonists move. A geometric structure and its shadow-lines stage the protagonists from the narrative. The fourth setting, a space apart, is characterised by sound, light, text and a three dimensional element. The value system of each setting is revealed as the construction and deconstruction of their histories is staged and performed within a fourth setting. The recorded voice within the narrative navigates the physicality of each setting through the dismantlement, relocation and repurposing of objects and matter that occurs as a result of demolition, salvage and conservation of the city fabric. The work engages with three different architectural settings: A Brutalist tower (in the process of being stripped) a conserved Tudor museum a contemporary dwelling. ![]() īrutal Object constructs a narrative of multiple protagonists, consisting of buildings, characters and objects. Materials: Sound, cement fibre board, tape, Letraset, printed ABS, light. They oscillate around our needs, either too close or too far, until they are “the next one.”’ Our experience of them is not positioned within the network but within our journey. Their location is not related to a landscape but to a network. They are markers in the act of travelling but not of place. They break the smooth, engineered space of the motorway and the internal car environment. Acceleration, speed, passing landscape, de-acceleration, motorway services, acceleration, speed, passing landscape … Motorway services are serial repetitions of architecture that create intervals of time on the journey. This short essay is a recollection and reflection on the experience of researching for the project and of selected completed works. The project resulted in a body of work including moving and still imagery and installations exhibited at Prema, Gloucestershire Gasworks, London Fredereike Taylor Gallery and The Armory Show, New York. In 2000 we completed a project exploring motorway travel and motorway environments in the UK. Throughout his career he has also continued as a mixed media artist whose fields included music videos, paintings, photography, publishing, songwriting, and performance art.A chapter by Sophie Warren & Jonathan Mosley in Ben Stringer (ed.) (2018) Rurality Re-imagined: Villagers, Farmers, Wanderers and Wild Things (ORO Editions, California). Surviving an early career burnout, he resurfaced with a trifecta of insightful works that built on his earlier aesthetic leanings: a surprisingly delicate rumination on identity ( Mister Lonely, 2007), a gritty quasi-diary film ( Trash Humpers, 2009) and a blistering portrait of American hedonism ( Spring Breakers, 2013), which yielded significant commercial success. With his audacious 1999 digital video drama Julien Donkey-Boy, Korine continued to demonstrate a penchant for fusing experimental, subversive interests with lyrical narrative techniques. He parlayed this success into directing the dreamy portrait of neglect Gummo two years later. In 1995, Korine was discovered while skateboarding and became the bad boy teen writer behind Kids. Now approaching middle age, and more influential than ever, Korine remains intentionally sensationalistic and ceaselessly creative. He both intelligently observes modern social milieus and simultaneously thumbs his nose at them. Ever since his entry into the independent film scene as the irrepressible prodigy who wrote the screenplay for Larry Clark’s Kids in 1992, Korine has retained his stature as the ultimate cinematic provocateur. 1973) remains one of the most prominent and yet subversive filmmakers in America. Bringing together interviews collected from over two decades, this unique chronicle includes rare interviews unavailable in print for years and an extensive, new conversation recorded at the filmmaker’s home in Nashville.Īfter more than twenty years, Harmony Korine (b. Harmony Korine: Interviews tracks filmmaker Korine’s stunning rise, fall, and rise again through his own evolving voice. ![]()
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