Rebecca Erin Moran at NÝLÓ The Living Art Museum Iceland
18.10.2014 – 13.11.2014
Laboratory Aim Density – FOREVER! just ended.
As Nýló begins a new chapter with this inaugural exhibition at the museum’s new project space in Breiðholt, Rebekka asks – what happens after the end?
What happens after the guns and the war?
After everyone gets trampled on the floor? After a piece of bread could buy a bag of gold? After the pointless plot points? After the three-act structures crumble? After the inciting incidents? After all that damned expectation? After all the leading ladies? After all the bit parts? After the knee tremblers? After the butt plugs? After the hashtags? After Munich? After the bolex? After the freeze frames? After the pickle jar smashes? After that fucking eruption? After the sun sets? After the blow up dolls get blown the fuck up? After all those lukewarm apocalypses? After the pillow talk? After all that polite foreplay? After all the Anger? After she turns her head? After paradise gets crushed? After you realise all relaxation ever was to you was awkward? After getting lost in the woods? After all the tableau vivants wither? After all the happenings get happened? After the experimental becomes the normal? After the New Normal gets cancelled? After all the blissed out hippie spaces? After the two men walk up that hill? After all the technical parameters? After you change your mind? After all the film stock is processed?
What gets left behind?
Forever! Just ended interrogates the destruction of linearity and the end of expectations through an evolving process – an ambitious scored installation, encompassing sculpture, performance and events that will unfold over one month.
Humans are neurologically wired to spot narrative patterns. Beginning-middle-end. The three act structure. But where does the space after the ‘end’ belong? Is it still governed by the rules of narrative? From time immemorial, story tellers have co-opted the ‘end-times’, desperately trying to fold it into narrative, evoking a sense of foreboding and doom. But maybe such a space is not governed by any rules at all, perhaps it just evokes a lukewarm sense of ennui.
During the course of the month at Nýló, Rebecca will be shooting, hand-processing, editing and manipulating film in the exhibition space. Forever! Just Ended is a negotiation between Rebecca, the camera and the set, each imposing a distinct agency. Situational, technical and human restrictions interplay, creating deviations, mishaps and chance moments. A colour here, a form there, an action frozen in time.
Evoking both experimental film and happening traditions, the actions in the exhibition are all set up to be captured by a Bolex camera, at once seemingly spontaneous yet somehow articulately composed. Narrative seems to be incited but never graspable.
While using highly charged symbols from popular culture and film, Rebecca does not employ the production protocols of linear narrative film such symbols may have emerged from. Rather than working with pre-defined script, she composes a score of events and images enabling the viewer to free associate meanings and fragments of sense.
This new work expands from Moran’s recent Laboratory Aim Density exhibition series in Germany and Holland developed over 2014. The shows are both surreal examinations into film as both a process and a material and also a deeper investigation into the language of film itself, questioning the roles of the creator, the crew, and the viewer.
Rebecca Moran lives and works in Reykjavik, Iceland, having been based in Holland and the United States and exhibiting across Europe, Asia and America. Recent exhibitions include Laboratory Aim Density Kunstraum München (2014). Munich, Germany. Laboratory Aim Density. Glasmoog Kunsthochschule fur Medien. Cologne, Germany. Laboratory Aim Density. Performance Nijmegen (NL). E.S.P TV. Kling og Bang. Reykjavik Arts Festival (2014), Iceland. Rolling Repeat Cycles Turns. Gallery Þoka. Reykjavik, Iceland (2014). Don’t Stop Now, ‘Cause We’re Having a Time. Sequences, Reykjavik, Iceland (2013).
Words by Dan Meththananda
The exhibition is part of the Living Art Museum’s CYCLORAMA series.