w o m e n INDEPENDENT WOMEN’S CINEMA ANGELINA VOSKOPOULOU CHARLOTTE VAN WINDEN YIDAN XIE KATHI SCHULZ RACHEL GRUIJTERS JENNY E. BALISLE LYNN DENNISON & GEN DOY RIIKKA HAAPASAARI LAUREL BECKMAN MARIA GALL On the cover: Angelina Voskopoulou
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04 Exogenesis 40 It’s Stonewall in My Navel 60 Little Wave 80 Greenham Common 100 FALL 114 Do Not Forget 134 Sequence One 154 The Classic of Mountains and Seas 176 Why I Never Became A Stalker 202 An artistic point of view Angelina Voskopoulou Laurel Beckman Riikka Haapasaari Lynn Dennison & Gen Doy Jenny E. Balisle Rachel Gruijters Kathi Schulz Yidan Xie Charlotte van Winden Maria Gall Contents
Hello Angelina and welcome back to your new work that we are going to introduce our reades to is entitled , a stimulating video that has particularly captured our attention for the way it invites the viewers to discover the metaphysical content of the movement. Can you describe the creative and technical process behind the dreamlike and timeless quality of your work? Angelina Voskopoulou: Thank you for your warm welcome and for your interest in 'Orphic Hymn 29, An interview by Francis L. Quettier and Dora S. Tennant [email protected] Persephone's Dream.' The dreamlike and timeless quality of the film was achieved through a combination of creative and technical processes. I aimed to create a metaphysical experience for the viewers. The creative aspect involved exploring abstract themes and using symbolism to convey the dreamlike atmosphere. Technically, i used slow motion, unusual camera angles, and postproduction effects to enhance the otherworldly feel of the film. It was a collaborative effort with a dedicated team that shared my vision for this unique project." Marked out with such captivating combination between elegant images and poetic lyrics, begins with the lyrics from Nikos Gatsos' : Angelina Voskopoulou Women Cinemakers meets Lives and works in Athens, Greece Angelina Voskopoulou is an eclectic Greek artist whose artistic exploration unfolds within the realm of a personal multidisciplinary vision. Drawing from the themes of space and movement, her artistic inquiry blends the abstract with the real to guide viewers through an experience that transcends the very essence of language. Angelina Voskopoulou is a post production tutor at AKTO college validated by Middlesex university
Women Cinemakers can you explain the significance of using Persephone and Dimitra as symbolic figures in your video? More specifically, how do you see the connection between ancient Greek mythology and the environmental challenges of the modern world? Angelina Voskopoulou: The use of Persephone and Demeter in 'Persephone's Dream' holds symbolic significance. These figures from ancient Greek mythology represent the cyclical nature of life, death, and rebirth. In the context of my video, they serve as allegorical representations of the relationship between humanity and the environment. Persephone's descent into the underworld mirrors the environmental challenges we face today, as our planet endures periods of darkness and degradation. The return of Persephone to the surface can be seen as a metaphor for our potential to restore and heal the Earth. By intertwining these timeless myths with contemporary environmental concerns, the film highlights the enduring relevance of these ancient stories in our modern world and emphasizes the urgency of addressing environmental issues. We definitely apprecciate the way navigates the realm of the unspeakable or the ineffable, especially in the context of modern Greek environmental issues and mythology: what did direct you to explore such themes? And how did you structure your shooting and editing process in order to achieve such impressive results? interview
Women Cinemakers
Women Cinemakers
Women Cinemakers Angelina Voskopoulou: "I was drawn to explore the unspeakable and ineffable in 'Persephone's Dream' due to the pressing nature of modern Greek environmental issues and the rich tapestry of Greek mythology. The film aimed to capture the intangible emotions and complexities surrounding environmental challenges and my deep connection to the land. To structure the shooting and editing process, l took an experimental approach. I used a combination of carefully planned scenes and improvisation to evoke the desired emotions. In post-production, i employed various visual and sound editing techniques to create an ethereal and dreamlike quality. It was a collaborative effort, and the entire team's dedication and creativity played a crucial role in achieving these results." In addition to my work on 'Persephone's Dream,' it's important to note that for the past two years, I have been deeply involved as a sevengardens dialoguer, where I have actively promoted methods for non-toxic colors. This experience has significantly influenced my artistic perspective and reinforced my commitment to addressing environmental issues through creative expression. 'Persephone's Dream' served as an artistic extension of this mission, allowing me to explore the connection between mythology, the environment, and the use of non-toxic materials in my work." As in many of your works, sound plays a crucial role in : how did you develop the interview
editing process in order to match the ethereal qualities of the soundtrack and dreamlike ambiance that pervades the footage?jour Angelina Voskopoulou: Sound indeed plays a pivotal role in 'Persephone's Dream,' complementing the ethereal qualities of the soundtrack and the dreamlike ambiance of the footage. To achieve this harmony, the editing process was meticulously crafted. We worked closely with a talented sound designer who understood the vision of the film. Through a combination of original compositions, field recordings, and carefully selected music, we aimed to create a sonic landscape that mirrored the emotional depth of the visuals. The editing process involved precise synchronization of sound and image, allowing us to immerse the
viewers in a sensorial experience that enhances the metaphysical journey presented in the film challenges traditional forms of communication to encourage viewers to engage in a more interpretative immersive experience, inviting them to question the metaphysical content of movement. How important if for you to employ to guide the audience's interpretation of the visual and auditory elements? More specifically, can you discuss the role of symbolism and metaphor and how these devices may help convey meanings and emotions that cannot be fully expressed through ordinary language? Angelina Voskopoulou: For 'Persephone's Dream,' it was indeed essential to challenge traditional forms of communication and encourage viewers to engage in a more
Women Cinemakers interpretative and immersive experience. Employing context to guide the audience's interpretation of the visual and auditory elements was of utmost importance. Symbolism and metaphor played a central role in this process. These devices allowed us to convey meanings and emotions that transcend ordinary language. By using symbols and metaphors, provided viewers with a multilayered narrative that could be open to personal interpretation. This approach helped tap into the ineffable and unspeakable aspects of the human experience, enabling viewers to connect with the film on a deeper, more emotional level. The use of symbolism and metaphor provided a bridge to the metaphysical content of movement and allowed for a richer, more profound engagement with the themes explored in the film." As you remarked in your artist's statement, . We dare say captured the complexity of reality, that can trascend the " " of language: Jacques Derrida have grappled with the idea that language can never fully capture meaning interview
Women Cinemakers
Women Cinemakers
Women Cinemakers interview due to its inherent ambiguity. Can you discuss the interplay between abstraction and reference to reality in as it relates to conveying complex ideas that go beyond the limitations of language? Angelina Voskopoulou: "In 'Persephone's Dream,' I aimed to explore the interplay between abstraction and reference to reality, a concept deeply intertwined with Jacques Derrida's notion of language's inherent ambiguity.( language is chaotic and meaning is never fixed, in a way that allows us to effectively determine it that is, meaning is unstable, undecided, provisional and ever differed) The film sought to capture the complexity of reality by transcending the 'semantic cage' of language. Through abstraction, created visual and auditory forms that went beyond the limitations of conventional communication. By using abstract elements, symbolism, and metaphor, could convey complex ideas and emotions that often elude precise verbal descriptions. The film embraced ambiguity as a tool to provoke contemplation and invite viewers to engage with their own interpretations. This interplay between abstraction and references to reality allowed
Women Cinemakers interview 'Persephone's Dream' to touch on universal themes while respecting the viewer's unique perspective and experiences. It offered a space for reflection, where the audience could explore the intricacies of our relationship with the environment and the human experience, even when language falls short in fully capturing these intricate aspects of our reality." In the initial scenes of , we observe mostly solitary characters, whose yearning to interact with the world they are a part of is marked by an apparent and mysterious sense of . This contrasts with the finale, which is characterized by a collective vision that appears to reflect an ideal of harmony, finally achieved. How do you hope viewers will interpret the emotional and metaphysical content of ? Angelina Voskopoulou: In 'Persephone's Dream,' the progression from solitary characters marked by incommunicability to a collective vision of harmony was deliberately structured to convey a particular emotional and metaphysical journey. I hope viewers will interpret this evolution as a reflection of the human experience in the face of environmental
Women Cinemakers
A still from Women Cinemakers
Women Cinemakers interview challenges. The initial sense of incommunicability represents our disconnection from the natural world and the isolation that often comes with it. As the film unfolds, it aims to inspire a sense of collective awareness and unity, symbolizing our potential for harmony with the environment. Ultimately, I hope viewers will find in 'Persephone's Dream' a message of hope and possibility. It invites them to consider the transformative power of collective action and to reflect on their role in achieving harmony with the world around them. The emotional and metaphysical content of the film is meant to evoke a sense of responsibility and the potential for positive change, both on a personal and global scale How do you navigate the challenge of communicating complex ideas and emotions through visual forms, especially when they transcend language? Angelina Voskopoulou: Navigating the terrain of communicating complex ideas and emotions through visual forms, especially when they transcend language, is a captivating artistic journey. It's a realm where we delve into the abstract, where words fall short, and the subtleties
Women Cinemakers interview of human experience are painted on the canvas of imagery. At its core, this challenge involves transcending linguistic boundaries to access a more universal language of human expression. Here's how I approach it: · Visual Poetry: Visuals can be seen as a form of poetry, where every frame, color, and composition carries layers of meaning. The challenge is to orchestrate these elements in a way that resonates with viewers on an emotional and intellectual level, evoking a symphony of thoughts and feelings. · The Language of Dreams: The unconscious mind speaks in symbols, and in many ways, visual storytelling can tap into this shared dreamlike symbolism. It's the subtle nuances and surreal juxtapositions that can unlock deep emotions and meaning. · Evoking Senses: Beyond language, visuals engage our senses, creating a multisensory experience. The interplay of light and shadow, the texture of surfaces, the rhythm of movement, and the melody of sound all conspire to evoke profound emotions that transcend mere words.
Women Cinemakers
Women Cinemakers
Women Cinemakers · Open Interpretation: Embracing ambiguity and open interpretation can be a powerful tool. Rather than imposing a singular narrative, I aim to create spaces where viewers can project their own experiences and emotions onto the canvas. It's about offering a mirror for introspection. · Universality of Emotion: Emotions are a universal language. Visuals can capture the raw and nuanced range of human feelings, allowing viewers from diverse backgrounds to connect with the work on a profound, emotional level. · Capturing Complexity: Complex ideas often require multi-layered visuals. I seek to create compositions and sequences that mirror the intricate nature of the subject matter, inviting viewers to peel back layers and uncover deeper meanings. In essence, this challenge is about transcending language's limitations to access a realm of shared human experience and emotion. It's about creating a visual dialect that speaks directly to the heart and soul, transcending linguistic boundaries to engage and provoke thought and feeling in a way that is open to interpretation and personal connection. interview
Women Cinemakers interview You recently created a multidisciplinary theatrical group called based on Japanese dance: would you tell us something about this stimulating experience? Moreover, what is your perspective on the role of multidisciplinary approach in order to in visual art, particularly in the context of video? Angelina Voskopoulou: The theatrical group doesn’t exist anymore, I apologize for the confusion... But I do use butoh elements in my work. Butoh, with its emphasis on physicality, symbolism, and the exploration of the subconscious, can infuse a work of art with a distinctive dimension that resonates with viewers on a profound level. I am drawing from this expressive form to enrich my artistic endeavors. The role of a multidisciplinary approach in visual art, especially within the context of video, is a highly innovative and dynamic one. It allows artists to break down traditional boundaries, blend various art forms, and create more immersive, engaging, and conceptually rich works. Here are some perspectives on the importance of a multidisciplinary approach in visual art: Expanding Creative Horizons: A multidisciplinary approach encourages artists to explore diverse artistic mediums, such as dance, music, theater, literature,
Women Cinemakers
Women Cinemakers
Women Cinemakers interview and technology. This expanded creative landscape opens up new possibilities for expression and experimentation. Multidisciplinary projects can convey complex narratives more effectively. Visuals, soundscapes, and even performances can work in harmony to tell a multifaceted story that engages the audience on multiple levels. Multidisciplinary collaborations can foster dialogues across cultures and disciplines. It encourages artists to draw from diverse cultural traditions, creating a global conversation through art. Challenge Conventional Boundaries: Multidisciplinary art can challenge traditional categorizations of art, encouraging viewers to think beyond boundaries. It often involves pushing the boundaries of what art can be and what it can express. Thanks so much for having shared your thoughts with us and with our readers, Angelina: can you tell us something about any future projects or directions your work might take? In particular, do you plan to further explore the interplay between the poetic and visual forms? Angelina Voskopoulou: Thank you so very much for your time and effort !! well.... My new project combines elements from Lovecraftian horror, gospel, and cats, trying offering a unique and
Women Cinemakers interview potentially captivating blend of themes. Here's a brief exploration of what your project might entail: Entitled "Hunting Lovecraftian Gospel and Cats" · Concept: This project appears to merge elements from H.P. Lovecraft's cosmic horror with the spiritual and musical traditions of gospel, all while incorporating cats as a significant motif. The juxtaposition of these seemingly disparate elements could lead to a thought-provoking and enigmatic narrative. Lovecraftian Horror: Lovecraftian horror is characterized by its cosmic, otherworldly dread, often involving ancient, powerful entities beyond human comprehension. Your project might explore the fear and awe inspired by these entities and the psychological toll it takes on those who encounter them. · Gospel: Gospel music is deeply spiritual and can be an expression of faith, hope, and transcendence. The interplay between Lovecraftian horror and gospel could create a rich thematic tension, delving into
Women Cinemakers
Women Cinemakers
Women Cinemakers interview the contrast between dark, unknowable forces and the resilience of the human spirit. · Cats: The inclusion of cats can introduce a sense of mystery and symbolism. Cats are often associated with the unknown, magic, and intuition. They might serve as both protectors and observers, potentially playing a key role in the narrative. Narrative and Visuals: The narrative could follow a protagonist or group of characters as they delve into the world of Lovecraftian horrors, seeking a deeper understanding or perhaps attempting to confront these eldritch entities. Gospel music might serve as a contrasting element, offering moments of solace or redemption. Cats could act as both guides and enigmatic symbols, leading the characters on their journey and adding layers of mysticism. Through Metaphors and Allegory: Use the Lovecraftian elements metaphorically to represent systemic issues, discrimination, or prejudice. Create an allegorical narrative that reflects real-world human rights challenges without explicitly stating them. An interview by Francis L. Quettier and Dora S. Tennant [email protected]
Laurel Beckman Lives and works in Santa Barbara, California, USA In my work I strive for visual and conceptual richness, pleasure and open curiosity, while privileging uncertainty and humor over conventional narrative approaches. In the video projects “stuff happens”, and is fully entrance-able through visuals and sound, though outcomes are suspended in favor of layered meaning. My work investigates affect, stage & screen space, science & consciousness; and has screened in festivals, public spaces, museums and galleries throughout the US, and abroad in over 30 countries including Spain, Canada, Italy, Palestine, Australia, France, India, Brazil, Switzerland, Macau, Iran, Peru, China, and the Netherlands. I’m a professor of Experimental Video/Animation at the University of California Santa Barbara, USA. It’s Stonewall in My Navel The impulse to daydream (causing impatience or disassociation in 1st part of video) is met with a forbidding twitch towards darkness that denies the benefit of getting lost in your mind. In the video, the navel-gazing subject travels inside and outside her body, where her navel plays host to revelers at Stonehenge and Stonewall. Uncertain histories, monumental status and ritual are teased and morphed between the two sites. The Stonewall Inn, site of the liminal 1969 Stonewall Rebellion, was a dance bar. Such places concretize dreams and consequences of queer-dom in the 20th century and beyond (see Pulse slaughter, 2016). Stonewall itself is modeled here based on first person accounts of the iconic bar, where against the full-moon early morning hours of June 28, 1969, queers raged against oppression. They threw pennies, bricks, beer bottles, a trash-can, and a parking meter. In the video they, we, and those tools of rebellion dance, affirming that celebration and protest are not mutually exclusive. It’s Stonewall in My Navel is indebted to: Shirley Bassey, 1968, “This Is My Life (La vita)”, written by Bruno Canfora, Antonio Amurri, Norman Newell The Friends of Distinction, 1969, "Grazing in the Grass”, written by Philemon Hou (both songs were on the June 1969 Stonewall back-room jukebox) Bob Fosse, director, and all the dancers in “Sweet Charity”, 1969 film Elizabeth Folk, Kate Sorensen, and the Stonewall Veterans’ Association
It’s Stonewall in My Navel is a captivating film by multi-disciplined artist Laurel Beckman: through an effective non linear narrative approach, she initiates her audience into an unconventional and heightened visual experience, addressing the viewers to a multilayered visual experience. Hello Laurel and welcome to WomenCinemakers: to start this interview we would ask you a couple of questions about your background. You have a solid formal training and you degreed with a MFA of Art from the prestigious California Institute of the Arts: how did this experience influence the way you currently conceive and produce your works? And in particular, how does your cultural substratum and your travels inform the way you relate yourself to art making in general? Greetings WomenCinemakers and readers. It’s always a privilege to be able to talk about my work, and I’m really happy to do so. I attended Cal Arts in the formative 1970’s, and the combination of those two things (the school and the time period) has been extremely meets An interview by Francis Quettier and Dora Tennant Laurel Beckman formative throughout my career, both as an artist and a teacher. Like any teenager and young adult, I couldn’t have been fully aware just how much the environment would contribute to my attitudes and ideals. And I think the reverse may be true too, I hope that I contributed to the climate and evolving legacy of Cal Arts. Cal Arts did not have grades, rather they had ‘experience reports’; instead of a staid curriculum, they had wildly innovative and pertinent classes, and at the core was independent studies and mentorship. Other important aspects include proximity- everyone was basically in the same building, which led to heightened curiosity and participatory, interdisciplinary learning. I remember critiques in the hallways, open for anyone; everything felt possible. The fact that the faculty were/are artists first and foremost, and not academics, is key. It was all about the work, the ‘conversation’, the experience, rather than, say, categorizing or branding. Exciting times! The presence of the Feminist Art Program and feminist art history classes was as critical as the persistent experimentation with forms and ideas. All of these things I mention are the backbone of my work, I don’t like (event tacit) boundaries or preoccupation with what others think, I value free-association and true exploration in the work. You are a versatile artist and your practice ranges from video and public projects: before starting to elaborate about your artistic production, we would invite to our readers to visit http://www.laurelbeckman.com in order to get a synoptic view of your work: while Lives and works in Santa Barbara, California, USA
walking us through your process, would you like to tell to our readers something about the evolution of your multidisciplinary approach? In particular, do you think that there is a central idea that connect all your works? There are threads that surface when I consider my work in total. In terms of themes, there are notions that everything is sentient, and increasingly present, that looking closely is the same as or at least parallel with looking loosely- by that I mean that while I’m detail oriented, critical and focused, I concurrently consider what I see/feel/think- what’s there, with, say, the equivalent of seeing a bunny in the clouds. A pretty normal human impulse that’s thwarted by a cultural imperative towards conservative ideals of documentary, use, and goodness. I’m of the opinion that truth is fugitive and I believe in the power of fiction. I tend towards absurdity and humor as tools in the face of serious themes. Other threads are a poetic approach to our cultural environment, in critique and in appreciation, and an insistence on questioning given truths and authority. I’m just hard-wired that way; and I recognize that all folks aren’t and that’s ok. I’m a hippy inside and an organized driven person on the outside. As a visual artist it’s important to address aesthetics and form. There’s a visual thread in my work, though at the same time I constantly try to break it! In attempts to shake the stronghold of the frame, I fancy black space with prominent color breaks, and erratic round/other shapes. I appreciate abstraction alongside representational imagery, which i think may be a good analog for my playful/serious nature. Video in particular is rich with visual and sonic possibility, and its evolving place in the continuum of film/video including presentation and delivery platforms; that’s one of things I love about it, there’s so much to explore and do. For this special edition of WomenCinemakers we have selected It’s Stonewall in My Navel, an extremely interesting film that our readers have already started to get to know in the introductory pages of this article. While walking our readers through the genesis of It’s Stonewall in My Navel, would you tell us how you developed the initial idea? I tend to do a major video project every year or two, in addition to shorter pieces. Since so much of the work is frame by frame manipulation, a major piece interview
interviewcould be 5-10 minutes. At the time I started It’s Stonewall in My Navel, I was thinking of two things- one, poetic but problematic alliterations (I was thinking about Stonehenge/Stonewall, and of Ramallah/Ramadan), and of having a fragmented narrative, a sort of dynamic diorama, take place in my navel. Or your navel. The merger was organic and fruitfully in tune with absurd leaps in the action. The navel is a membrane between the outside and inside of the body; alongside it’s own genesis story, it’s also funny. The idea of having a story in there, such as it is, is also funny- the idea that you’re host to life of another order. That brings me to the pairing/juxtaposition of aliens and queers (my favored term for LGBTQ folks, such as myself). They are much the same, fabulous and strange. Needless to say, I not an assimilationist. The mythology of Stonehenge’s origins (alien built?), and the fact that it was and continues to be a ritual ground with prominent rocks and a definable shape, is for me a lovely analogy with queers dancing and that one night, rebelling, at the famed Stonewall Inn in the 1960’s. The Stonewall was built around and includes a stone wall. And of course to stonewall is to resist through refusal. The first half of the piece I play out what it might be to shaken from a state of daydreaming to one that’s faced with the dark issues of the world. I use subjective daydreams of my own, and employ that material and time to do two things: one- to establish a culturally pervasive antagonist of daydreaming (and imagination in general), and to ‘perform’ that by structuring the first half so the viewer gets anxious; as in, can’t get a grip on, or, is it over yet? Intended as it is, I’ve found this part of the video to be a difficult hurdle for some viewers. It’s a risk worth taking for me. From all that, the making of the video proceeded pretty much through my own imagination and process, along with research and kinks in the making that are generally beneficial. I tend to work chronologically, and truthfully, I move with a continual refinement of what I want from scene to scene with a lot of improvisation along the way. That’s the fun part. Practically speaking, researching what the interior of the 1969 Stonewall Inn looked like was important; with only
two extant photographs (one exterior & one tight shot inside of a pair of revelers), I primarily used oral histories to 3D model the inside for the virtual dance bar part. The research revealed what was playing on the jukeboxes that night, as well as the physical layout of the inside, and critically, the objects the rebels hoisted at the abusive and arresting police. Those tools of rebellion, of dissent, figure largely in the soul of the video. The end, where the dance floor hosts the dancers and the tools (brick, trashcan, etc) is saying that dancing and rebellion are not mutually exclusive. Your observation of social and psychological phenomena seems to be very analytical, yet It’s Stonewall in My Navel strives to be full of emotion: how would you consider the relationship between analysis and spontaneity within your work? In particular, do you like spontaneity or do you prefer to meticulously schedule every detail of your works? How much importance does play improvisation in your process? I consider myself to be emotion driven. A lot of my work involves the interplay of subjective experience and affect, and the neuroscience research that looks to understand affect through imaging and locative technologies. Analytical, maybe, but I experience my observation as a force that I have a hard time turning off. So, considered, yes, and as I mentioned, critical, in the sense of pointed and focused. In my work, I don’t care about analysis, that’s way too practical and has a goal of static understanding or certainty; I’m much more about making (I hope) affinities between how I feel and you might feel. That’s coupled with an almost righteous assertion of queerness of thought and action (in the old fashioned meaning of queer- as strange or odd). Honestly, I’m a big mush with what I’m told is a critical face. An interesting question for me is the relative ability for artists video/film to evoke emotion in the viewer. I think of strategies as different as Jesper Just, Marina Abramovic, and Tommy Hartung, that, while enacting and performing emotion, seem to both embrace and diverge from the cinematic emotional experience. Is it possible within experimental moving image work (in form and delivery) to engender emotion in the viewer through intent, is it desirable? I don’t meticulously plan or schedule details in my work, though with video a significant amount of methodology is needed to get things done, and it helps that I’m so organized. Because of my background as a visual artist in other interview