Teacher: Reynold Reynolds
Level: BA and MA
Number of available places: 5
Application deadline: 15 November
How to apply: Send an email with a short motivation why you would like to participate in the workshop, your contacts, home school, study year and level and a short description of your artistic practice including a link to your portfolio or 3-5 images attached or sent via WeTransfer if large files.
Send your application to firstname.lastname@example.org
Name of workshop: “Time Lapse and Surveillance Photography for Artists” at Umeå Academy of Fine Arts, Umeå, Sweden
Following his artistic practice, Reynolds will show participants how to produce sequences that compress time. The workshop will start with examples of artworks using time lapse and surveillance and a discussion of surveillance as used by corporate and state interests.
For the workshop, he will focus on the technique of time-lapse photography with equipment ranging from iPhones and video cameras to digital still cameras. Participants will also have the opportunity to learn how to program Arduino micro-computers in order to control DSL still cameras. The students will then have time to shoot their own clips that will be incorporated into a single film that will be screened with live music accompaniment in the main hall as part of the symposium.
Time Lapse and Surveillance Photography for Artists is intended for students wishing to expand their use and understanding of photography and film.
The workshop starts with a one-day symposium titled Post-911 Society, featuring Reynold Reynolds (USA), Christoph Draeger (CH), and Jacob Lillemose (DK). The symposium discusses issues and topics raised by the seminal video The Last News (Christoph Draeger and Reynold Reynolds, 14 min, 2002) such as: the role of the media within the terrorism complex; the correlation between religion, fanatism and radicalisation, state surveillance and increasing public security versus individual freedom. Symposium and workshop are also addressing the question of how can we, as artists reclaim the realm of the automated image, as in public surveillance? How can we turn the camera around and re-appropriate the images taken from us?
Short bio: REYNOLD REYNOLDS (born 1966) is an American artist and filmmaker. From 1995, he collaborated closely with the photographer Patrick Jolley (1964-2012) in film, video and photo art as well as sculpture and installation art. The film Burn became the final part of a trilogy built around themes as air, water and fire. Both Reynold's own works and the work he did together with Jolley addresses the trauma, paranoia and displacement and how disasters are reproduced in the media. His work is characterized by surrealism, macabre humor and melancholic poetry. (Http://artstudioreynolds.com/)