‘120 Days and Nights of Staggering and Stammering: Installation shots (SLR film Cameras, Slides. LED spotlights. + as a Digital Print)
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‘120 Days & Nights of Staggering & Stammering: Red Square Pet Heaven’ (SLR film Cameras, Slides. LED spotlights. + as a Digital Print)
The young man at the beginning of Mirror stammers, and learns not to. My grandmother staggers out of The China Hall, The Pimlico, The Eagle and never learns. In the icy wastes of the French Alps she dives into freezing lakes followed by my grandfather, without even a St. Bernard for company. The Troy Bar always clings. However far I try and get away from Grey Gardens it still tugs me back to Tea for Two. Our lives are smeared throughout the world, recalled through disparate, dissolute, fragmentary images, sounds and memories. 120 Days and Nights of STAGGERING + STAMMERING is an installation that sucks in and spews out images of the people and surroundings it encounters, real or imaginary, wherever it happens to stumble.
‘120 Days & Nights of Staggering & Stammering: All the Fun of the Family’ (SLR film Cameras, Slides. LED spotlights. + as a Digital Print)
Consisting of an old SLR film camera and a LED spotlight each of the 120 ‘projectors’ will throw out images of the people, events and the fabric surrounding wherever it is deemed fit to be exhibited, in an ever changing, cavorting carousel, that documents the transitory lives that pass through this crystalline world. These images will be taken before and during installation and while the installation is up and running. The audience will be invited to donate their own images of the area showing their experiences in it and of it, which then will be re-photographed and slotted into these projectors.
‘120 Days and Nights of Staggering and Stammering’ (SLR film Cameras, Slides. LED spotlights. + as a Digital Print)
A dense flickering array of images negotiated and dictated by the space, can be projected into, onto and outwards of any given situation. They prefer shady aspects but can flourish during daylight hours too. The larger less bright images are made visible by the descending gloom of the night. The smaller, closer to the wall/ceiling/floor, ones can cope with the intensity of other light sources. The projectors can be clumped together in one location or be spread around different locales as needs be.
The audience will be enveloped in and disrupt this cacophony of images, creating and destroying as they wander through and around them. Shadows will appear and obliterate the wall images only to reappear on the bodies of the transgressors. The images will be instantly recognisable as they will depict places just passed through on the way to the exhibition site. There will be temporal shifts occurring sometimes of mere days alongside others of an indeterminate age. Referents will be lost and gained throughout this encounter.
The projectors are simple ‘plug and play’ devices that are ready to go. Each one uses 1 Watt of electricity and the LED light runs cool with a minimum of heat loss. They come in ‘groups’ of five or six each with its own lead and extension cable. They are easily manoeuvrable and transportable. They come in their own cases which then double up as steady platforms which give the projectors an anchoring point.
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Carousel/Carousal
“My first job, I was in house at a fur company, with this old pro copyrighter, a Greek named Teddy.
And Teddy told me the most important idea in advertising is “new”. Creates an itch.
You simply put your product in there as a kind of … calamine lotion.
He also talked about a deeper bond with the product.
Nostalgia.
It’s delicate … but potent.
Teddy told me that in Greek, nostalgia literally means the pain from an old wound.
It’s a twinge in your heart far more powerful than memory alone.
This device isn’t a spaceship.
It’s a time machine.
It goes backwards, forwards.
It takes us to a place where we ache to go again.
It’s not called the Wheel.x
It’s called the Carousel.
It lets us travel the way a child travels.
Around and around and back home again…x
to a place where we know we are loved.”
– From Mad Men, Season One, Episode 13, “The Wheel”
In this scene, Don Draper (Jon Hamm) gives his advertising pitch to Kodak for their new slide projector, which they have not named yet.
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A display about memory at the Dittrick medical history center (1966)
Now at the College of Arts & Sciences of Case Western Reserve University in Cleveland, Ohio
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“The magical power of the projected image is unique to the medium.
A beam of light, thrown out from the slide or film projector, bears sequences of images
that reconstitute and take form when the light meets an opaque surface.
Projected images are at once solid and transparent…
The beam of light is a powerful sign of memory and the visual imagination.
It transmits ghost images, figures that live only through the power of the projective
apparatus and die as the picture vanishes. Projected in darkness, the cone of light
traces the genesis of the images from projector to screen.
It is spellbinding and full of promise”
– Lynda Nead, The Haunted Gallery: Painting, Photography and Film around 1900
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120 Days & Nights of Staggering & Stammering: Vampire Days.
SLR film Cameras, Slides. LED spotlights. + as a Digital Print
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ART TAKES LONDON | FEATURED ARTIST: MARK INGHAM
“Mark Ingham‘s incredible installation, 120 Days and Nights of Staggering and Stammering,
is designed from 120 SLR film cameras and LED spotlights. Each of these handmade projectors
will display images taken before and during the installation, as well as audience-donated images.
Regardless of where Ingham’s piece is installed, the end result will reflect the experience
of the viewer within it.”
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“Ars Magna Lucis et Umbrae”
Dilston Grove, Cafe Gallery Projects. 2008
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Link:
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“England’s Dirty Rotten Gardens” 1988 (The Consumption of Elements) Chisenhale Gallery London
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“A concept is a brick. It can be used to build a courthouse of reason.
Or it can be thrown through the window.”
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“Gilles Deleuze & Felix Guattari (A Thousand Plateaus: Capitalism and Schizophrenia. p xiii)
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Crossroads 1986 In New British Sculpture, Air Gallery
Radios, Cardboard, Maps, Clocks, Barbed Wire.
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“Technology is not neutral. We’re inside of what we make, and it’s inside of us.
We’re living in a world of connections —
and it matters which ones get made and unmade.”
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Donna Haraway (A Cyborg Manifesto. pp.149-181)
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Camera Projectors Diagram. 2005
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“We have to see creation as tracing a path between impossibilities.”
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Gilles Deleuze (Negotiations? & Essays Critical and Clinical. p x|viii)
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“Ars Magna Lucis et Umbrae”
Dilston Grove, Cafe Gallery Projects. 2008
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“Art struggles with chaos but it does so in order to render it sensory….” (Watteau)
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Gilles Deleuze and Felix Guattari. (What is Philosophy? p205)
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Döppelganger: “We Three Kings…”
2005 (Photographic Print 160 cm x 240 cm)
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“Break a vase, and the love that reassembles the fragments is stronger than that love
which took its symmetry for granted when it was whole.”
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Derek Walcott (The Antilles: Fragments of Epic Memory. Nobel Lecture .1992)
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Dr Mark Ingham
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Twitter: (@ArsLucia)
Linkedin: (Mark Ingham)
Email: (miartx27@gmail.com)
PDF CV: MarkInghamCV 2016
CV/Contact Page
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Mark Ingham 