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Paradise Row presents Aura Satz’ Colour Opponent Process which consists of a film and its components. The film is called A Doorway for Natalie Kalmus and is ‘centered around the use of colour in moving image technology, Satz will explore the disorienting technicolour prismatic effects of the lamp house of a 35mm colour film printer’. I repeat, Satz will ‘explore‘ the disorientating technicolor prismatic effects of a lamp. Yes, you read it right!

Through minute shifts across an abstract colour spectrum, punctuated by a mechanical soundtrack, the film evokes kaleidoscopic perceptual after-images . According to the press release: ‘Natalie Kalmus was the ex-wife of technicolour inventor Herbert Kalmus, and was the colour consultant for hundreds of colour films, including The Wizard of Oz, Gone with the Wind, The Red Shoes, Black Narcissus and many other movies. She would draw up colour scores for each film like a music score, according to her theory of “Colour Consciousness”. For the soundtrack Aura Satz has collaborated with composer Steven Severin, founder-member of Siouxsie and the Banshees. Alongside the film, Satz will also present two 35mm film-strip ‘colour code’ works’.

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This means that Aura Satz’s work is an homage to Natalie Kalmus who had her theory of ‘colour consciousness‘ (which, by the way, was not invited by her in the least but by Nicholas Poussin and before him Raphael but, of course, she would not know that) and that in itself is artistic because Satz is ‘interested in women’s impact on technology per se’? WTF? Isn’t she asking from the viewer a kind of information that should be completely irrelevant for an artistic project to be viewed. Is this supposed to be conceptualism or an illustration of an aspect of the artist’s personality (I am referring to her interest in women and technology). Hanging two strip ‘colour codes‘ from the walls to make this look ‘ready made’-ish comes accross as a joke. This is utter shit. Just a thought.

I don’t know until when this goes on and I wouldn’t bother too much.

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