Technology?…I just pushed the button for an eight minute rendering performance. It supposed to take me 5 hours for the result? Few editing! Few sound-switchings?
OK..Thank You….I am quite aware that it takes a lot of nature to a l t e r society …… maybe that´s a hint?
Action! is a part of my recent work. U can call it an Assessment Sneak Preview, if u want…

Well, 2014 almost done and dusted. Any special ideas for 2015 except Love, Peace and Happiness? If this isn´t eventually the highest aim at all. Well, O.K. … Love and Peace might help already.
“But where danger is, grows the saving power also.”
Heidegger once again quotes the poet Friedrich Hölderlin. On that note: Keep your Art subversive and it might save the world some time.
All the best from West Cork
Detlef
 

…will be celebrated today for the 3rd year. We meet us at 3 pm @ the Ballyrisode Beach, to recharge our positive energy, to embrace the new year and to save the world with Art! Come and join us….<3 Detlef & Friends

Hi…found your Blog via Christiane Paul. Unfortunaely I can´t read your blog, but deal with the Subject as Visual Artist. Regards from West Cork xx Detlef

Corporate Cannibal. Grace Jones Statement to our current misery is very clear.

Pleased to meet you, pleased to have you on my plate

18 See Stephen Best, The Fugitive’s Properties: Law and the Poetics of Possession (Chicago and London: University of Chicago Press, 2004). In my discussion of Santa Clara I follow Nneka Logan’s work on the corporate person, and specifically her paper Nneka Logan, “Santa Clara, the Fourteenth Amendment and the Rise of Corporate Personhood and Power: A Rhetorical Analysis of Text in Context” (paper to be presented at National Communication Association, Orlando, Florida, 2012 Conference).
Alessandra Raengo is Assistant Professor of Moving Image Studies in the Communication Department at Georgia State University. Her scholarship addresses the ontological implications of race in the field of vision. She has published essays and book chapters on Lee Daniels’s cinema, the assimilationist imagination in The Jackie Robinson Story and blackness as phantasmagoria in Bamboozled and contemporary art. Her book On the Sleeve of the Visual. Race as Face Value, is forthcoming in the Spring 2013 from Dartmouth College Press.
If you want to know more about this issue please click here: http://www.worldpicturejournal.com/WP_7/Raengo.html
 

Following interview I found at this blog http://hermitosis.blogspot.ie/2008/09/nick-hooker-turned-grace-jones-into.html Unfortunately I wasn´t able to research or rather quote the interviewer

TB: How did you wind up working on this video?
NH: Ivor Guest is a very talented producer and a very good friend of mine; he started working on the album with Grace, and we both became friends with her. She’d already seen and liked some work I’d done for U2. Ivor and Grace had just finished recording the album, but hadn’t remixed or mastered it or anything. They played it for me and Grace just said, “Listen, which of these do you like?” Right away I jumped at the one I visually responded to the most, and that of course was “Corporate Cannibal.”
TB: The video’s concept is deceptively simple. How do you pitch an idea like that?
NH: Actually, I didn’t. She trusted me. That’s just who she is… Grace is incredibly smart, very wise. I think that’s how she works; when she trusts someone, that’s it! She just goes for it. So I didn’t know before I made the video precisely what I was going to do — all I knew was that I wanted to get her head, and I wanted to get her intensity. I didn’t do concept drawings or sketches, or pre-visual stuff… I just found it. She only had one worry, which is that I’d hold back — that I wasn’t going to go whole-hog.
TB: Can you tell me a little about what it’s like to spend time with Grace?
NH: First of all, she’s hyper-charismatic. It’s like a condition that she has. Also, she’s been famous for a very long time, so she really understands how to master her charisma. I’ve been out with her at times when she’s dialed it down, and she becomes practically invisible… anonymous. And then I’ve seen her turn it on and turn it up, and when she does that, within 5 minutes people are suddenly starting to pay attention, and within 10 there’s a crowd. After about 15 it’s like, “How are we going to get out of here?”
TB: What’s the rest of Hurricane like?
NH: Half of it is really strong vintage Grace that you can easily connect to her earlier stuff, and then the other half is much more contemporary, and of course “Corporate Cannibal” is an example of that. It’s funny, when Ivor first told me he was working with her, I noticed something… I’ve always loved her music and I’ve always thought she was amazing, but I’d never realized that every day, when I’m in New York, I’d hear her music playing somewhere — whether it was in a bar or cafe, in a taxi, in a shop. It’s just there. It’s part of the soundscape of the city.
TB: What did you (and Grace) have to do to capture these striking images?
NH: Because she’s a model, she has like a Marlene Dietrich thing where she knows exactly what the light’s doing to her, or how she looks from two different sides… She’s very confident in her beauty. When we shot, she’d just been in Jamaica for three months, so she was intensely black, like dark, dark black. She didn’t have any makeup on… in fact we put a face-mask on her, like a skin, and used it to peel off every bit of dirt and grit, whatever the city had put on her face that day. All that remained was sort of the raw glow of her skin. She had a bit of lip-gloss, and that’s it. There are people out there working on videos for artists out there like Madonna and Mariah Carey, and they spend weeks and weeks rotoscoping every shot and removing every blemish… It doesn’t take much to make Grace look good.
TB: Did you have to film over and over to get it right?
NH: It was only one take! There were two cameras: one camera directly in front of her on a tripod, and there was a handheld infra-red camera that I was operating. If you look at the video, you’ll see there’s a lot of head-on stuff, and the other material is a little bit grainier and it’s all from the right. That’s the handheld, same take. We did other run-throughs to set up, but we just wound up filming the once. We started working at midnight, and we finished as the sun was coming up.
TB: And then after that, what next?
NH: When I got back to New York and I finally put the head into the computer, I found the key image that was going to be the cornerstone of the video. Then my heart sank, because I knew it was going to be a frame-by-frame job and it was going to take weeks and weeks! It was very labor intensive… very low-fi on the input side of things, but hi-fi on the output. But there wasn’t any time pressure, and I wasn’t nervous about anyone breathing down my neck. In fact, she almost forgot about it! When she came back to New York, I went to visit her and show her some raw, unedited pieces. It’s funny, I was recovering from a hernia operation, and I still had the stitches in; I walked in and opened my laptop and played the clips for her, and she couldn’t believe it, she went completely mad, and jumped on me — so I’m staggering around holding her and thinking any second my hernia scar is going to give way and 30 feet of intestines are going to fly across the room.
TB: Overall, it sounds like a pretty surreal production experience!
NH: Yes… honestly it was refreshing to be able to go fast. It didn’t have that quality which I often dread, in which we’re in the studio and the clock is ticking and money is being spend, and every hour that goes by is another $10,000 out the window. Fuck fuck fuck… panic panic panic! It was a really truly ideal situation. There’s a misunderstanding about Grace that some people have and need to get straightened out on, which is that she’s just a sort of lump of clay in the hands of these Svengali types, that her work is really their work. That’s completely wrong. She’s very savvy, smart, sophisticated artist who really knows what she’s doing. Sometimes when we were editing she’d make calls about the edits that made me think, “Fucking hell!” But then she always ended up being right. She was almost always bang-on.

Eventually…..
An analysis around Barthes and Foucault discourse between 1967 and 1969. Please click here to get to the Essay content.

Right…back from Sherkin Island. Work is done. Sitting in my Studio Space…reflecting the past 6 weeks. I have to admit actually PLAN A was: “Getting Pissed for today and finishing my analysis tomorrow, basically about Barthes and Foucault`s little philosophical war: “The existence of the Author – whatever ….Modernism,  Post Modernism. Social Capitalism for now!!”
Eventually I changed my mind and energies to mop my studio or rather to clean my brain….but only to a certain extend… because I realize that I still have to finish and close(at least) the metaphorical book of my last performance. On this note I might give here for the sake as a appreciation of all our cultural peacemaker work  a little retrospection  including some visual support of images from my last performance at Mount Gabriel. To get an idea I might publish my proposal. If you don´t like written visual critical statements don´t hesitate and skip it.
BAVA DIT Sherkin Island 07-04-2014 Proposal Module 11: Convergence Detlef Schlich
As a visual artist in my second year at DIT I am presently preparing my last module for this semester which is about Convergence. In my secondary research for this Project I intend to identify artists that try to seek or rather find the spiritual in art in our time like Josef Beuys, Anne-Katrin Spiess and Dominique Mazeauds. Beuys urgently appealed to humanity to restore their connection with a spiritual reality. For Ann-Katrin, performance and ritual have always played an essential role in her work. Dominique’s Ritual Performances and pilgrimages reflect the spiritual in art. She sees her art as political catalyst to activate present and future environmental action and awareness and considered herself as a cultural peacemaker.
For my next Project I will create a performance at the radar station on top of Mount Gabriel. The mountain is with 407 m the highest eminence in the coastal zone south and east of Bantry Bay. For me the radar station, which sits on top of it, is a visual metaphor of the man-made impact in nature and a symbol of the irony of the ‘age of communication’, an age where we lack personal connections, an age where our world gets to its limits physically and our culture is in moral misery.
Through the process of ritual performance I want to become a mediator between a world in physical, cultural and emotional crisis and open myself and the viewer to the potential of the power of the creative experience to create a moment of spiritual awareness.
This will be recorded with Digital Media. In my studio I will use digital and metaphysically and physically Medias e.g. Photoshop/Premiere just as charcoal and acrylics to create a final piece of visual work.
However, I´ve already mentioned that I use the top of Mount Gabriel as starting point for my performance. Here we go:




 

Final Work:

This images are only for the purpose of representation and not available for any reprints. Therefore the quality  do not represent the real prints.