Sura Medura Winter Residencies for 2014 / 2015 Announced

UZ Arts are delighted to announce that they will be working with IN SITU to bring six European artists to Sura Medura Internationation Residency Centre through their Europeans Abroad fund. The residencies, which will take place in the winter of 2014/2015, will give the chosen artists the opportunity to explore and develop new work in response to their environment.

The international directors are:

Adrian Schvarzstein

Since 1989, Schvarzstein has been working as a clown, actor and theatre director after studying ‘Commedia Dell’Arte’ in Italy. Recent projects include the street theatre performance ‘Kamchatka’ (Miramiro Prize 2008) and directing the opera ‘La Barca’ in Holland. A Catalan by adoption, but really a mixture of various nationalities whose formation took place all over Europe, Schvarstein has spent his life avidly accumulating experiences and it would be difficult to find a field of artistic activity that does not interest him

Kitt Johnson

Danish dancer and choreographer Kitt Johnson has beeb developing her unique artistic universe for more than 25 years. Her style is at one minimalist, expressive and innovative. She has been artistic director of the company Kitt Johnson x-act since 1992. With this company she has created more than 50 productions nationally as well as internationally – her trademark is solo performance, but her repertoire is wide and also includes ensemble works, Cirque Nouveau, site-specific work and children’s performance. Kitt Johnson X-act also mounts and curates performance festivals with the company, including the site-specific MELLEMRUM biennale, contributing to her ambition to create a platform from which Danish and international performance art can engage in dialogue and share experience.

Alex Rigg

Alex studied Fine Arts at Glasgow School of Art and at the University of Ulster and has since had a prolific career in practising various art forms. As well as having thirty years of practical experience in building large-scale structures in timber, steel, cloth and stone, he has also been creating and delivering live events since 1982. Particularly iconic are the large-scale willow, steel and timber fire-sculptures that Alex and colleague Trevor Leat create together for festivals and events, including the Wickerman Festival and many par Hogmanay events. Similarly, his incredible work in physical theatre, dance, sculpture and design has been shown internationally, and his company Oceanallover has created many innovative events, bringing new audiences to physical performance.

Europeans Abroad aims to create bridges with artistic and cultural partners outside Europe in the form of residencies or co-productions. Calling on its experience throughout the European territory, the IN SITU network offers its partners and artists the opportunity to enhance their practices by discovering the realities of other continents.

Lindsay Sekulowicz Residency Blog

bus

The last bus turned away from the coast, leaving behind the bright white light. The windows became greener and greener and plastic flowers swung above the windscreen as it flew along the turning roads. After several hours it stopped at the bottom of a long steep track and I got off and walked up slowly, past wary eyed dogs sleeping in patches of shade on the path.

I was shown to a dormitory building near to the reserve’s office, and Mr Chitra Sekara arrived shortly after. We didn’t have a big introduction – he just nodded and gestured towards the forest. I put my bags down, put on my boots and we left immediately.

We walked through the dense green almost in silence, with Chitra stopping continually to point out plants, usually calling them by their Latin names as well as Sinhalese. He picked up leaves to put in my book, which became quickly covered in notes and markers so I could find the locations of the plants again. We saw many lizards and a large scorpion, and crushed and smelled the leaves of Cinnamon Zelanicum and Aristolochia Indica – a vine containing aristolochic acid, critical to the survival of some Birdwing butterflies.  At some point he turned abruptly and we headed back, and I remembered how quickly the light falls in the forest.

Later, I walked round the edges of the forest close to the dormitory, and sat to draw Osbeckia octandra, a purple-flowered shrub used in the treatment of liver disorders. I stayed there to work for a while but at some point, looked down to see that the tops of my trousers and the ground surrounding me was soaked through with sticky dark blood. I realised that leeches must have gotten inside, and ran back to the dormitory and find the salt that my friends had packed into a paper triangle from the breakfast table that morning.

return

late

The dogs here have their own realities. All day they sleep in their shady hiding places, and only in the hours before sunset do they start to appear. As the light faded I washed my clothes clean and they emerged on all sides and took their places on the path towards the forest – stretched out, heads up, relaxed, considering. They leapt up at intervals and begin to fight, all joining in and then settling down again.

Everyone left to bathe before sunset, washing in the river that runs through the forest. The water was clean and we drank from it too. A brother and sister were swimming and washing and as I walked by they saw me and started a diving competition. Flipflops were left on the river bank and on the rocks a collection of belongings: A plate with five small piles of red spice, a plastic bag filled with banana skins, a pair of white trainers with Velcro, a white bucket with a bar of soap beside it on a dip in the rock. I heard a kitten behind a wall and as I peered over to see it a man pointed into the trees and I saw a small black bird with a red beak crying instead.

The sky between the trees turned pink then black like shutters closing. After dark dogs ran laps around and around, panting heavily, sniffing the ground and growling. I fell asleep under a pink mosquito net and they fought through the night.

dark

Each time I entered the forest with Chitra, I found that the mental markers I had constructed were almost entirely useless. The landscape I am familiar with is based on rocks and hills and solitary trees and the density of the forest made it impossible to find such points. Instead I looked at the sky and tried to memorise the patterns that the leaves made against areas of lightness.

First, Elytraria acaulis – small, dark, bluish leaves growing close to the ground. Then we walked further inside the forest, moving slowly and placing our feet carefully, and found Anoectochilus setaceus – an endemic ground orchid with finely veined velvety red leaves, traditionally used to treat snakebites. Chitra placed a protective border of leaves around each plant we found before we left.

Into another valley we were surrounded with Mandura, the pitcher plant Nepenthes distillatoria. It flowered above us – tall stalks of greenish pale flowers, with the huge pitchers beneath, tangling all the way to the ground in various stages of growth and decay. The ground was covered with leeches that make their way up my boots with each step. We both said its name like a mantra as we walked, “mandura, mandura, mandura”.

The light had already dropped on the way out, and as I walked I felt a little curl against my foot. I half turned back and just see a flash of an outline – a tiny snake with its blunt little head raised up. I stopped Chitra and he tutted and pulled me back. Hypnale Hypnale, hump nosed pit viper, it’s colouring was so perfect, that even as I looked directly at it, it seemed to disappear into the path. With its head still reared, Chitra hooked a stick under it, body twisting, and threw it far into the trees and we heard the sound of its body fall in the leaves.

The animals preparing for sunset marked our route out; hornbills and purple faced leaf monkeys and an intensely loud sound of cicadas, like motorbike engines revving in the trees. We saw the marks of a wild boar on the path.

Outside the dormitory after dark I sat with my headtorch and read with the insects and bats swooping at me. Mongooses slept in the roof. The dogs ran, the monkeys were asleep and the sky was filled with green fireflies.

Mandura

Finally, with some persuasion, I was allowed to go into the forest by myself. But not further than the second Weniwel tree. I found a small stream next to a big mahogany tree that was always filled with the leaf monkeys, and drew the damp earth covered with Acranthera ceylanica and fallen leaves. The day passed with only the monkeys and birds. When the cicadas began I knew it was nearly time to leave.

 For several days there were rainstorms in the afternoon, which often stopped work. Once a monkey warned me first, by pissing on me and very nearly on my drawing. When I looked up it was staring down at me. At that moment the sky broke open with a rainstorm and I slid down the paths out of the forest, passing Sunil on a motorbike going up the main path back into the forest to gather leeches – the yellow skinned ones for medicine.

In the early evenings I sat with sugary Nescafe and watched the birds. They appeared during the pauses in the rain, metallic blue flashes against the grey sky and dark trees. Black and yellow beaks, red beaks, a bird of paradise with a long black and white tail – I had no knowledge of the species so everything was reduced to movement and colours. Once the director of the reserve came with his family, and we played badminton at sunset as it rained down until we couldn’t see the shuttlecock in the air anymore.

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After dark at night, we went back into the forest again. Chitra, Sunil, myself and another forester who wanted to find snakes. The shadows of the trees were lit only by fireflies and we moved very quietly using red light head torches. Chitra stopped us, pointing to small set of red spots shining back from the trees. As we walked, the trees revealed many more small shadows. Sometimes we shone our torches on full beam and saw huge round eyes illuminated. It was the endemic slender loris (Loris tardigradus), tiny and exquisitely beautiful, clinging to the trees and turning their heads to stare at us. A small owl sat close to us for a long time – the rare endemic Serendib Scops owl, Otus thilohoffmanni.

On the leaves of the trees sleeping kangaroo lizards, Otocryptis wiegmanni, hung suspended. They held on tightly with their hands, with their white bellies exposed and legs and tails gently swinging below. I kept shining my torch in the ditches to look for frogs and insects. We found another snake, pale orange and shining, too fast to catch but we watched it climb far into the trees above our heads, then walked slowly out, with our torches off then because our eyes had adjusted to the light.

slender loris expedition

Kit’s Blog – The Other Kwai Featurette

On Saturday the 23rd I presented ‘The Other Kwai’ a film I have developed during my time at the Sura Medura Art Centre. Set within the linearity of a single day with a narrative structure reflective of ‘The Bridge on the River Kwai’ (1957), broken by images from the Hollywood film and the weaving of chair caning, ‘The Other Kwai’ takes in the echoes of the impact when fiction collided with reality, creating a new history which continues to affect and reverberate through the rainforest canyons of the Kelani River at Kitulgala.  My previous film work has consistently been intended to be exhibited within installation spaces and I have found that while the focus of the audience is the projection of moving images, the space where it is presented can act as a crucial element to the work as a whole; helping to create an immersive environment for an audience, while also referencing components or the structure of the films presented, causing the spaces to become constituent components of the installations. This has continued with the presentation of my latest work in Sri Lanka. Using the grounds of Sunbeach Hotel in Hikkaduwa I set up an outdoor cinema for the audience to sit and experience the work. Previously many of my moving image installations have been structured in a non-linear way, in part due to the particular qualities and contexts of exhibiting in gallery spaces. This piece was presented in an unconventional art environment and needed certain criteria to be put in place to create an installation space that continued to feed information involved within the work to the audience.

Installation view of 'The Other Kwai' 2013

When confronted by moving image art in the cavernous spaces of contemporary visual art galleries and museums the work has regularly been place on a continuous loop, forcing the actions to repeat once completed and without break. This is a way of making the work viewable to as many people wondering around the building throughout the day as possible but (unless the films are incredibly short or focus on repetition) can destroy the narrative structure of many of these works, leaving the audience to be more concerned with wondering where in the film they have stumbled into (Beginning middle or end) then the actual content they are viewing. This has seen a rise in artists films either being non-linear where the audience participate within an environment where they edit their own film from the images and sequences projected or by having set times for the films to start, giving that control of accessing the work in the correct linear order the artists intended it to be viewed (This curatorial decision making was heavily visible in the exhibiting dynamics of last year’s Turner Prize). The outdoor cinema area I constructed acted as a formal space for viewing cinematic work and rather than be a space that was open to the coming and going of various people, was rigidly structured in reference to conventional cinema spaces by applying a start time for the film with a single showing to reinforce the linear composition of the work.

Still from Bridge on the River Kwai

In an earlier blog post I mentioned my fascination at watching and filming a local man fixing the caning on a chair. This footage has become an important part of my film and weaves throughout its duration, creating associations with the intricate design of the bridge, transient qualities of the material and laying of new histories within the story of the Kitulgala. These chair cane seats also seem part of the very fabric of Sri Lankan society, appearing in local villager’s homes, hotels, museums, as well as during the Sri Lankan scenes of ‘The Bridge on the River Kwai’ (1957) and I thought it was crucial that seats featuring chair caning where used for the outdoor cinema space. A subtle reference that made the images on the screen tangible and helped to create an immersive viewing environment.

Still from Bridge on The River Kwai (1957)

I thought I’d end this post with a link to mini featurette on the making of ‘The Bridge on the River Kwai’ made in 1957. An interesting but brief insight into the production of the set.

The Bridge on the River Kwai Mini Featurette 1957

Enjoy!

Kit

Kit’s Blog – Locomotive Happenings

Kitulgala is a small town located in the central highlands of Sri Lanka and as the crow flies, is 94km east of Colombo. Once directly accessible by rail, times have since changed and the development of the infrastructure in Sri Lanka with broad rail tracks replacing narrow lines, has meant this town in the jungle can only be accessed by road. Travelling by car, tuk tuk or van would be relatively expensive and a local bus would be a long and arduous experience of claustrophobic overcrowding with passengers, while all the time having the enjoyment of watching your life in the hands of the driver as he races other bus’s to pick up customers and get to the next stop. Train-while long and not direct- would be a relatively peaceful affair and with two places to choose from Hatton and Avissawella I selected the latter as it seemed quicker to reach and appeared closer to Kitulgala on the map. I set off for my destination from Colombo early in the morning, carrying my life on my back, from clothes and insect repellent to computer and digital camera, with the knowledge of a certain time a train should arrive that would get me as close to my final destination as I could get by locomotion.

Train from Colombo to Avissawella
Train from Colombo to Avissawella

Colombo Fort Railway Station is the main hub for all trains from Colombo and is akin to Kings Cross in London or Central Station in Glasgow, with a similar Victorian iron wrought architecture –on a less grander scale- but the similarities disappear relatively quickly when as a solitary foreigner, with little understanding of Sinhalese in spoken or written form and a lack of information for departures visible makes trying to find the correct train on time quite a daunting but non-the-less exciting proposition. An experience anyone travelling to and around Sri Lanka should not be missed! After being informed that my train would depart from platform 9 at 8:30 (instead of the 8:45 as the internet had informed me) I reached the platform with trains lying empty on either side. After asking some people milling around if one of these were the train to Avissawella and told “no” 8:30 came and the trains went. I knew if I missed this train I would have to wait over 6 hours for the next one and with my reservation booked for a finite time in Kitulgala I was determined to make it there on schedule. Adrenaline rushing, a train pulled up at 10b and asking more people around me they pointed at this very one so I headed for it. What I was not prepared for at this point was the sea of people pouring out of this commuter train for their days work in the capital. There was nothing to do but stand firm and wait for this surge to pass. Getting on the train I asked again if this was the train to Avissawella which people confirmed and after half an hour of waiting the train set off with me on. Hoping that this indeed was the
correct train…

Hills getting higher and higher as the Tuk Tuk takes me further into the Jungle
Hills getting higher and higher as the Tuk Tuk takes me further into the Jungle

After 3 and a half hours where I gradually passed homes built from an assemblage of materials which barely missed the train’s sides and through the middle of a golf course, I began to break out of Colombo’s sprawling suburbs and into the rice fields. Slowly the country side got more lush and tropical and gentle hills started to turn into ever larger peaks. The train travelled through a variety of places unknown to me such as Kottowa, Godagama, and Padukka but when it pulled into the large town of Waga (a name I recognised from prior investigations of maps) I finally felt assured I was heading in the right direction.

From Avissawella to Kitulagla
From Avissawella to Kitulagla

Leaving Avissawella train station I caught a Tuk Tuk and headed to Kitulgala. The three wheeled transportation -reminiscent of a drivable lawnmower with a back seat and soft-top roof- wormed its way along the side of the Kelani River overtaking vans, mopeds, cyclists and cows. After 40 minutes of stunningly beautiful cliff side driving I finally pulled up into the Kithulgala Rest House. My home for the next week and base to discover the memories of the ‘Bridge on the River Kwai’ set location.

The Kelani River
The Kelani River

The fun could now really commence…

Kit’s Blog – Colombo, the artist talk and the notion of Duration

Well I’ve had a very busy past week but I’ve not had access to the internet, will start recounting my experiences during that time over the coming days. But for now back to the beginning!Advert

22/01/13

It’s a hot Tuesday morning in Colombo today so I felt it would be a good time to sit in a shady room and let you know what I’ve been up to. Yesterday I travelled up to the capital city of Sri Lanka from Hikkaduwa to give a lecture on my art practice to the Students at the University Of Kelaniya Institute Of Aesthetic Studies. My talk concentrated on the development of my art work in the past few years, focusing on how certain themes and subjects that I researched and developed into outcomes during the final year of my degree have continued to impact on the work I have developed since.
I always find that artist talks are a great way to focus your attention, make you more critically attuned to your work –especially when it comes to stating the intentions of your art and raising the question of whether that is actually happening – along with the opportunity to consider any connections in the work you have made in a recent period of time. Setting up a previous talk made me aware of certain trends that are apparent in the outcomes I have produced since 2010 and my lecture at the University of Kelaniya expanded upon this.

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For the past few years my interests lay in exploring and presenting notions of time and memory and how they are perceived and experienced. Wanting to create work that best communicated these concepts in the most accessible ways, I became aware that film/video media and ephemeral materials were best suited as mechanisms of presenting art that dealt with time and memory, and could also influence those issues raised. When researching other artists who exhibit work that deal with these themes I kept finding art historians using an early 20th century phenomenological metaphysical notion of time as a way into and interpreting particular work, including those of Doug Aitken, Tacita Dean, Jeremy Blake and Andy Warhol. The notion was ‘Duration’ by the Frenchman Henri Bergson. This concept of time defined a different temporal experience, ‘lived time’; a one directional flow where past present and future merge together in different sequential rhythms. These rhythms were not controlled by space and could not be quantified –something he worried was happening as science began to delve ever deeper into the inner workings of the human body and mind– but was a virtual and qualitative multiplicity of heterogeneous differences in kind, not associated with number and could only be lived in the very specific moment of its unfolding. He’d go on to develop an all encompassing universal ontology of duration known as the élan vital and this would become an incredibly influential philosophy in western thought (so much so it has been stated his arrival in New York caused the first automobile traffic jam on Broadway and he would have heated debates with Einstein) (1) at the turn of the 20th century. But as quickly as it gained influence his theories would just as quickly recede and disappear until Giles Delueze would implement it within his own philosophies later in that century.

Delueze recognised the close affinity Bergson’s notion of duration had with cinema, affirming that film images could in fact produce a representation of duration. These capabilities gave cinema the power to transform philosophy and would be of great importance to Deleuze who demanded a new way of thinking from these possibilities. He would elaborate this idea in his book Cinema 2 by offering the concept of the ‘direct time-image’ (2) where the editing of irrational cuts would form a complex flow of time, crystallizing duration and enabling opportunities to rethink concepts and confront the dynamism of life. The ‘direct time image’ would only be viewable in a select few post-war cinema films including ‘Last Year in Marienbad’ (1961) which slowly reveals the story of two characters caught up in an affair through dislocated sequences and irrational cuts from different locations and times, causing the past to interrupt, distort and transform the present, altering the future and causing a confused narrative where memory toys with the ‘now’.
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This acknowledgement and use of duration opened the option for cinema to be philosophical and philosophy cinematic. Artist films coincidentally started to gain traction during the period Delueze’s books on cinema where published and translated in the 1980’s. While artist didn’t necessarily produce work which exemplified and used duration or Deleuze’s application, it none the less would become an effective empowering tool to interrogate, interpret and reveal a way into these forms of work for audience and critics alike.

This would also act as an influential tool of understanding video art within my practice and would help in the development of outcomes during the final year of my degree, with the specific focus on creating non-linear video installations and considering the expectations audiences place upon moving image art when they come into contact with them in gallery environments.
Colombo Guest House

Since my degree I have continued to be caught up in temporality, from films that focus on the difficulty and the relevance of predicting the future within futurology to print based photomontages that use time as a material to gradually distort and transform images of urban settings into residues of abstract forms and colour over a period of time. But it was during the process of developing a recent artist talk that I became acutely aware of a very particular trend or theme that runs through my practice; how the development of technology, particularly digital technology, has accelerated how we perceive the world around us and is altering our experience of time.

This idea of how technology has transformed our experience and understanding of the world is what has bought me to Sri Lanka. Tomorrow I leave Colombo for Kitulgala, a town in the central hills of the country, to start developing a project about the set location of the bridge in David Lean’s ‘Bridge on the River Kwai’ (1957). Cinema exists because of technological developments and the cinematic has a strong influence with how we process images of reality. When the actual location of the River Kwai in Thailand was deemed not practical for filming on and not dramatically epic enough in appearance, they ended up settling on a location on the Kelani River a short distance from the town of Kitulgala in Sri Lanka. This location had the cinematic quality of exotic remoteness the crew where wanting to project onto film and gave a techni-colour visually delight for the audiences eyes to experience. This element is part of a wider trick within films which is regularly used to create illusions of place, replacing the real for an idealised fabrication and is an aspect that intrigued me about this site. How have the history and the memories of this films existence and production in a setting with no previous connection with the actual site of the story itself and far away from the Hollywood hills continued to reverberate in the location of Kitulgala?
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Another key area of interest was the bridge that was built at that site on the Kelani River. This bridge ended up having to be full scale, capable of holding an old steam train weighing several tonnes and was a grand undertaking, through harsh stormy weather. Once built and the necessary footage for the scenes were captured, it was finally used in a ‘classically cinematic’ ending for the film where the bridge is blown up as a train hurtles over it, crashing into the riverbed and leaving behind smouldering debris of shattered wooden and steaming metal. This was a one take moment which couldn’t go wrong or be reshot, with the whole finale of the film hanging on this explosive moment…

The building of this authentic bridge within a natural but untrue location and its destructive end creates a fascinating situation where fiction and non-fiction collide and create something new and unexpected. This recreation inadvertently became a real and actual object which sustains in the cultural memory of Sri Lanka. Reality has been altered by the fictitious and illusory qualities of cinema and continues to resonate over 50 years after Hollywood packed up and left.
Finally I see the bridge itself as a transient construct, designed and built for the purpose to be destroyed. A recurring theme within my practice. These are the areas I will explore during my time in Kitulgala.

Into the Jungle I go…

1. Guerlac, S. 2006. Thinking In Time an Introduction to Henri Bergson. Cornell University Press. Ithaca. London.
2. Delueze, G. 2005 (originally 1985). Cinema 2: The Time Image. Continuum. London.