Review of Gone, Gone Beyond in Eat Drink Films
48 Hills reviews Gone, Gone Beyond, Gray Area, San Francisco
People Like Us on KALX FM
On 7 May 2022 on Film Close-Ups on KALX 90.7FM Berkeley, 5:30pm-6:30pm (California time), People Like Us is in conversation with Gregory Scharpen about Gone, Gone Beyond, which begins a few weeks of screening at Gray Area in San Francisco in May. https://www.kalx.berkeley.edu/
Feature in Clot Magazine
Very nice feature/interview about Gone, Gone Beyond in Clot Magazine:
Review of Gone, Gone Beyond in The Wire Magazine
We have a full page review of Gone, Gone Beyond in the January 2022 edition of The Wire Magazine, a very nice write up by Louise Gray. We also had at three mentions from Wire writers in their “best of” summaries of 2021.
Crack Magazine – Abstract Viewing: 5 Must-Watch Films Chosen by Vicki Bennett
Review in scenekunst.no of Gone, Gone Beyond in OSLO,
KRITIKK 15.10.2021 Mariken Lauvstad
Vicki Bennett (People Like Us) / Lasse Marhaug:
Gone, Gone Beyond + For My Abandoned Left Eye
Black Box Teater / nyMusikk / Double premieres October 13, 2021
The art event Kinokammer consists of two works made by noise artist Lasse Marhaug and the British video artist Vicki Bennett, better known under the artist name ‘People Like Us’. Both works are world premieres and are shown as a collaboration between Black Box theater and nyMusikk. CineChamber is a cross-genre format based on a concept developed by San Francisco-based Recombinant Media Labs, called CineChamber . The format frames the audience in a 360-degree moving audio and video landscape.
At the Black Box theater, Kinokammer is a so-called double ticket . First Marhaug’s work For My Abandoned Left Eye (2021) and then Bennett’s Gone, Gone Beyond (2021). The public can bring the wine glasses from the foyer into the exhibition hall. Rows of chairs are set up along three of the room’s four walls, while scattered seat cushions are placed on the floor. Thus, the audience will consider other spectators’ eyes and reactions as part of the art experience. Before the screening of Marhaug’s work really begins, an atmosphere is established where small talk and wine drinking are buzzed in the room for several minutes. Whether this is intentional or not, it creates a kind of ‘we’ in the room, an experience of sharing something. This sets a precedent that adds an extra dimension to the art event that will grow and develop throughout the screenings.
Marhaug describes his work as a ‘post-capitalist-science-fiction-noise film’. It is so far a decent genre description, but I experience in a way the work as more ordinary than that, at least visually. We are in a world that is preferably in black and white. We see images and fragments of forest and nature against hard building structures and remains and traces of man-made objects. Garbage, a sneaker, a sofa, an animal foot. The totality appears raw, wet, cool and hard, not only visually, but also acoustically. Occasionally, the film material is contrasted by abstract images, such as massively pulsating black spots, close together against a white background.
A mass bombardment that challenges the senses
Each projected movie sequence apparently has its own and ever-changing soundtrack. This constantly creates new and different layer-on-layer effects. The soundscape gives, among other things, associations to machine repetitions and massive metal grinders against crackling and crackling in various qualities, auditory textures that for a few moments remind me of the feeling of stinging icy rain or penetrating intense wheezing in the ears. Suddenly, small interruptions occur with the absence of noise before new images and sounds are fired at us like projectiles. It is a mass bombardment that challenges the senses and the distinction between impression and disturbance. Finally, I’m not sure if I actually hear sampled cries, the noise of a full room of screaming people, or if it’s just my brain that tricks me into thinking I sense these cries through the noise. I go out filled with a kind of unpleasant dizziness and with aching retinas. The work leaves an eco-deterministic turmoil in me that I need far more than thirty minutes to digest and reset myself from, and this also constitutes my objection to two such different works being put together.
After the break, we are thrown out on a completely different journey. This time, some have lain down on their backs, some close their eyes, some just sit relaxed and sip on the evening’s second or third glass of wine. All four walls are projected close together with flaming candles. The picture is obviously strikingly kitsch, almost ironic. Gradually we can hear sounds reminiscent of a crowd of stomping boot steps mixed with an indefinable hiss from insects and crickets, and a diffuse hum from distant, manipulated choruses. It is difficult to interpret and place the soundscape, and I also do not have time to get very far before the whole room is almost sucked through a kind of visual tunnel. The bass makes the floor below us vibrate, and we are pulled at breakneck speed through countless projected doors. This estimate reinforces the illusion of being in a simulator. It is as if a virtual wind has suddenly blown us away and we are suddenly sitting on a flying carpet, traveling through the artist’s subconscious, where playful pop cultural references are replaced by nightmarish and disturbing images. The audience looks in all possible directions as if to orientate themselves in constantly new places.
As if David Lynch were to take ayahuasca in the desert
The editing technique is extremely good, and the dramaturgy has a kind of kaleidoscopic associative form at the same time as each picture is just so easy to interpret that you can get caught in a new hook that throws you in the head. new associations before being torn loose and thrown into the next. This is as if David Lynch had taken ayahuasca in the desert and made a film of what he hallucinated afterwards. We are constantly somewhere between dream and nightmare, for example when we see Julie Andrews dancing carefree between tree trunks while war helicopters thunder across the sky while the world goes up in flames and explodes around her. We see prairie pictures with saguaro cacti and hear the sound of unpleasant radio signals. The chimney sweep from Singing in the Rain disappears into animated pipes, we see oil barrels burning and growing nebulae, barely hearing the sound of Joni Mitchell’s ‘Both sides now’, glimpsing the globe from space (or is it a disco ball?), being drawn to the sound of lyre boxes and suddenly surrounded by giant funfair horses.
In the popular cultural references, a darker contemporary commentary is hidden. Most of the references are from the 1950s, 60s and 70s, and in contrast to beautiful images of the universe’s darkness, celestial bodies and galaxy fog, an experience is created that time flows through space and pulls us through the cosmos at relentless speed. The work opens the gaze to the paradoxical and random of our popular cultural history, the powerless and merciless in that we have created what we have created, and nothing else.
The work also makes me philosophize about what can be called a performance. There are no actors or actors here, but I experience in return that we audiences become part of it. At one point a man rushes out of the room, a woman overturns a bottle, some get up from their chairs and walk around smiling or looking. None of this bothers me as it would in many other contexts. At one point there is one who laughs, and after this it is as if something in the room dissolves, the reactions become freer and more expressive. People respond and come up with small exclamations. The work would therefore not have been the same if I experienced it alone, and then maybe it’s a performance anyway?
In sum, I still think the two parts of tonight’s double ticket should have been shown separately. They are both so strong and intense works that they leave different resonances and reflections it would have been nice to have time to dwell on separately.
Tapeheads: The History and Legacy of Musique Concrète
People Like Us get a nice mention in this article about sampling by Simon Reynolds:
The Wire Cover Pic!
This is on sale at The Wire’s online shop from 13 April 2021 and from selected newsagents, record and book shops from 15 April 2021. The digital edition of the issue is published online at Exact Editions and in the Wire app.
Includes a career-covering interview and the above cover picture. On The Wire website we’ve shared a 4.5 hour (no point trying to be popular now, is there!) mix of People Like Us, Spenser Tomson has made a selection of PLU tracks, and our 2020 movie Fourth Wall will screen later in the month.
ALL COMMISSION ENQUIRIES OR BOOKINGS FOR GONE, GONE BEYOND ARE TO BE DONE DIRECTLY WITH US THROUGH OUR CONTACT PAGE.
People Like Us on the cover of The Wire May 2021
Yes, it’s true! People Like Us will be on the cover of the new edition of The Wire magazine, May 2021 edition, coming out in April. Inside you will find a career retrospective interview. If you cannot find The Wire in your local newsagents you can buy it here: https://www.thewire.co.uk/
First Person, Fourth Wall – Hallwalls Artist in Residence (HARP)
People Like Us (Vicki Bennett) First Person, Fourth Wall
A Hallwalls Artists-in-Residence Project (HARP)
Friday, 11 September – Friday, 23 October 2020
HALLWALLS CONTEMPORARY ARTS CENTER, 341 DELAWARE AVE. BUFFALO, NY 14202
Gallery hours: Tuesday-Friday 11am-6pm | Saturday 11am-2pm
Curated by Carolyn Tennant |Radio content Programmed by Vicki Bennett
This multi-tiered project features an onsite new film and 6 channel audio collage work in the Hallwalls gallery, a virtual film retrospective, and a series of online micro-commissions programmed by the artist, where collaborators across the field of visual, audio and textual art respond to the subjects of first person / the fourth wall. The retrospective screening features archive and new content from Vicki Bennett’s 30 years of creating work under the name People Like Us. To coincide with the exhibition is a new second edition of her artist’s book The Fundamental Questions co-authored with Gregor Weichbrodt, available exclusively in house at Hallwalls, all made possible in part with a major grant to HARP (Hallwalls Artists-in-Residence Project) from the Multidisciplinary program of the National Endowment for the Arts (NEA), a federal agency, with additional support from The Andy Warhol Foundation for the Visual Arts, the Visual Art Program of the New York State Council on the Arts (NYSCA), M&T Bank, and Erie County.
The commissions and elements from the onsite exhibition are archived at WFMU from 11 September 2020, alongside visual elements on the accompanying web pages, which will be linked to with QR codes in the accompanying gallery brochure.