alovestorysomewherearound2046: siting production

 
alovestorysomewherearound2046: siting production stages a public conversation between artist Edgar Schmitz, curator Pieternel Vermoortel and production designer Tony Noble on the production of cinematic worlds. How do models correlate with settings once a site is conceived of as a specific object? And how do atmosphere, immersion and narrative morph into animated image settings in the process?
siting production shadows the ongoing production of alovestorysomewherearound2046, a collaborative film treatment by Edgar Schmitz and Pieternel Vermoortel that turns their past exhibitions into raw material for a love story set in the near future. One exhibition normally provides material for one scene in the treatment, which becomes its distorted and slightly delayed mirror in the suspended state of a sci-fi film always yet to be made.
Following siting production, Schmitz and Vermoortel will stage one more meeting at LUX, which will focus on sound as another way of expanding the exhibition-scenes of the film treatment by subjecting them to the pre-production patterns of feature films.
Tony Noble production designed the award winning film Moon. He worked on high profile campaigns for British commercials, including Ridley Scott, Tony Scott, Hugh Hudson, Alan Parker, Patricia Murphy, John Henderson and Paul Weiland. Production designing these advertising campaigns gave Tony a frequency of large scale builds for multiple briefs and periods. Tony Noble went on to art direct Gavin Hood’s Rendition and was the UK concept artist for Robert De Niro’s The Good Shepherd. More recently, Tony has designed The Christmas Candle for John Stephenson and the post apocalyptic The Divide for Xavier Gens.
Edgar Schmitz is an artist who has often borrowed cinematic motifs, atmospheres and modes of attention to orchestrate his practice. Recent exhibitions include British Art Show 7/ In the Days of the Comet (Hayward Touring 2010/11) and Surplus Cameo Decor (Cooper Gallery, Dundee and Himalayas Art Museum, Shanghai, 2012-14).
Pieternel Vermoortel’s curatorial practice operates as a reflexive manner of production within given institutional frameworks. Her most recent programme as FormContent has functioned as a performative script, a production and dissemination mode that uses scripting conventions as form through which to produce (and reflect upon the production of) the exhibition as specific cultural object. Schmitz and Vermoortel have worked together since 2006 in various distributions as artist and curator, often swapping and/or overlapping their roles in the process. The film treatment accompanies both practices as work in development under the externalised mirror perspective of production and dissemination.
alovestorysomewherearound2046 is generously supported by Goldsmiths Research Support Awards.