N.I.C.J.O.B.?s interest lies in the creation of a kind of synenergy effect between picture and sound. Selections are taken from over 50 years of television and 100 years of movies. The music used could also be a selection of any production up to this point, it must only be useable for N.I.C.J.O.B.?s mix and have somehow meandered through his ear and into his hands by coincidence. It is then found footage, and through the principles of sampling, in the sematically free domain.

Discussions about appropriation in the 80?s have not come to an end, voices are still heard in the 90?s stating that artworks created from found footage are not autonomous artworks, but N.I.C.J.O.B. defines his work as active processes in which the viewer is left with the completion of the artwork. N.I.C.J.O.B., Nicolas Jasmin, speaks of an extrem conservative position which is being controlled through the copyright process.

DNS codes have an original and a copy, as a consequence of this knowledge the question of authorship become irrelevant for N.I.C.J.O.B.
Through the loop construction of *-!#= Patrik Deware seems to react endlessly; he bangs his head continuously on the hood of the car, and together with sound the scene mutats to an autoagressive threat. N.I.C.J.O.B. understands his work to be an active process, which has developed through years of passive consumption of TV-trash, videos and music. (Suess)

Exhibitions

sincerely yours, 1998

Sofia Municipal Gallery, Sofia, Bulgaria

TED Gallery, Varna, Bulgaria

Specifications

2min 8sec stereo bw PAL

Technical protocol

found footage production

Post production

Redrun, Wien

Copyright

N.I.C.J.O.B.

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