In 2005, I worked 40 hours a week at a museum for five weeks, tending to a film I had installed, talking to people about the film and whatever else came up, playing music, writing, making prints, etc.
Here is a video of it.The film was installed as a sculptural material, running through the space, hanging in the air and going in and out of two projectors in a giant loop. I shot it on black and white 16mm film stock and edited it manually with a splicer.
The projectors were pointed at two stations where people could sit and interact with it: a typewriter for writing responses and whatnot called the Creative Communication Department, and an electric organ where you could improvise a soundtrack for the film called the Spontaneous Soundtrack Department.
I made a book of music to project the film onto. The organ came from my grandmother when she moved out of her apartment into an assisted living situation. In the bench of the organ there were a bunch of music books that I went through and picked out songs I remembered her singing, or that she said she liked, and made the book from those. I named it Our Songs. You can buy a copy in the Emporium. If you didn’t know how to read music though it was kind of fun to just noodle around on the keys anyway.
The other place the film was projected was on this long roll of paper hanging down and feeding into a typewriter. The film itself was images of me and my brothers playing games, joking around, and doing chores around the house. I come from an unschooling family of six boys. The family has an island quality as a result, maybe more than most, because of that radical self-educating setup and the fact that we live out in the country. Most of us were in our twenties or teens when we shot it.
People could sit and write and then file their work in a set of folders, labeled as follows: Poetry, Prose, Suggestions, Memoranda, and Top Secret. Another cue for writing, in addition to the film, came from a small takeaway book I had printed called the Handbook of Workspeak. You can buy a copy of the book in the Emporium.
Since it was one film going through two projectors, which run at slightly different speeds, inexpertly rigged up, there were some breaks and hangups. Needing to maintain the film was something I had anticipated, so I had all the tools to do it there. So over time the film wore down and acquired a really old scratchy patina.
This was another station of the work called the Footprint Fabrication Department, which would become a separate project, the portable Footprint Factory. It is a setup for block printing collaborations. Somebody would sit in the chair and be the press, stepping on the block and using their weight to force the ink into the paper, while I worked on the floor inking the blocks.
I carved a set of blocks with images on all six sides. There were six blocks, for a total of 36 images. The idea was for someone to choose a series of images to tell a story or make associations and contrasts, normally of a personal nature. Together we printed their choices in sequence on a long piece of paper, sort of like a filmstrip. Then we cut the paper to length and the person took the print home.
I made this poster to show what all the options were. Most of the images were iconic objects like a chair or a book, with a few other things thrown in that came into my head around that time.
This installation was also shown at ISE Cultural Foundation (NYC), in 2008, as part of a group show called the Ideal Cloud, curated by Yuka Yokoyama.