LUX Event: alovestorysomewherearound2046: surplus local
Tue 3 Sep 2013 / 7pm
alovestorysomewherearound2046: surplus local stages a public conversation between artist Edgar Schmitz, curator Pieternel Vermoortel and internationalization expert Phillip Lockett on the versioning of feature movies, imaginary plots and the dynamics of post-production. What needs to be highlighted when the versionist take over, what does he find important and for what reasons? Who will be dubbing the protagonist? What is translation for a future audience? What could a creative package for an exhibition entail?
The session is the first of three events at LUX that shadow the production of alovestorysomewherearound2046, a collaborative film treatment by Edgar Schmitz and Pieternel Vermoortel that turns their past exhibitions into raw material for a lovestory 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.
As part of this ongoing production, Schmitz and Vermoortel stage meetings with cinema production experts (from special effects to lighting and stuntmanship, from character and plot development through to versioning and advertising interfaces) to expand the exhibition-scenes of the film treatment and subject them to the pre-production patterns of feature films. Further sessions on filmic settings and casting protagonists are planned for the autumn.
Phillip Lockett has worked in film and television post production since 1997, and specifically in localization since 2000, spending seven years at Sony Pictures managing European non-theatrical dubbing and five years at Paramount Pictures managing global theatrical dubbing. He is now a Senior Project Manager for an international localization company.
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 at 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.