A video essay exploring some of the ideas behind the work I’m currently developing.
First presented with a live reading at Paratext 15 at Hangar, Centre for Research and Production of Visual Arts, Barcelona, March 22 2017.
Landscape — Painting and the evolution of visual language — the role of technology and science in artistic developments — Dutch landscape painting in the 1600s — the expansion of concepts of space — viral infection — space exploration and the possibility of humans surviving away from Planet Earth — philosophical concepts of landscape in Chinese painting — science fiction — interpretation of our surroundings
Text written and presented by David Franklin.
Video processing and editing by David Franklin.
William S Burroughs. Cities of the Red Night. Viking Press, 1981.
Ulrike Gehring and Peter Weibel, editors. Mapping Spaces. Networks of Knowledge in 17th Century Landscape Painting. ZKM Centre for Art and Media Karlsruhe / Hirmer, 2014.
François Jullien. The Great Image Has No Form, or On the Nonobject through Painting. The University of Chicago Press, 2009.
Hiroyuki Shimizu and Akito Murayama, editors. Basic and Clinical Environmental Approaches in Landscape Planning. Urban and Landscape Perspectives Vol. 17. Springer Japan, 2014.
Arkady and Boris Strugatsky. Roadside Picnic. MacMillan, 1977.
Asia Strikes Back. Director: Ishii Sogo. Japan, 1983.
Dong / East and Sānxiá hǎorén / Still Life. Director: Jia Zhangke. China, 2006.
Kasei no unga / Canals of Mars from Ranpo Jigoku / Rampo Noir. Director: Takeuchi Suguru. Japan, 2005.
Kyua / Cure. Director: Kurosawa Kiyoshi. Japan, 1997.
Rinjin 13-gô / The Neighbor No. Thirteen. Director: Inoue Yasuo. Japan, 2005.
Stan nieważkości / State of Weightlessness. Director: Maciej Drygas. Poland, 1994.
Wild China. BBC Worldwide, 2008.
Launch of Apollo 11, Kennedy Space Centre Florida, July 16 1969.
Various drone footage of conflicts in Ukraine.
Footage of Baotou, Inner Mongolia, by Toby Smith and Tim Maughan.
I turned around without being noticed and spat over my shoulder. I saw that the rescue squad had climbed into their helicopter, the firemen were standing at attention out of respect, the lieutenant at the door of the passage was saluting us, the jerk, and above all of them fluttered the huge, faded banner: “Welcome, Visitors.”
(Roadside Picnic, Arkady and Boris Strugatsky)