THE MIND MACHINE OF DR. FORSYTHE - 1993Peter Missotten - An-Marie Lambrechts - Anne Quirynen Produced by Antwerpen93 - 1993
With: Ana Catalina Roman, Jone San Martin, Dana Caspersen, Eda Holmes, Antony Rizzi, Thomas McManus, Stephen Galloway, David Kern and Brian Reeder
Nine dancers of the Ballett of Frankfurt, move slowly on glass. As bacteria stranded in a giant microscope. They leave their bodies' imprints on glass, redrawn and rewritten with every new movement made. Transcriptions - glyphs on glass.
The artistic use of video has often been most effective in large video installations, here represented through Ann-Marie Lambrechts, Peter Misotten & Anne Quirynen‘s THE MIND MACHINE OF DR. FORSYTHE, a grotesque and imposing crane construction carrying a number of ballet dancers, whose patterns of movement are frozen and confined by horizontal glass plates.
The stylized body control, suppleness caught in a pictorial language, which seems on the surface to be deprived of physicality, and accompagnied by the sound of the dancer‘ s breathing. An unplesantly insistent experience of physical presence without body. (Elo Nielsen: Zen, Lies and Video 1996)
I would say that this is the most impressive and not at least the most dramatic presentation of video I have ever seen. (Karsten R.S. Ifversen: Video Bang // Politiken 07.09.1996)
In der Videoinstallation – ihr Titel THE MIND MACHINE OF DR. FORSYTHE spielt vor allem auf den experimentellen Rahmen als typische Arbeitssituation in Frankfurt an – sieht Forsythe Parallelen zu seiner Arbeit, aber auch das Entstehen von ‘etwas ganz anderem‘. Die jungen belgischen Videokünstler bürsten mit der Kamera gegen den Strich. Sie schalten alle intermittierenden Einflüsse aus und wählen eine Beziehung ohne Umschweife zwischen Subjekt und Objekt. (Edith Boxberger // Frankfurter Allgemeine Zeitung)
In a scary, but fascinating way, An Marie Lambrechts, Peter Misotten and Anne Quirynen have confined nine of ballet dancers to a plexiglass cage. Like animals on the slide of the microscope they crawl tirelessly round in patterns varying from dancer to dancer accompagnied by the sound of their breathing and the rubbing and rustling of their bodies across the patternded base. (Morgenpost Fyens Stiftstidende, 22.09.1996)
