We are here with Robert Breer in the country. And Robert Breer is sitting on his favorite swivel chair in his studio and it's a beautiful day in July. Bob just told me that the sound of this swivel chair is on one of the tracks of one of his films.
Well, the track of Breathing was a. . . the sound track of Breathing was the breathing of a neighbor dog, made the sound track that way. Teasing him, to get him to. . . I got him to make all kinds of weird, low breathing sounds, by alternately teasing him, baiting him, pushing away the microphone, which he kept hitting with his tail, and during one of those gestures I made this beautiful enormous sound with the chair, this squeeky chair. I played it back later, and it worked out as a piece of punctuation, I found a place for it. There it is, very mysterious.
I dont have a single clue of what the actual flying fuck this is, but it hurting my eyes and causing my brain to overheat, thanks youtube reccomendations.
Yes, always "in the beginning..." It sounds kind of biblical. . . Anyhow. . . It sounds too pretentious, but I started out. . . Well, I started when I was ten years old, being an artist, I guess, officially in my family, a family of engineers. Because everyone else was an engineer, relatively speakmg, I was an artist, because I drew more than anybody else and I was sent to a Saturday art school and I think that's how I became an artist. It was a question of family stimulus, self-stimulus, and. . . Anyhow, that is true. . . Eventually that worked into painting, by way of army training aids, syphilis posters, and things like that. It gave me a thorough distaste for any kind of commercial art, and when I got out of the service, I had a big art experience, big quotes around that. . . and I could see some possibility of art as either a boundless pit or a topless. . . oops,. . . topless, anyhow. . . an endless horizon, more close.
Oh, I see what you mean. Well, the painting, I got tied up with the gallery Denise René which was at that time, well, it represented almost a school in itself of neo-plastic painting and had the. . . The war, of course, had killed all interest in art and all art activities in most part, and so this gallery represented artists that went back to pick up where the Bauhaus left off. It was a school of geometric painting, well, as exemplified by Mondrian and Kandinsky-Kandinsky was living in Paris at that time, and was kind of a senior artist when this gallery got going. I forgot when he died-in the fifties. Anyhow, these people were disciples of Bauhaus and I got very much caught in that-doing hard geometric, hard edge geometric painting. The window piece, or the film for the gallery window came quite a bit later. Four, five years after I'd been painting I started making films and I was trying to combine painting with film, put film in the galleries, and the idea there was to have a show, actually I was going to show a bunch of mutoscopes. The gallery happened to be a store-front type gallery, Iris Claire, that's where Tinguely got a start-a tiny gallery and it was impossible to.. . . The ideal for me was to expand the gallery onto the street and to show films on the windows, the way of having a big audience in the street. The whole idea of taking the audience out into the street was nice. It was also imposed on me, because the place was so small.
Wonderful! I love it.
We are here with Robert Breer in the country. And Robert Breer is sitting on his favorite swivel chair in his studio and it's a beautiful day in July. Bob just told me that the sound of this swivel chair is on one of the tracks of one of his films.
Breathing, it's in Breathing.
How did you record it? Just asked someone else to sit in the swivel and you. . .
No. I recorded it inadvertently. . . (laugh)
And then just adapted it?
Well, the track of Breathing was a. . . the sound track of Breathing was the breathing of a neighbor dog, made the sound track that way. Teasing him, to get him to. . . I got him to make all kinds of weird, low breathing sounds, by alternately teasing him, baiting him, pushing away the microphone, which he kept hitting with his tail, and during one of those gestures I made this beautiful enormous sound with the chair, this squeeky chair. I played it back later, and it worked out as a piece of punctuation, I found a place for it. There it is, very mysterious.
I dig the white noise.
伟大的艺术
love it!
'How many things can your brain retain?'
Yes.
great
I dont have a single clue of what the actual flying fuck this is, but it hurting my eyes and causing my brain to overheat, thanks youtube reccomendations.
sorry about that, man :(
Nice, huh
my eyes got cleaned but it got dirty again wtf breer
god
I'll (never) watch it with VR
Hi ! do you have the rights of this film ? can I use it too ?
Yes, always "in the beginning..." It sounds kind of biblical. . . Anyhow. . . It sounds too pretentious, but I started out. . . Well, I started when I was ten years old, being an artist, I guess, officially in my family, a family of engineers. Because everyone else was an engineer, relatively speakmg, I was an artist, because I drew more than anybody else and I was sent to a Saturday art school and I think that's how I became an artist. It was a question of family stimulus, self-stimulus, and. . . Anyhow, that is true. . . Eventually that worked into painting, by way of army training aids, syphilis posters, and things like that. It gave me a thorough distaste for any kind of commercial art, and when I got out of the service, I had a big art experience, big quotes around that. . . and I could see some possibility of art as either a boundless pit or a topless. . . oops,. . . topless, anyhow. . . an endless horizon, more close.
Wasn't it in Paris that you did a piece that was in a store window-was that early or late, when you were staying there.
A piece in a store window?
Yes. It was sort of a film for a store window. . .
Oh, I see what you mean. Well, the painting, I got tied up with the gallery Denise René which was at that time, well, it represented almost a school in itself of neo-plastic painting and had the. . . The war, of course, had killed all interest in art and all art activities in most part, and so this gallery represented artists that went back to pick up where the Bauhaus left off. It was a school of geometric painting, well, as exemplified by Mondrian and Kandinsky-Kandinsky was living in Paris at that time, and was kind of a senior artist when this gallery got going. I forgot when he died-in the fifties. Anyhow, these people were disciples of Bauhaus and I got very much caught in that-doing hard geometric, hard edge geometric painting. The window piece, or the film for the gallery window came quite a bit later. Four, five years after I'd been painting I started making films and I was trying to combine painting with film, put film in the galleries, and the idea there was to have a show, actually I was going to show a bunch of mutoscopes. The gallery happened to be a store-front type gallery, Iris Claire, that's where Tinguely got a start-a tiny gallery and it was impossible to.. . . The ideal for me was to expand the gallery onto the street and to show films on the windows, the way of having a big audience in the street. The whole idea of taking the audience out into the street was nice. It was also imposed on me, because the place was so small.
Manuel Camacho Robert Breer died in 2011, look it up.
Track ID?
'La isla bonita', Madonna
e DD
uh.... I'm pretty sure this stuff is only fun for the filmmaker! 'Cause I can see hardly any value in it.
+Voidarg Too bad, I think it's great fun!