CAMP: In Cameras Res
An In-Camera edit is one done without a separate editing process, such as by a person using a film camera. An In-Camera proceeding in the legal sense, is the opposite of a public trial in open court.
In Cameras Res is an exhibition in which CAMP suggests the optical equivalent of the literary concept (in Latin) In Medias Res, in which the narrative begins in the middle of a plot, or evolutionary sequence. The point at which it enters is the camera itself.
For this three-channel moving image installation, the resulting project of a De Appel commission from CAMP, CCTV cameras were programmed to film landscape sequences in Amsterdam. In Cameras Res (2019) engages contemporary image-making from 鈥渋nside the box,鈥� re-working the 鈥減atrol鈥� function of the camera, pushing its optical and motor capabilities to the edge. This continues CAMP鈥檚 long-time critical engagement with the simultaneous advances in visual surveillance technology and cinema.
In Camera Res takes its points-of-view from Amsterdam鈥檚 historical buildings, the Stadsarchief and the former Royal Dutch Shell tower for example, connecting them to the surrounding landscape via camera-controlled automated shots. We see several micro and macro versions of the city, in different weather and light conditions, seemingly as part of a single take. The recurrence of certain human subjects in the frame, near or far, suggests a form of reciprocal knowledge or intent, a choreography or interplay of patterns. Here, CAMP speculates about future images and future awareness, via the question: What can cinema be in this time where there are more cameras than people?
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An In-Camera edit is one done without a separate editing process, such as by a person using a film camera. An In-Camera proceeding in the legal sense, is the opposite of a public trial in open court.
In Cameras Res is an exhibition in which CAMP suggests the optical equivalent of the literary concept (in Latin) In Medias Res, in which the narrative begins in the middle of a plot, or evolutionary sequence. The point at which it enters is the camera itself.
For this three-channel moving image installation, the resulting project of a De Appel commission from CAMP, CCTV cameras were programmed to film landscape sequences in Amsterdam. In Cameras Res (2019) engages contemporary image-making from 鈥渋nside the box,鈥� re-working the 鈥減atrol鈥� function of the camera, pushing its optical and motor capabilities to the edge. This continues CAMP鈥檚 long-time critical engagement with the simultaneous advances in visual surveillance technology and cinema.
In Camera Res takes its points-of-view from Amsterdam鈥檚 historical buildings, the Stadsarchief and the former Royal Dutch Shell tower for example, connecting them to the surrounding landscape via camera-controlled automated shots. We see several micro and macro versions of the city, in different weather and light conditions, seemingly as part of a single take. The recurrence of certain human subjects in the frame, near or far, suggests a form of reciprocal knowledge or intent, a choreography or interplay of patterns. Here, CAMP speculates about future images and future awareness, via the question: What can cinema be in this time where there are more cameras than people?
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