Went to a screening of Cameron Jaime’s videos accompanied by live bands last night. The bands were The Melvins and Keijii Haino so it was excruciatingly loud. Noise metal minimalism. The videos are of odd rituals from here and there — backyard wrestling in Michigan, a hot dog eating contest at Coney Island, a Joan of Arc procession in France and Kranky Klaus Christmas “festivities” in either Germany or Austria. All were accompanied by the live musicians who produce loud portentous rumbles, roars and pounding, signifying momentous epic events. It was well attended by the Chelsea art crowd, as Jamie’s videos are included in the Whitney Biennial.
A great idea to present the videos this way. The editing, and they are edited, unlike some art films, is far from tight — everything goes on a bit too long for my taste — but with the live music it all becomes more about the general atmosphere and presenting a thesis than it is about didactic understanding. The videos presented together are a thesis that all these cultural phenomena are tied together in lurching towards a slightly silly chthonic apocalypse. Viewed solely as filmmaking they might seem a bit weak, but presented as an experience they are a much better visual accompaniment to this music than the usual smoke and colored lights. And vice versa. In addition, the combination of sound and image has that (simple) point to make, though I would argue that the bringer of the apocalypse will actually be all smiles and charm, good intentions and noble deeds, and the snarling whirlwind will only be unleashed when it is too late. The devil will look like Jerry Falwell, Martha Stewart or Tony Roberts and not like a metal band — who only sometimes hurt themselves.
Other videos and films with live music I’ve seen recently are Bill Morrison’s Descasia and the old Panleve poetic nature docs accompanied by Yo La Tengo. All and all, it’s often a mutually beneficial joining of forces.
