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Corinna Spencer

‘She wanted his soul, but he could only give her his blood’


4-27th September
Transition Gallery
London, E8

    I aim to present clues, props and objects with which to interact. Enabling a slowing and breaking down of film time and the screen and an ownership of a romanticised glamour that we associate with film and its stars. With confused narratives and fa├žades, I play with cultural fictions and present a melancholic hankering for the never real. *Paul Kindersley*

Made it down to London again, and there’s loads of time left to visit this exhibit. Which I would recommend-strongly. A visit to Paul Kindersleys website would be a good move to.

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    Kindersley’s multifaceted work is situated in the cultural interface between viewer and film moment. Drawing on camp, nostalgia and the extremities of exploitation movies of the 60s and 70s, his starting references explore the exaggerated filmic concepts and emotions of tragedy, eroticism, melodrama, violence and the tacky. *Transition Gallery*

I wasnt quite prepared for just how in between the viewer and act(or) I would feel. But the props and sound sucked me in fairly immediately. I could get hung up on the feelings i had, in that as actor i wasnt the victim (in the traditional sense) but I wont, it would only spoil my fun. There is a camp aspect here for sure but it is balanced so delicately with the unsettling elements, that this instillation hits the right buttons for placing the viewer in a strange in between place of what is seen and what is about to be done or acted upon. At the same time I had the strongest feeling that something was going to act upon me!

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sound was important, and key for my experience here. An ambiguous human-made mix of sound conjured images strong, bloody and slightly erotic. In semi darkness, I was reluctant to turn my back on some objects within the instillation.

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    Large-scale photocopies and immediate environments of available objects act as clues in an unknowable hyper-drama. The objects function as ‘props’, which Kindersley also describes as ‘gifts to the filmic moment’…..‘She wanted his soul, but he could only give her his blood’ is a new work specially made for Transition. It references sexy 70s vampire movies in a form of shrine to stolen film memories and real life encounters with the cult Germen actor Udo Kier. In a charged environment formed from sounds, looks and props from Kier’s films the viewer becomes the vampire with the film as the ultimately doomed, but struggling to stay alive, victim. *Transition Gallery*
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loved this-go see. *The hay stack scared me*

WISH I HAD SEEN THIS KINDERSLEY INSTILLATION/PERFORMANCE
‘So as not to live alone, we make cinema’

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3 Responses


  1. Alli Sharma

    Scary hay-stack? Is smells so good though. You weren’t tempted to frolic in it?


  2. corinna

    te-he, I was convinced that there was something in it…so i stuck my finger in it, but not very far!!!
    *Dont turn your back on the hay stack*!! The smell was an excellent surprise.


  3. Corinna Spencer » last chance to see….

    […] My original post/review of the exhibit is HERE […]

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