MARK HOGENCAMP’S “MARWENCOL” Project

Peep this link here:

http://www.marwencol.com/home/?currentPage=13

You can have a look at some wonderful photographs created by Mark Hogancamp. I won’t recount the story of his life – there’s an award-winning  bio-doc about him schedule for release. I simply wanted to share his  work. Hogancamp takes still photos in sequence to tell a story – or sometimes, I believe just a single image from which a great deal of narrative can be gleaned. His formal composition and narrative structure is fundamentally cinematic. I have not seen the movie about Mr. Hogancamp, so I don’t know why he uses an SLR instead of a video camera, but I suspect is has something to do with depth of field, which he uses brilliantly, and texture which he creates beautifully, and time, which he isolates thereby forcing a sometimes unwilling rumination on violence, loneliness, love and other human fundamentals.I think a slide show of his work would be spectacular….

Mr. Hogancamp is  having a show at ESOPUS SPACE. The editors of Esopus Magazine were the first to publish and publicize the artist’s work.

Esopus Space
The Esopus Foundation Ltd.
64 West Third Street, #210
New York, New York 10012
phone: (212) 473-0919
fax: (212) 473-7212
info@esopusfoundation.org

SEPTEMBER 16 – OCTOBER 21, 2010

MARK HOGANCAMP: PICTURING MARWENCOL

Here’s how his show is described:

On April 8, 2000, Mark Hogancamp was brutally attacked by five men in his hometown of Kingston, New York. The assault caused brain damage that initially made it impossible for him to walk, eat, or speak. After running out of insurance, Hogancamp turned to art as a therapeutic tool. Commandeering a pile of scrap wood left behind by a contractor, he constructed “Marwencol,” a fictional Belgian town built to one-sixth scale in his backyard, populating it with military figurines and Barbie dolls representing World War II personages like Patton and Hitler as well as stand-ins for himself, friends, and family. Finally, he dusted off an old camera and used it to capture staged events ranging from pitched battles between occupying German and American forces to catfights in the town bar. Hogancamp made his public debut in 2005 when “Marwencol on my Mind,” a piece featuring a selection of the artist’s extraordinary photographs and the inspiring story behind them, appeared in Esopus 5.

“Picturing Marwencol” will include 50 photographs taken by Hogancamp over the past several years of his imaginary town. They depict everything from intimate, erotically charged moments between lovers to brutal, vividly realized battle scenes. Each demonstrates what critic Jerry Saltz called Hogancamp’s “uncanny feel for body language, psychology, and stage direction.”

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CM #04 Program Notes:

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Carousel Microcinema #04: Recap!

It actually looks like we had fun and thought serious thoughts! Thanks again to KJM for making it a very special event.

All photos by ®Jenny Ramos.

THANK YOU THREEWALLS STAFF! THANK YOU KERRY!

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CM v4.2: A screening of films and videos by Cauleen Smith

I’m a bit embarrassed about breaking my own rule.

The Carousel Microcinema was created to share the work of artists that I admire and wish to better understand. Showing my own work was never part of the plan. But we had such success with CM04 that I dare not stray from tradition. So Carousel Microcinema and threewalls gallery sponsor this offering of my films to the Chicago communities.

I’m going to stick to  my agenda and attempt to write about the films I will screen for you. So check back in a couple of days for a preview of the program notes.

6:30pm THURSDAY. AUGUST 26, 2010. FREE!

threewalls
119 North Peoria Street
Chicago, IL 60607-2395

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CAROUSEL MICROCINEMA: WELCOME!

Sonic Invasion. Cosmic sounds and visions. Carousel Microcinema #04 {Chicago}

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CM04 Archives.

Every CM poster is inspired by a poster genre of the past. CM01 was clearly vaudevillian. CM02 was riffng on the seventies revival of art deco tropes applied to psychedelic aims. CM03 revised a Barnum and Bailey Circus poster. The “living sculpture” centerpiece (which was all white and maybe would have been a pile of human actors all painted white like marble) was turned chocolate brown. I guess I was thinking about my idea of Utopian gentrification.  For the very special Carousel Microcinema #04, I couldn’t help but nod to Kerry James Marshall’s affection for old sci-fi movies (as well as my own) and revise the notion of alien invitations towards more Afro-futurist aims.

CMO4prgrmnotes_front

PROGRAM_NOTES_back

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CAROUSEL MICROCINEMA THANKS CHICAGO!

Last Friday, the Chicago Arts community came out in force tot threewalls Gallery for Carousel Microcinema’s  LA<>Chicago Interface Program. Kerry James Marshall came to help frame a discussion of the videos by Billy Jacskson, Wura-Natasha Ogunji and Barbara McCullough within the context of ritual and experimentation. We had a very lively discussion with a level of engagement that I would love to replicate back in San Diego upon Carousel’s return to the west.  Participants shared their knowledge of Chicago and we all marveled at what we didn’t know about marching bands before watching Jackson’s brisk and charming documentary. Most pleasing was the request for a repeat showing of Ogunji’s performance video. But in the meantime, the screening was so stimulating that I hope to squeeze in one more before I have to leave the Windy City.

Thank you Chicago!

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