The Midnight Club, 2011-12
How do you make a video of a piece that takes place mostly in darkness and very dim light? And one that was a very slow-moving participatory installation? “Dim, Boring Films” – that’s my production co.
Making this video it’s obvious, maybe, that it doesn’t represent the experience of the piece itself at all. It never could, of course, as we know. But this one is for sure a different creature; a different project for a different audience. Who am I now, as I watch these images? What connection do I have to who we were then? I can already feel the film yellowing (which of course this film never will — if WordPress is around still reading m4v files in 2113, someone could see these images), becoming grainier, decaying: decay as my life slips further from these moments, decay as we grow older and accumulate new images on top of these in our hearts. Distance is the most palpable sensation. So documentation in the end is a gesture in relation to time. It creates past. The Midnight Club 2012 is past. Long live The Midnight Club.
Actually I like this — dim, slow, grainy, and the perception of loss, distance, time. Remembering things we did, noticing others for the first time, editing for snappy lines and any visuals at all, performing the past. Writing the past. Really, I just like us. Which was always exactly the point.
The trailer for Circo Zero, Sol Niger, 2008.
Here’s a bit of me playing violin with Albert Mathias in Avy K’s Scrap Soup, 2008.
Here’s a few excerpts from my 2005 “solo” show, when the heart’s an empty room. So many of my friends and collaborators had left town following the dot-com bust that I was left with few familiar peers. I asked several friends to film themselves dancing, wearing white. I edited the videos and made live music for them, then danced myself, trying to feel our connections over the distance, through space and time, through the fibers of our connection as friends, community, remembering bodies I know so well.