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Super 8 films 1998 – ongoing

Laresa Kosloff’s Super 8 films capture people interacting with the built world, undertaking work and leisure activities. The Super 8 camera acts as a filter, reinterpreting everyday scenes and disengaging them from a contemporary sense of time and space. Cultural activities are reframed in new ways, playing with our impressions of the past, and assumptions about the present.

 

 

Office skate
Digitally scanned Super 8 film
2011

Red & white run
Digitally scanned Super 8 film
2011

Liberties 2011
Digitally scanned Super 8 film

Capital
Digitally scanned Super 8 film
2010

Trapeze
Digitally scanned Super 8 film
2009

Fountain gathering
Digitally scanned Super 8 film
2009

Jogathon
Digitally scanned Super 8 film
2006

Fountain
Digitally scanned Super 8 film
1998

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Selected Exhibitions....

Office skate
Large-scale video projection, Melbourne City Square
Public project commissioned by ACCA, 2011

Still Vast Reserves 2
curated by Alexie Glass-Kantor, Emily Cormack and Chris Sharp
Gertrude Contemporary, Melbourne, 2010
Installation view from gallery (left image), view from gallery office (right image)
Digital projection onto Perspex screen embedded into the gallery wall
Photo credit: Andrew Curtis

In Which the Wind is also a Protagonist
curated by Chris Sharp, La Générale, Sèvres, France 2010
Super 8 film transferred to dvd (1 min), television monitor and table

Porsche
1998
Super 8 film transferred to dvd (3 min 20)
Sutton gallery, Melbourne
New World Records curated by Nick Mangan and Helen Johnson, 2009
Photo credit: Andrew Curtis

Jogathon
2008
Super 8 transferred to dvd (2 min, 50 sec)
Conical gallery, Melbourne 2008
Photo credit: Christian Capurro

Stock Exchange 1998
Super 8 film transferred to video (3 min 30 sec)
Truth Universally Acknowledged, curated by Rebecca Coates, A.C.C.A, Melbourne, Australia, 2005
Digital video projection, rear wall
Installation view: John Brash

Truth Universally Acknowledged
Curated by Rebecca Coates, A.C.C.A, Melbourne, Australia, 2005
In the Afterlife of Truth: excerpt from catalogue essay by Louise Adler

“Laresa Kosloff’s Stock Exchange is equally preoccupied with the corporate sector: the surveillance of both the exterior and interior of the building suggests a culture of observation. The architecture makes visible the invisible flow of global capital. This is Bentham’s Panoptican brought to the heart of Western capitalism; it is no longer criminals controlled and monitored criminals; now it is the company employees who are tracked as if always unreliable, untrustworthy, and capable of robbing the till. The viewer is left to wonder: is that man walking through the grandiose atrium up to something? Is the camera’s suspicion justified? Indeed, what is the story?”

Truth Universally Acknowledged
Excerpt from catalogue essay by Rebecca Coates

“Snap happy seems reminiscent of the 1950s, or some other time in the recognized past. Shot from above in a grainy black and white film, a tourist wearing knotted headscarf, white Capri pants and sleeveless top, focuses her camera, shoots, focuses and shoots again, as she attempts to take the quintessential photo with which to document her holiday away. The sense of fragmentation comes from the subject matter itself. Shifting groups of tourists ebb and flow in a constantly flowing tide around the female photographer. They too remain allusive, never fully revealed and only partially seen like some Impressionist painting with unusual viewpoint and truncated scene, their presence unclear and their haste unexplained. As with Degas’ Paris Opera or domestic interiors, this cropping creates a sense of being privy to a private act, or of the everyday elevated to an unnatural significance.”

“Laresa Kosloff’s Stock Exchange, 1998, also plays with notions of time, duration, and the circular motion of its narrative development. Again, the subject matter does not immediately reveal itself: is this some aged casino on the French Riviera with potted palms and faded glory? Or as the viewpoint shifts from elevator to office windows, have we unwittingly found ourselves in the downtown Chicago of the film noir and the gritty detective novel? There is a homage element to the great warehouse constructions of Louis Henri Sullivan, harbingers of change not only in the way we inhabit space, but in man’s relationship to universe and utopian desires. Man, however, appears largely absent from this setting and as such, the potential character’s actions are wholly created by the viewer. Kosloff is not presenting a story, rather a series of possible narratives or vignettes, each as inherently probable and significant as the next.”

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