0rphan Drift Archive

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DoubleWalker :: 2003

0rphan Drift Archive

DoubleWalker :: 2003
A Five Channel Video/Audio Work by 0rphan Drift
Pitt Gallery, Vancouver
May 31-July 5
Video length: 33 minutes

0rphan Drift, an artists' collective based in San Francisco, London, Oslo and CapeTown, are in Vancouver again with a new installation at the Pitt Gallery. DoubleWalker, a sound and visual environment, presents a matrix of remade scenes from well known films, altered in different ways by each member of the collective to extract new viewpoints, creeping up like a cinematic déjà vu. The remakes are spliced together with 'original' scenes from the artists' personal experience and choreographed to one sound track.

Doublewalker is an investigation of the trickster in the language of cinema, which casts the artist as a ghost lingering inside filmic space and suggests the potential for cinema to create a sense of deja-vu. It is composed out of remade scenes from well known films, along with scenes remade or documented from experienced events. The first scene is a remake of the Magritte painting ‘Invention de la Vie’ along with four images of a London high rise imploding, opening the piece with the suggestion of collapse or catastrophe. Doublewalker does not follow a linear narrative, but instead is bound by this sense of collapse, most often portrayed through suggestions of the aftermath rather than the catastrophic event itself.

The trickster is a figure of traditional mythologies. 0rphan Drift engages its dynamic potential to channel twists of fictional incarnation into the everyday. Trickster is the chameleon of communication and guide to spaces between known realities. It is the transforming power of the imagination that pokes, plays with and eventually shatters what seems to be, until it becomes simply what is. A form shaping both ends and means. An imaginer of life.

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I am another yourself. THE TRICKSTER.

Movies and news are presented to us as fiction, using similar trade tricks: graphic means to immerse and drown the viewer. Fact and fiction come to camouflage each other. The film industry is the zeitgeist reflecter: cinema devours consensual perversions, fears, dreams and seductively enhanced, feeds/broadcasts them back to a world eager, transfixed. Hollywood makes manifest a culture’s personal and seemingly individual imaginings: in time they become blueprints absorbed by society as ‘the future’.

The series of works showing at the Helen Pitt Gallery, Vancouver, are preoccupied with the character of The Trickster and in deconstructing the circuit that fizzes between the screen-locked viewer and all the experiences the viewer brings to film from our/their own, seemingly individual and highly personal fictional and experienced realities. Orphan Drift have chosen to remake scenes from several films: the films we have chosen operate a similar circuit within our group – we recognise them and feed and are fed by them. They contain our vision of reality’s layers. Often ritualistic and theatrical, the scenes work through trickery, bizarre narrative twists, the reality bleeds, the director’s cinematic vision. And Orphan drifts further deconstructing, magnifying and relocating of the original scenes until them become echoes of something teasing, almost familiar – and reinventing itself again and again through the different locations and Orphan Drift responses.

‘Nothing is true, Everything is permitted’. Burroughs.

The Trickster at work: the elusive feeling amongst the screen-locked (the audience) that they are being had. A question registered on the edge of consciousness, distant as if shrouded by fog. Or suspicion. Fiction has not been contained on the big screen; it has leaked out into home movies – or is it the other way round? Where is the everyday experienced event? In these stylised and transparent artificial dreamings?

At the centre of the work – or behind its centre, can you imagine such a space…there is the shadow of a presence, the ghost of an artist – a feeling that someone once asked ‘What is it like for me to be inside these favourite liminal spaces, creating and walking across the thresholds with my camera?’. (All are seduced; the only cure is blindness.)

Starring in ‘Total Realities’ Orphan Drift recreate disturbing scenarios in their own local and sometimes absurd environments, exploring the impact of magical, fictional invasions into the everyday. The trickster of traditional mythology incarnates weird imaginings into unsuspecting everyday worlds, possessing its chosen participants in the drama unfolding and the audience, familiar with the trickster dynamic, will always facilitate and channel its wildest twists of fiction. It is the transforming power of the imagination that pokes, plays with and eventually shatters what seems to be, until it becomes simply what is. A form shaping both ends and means. The transformer. Purveyor of ironic dimensions. The liminal, that which is neither this nor that, yet is both.

The trickster has no time for truth. He disregards truth, its gets in the way of dissolving boundaries, opening horizons, producing worlds and constant transformation. The trickster highlights the state of radical possibility, the truth of power – he is the living connection between the wild and the social, between the potentially and actually human – he is almost, on a good or is that a bad day, terror incarnate. The chameleon of communication. Finding seams between zones. And he lies like a cunt. He springs out of nothing, crosses time and disappears. Discontinuity and change – the energy for the 21st Century. An imagineer of life.


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