A film work N46°45’43” E60°40’39 I made for the last Interim show to go with my installation work sharing the same title:

I made it using both video and sound footage I recorded at the Aral Sea area in Kazakhstan and combined them with found archive footage of the salt production in Kyzylorda, Kazakhstan, which I also visited. The title is a coordinate of the exact location where I filmed, through which I attempted to extend to work outside the gallery space, thousands of kilometers to a very remote, abandoned, dead landscape.

However I don’t think this worked as I intended – using an interactive map where the site could be located at the exhibition space might have worked, so I plan to test it and see what will happen and if it will rise any further questions or issues I haven’t thought yet.

I am currently working with a longer film using the video and sound recordings from Kazakhstan to see, what is the possibility of documentative film in the art scene.

I have been following artist and film maker John Akomfrah’s projects quite much lately – what interests me in Akomfrah’s video installations is the way he presents narratives, which are something between fact and fiction using historical archive material and fictional story telling. Also his way to display multiple screens as monuments, reflecting multiple story lines physically separated but merged into one as overlapping dialogues and visual hints. His latests shows ‘Purple‘ at Barbican and The Unfinished Conversation, a part of The Tanks – Art in Action-project by Tate Modern (also his 2016 Lisson Gallery show) have woken ideas and questions about film as a creative process but more so as a monument with quite overwhelming physical presence. Also, where or what is the line between documentary film/journalism and art and how to bend this line as an artist.

Marianna Peltonen