Toby Huddlestone.

*1980 in Goole, GBR, lebt und arbeitet in London, GBR

2007 MA der Bildenden Kunst an der University of the West of England, GBR

2003 BA am Swansea Institute of H.E., GBR

 

Ausstellungen [Auswahl]:

2012 Sculpture/Bar/Performance, Enclave, London, GBR

2010 I'm so Bored of Viewing..., The Engine Room, Wellington, NZL

To appear to have done something can be more significant than having actually done it, R O O M, London, GBR

2009 ON ON/Protest Apathy, Outlet, Manchester, GBR

2008 Double Yes, Plan 9, Bristol, GBR

Video Apathy

Date: 2010
Length: 07:24 min.
Format: 4:3
Specifications: Colour, Sound, Single Channel
Courtesy the artist

 

 

Video Apathy ist eine Geschichtsstunde über die letzten 60 Jahre unserer Zeit. In einer hohen Frequenz von Bildern illustriert der Künstler seine chronologisch aufgebaute Argumentation über politische, historische und sozialgeschichtliche Ereignisse. Den Fokus legt er auf die Wirksamkeit und Reichweite von Protesten, Rebellionen und Umstürzen, mit denen sich Bevölkerungen und Funktionäre gegen Kriege, politische Machenschaften, die Arbeitslosigkeit in ihrem Land und gesellschaftliche Strukturen auflehnen. Auch Revolutionen in der Musik und Modewelt sind ein Zeichen jener Protestbewegungen. Durch die Zusammenstellung des historischen Bildmaterials und dessen schnelle Abfolge blitzen Wirklichkeitsmomente der Vergangenheit auf, so dass das Video eine hohe Suggestivkraft entwickelt. Es stellt sich die Frage: Für was kämpfen und protestieren die Menschen heute noch? Reality TV und Social Media, ein Novum der 1990er Jahre, sind an die Stelle von Demonstration und Rebellion gerückt. VIP’s sind die neuen Helden der Nation. Der Künstler führt dem Betrachter eine Gesellschaft der Teilnahmslosigkeit, Unentschlossenheit und Machtlosigkeit vor Augen. Mit der politischen Kampagne „Apathy 2009“ ironisiert er diese Einstellung: Ein Protest, an niemanden gerichtet, mit Ausreden, die das Nicht-Protestieren rechtfertigen sollen. Der Betrachter reflektiert die vorangegangenen Jahre und wird vom Künstler aufgefordert, selbst Stellung zu nehmen: „Is this our Vietnam? (…) You tell me!“

Natascha Priester

 

 

Interview:

 

► 1. Your work has been chosen among over 2000 festival entries to participate in VIDEONALE.14.  In which context  do you prefer to present  your work, festival/cinema context or exhibition? And what kind of difference does the respective mode of presentation mean for you / your work?

 

I like both. From a perspective of generosity, I prefer the exhibition format - it allows more time for a work to be viewed over a longer periods of time, so gives more people more opportunity to see a work. From an artist's perspective, I very much like my work to be placed within an exhibition context when the context/concepts are interesting, and key to the artwork making some kind of sense within the exhibition. When curated well, this can be really exciting. The festival is a good way of seeing lots at once, but sometimes it can lead to the audience forgetting some elements of what they have seen due to it all being placed on one screen together in a show-reel format, rather than a particular way of seeing work in a larger space that one moves around and navigates. In festivals and screenings, people end up remembering their favourites, which brings an element of competition to the works too. That said, it is a good way of curating thematic presentations of work.

 

 

► 2. Art can be seen as a mirror that registers and reflects life or as a tool that transforms it. Is there a particular theme, concept or problem your art addresses the most?

 

I never really concentrate on this. The ideas flow from somewhere in my brain I'm not quite sure about, and I don't want to analyse too much, otherwise it wouldn't be as spontaneous and reflexive. My politics, philosophy, ideology and so forth I guess forge the work I make, sometimes more so than other times - I think all work in some way attempts a deeper understanding of the human condition and the world, but I don't like to assign an identity on this.

 

 

► 3. In which way is the video medium an excellent possibility to express your intended subjects, especially in contrast to other media you use? Or do you work exclusively with video?

 

I work through all media, and actual feel most success through the processes of collaboration, discussion, presentation, conversation. Video is sometimes an outcome of these things, but the processes themselves are where everything is bubbling and igniting. I use video when I guess I'm trying to focus on more of a narrative structure of sorts - thinking about the languages of film, cinema, expanded cinema, video art and the moving image, it is a particular language that usually involves a visual and audio score, in addition to having some physicality to it (projection/monitor) - when I think an idea needs these things then it becomes a video work.

 

 

► 4. If you have the chance to ask the visitors of the VIDEONALE.14 exhibition questions about your own work, what would be your question?

 

Does the work make you think any differently about the subject matter (protest, apathy, the media, etc.) than you did before?

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