ANTHONY BANNWART

PLATFORM II

TEXTS

ANTHONY BANNWART

____________
____________

For all
other projects,
for all
other information,
for all
other images of work,
CV,
other related links,
PLEASE
VISIT
PLATFORM I
hontoban.over-blog.org,
or click
> > > hontoban.over-blog.org < < <

____________
____________

SUMMARY

Born in 75 in the Swiss Jura mountains, Anthony Bannwart previously known as Hontoban studied in his birthplace then in Lausanne (*) until 1996, art and jewellery in Germany (**) until 1998, and Fine Art in Video and Film at Central St. Martins College (***) in London, among other experiences. Student of inspiring artists such as Graham Ellard, Hew Locke, Uriel Orlow, and part of his course at St. Martins College, witnessed an enlightening lecture given by AGNES VARDA at Tate Modern London. Lived in South London (Brixton) from 1999 till 2006.

Dedicated since the studies to conceptual interdisciplinary projects from writing to direction. A methodology that is consisted of personal perspectives through drawings, installations, videos, texts, objects and interspersed with historical, social, and artistic practices enriched by collaborations.

In 2004, the TEMPOGRAPHY conceptual video project by Anthony Bannwart and Magnus Aronson, started as an urban intervention of silent videos on built-in screens in some 200 buses in London and Birmingham 24/7. Transformed into an open submission project, its collection of videos was later exhibited in galleries in Stockholm, Seoul, and Hanoi in 2009. This non-profit project's main direction is the communion of various vectors supporting the concept: the experience of an ongoing project, Time in Time, the observation of a particular kind of moving images, expanding the video collection, the expectation of the submissions, among others.

Selected other projects written and directed by Anthony Bannwart are :

_ www.bluesacredmarkproject with 'Introspecting my probable Mongol origin as a Swiss' initiated with the NAM JUNE PAIK Art Center - Korea.

_ 'à ses parents - variations autour de LE CORBUSIER' intervening in two Le Corbusier's early houses with the noteworthy participations of LOUISE BOURGEOIS, FELICE VARINI, Swiss scientists, musicians, and young artists. This project was articulated upon notions of voluntary exile, counter-offering, patrimony, family relationship, and architecture. Its limited edition book-catalogue (80 pages, hard-cover) compiled with various writings and essays was published in 2007.

Among notable encounters, interdisciplinary artists:
Andy Warhol, 1986, in New-York, six months before his sudden death. Photographed together.
Max Bill, 1990, in Switzerland (artist, architect, painter, sculptor, designer).

Now, living and working in Switzerland.

(*) ENSR, Lausanne, Switzerland 1993-1996
(**) Staatliche Zeichen-Akademie Hanau, Germany, 1996-1998
(***) Central Saint Martins College of Art and Design, London, 1999-2003

_________________________________________________________________________________________________________________________________________________________________

summary in korean

Anthony Bannwart, 는 스위스, 독일을 걸쳐 런던 Central Saint Martins College of Art & Design에서 비디 오/필름으로 순수미술을 전공했다. Magnus Aronson과 시작한 Tempography는 2004년 런던과 버밍헴에서 200여대의 대중버스와, 2006년 스톡홀름, 지타시네마에서 상영되었다. 2006년 그가 기획한 국제 전시 ‘à ses parents - variations autour de Le Corbusier’에 설치 ‘Black Angle's Poem’으 로 참여 전시하였다. 이 행사는 젊은 예술작가들과 사회학자들의 참여 뿐 아니라 Louise Bourgeois 와 Felice Varini 등과 같은 기성작 가들의 참여와 조화로 이루어졌다. 500점이 넘는 드로잉과, 1000장 이 넘는 ‘logbook’(노트), 회화, 설치, 실험영화 등 다양한 작품으 로 활동 중이다. www.factory483.org.

____________
____________

contact

PII :
email
> hontoban@mail.com.

____________
____________

Texts by Anthony Bannwart.
Original texts, dated and signed, written with typewriter on found paper.
© 2004 - 2009

The following texts are subject to accidental typographical errors,
willingly uncorrected mistakes due to the immediacy of the writing.

- click on the texts to enlarge -
____________
____________

____________
____________

à demain

elle est restée, elle est encore habillée
la porte de la chambre est fermée
odeur de fête, fumées et alcools, planent vilainement
là, ma veste en cuir étendue par terre, bras croisés,
elle n'a pas d'oreiller - sa main repose comme une plume sur mon poignet

l'heure est dessinée contre le mur
elle porte une couleur à ses lèvres, baiser inévitable
elle est restée pour danser
pour enfin s'allonger

à demain se murmure en suspension
deux pieds froids et timides jouent au son des notes
pour enfin se relever
devant quelques lettres déposées sur son cou,
derrière les caresses glissées sur mon dos

à demain - déjà un grand mot d'espoir

____________
____________

quotidien

discipline et sobriété dans un verre d'eau
un acte grave sans hardiesse, sans
considération il se déverse sur le parterre.
l'esprit des airs traverse l'édifice
numéroté et sacré, l'homme est
agenouillé, attitude pénible du vertige
il chasse ses dernière qualités, dépourvu
de son amante depuis longtemps, au couchant.
les murs sont rouges, la radio parle
il ne ressent plus les vibrations
de la musique. un oiseau gris s'envole.

©2004. Anthony Bannwart

____________
____________

dommages

elle courait sous les grandes arches
dans la nuit de la théologie, vers une voie
inconnue, de trente ans en difficultés.
la fontaine porte les traces de feu
le réformateur Zwingli ses écrits en flamme
ailleurs les informations maculées de bleu
ou noir, sur les visages peints de croix

en vacarme la faculté, elle a détruit
les fiches avec B comme Bullinger, ombre
tranquille. suivie en clinique elle reconnait
les déprédations. les jardins du cloître
partagés en quatre révisent leurs versions.
le temps d'une courte visite chaleureuse.

©2004. Anthony Bannwart

____________
____________

Blanche de Nuit, Lune en Noir
Anthony Bannwart - © 2005 - London

____________
____________

« Tempography » by Anthony Bannwart, co-founder of the conceptual video art project, and participating video artist. 2008.

T he conceptual video art project 'Tempography by Bannwart & Aronson' was founded end of 2003 in London, through the meetings of Magnus Aronson’s holistic reflections on moving image and my theoretical researches supported by experiences with contemporary video art.

Seen in a triangular diagram - ∆ - , the project and its concept have three sides and angles. Each side of the triangle representing a process, each angle representing one of the three capital aim of the project.

Angle M:
Stands for Movement, and its observation in our everyday surrounding, through the "cinema-eye" - framed with any moving image camera.

Side C:
Stands for Capturing, or shooting these movements with the moving image camera, then editing the shots.

Angle S:
Submisions. Submitting the videos to the project. It led Tempography to become a kind of community art project made by active and potential video artists feeding the collection. Periods being long between submissions, a new temporal identity was to be experienced. Participants keep their rights on the initial videos, but are not allowed to use the project's concept and name without previous agreement. Participants, once their submission accepted in the collection, can expect to be part in the exhibitions, interventions, or to be in the collection, depending on the various curatorial criteria.

Side A:
Archiving a collection of images - the Tempothèque. Enlarged through commissions and mainly open submissions. Identifying the participants and their videos with specific codes, including their chosen initials, the date of capture, the duration of the shot.

Angle E:
Exhibiting the project, its conceptual qualities, the videos, the collection, texts, theory. Curating Tempography.

Side I:
Intervention, intervening in the urban environment, public screenings or projection of Tempography. The observation of our images projected or screened silently on public urban screens by the wanderer, the commuter, the public transport passenger. Our audience observe the very short videos by chance, in a similar way as the tempographers shoot the videos.

We identified a concept supporting a minimalist form of poetic silent moving images captured, observed, and ultimately defined by us in a group of guidelines. Among technical aspects such as the steadiness of the camera, the absence of narrative, effects, or inner editing, it also states that the key to understanding Tempography is: Without the movement or the change in composition, there would be no need for the duration.

It is constrained, observational, documentary.

A Tempograph is defined by its brevity and inner quality of the movement captured by the camera eye, often directing to a certain way of looking at the everyday surrounding. Tempographs can be described as brief visual impacts creating an atmosphere, an image of thought, rather than telling a story. The pieces are moving images, and consequently cinematic in essence.

The nature of the project led us to build the Tempothèque, a collection of shots framed by a duration up to thirty seconds. To relate each Tempograph with its author, time of capture, and duration of the shot we assigned them codes such as T3.HON.02.26. HON, standing for Anthony Bannwart.

When the Tempothèque is curated for shows, the Tempographs edited in sequences can evoke a deconstructed narrative, the sequences are created or transformed each time by the curators.
Alongside our own footages, we also contemplated multiple Tempographs pre-existing in films made by referential directors, not yet included in the Tempothèque for conceptual and legal reasons.

London 2004, we intervened with our videos on multiple screens built in more than 200 double-deck buses simultaneously rolling in London and in Birmingham over two months, on a 24/7 basis. This intervention in “urban public spaces on wheels” saw Tempography offered to the attention of our audience, the commuters, public transport users, and other wanderers, usually having to watch on such screens CCTV images, information, or commercials. However brief the encounter between Tempographs and the commuters was, it proved to give a beneficial and lasting impact.

The project presented on the web « f », allowed us to open in 2005 the project for submissions. Soon, we received participations from UK, Europe, and USA forming in 2006 a community art project shown in Stockholm, projected at the cultural institution Zita (press articles available) and later exhibited at the Galleri Kleerup in Stockholm as well.

In 2008, hosted by the Gallery Factory - Seoul - South Korea, a new Tempography show, symposium, and public screenings curated by artist Kyung Roh Bannwart emphasizes on directions written at its debut, in particular looking to bridge our community of Tempographers to its commuter’s audience through the workshop, ymposium and public screenings. New participations from korean artists were received directly at the gallery, and after a selection, the new submission were shown at the Gallery Factory for two days, and on public screens directed towards the street.

See press related articles on art review

The 29th of April, a presentation and a public projection of the collection - Tempothèque - including the new Korean submissions took place in Hanoi, Vietnam, at the Ryllega Gallery. With the collaboration of artist Brian Ring and his platform Hanoi Grapevine, together with the Dong Song Today Foundation, Tempography was shown in 2009 at the Goethe-Institut Hanoi with the kind support of Pro Helvetia - Swiss Federal Office of Culture, and the Swiss Embassy in Vietnam.

For intellectual property values, 'Tempography' - the video art project and its concept - as stated throughout our exhibitions, supporting materials, texts, guidelines, is under care of a pattent attorney. Please write to us for more information about the project, its exhibitions, public urban screenings.

____________
____________

ANTHONY BANNWART

20070722

Anthony Bannwart