Rustan S枚derling & Aline Weyel: Summer of Bees
Summer of Bees is an exhibition exploring the form of the travelogue, the works presented all share a common origin in travel footage: the fragmented, non-linear documentation of journeys, unfamiliar environments and people. Instead of languishing in a forgotten folder named 鈥渟ummer 2020鈥� this raw material has been extracted from their SD card sarcophaguses and repurposed into new narrative structures. They are attempts to give new form to the accidental and unscripted in a kind of reverse engineering of the post-production process.
Rustan S枚derling will present his new film, The Cadaver Stone, which follows him and his guide, Duncan, as they trace an ancient Ley Line up the northern coast of Cornwall. It takes off in the picturesque fishing village of Port Isaac during the recording of the 8th season of feel-good TV drama Doc Martin and ends on a rocky beach in Devon in front of the Cadaver Stone, once the scene of bloody human sacrifice.
In Aline Weyel鈥檚 work a more traditional narrative is abandoned in favor of a constantly shifting array of imagery, blurring in and out of each other. At one moment we might find ourselves in a half deserted Albanian coastal resort, then suddenly we are teleported to a Japanese fish market. Often the camera lingers on the deceitfully ordinary, hiding an eerie or humorous undercurrent, the local residents serving as incidental actors in an inexplicit drama.
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Summer of Bees is an exhibition exploring the form of the travelogue, the works presented all share a common origin in travel footage: the fragmented, non-linear documentation of journeys, unfamiliar environments and people. Instead of languishing in a forgotten folder named 鈥渟ummer 2020鈥� this raw material has been extracted from their SD card sarcophaguses and repurposed into new narrative structures. They are attempts to give new form to the accidental and unscripted in a kind of reverse engineering of the post-production process.
Rustan S枚derling will present his new film, The Cadaver Stone, which follows him and his guide, Duncan, as they trace an ancient Ley Line up the northern coast of Cornwall. It takes off in the picturesque fishing village of Port Isaac during the recording of the 8th season of feel-good TV drama Doc Martin and ends on a rocky beach in Devon in front of the Cadaver Stone, once the scene of bloody human sacrifice.
In Aline Weyel鈥檚 work a more traditional narrative is abandoned in favor of a constantly shifting array of imagery, blurring in and out of each other. At one moment we might find ourselves in a half deserted Albanian coastal resort, then suddenly we are teleported to a Japanese fish market. Often the camera lingers on the deceitfully ordinary, hiding an eerie or humorous undercurrent, the local residents serving as incidental actors in an inexplicit drama.
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