review – People Like Us

June 17, 2024October 10, 2024

Review of COPIA in Igloo Magazine

People Like Us :: COPIA (Cutting Hedge)

Very nice review of COPIA In Igloo Magazine. Many thanks!

People-Like-Us-__-COPIA-Cutting-Hedge-–-Igloo-Magazine Download

May 13, 2022May 25, 2022

48 Hills reviews Gone, Gone Beyond, Gray Area, San Francisco

‘Gone, Gone Beyond’ manifests formlessness through 360° cinematic collage

Here is a review of Gone, Gone Beyond which is screening in San Francisco at the moment: https://48hills.org/2022/05/gone-gone-beyond-manifests-formlessness-through-360-cinematic-collage/

R e a d a s pdf

December 9, 2021April 5, 2022

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.

Review of Gone, Gone Beyond at Barbican by Louise Gray in The Wire January 2022

October 15, 2021April 5, 2022

Review in scenekunst.no of Gone, Gone Beyond in OSLO,

http://www.scenekunst.no/sak/psykedelisk-meditasjon/
KRITIKK 15.10.2021 Mariken Lauvstad
KinoKammer
Vicki Bennett (People Like Us) / Lasse Marhaug:
Gone, Gone Beyond + For My Abandoned Left Eye
Black Box Teater / nyMusikk / Double premieres October 13, 2021

Review as pdf

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.

November 14, 2019January 3, 2020

The Mirror in The Wire magazine

The Mirror LP is reviewed in The Wire: Adventures In Modern Music‘s latest issue.

‘”With The Mirror Bennett has proven herself an alchemist of popular music, able to push her source material into fresh and engaging places.”

September 1, 2017October 10, 2024

Artist Biography

Under the name “People Like Us,” artist Vicki Bennett has been making work available via CD, DVD and vinyl releases, radio broadcasts, concert appearances, gallery exhibits, 360 immersive installations and online streaming and distribution since 1992. She sees collage as folk art sourced from the palette of contemporary media and technology, with all of the sharing and cross-referencing incumbent to a populist form. Embedded in her work is the premise that all is interconnected and that claiming ownership of an “original” or isolated concept is both preposterous and redundant. Using collage as a compositional tool, Vicki Bennett opens up endless opportunities to experience results that are more than the sum of the parts. Most of the People Like Us back catalogue has been available for free online since 2002. For many artists, profit and publicity is more likely through free distribution (the gift economy) than independent publishers and distributors, which often struggle with limited resources. Online self-distribution allows an artist to keep their work available, resolving a tension between label production costs and the desire of an artist for work to be available. UbuWeb generously hosts the discography and filmography of People Like Us.

As a solo artist or collaborator Vicki has published more than 40 video projects and 50 audio recordings, with works released by labels including Illegal Art, Rough Trade, Soleilmoon Recordings, Discrepant, Sonic Arts Network and Touch. Vicki’s DO or DIY show on the fiercely independent New York City-market radio station WFMU has run since 2003. Her video work has been screened at Tate Modern, Whitechapel Gallery, BFI, Purcell Room, Barbican, ICA, V&A. Centre Georges Pompidou (Paris), Sonar (Barcelona), MAXXI/National Museum of XXI Century Arts (Rome), Walker Art Center (Minneapolis) and Centro de Cultura Digital (Mexico City), among other institutions. Video works have been aired on Channel 4 and radio sessions created for John Peel and Mixing It.

People Like Us has been commissioned by Arts Council England, Barbican, Attenborough Centre (ACCA), The BBC, WDR, Deutschlandradio, PRSF, a-n, Great North Run, Sound and Music, Channel 4/Animate Projects, AV Festival, Hallwalls Contemporary Arts Center, Recombinant Media Labs (RML), Sonic Arts Network, Forma, LUX and Lovebytes.

To date, Vicki has had 7 solo exhibitions and participated in at least 20 group shows at MAXXI (Rome), Venice Biennale, HMKV (Dortmund), Centro de Cultura Digital (Mexico), Hatton Gallery (Newcastle), Vitrine (London), alt.gallery (Newcastle), Greene County Council for the Arts Gallery (NY), Peacock Visual Arts (Aberdeen), Pallant House (Chichester), Engramme (Quebec), La Scatola Gallery (London), Changing Room (Stirling), Franklin Street Works (Connecticut), Usurp Gallery (London), University of Greenwich Galleries, Matthew Gallery (Dundee), Edinburgh Printmakers, Millennium Gallery (Sheffield) Leeds College of Art, Sunbeam Studios (London) and Hallwalls Contemporary Arts Center (NY).

The work of People Like Us has been featured in many publications, including Sounds Like Silence – 4’33’’ Silence Today (Spectre Books 2012), The Journal of Writing In Creative Practice (Vol 7 Issue 1 2015), The Fundamentals of Sonic Art and Design by Tony Gibbs (Ava Publishing 2007), Cutting Across Media by Kembrew McLeod (Duke University Press 2011), Here To Go – Art, Counter-Culture and the Esoteric (Forum Nidrosiae 2014), Incredible Machines by Danny Snelson (avant 2014), Sensations of History (University of Minnesota Press 2019) and she has written for The Wire’s Collateral Damage (February 2012). Vicki has a whole chapter dedicated to her work in Duchamp Is My Lawyer The Polemics, Pragmatics, and Poetics of UbuWeb by Kenneth Goldsmith on Columbia University Press (2020) and a chapter in Different People – Conversations on Art, Life and the Creative Process by Carl Abrahamsson on Trapart (2021).

People Like Us has been reviewed in The Wire, BBC website, Bizarre Magazine, Rolling Stone, Frieze, The Independent, Record Collector, Time Out, Film Comment, The Guardian, The Scotsman, XLR8R, Baltimore City Paper, Sight and Sound, NME, Metro and San Francisco Bay Guardian, and interviewed for Found Footage Magazine (2016), The Observer (2006), Filmmaker Magazine (2015), The Wire (2014, 2011, 2008, 1999), Sight and Sound (2013), a-n Magazine (2012), Wired (2012), RadioWeb MACBA (2010), Sound and Music (2011), Sound Projector (2012, 2000), Bizarre Magazine (1999), NME (1995, 1996). On radio I’ve been interviewed on Late Junction (2016), Soundproof (ABC Radio National 2016), WDR 3 Open Sounds (WDR 2016), Cutting Up The Cut Up (BBC Radio 4 2015), North by Southwest (British Council 2012) PM (BBC Radio 3 2010), Twenty Minutes (BBC Radio 3 2009) and Mixing It (BBC Radio 3 2004). The May 2021 edition of The Wire features People Like Us – both a 30 year retrospective interview and also the cover photo.

Vicki has also curated publications and events: First Person, Fourth Wall (2020), Optimized! Expanded Radio Stream, WFMU (2016), Concert of Collage, Encounters Festival, Bristol (2015), Radio Boredcast, 744 hour radio station, AV Festival (2012), Nothing is New, Everything is Permitted event, AV Festival (2010), Sonic Arts Network CD Smiling Through My Teeth (2008) and a Humour in Music event, Purcell Room for Ether Festival (2002).

Notations, a film for live improvisers toured the UK with TUSK/Sound & Music in Autumn 2013; two films for Animate Projects/Channel 4 television, UK, broadcast as part of their Random Acts series. In 2015, Vicki created A/V performance Citation City, using techniques of Walter Benjamin’s Arcades Project in relation to London-based feature films. Nothing Can Turn Into A Void – a documentary film about People Like Us has screened in cinemas and festivals since Autumn 2015, and No One Is An Island, a radio work created for WDR, broadcast in April 2016. The Expanded Radio online/virtual commission/artist residency Optimized! broadcast on WFMU in June 2016. Since 2018, Vicki has been touring her solo a/v performance The Mirror, released an album under the same name, which reached No.8 in The Wire‘s albums of the year. Vicki produced the video for the spring 2018 The The Comeback Tour, and was participant in Sound and Music’s New Voices programme, and a-n Artist Bursaries 2019 recipient. The 45 minute radio art commission I Can Fly aired on WDR in Spring 2020.

In 2020, Vicki worked on two new pieces for her solo show as Hallwalls Artist in Residence (HARP), culminating in a solo exhibition First Person, Fourth Wall.

In 2021 People Like Us facilitated and toured Gone, Gone Beyond, an hour-long seamless multiscreen and multi-speakered immersive cinema installation to nyMusikk Oslo, SPILL Festival Ipswich, Attenborough Centre (ACCA) Brighton and London Barbican. Vicki also resumed her radio show DO or DIY with People Like Us on the WFMU Summer Schedule. Vicki also was the cover photo of the May 2021 edition of The Wire magazine.

2022 saw the solo exhibition “MIND MAPS: The Art of Vicki Bennett” at Sheehan Gallery, Walla Walla, USA and also Orfeó Lleidatà Lleda Spain. Gray Area San Francisco screened of Gone, Gone Beyond for three weeks in May, and “108”, a new 22 hour radio piece by People Like Us broadcast on Radio Arts Zone. People Like Us were joined by artist collaborators Gwilly Edmondez and Ergo Phizmiz to perform at The Wire Magazine’s 40th Anniversary event. Vicki created a radio commission “Changing Your Mind” for Deutschlandradio to be broadcast on 14 April 2023, and broadcast a mixtape for BBC Radio 3’s Late Junction. Rhapsody in Glue (w/ Ergo Phizmiz) was released as a lathe cut vinyl edition in November 2022.

2023 sees an IndieGoGo crowdfunded campaign to create a new live AV performance and album The Library of Babel. This premiered at a 3-Day People Like Us artist residency at CAFE OTO, London.

Sharity! Selected Works of People Like Us 2-CD retrospective released in April 2023.

In 2024 so far, we have made a new album COPIA, 3 videos for The The, 2 for Soft Cell, 1 for Marc Almond, and a new wide screen AV installation “Mise en Abyme” for Museu de Aveiro/Santa Joana, Aveiro, Portugal. We are currently working on a new 360 degree work “Khroma” for RML CineChamber.

ALL COMMISSION ENQUIRIES OR BOOKINGS FOR GONE, GONE BEYOND ARE TO BE MADE DIRECTLY WITH US THROUGH OUR CONTACT PAGE.

Shorter Bio – Artist Statement
Filmography
Exhibitions and Editions
Selected Performances and Screenings
Commissions and Awards
Talks, Lectures
Discography
People Like Us on bandcamp

May 11, 2015November 28, 2019

Press Cuttings and more

This is by no means an exhaustive list, there are many that we have not scanned in from the 1990s, and many a web search we have not made. But it’s a taster.

pumpkin

September 23, 2012November 28, 2019

Review in The Wire of our forthcoming DVD

We’re very pleased to have received a favourable review in The Wire Magazine (October 2012) of our forthcoming DVD (and digital download) ((oh, and a 7 inch single!!)) THE KEYSTONE CUT UPS.

We’ll be announcing more about this on 30th September.

August 25, 2012September 30, 2012

June 28, 2010November 28, 2019

First press coverage for Music For The Fire is very good!

Tag: review