Bridget Walker.

* 1983 in Melbourne, AUS
lives and works in Paris, FRA

studied at the Victorian College of the Arts, Melbourne, AUS


Exhibitions [Selection]:

2012 ID 2012, National Portrait Gallery, Canberra, AUS
Panorama. Galerie Rauchfeld, Paris, FRA
2010 Instructions for Initial Conditions. Drift Station & Parallax Space, Nebraska, USA
Official Selection, Semana del Cine Experimental de Madrid, ESP
2008 Official Selection, Experimental Program; 57th Melbourne International Film Festival, AUS

Le Spectre Silencieux du Mouvement

Date: 2012
Length: 06:27 min.
Format: 4:3
Specifications: Colour, Sound, Single Channel
Courtesy of the artist and Galerie Rauchfeld, Paris



Can animation and reality merge, not just as a film effect but also in everyday life? “The Silent Spectre of Motion” plays with this idea when the artist, dressed as a ghost, plays a game of deception using various media. The genres drawing, comics, animation and documentation are literally stirred together. The three-part video work begins with two academics who discuss and then solve a rebus, accompanied by an abstract series of geometrical patterns reminiscent of an aggressive video game. In the second section of the video the artist transforms herself into a ghost. Walker cuts a piece of material out of her white cloak and changes this into a manuscript scroll. This gives rise to numerous manuscripts, each of which is unfurled. In this way are revealed, for example, the plans of military equipment which animation techniques then bring to life. The final part is documentary and records the experiment of fiction which has become reality. People from the immediate surroundings are interviewed about the artist’s transformation into a ghost, letting the real and imaginary world merge into one another. The question about the possibility or impossibility of what has taken place remains unanswered.

Alexander Pütz




► 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?


My video work is generally suitable for each of these three formats, but over time I have come to prefer that these works be installed or presented as single-channel works in exhibitions and festivals.  Working within a space allows a response to space itself.  It also provides an individual with a freedom of movement that lends itself to the reception of works that employ atypical time-based structures.



► 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?


Recently my work has been addressing ways in which fictional narratives alter or inform real world belief systems; the origins that give rise to these narratives, the autonomous-agency narratives may cultivate, the transformation an individual, group or culture may undergo when incorporating or reincorporating such a narrative back into their belief system and the consequences of doing so. This is something I’m currently exploring further, in the creation of a fictional research organization.  One activity of the organization combines art with scenario planning, mixtures and variations of existing psychology techniques and futures studies, to offer hypothetical scenario’s in response to individual concerns of existential risk.  This draws upon mankind’s dream of prophecy and misconceptions about the relationship between scientific laws and scientific prediction. In employing a policy of radical inclusion under which any conceivable risk is considered a possibility, an individual is offered a form of relief by being able to share their concerns and engage in a dialogue with others.



► 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 write, make drawings and objects that often end up in my videos.  My videos combine early animation techniques with digital technology, video and sound.  I find the video medium, particularly conventions of video pervasive in popular culture an interesting possibility in that, in acknowledging these conventions, one can potentially speak to an audience in a language that is widely understood, and at the same time explore its role as a dissemination tool and the cultural conditions that have given rise to that language.



► 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?


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