SOLO FOR VIDEO is just that ; the video solo eddie d wrote for the "Soundmovie" project. In this project, eddie d co-operated with the Dutch composer Jaap Derksen who wrote a piece for video and small orchestra. eddie d's video images (and sounds) were made thanks to the "Image Keyboard", a tool that was developed especially for him, with which the video could be played live, at the press of a key.
eddie d edited this solo on videotape. It uses the kind of rhythm and sound eddie d is famous for. Water is a key element in this work.
eddie d continues his experiments with the deconstruction of language, and pushes them to extremes. As in his other works, he makes use of the standard TV-image of a 'talking head' that looks straight into the camera. The man's words have been chopped up in such a way that only loose letters and sounds remain. The resulting choreography of his head alternates between frozen standstill and jerky movement - a difference that limits itself to a few millimetres.
By means of precise, rhythmical editing, eddie d has created a musical composition that is inspired by the sound poems of Kurt Schwitters. The talking head is portrayed by a former Dutch prime minister who, in the Netherlands, is best known for his clear articulation.
eddie d tackles a special (and extreme) example of political ostentation and ritual in the Netherlands: ‘Prinsjesdag’, the day on which the monarch presents the governmental policies for the forthcoming year tothe collective Dutch parliament. The pompous rituals around this special day are exposed and reduced to their very essence by means of canny editing. 'Majesteit' compares two so-called ‘Throne speeches’ with each other: those of 1997 and 2008. Are there actually any essential differences – apart from Queen Beatrix’s new hat and perhaps the newly designed upholstery on her throne? The government will work hard and cherish hope. The people are expected to behave like good citizens. And all the ministers present diligently join in the ceremonial cheers, but are actually more interested in their own appearance and cuff links.
Pas de Deux
Choreography for 4 right-wing hands looking for a glove.”
For this ‘videographic animation’, eddie d, in his own typical way, has manipulated footage that everyone must have seen once or twice on TV. These are the both funny and embarrassing, interchangeable moments where political leaders or other talking heads have arrived at a pathetic, faltering cul de sac of language and movement. Their words, sounds and gestures lead a life of their own; they are in control of their creators, not the other way around.
‘Pas de Deux’ represents a duet or duel in the Dutch House of Representatives: a debate about double nationality, both participants competing for the favour of the right-wing electorate. The opponents are the right-wing liberal politician MarcRutte, regarded as slightly too anxious and leftist by some members of his own party, and the controversial right-wing populist Geert Wilders. The intended discourse and dialogue degenerates into stuttering and stammering, ‘supported’ by a dance of hands that are fruitlessly trying to invigorate the meaningless words. In an audiovisual act, eddie d pushes this grotesque spectacle to an extreme.
Netherlands Media Art Institute, Esma Moukhtar
eddie d Presents
In a virtuoso succession of fragments of images and sound, eddie d. does not show the world of ordinary objects as being inert or passive but as if they are constantly in motion. Hence the sounds that they make when they move, are no longer insignificant noises but have been transformed into rhythmic beats. We hear cutlery clattering in a sink, sandwiches springing from the toaster, a creaking door, spray paint being sprayed... In addition we see and hear actions and sounds that would normally be viewed as being unimportant or banal such as a mouth belching, a throat being cleared, fingers rubbing glass, fingernails scraping across a wall and the stamping of a foot. eddie d. presents illustrative music by editing audio and video tonally. Just like a conventionl musical composition, this clip consists of various parts that are defined by the way in which these fragments of image and sound are related to each other.
In an age when even smartphones produce HD video, eddie d collects old SD dvds and instruction videos to search for material to use for his works. This Lo-Fi approach has resulted in a video poem which stars one man and his numbers. The poem might be about the financial crises, or bankers, or just about everyday problems we all have to endure. The question that remains is: How much more? 5?
One thing is certain: as always with eddie d videos, the work is short enough to fit in anyone’s pocket.
Nice and Fresh and Greasy is a video-opera about beauty, commercialism en the freshness of grease (or the greasiness of fresh).
Its a musical video-collage in which found-footage elements and music are tightly integrated to form a dynamic, uplifting composition.
With this work, eddie d again shows he is the master of rhythmical video. He worked together with Dutch composer Jaap Dercksen and the music is composed in conjunction with eddie d's video-editing process; after selecting and pre-editing some video and sound, eddie d sent this to Jaap the composer, who then wrote a ground layer of music, then he sent the score to eddie d who then edited more video and sent this to Jaap again and so on and so forth until the piece was ready.
The footage is from an annoying phone-in tv gameshow and a 1960's television commercial. All is rhythmically accompanied by a man playing the spoons and using his mouth as a percussion instrument.
The work shows that, when you have guests, a good looking tablecloth is appropriate.
Not yet but I’m working on it. Check the other ones, some are already working. But I am very busy and can’t do everything right now. You know what it’s like.
The best material for a work of art is often simply to be found in everyday reality. After all, this is where the things that are directly connected with our human nature can be found, because day in day out they comply with our habits and patterns. They lead a life that we have stopped noticing. The household requisites that eddie d already brought to life in previous video works, also play a role in 'Mi Cocina'. With their bright colours and clean-cut designs, they speak the language of pictographs or educational illustrations - even more so because here they are toy kitchen utensils. The plastic pans, plates and ladles are shaking and rattling about, making the sounds of their adult equivalents while being controlled by an invisible force that lets them play together in unique rhythms and structures.
With these fragments he creates compositions. He turns them into a rhythmical sequence, making use of the compositional principles of music, poetry or choreography. And just as with these disciplines, the meaning is generated by the experience of the whole. Repetitions, duplications, framing, shifts and crescendos generally suggest means by which the influx of trivia can be reforged into a significant experience.