Slow Motion. 32 chairs in a dark space animated with running spotlights in a sequence
to generate an image of motion in the room.
"Peter Geschwind’s exhibition, Slow Motion, takes us back to Eadweard Muybridge’s optical experiments with moving images at the end of the 19th century; but Geschwind turns our relationship to space and movement inside out. Muybridge and others tested ways of showing images rapidly, one after another, in order to create an illusion of movement, and around the same time, apparatuses - predecessors to modern film projectors - were developed. Since then technology has improved but many of the conventions that were established in the late 1800s remain. When we watch films today, we forget about the space around us in the same way as people did when films were in their infancy, and we sit concentrated on the lit-up screen in front of us (including TV, computer screens and others). However, if Muybridge liberated a sequence of movement from space so that it became possible to distribute it smoothly, then Geschwind does the reverse by binding it to a place, to the here and now, in a palpably physical way, and in the process, he returns technology to the experimental." Excerpt from press text, Gävle Konstcentrum.
Slow Motion is the first scene in an upcoming feature film that explores the possibilities to animate real life objects in the physical space where scale and resolution are at its inherent mode but where the frame rate is adjusted in relation to the size of each "frame" in order to find the optimal conditions for perception.
Lars-Erik Hjertström Lappalainen has written a text for the exhibition Peter Geschwinds fantasmagori which may be read in the text section.
More info at http://www.gavlekonstcentrum.se
Automatic. Installation with objects, 3D graphics, sound and video.
The installation was first constructed in a 3D computer program by using information about various materials and objects found on web order sites to make 3D digital scale models. The objects where then built up following the digital drawing at the exhibition hall at Fargfabriken as a physical installation while a rendering from the 3D-model was screened at Liljevalchs Konsthall as a second part of the project.
”Western consumer culture is brought alive in an installation made of everyday household objects, construction material and power tools - all activated by sensors,
detecting the visitors movements.
At first this automated labyrinth is playful, an absurd amusement park, full of whistling and jangling noise, but as you explore deeper a darker undercurrent emerges. With projections and shadow-plays the physical room clashes with a hallucinatory, virtual world.” (Excerpt from the Exchange gallery press text where a reworked version was presented)
More info: http://www.fargfabriken.se
http://www.newlynartgallery.co.uk
Filmed footage from my appartment edited from its sound by using a dead kennedys tune as a blueprint. The original song / soundtrack was replaced frame by frame with the closest corresponding sound from my own flmed material in an attemt to translate a 4-stroke rythm (bits per minute, bpm) in to the PAL format (frames per second, fps).
”In Peter Geschwind’s works the frenzy prevails. Working with everyday household items, Sound Cut has a crowd of brand products go bonkers: a ketchup bottle drops, scissors click, next, a box of washing powder skates the kitchen floor chased by a roaring vacuum cleaner in a racy sequence not unworthy of high-end animation films. Edited to the rhythmic chart of a Dead Kennedy’s song, this hilarious clip both exorcises and ridicules our often conflictive, but strangely human relationships with the world of objects. How often have you caught yourself pleading with a renitent bottle cap, trying to reason a defunct dishwasher, or cursing a humming fridge? Edited from a text by Boris Kremer, BE Magazine, Berlin, 2002” Text from www.nifca.org
Whatch this video.
Inflatable sculpture made of plastic bags collected in the towns where the piece has been shown.