CRAIGIE HORSFIELD Confluence and consequence

Craigie Horsfield, Above the road east toward Taibique,
El Hierro. February 2002, 2008,

An impressive cloud-filled sky—the two dates indicate the time difference between making the film on which it is based and making the tapestry. / Un ciel nuageux impressionnant – les deux dates indiquent le moment de la prise de vue et celui de la réalisation de la tapisserie.

Horsfield’s work has taken on a significantly new dimension with the jacquard tapestries, which the artist has been making over the last three years. 

Just like his other work, Horsfield’s tapestries are always about the subject of time, an important theme in his work, and particularly the concept of slow time. The tapestries, the production of which extends over a long period, encompass a whole time span. But these tapestries also bring together past and present, being both a decorative medium that has a very long history and also the product of a highly technological process. / L’œuvre de Horsfield a adopté une dimension nouvelle avec les tapisseries Jacquard qu’il réalise depuis trois ans.  De même que pour ses autres réalisations, le sujet principal des tapisseries – et thème majeur de l’ensemble de son œuvre – est le temps, et plus particulièrement, le concept du « temps ralenti ». Les tapisseries, dont la production s’étend sur une longue période, couvrent tout un laps de temps, mais relient aussi le passé et le présent : elles sont à la fois un média décoratif qui s’inscrit dans une longue tradition historique et un produit obtenu au moyen d’un processus hautement technologique. 

08 oct 2010 - 16 jan 2011

M HKA  Leuvenstraat 32 2000 Anvers

http://www.muhka.be

© Anne Immelé Esther's postcard

'The Science Of Ghosts' - Derrida In 'Ghost Dance'

British filmmaker Ken McMullen's improvisational, non-linear film, 'Ghost Dance' (1983) concerns itself with various 'ghosts' (e.g., Kafka, Marx, Freud) and the issue of memory (the past) and how it functions in the present ... French philosopher Jacques Derrida plays 'himself' in the film and comments upon ghosts as they pertain to cinema and representation itself ... cinema, for Derrida, 'is the art of ghosts' and he regards himself - as portrayed in the film - as yet another ghost in whom he 'believes' ... modern technology (specifically, telecommunications), he says, instead of vanquishing ghosts, actually multiplies them ... however this is not necessarily negative - its quite the opposite - 'long live the ghosts!' he exclaims near the end of the clip ... the late Pascale Ogier plays 'Pascale' who is questioning Derrida ...

Merci à Siegfried Hut

ROOM

© Anne Immelé  

Table de travail (mur en face du bureau) /

Worktable (wall facing my desk)