A Discussion with Nino Fournier... What is fake mockumentary and anti art film????

https://sites.google.com/site/ninofournier/texts

NINO FOURNIER

Birthday Gurl I don’t see how video art is in any way close to mockumentary

B GURL

the answers i approach this circumstance of doubt in perhaps regards to video art as a

precursor to ready made mockumentary.. Please understand that i am speaking to a pink 8 style

reader and its boom of guerrilla film manifestos that is a pink 8 style particularly the junk film

maniesfto and fake mockumentary manifesto. i can only give an abstract of what these topics

only briefly entail or touch base upon apart from the technological developments in video art it

self .Presenting you with an appropriation of this film type’s “reality” as the most available

technology in every ready made video art that is fake documentary or mockumentary that we

cannot regard as ready fake documentary or mockumentary because of the technological

advancements in mockumentary that presents us with the fake mockumentary which is was

once the ready made mockumentary being that there is no separation between video art and its

technology of time reality in the present moment evading some realistic time without a

transcendence of reality . This dates back to video as a self reflexive medium for performance

based works in a fine art context maintaining some pretense of reality experience for

improvisation or performative experience existing in the present moment or a mock performance

blurring the lines between ready made mockumentary performance art and acting. Applicable to

the fake mockumentary explanation for its stylized observational video art hybrid that

determines fake mockumentary not fake documentary = fake mock documentary .

its simply a philosophy and a matter of rephrasing the properties and evidence that is within a

standard of common ground and common sense for explanations according to to these junk

context for such mediums, where each form exists according to a basis among empirical

relationships between these mediums in which each art form with or with out form shares across

discourse. Thus the ready made reality is evaluated through a cinema verte and media literate

audience that is not in on the joke while mockumentary audiences are in on the joke.

performance art or mock performance the blurring of performance art and acting theoretically

broadcast the missing intentions of fake documentary as true reality in any such real event as a

sport like reality television endorsed by the media or a form of stylized documentary such as

mockumentary or mock documentary not or fake documentary which own characteristics

overlooked by ready made mockumentary which can what we now consider a fake

mockumentary in a literal and metaphorical realistic circumstance of realstic video art

determined by a fake reality of faking whats fake with performance art or improvisation during

such pretense of reality that needs maintenance and can no longer be a mockumentary reality

in the media as a sport but as a junk film aesthetic using video art to reproduced the

observation of such a reality in a fake reality of real time performance art based video but a

fake video art’s original forms of mockumentary precursor’s demonstrations also known as fake

documentary film therefore it must be “fake” mockumentary film experience since fluxus or neo

dada artists can no longer be regarded as contributors of fake documentary now that fake

mockumentary exists in a hybrid context of technological developments hybridizing stylized

documentary and video art “stylized” as in “fake real events of circumstance or situation” and a

junk film aesthetic that is an anti art art film product that is this film type component for video art

because video art is now junk film ..i explain more further along

NINO FOURNIER

the notion of anti art art film is really unclear to me i don’t see what it might be, I mean its either

video art or its notice notion to me seems as though it was trying to move away from video

artinsnt it?

The notion of "anti art art film" is really unclear to me. I don't see what I might be. I mean,

it's either video art or it's not, isn't it ?

BGURL

Anti art art film is not a film genre its the compartmentalization of the junk film aesthetic

for film that resonates its precursor’s which were dada and fluxus artist of the neo dada

period which have embarked on the tokening of “junk aesthetics” literally and emerged

with literary context such as the fluxus manifesto which is described as an anti art art

movement . This is where the anti art in anti art art film is referenced and dated back to

fluxus just before the emergence of the modern art era This dates back to the modern art

era when video art and interdiciplinary performance began to flourish with

performancece based works in a performance art and fine art context which positioned

the performer as the artist confronted by the need to situate four basic elements time

space the performer’s body or presence in a medium and a relationship between

performer and audience. The relationship between performer and audience gives

emperical evidence according to social theory that some stylized form of documentary

of fake documentary or fake mockumentary had been attained by video artists who used

their own performances in their videos or what now would be considered maintaining a

pretense of reality such as mockumentary based films thrive on for separation from

institutionalized film making that of script based by critical form to pre production, and

production but since it is fake documentary that has been performed by one aware of

there own presence in front of the camera it had been overlooked as only video art and

not a film dialect which is unspoken but obvious to us that actors try to convince their

audience that the camera is not there and what we are seeing is believable but with

mockumentary this is not limited by the performers awareness of the camera it is this

type of film’s qualities in which we identify mockumentary and not some of the first forms

of organized performance art based video was video art that aquired this same

awareness of the camera. So since video art couldn’t be fake documentary any longer

it is what we can now look back and compare to as a fake mockumentary or video art

precursor to the fake mockumentary junk film aesthetic innovations of the neo punk

cinema movement that is anti art art film. Because the Pink 8 film manifesto was written

to discourse between disiplines across the Dogma 95 manifesto any manifesto that is a

pink 8 style can be understood as repercussions of Pink 8 such as the junk film

manifesto, the fake mockumentary film manifesto , counterfeit film manifesto , fake

rockumentary manifesto and guerrilla film manifesto all such practices are related to

dogma 95 because of its Pink 8 style.

NINO

This notion seems to me as if it revealed the desire to move away from video art without

actually doing something totally different and thus renouncing to bear that classification

which, I agree, has quite a heavy past.

BGURL

The video art classification that is renounced as the possible desire to move away from

video art doesn’t move away its brings fusion to its documentary aesthetic and film

quality moving video art forward because it is a junk film “ junk film aesthetics” and it

continues to move forward with hybrid film such as fake mockumentary film which is a

deconstructed mockumentary based hybrid film of video art and stylized

documentary... the stylized documentary perception i claim to interpret is the future of

video art where empirically it can’t be argued outside the non objective film that does not

include documentary in some form that can still be non objective but informed with

techniques such as computer screen recordings of non objective media being played on

a computer screen otherwise unless it is based on a story the fake documentary is a

form of documentary 

mockumentary and fake mockumentary is a hybrid of video art and stylized

observational film that is based on mockumentary structures but a deconstructed of its

self with minimal form that enhances  theatrical elements a blurring of the lines

between performance art and acting where a mock document is encouraged or

ultimately necessary to some point according to the fake mockumentary manifesto. see

fake mockumentary manifesto one of the following acid junk film diary blog posts on its

blogger page

NINO

However, I'm really wondering if it's a good thing or not to try and create a new "genre"

(the anti art art film)

BGURL

the “anti art art film” is not exactly the genre I’m trying to come across as the junk film

aesthetic its only one of its compartments but what I’m presenting as genre is fake

mockumentary the nominated film genre but because junk film is anti art art film , a fake

mockumentary aesthetic is to regard the anti art art film compartmentalization of junk

film aesthetics to rather have limited structure because its manifesto’s rule to break two

obstructions stated in the fake mockumentary manifesto also according to a PInk 8 style

which brings up the question of wether it must be either feature film , short film , or both

in film parts in order to become a video art hybrid in for the evolving future of its film

expectations for expression when it is now considered video art a type of junk film none the less.

NINO FOURNIER.

Now, all those interrogations might also come from the fact that you gave me to read a

MANIFESTO, whose essential role is to put words on practice which precisely should be

word-free (do you say that ?!) because it is video art, not litterature.

MOCK PERFORMANCE

                                         
       

VIDEO ARTIST Bio Laura Grace Robles Acid Film Maker Birthday Gurl Video Artist

BIRTHDAY GURL'S OFFICIAL WEBSITE

Laura Grace Robles started out playing lead roles in high school theater— like Katherina in Shakespeare’s Taming of the Shrew and the title role of Mary in The Insanity of Mary Girard by Lanie Robertson. Laura performed alongside her mother, a theater director who put her in charge of long, important rehearsals during her time of pregnancy near preparing for school shows for a room of nearly a thousand students. Laura was awarded All-Star cast on two occasions for her performances in district and area rounds of the annual University Interscholastic League One-Act Play competition for Kennedy High School.


Besides Theater, Laura was active in many other extracurricular activities such as student council, Varsity basketball, Sophomore class presidency, and San Antonio Youth Literacy, just to mention a few. This is where Laura first learned to use a VHS Camcorder, roaming the school for inspiration for her first music video assignment that she ended up organizing, in the middle of the street in front of her house, using a group of neighborhood kids that became the perfect outsiders to match the Guns and Roses song “Civil War” in 1997. When Laura graduated from High school, she was awarded many prestigious scholarships from The Lulac Foundation, The Hispanic Heritage Foundation for Leadership and Community Service, and Coca Cola for academic excellence.



Before Laura graduated from high school, she became motivated to find success as a theater camp reject who would eventually fail at film school and drop out to direct her first short film, a “Pulp Fiction” parody which she entered in a film contest created by Michel Gondry, one of her favorite directors. Unfortunately, Laura failed to fit with the other actors and film students due to the silly requirements she refused to take part in that clashed with her experimental and random avant-garde nature.


In 2008, Laura moved into a 700 square foot studio that she turned into a live-in gallery and photography studio with no shower or kitchen. The artist continued her artistic explorations while enduring a Drama class she felt compelled to take at the time even though she knew changing her major to Drama after flunking out of Radio, Television & Film was a runaway effort to fulfill a dream her mother had of Laura becoming a famous actress. Instead, she became an obsessive vegan pseudo sumo wrestler named Yo Apples who fell in love with Bjork so much she almost became a Bjork impersonator herself, while surviving on a pudding mix made from Smart Water and rice protein powder .


Laura soon realized she wanted to make moving paintings from poetic visions of moving imagery contrived from NON ordinary footage that would resemble distorted abstractions of masked human identity. Laura used large-scale video installations with single-channel projection that would fill the entire space. The video installation consisted of a combination of broken mirrors found on the street while walking home from voice class, which became the point of projection for the infinite reflections of shapes, vivid shadows and mirrored light. Video feedback was produced from a cheap camcorder via a projector which Laura purchased with her entire student loan as the fun alternative for buying school books. The entire studio gallery was masked with a design of mixed-media that used many layers of additive and heavily painted white and clear shower curtains held together by the dried paint and random broken mirrors in a way that expressed the embodiment of multiple surfaces transformed into an atmosphere that created a mystical dream-like experience for a small visiting audience that became the spectators of an intimate display of performance with guitar playing and modern dancers, costumed in painted clothing where the painting of one another became the improvised choreography and movement. This performance maintained an ongoing pretense of reality for the entire opening night. This investigation took place at Blanco Studios, skating-distance from the college she attended. The entire piece was eventually documented and turned into a long sequence of moving imagery which became the visual poetry interactions titled “Discovery Mirror”.


This experiment was an expression of lyrical gestures that became embodied art—a blue wig holding the skeleton of what was left of the broken mirror and frame, in a hugging position with her torso as though it were a part of her—an encapsulated dream reenactment. A vessel to her soul was uncovered.




Robles studied painting for seven years at San Antonio College where she took her first Sculpture and Drawing II class with Mark Prittchet. At this time, she participated in multiple juried student exhibitions where she was the first art student to be selected to exhibit six paintings for one show. Robles was determined to venture out with her first solo exhibition where her paintings from the Additive and Subtractive process were collected by the office of President Ricardo Romo from The University of Texas at San Antonio.


After this major accomplishment, she became the only artist from Texas and other surrounding states to be invited to attend the private reception and lecture for The Gates exhibition by Christo and Jean Claude in New York’s Central Park.




Robles’ studying Art at The University of Texas at San Antonio with Leslie Raymond, a well-respected Art professor, video artist filmmaker, VJ, and critically-acclaimed Executive Director for the Ann Arbor film festival, opened up a whole new world of artistic expression that would eventually be the dedicated dream she felt destined to fulfill despite any obstacles.


At that point of study, Laura became inspired to incorporate her theatrical intuition to create an avant-garde study of self-actualization by identifying as a divine archetypal figure that would erase social class through a dance of body, devising a reenactment of the Turkish Bath, costumed as a Red Individual, a character Laura invented to transform herself.


The film was titled “In The Green” and was presented as a combined study of research and exploration, showcasing digital photography, theater, performance art, video and animation. The film was awarded first place in the category of Multimedia at the university’s College and Liberal Arts Spring Research Conference in 2006.


Laura mostly fantasized of living in the past during the underground guerrilla No Wave cinematic explosion of DIY street culture from no wave and punk rock musicians and artists of the Lower East Side of New York.​


Laura continued to pursue performance art experimentation even during a period of homelessness and on no budget, determined to direct films at no cost in order to live the dream of emerging as a highly regarded, DIY punk rebel avant-garde video artist. She allowed herself to be used as the subject of her video works and worked alongside a dear friend and model she took painting class with, Victoria Campbell, and talented community actor, Sam Mandelbaum.


This led to her public and spontaneous guerrilla performances on San Antonio’s River Walk as Lucky the clown and as a Red Individual, locked in a porta potty for thirteen hours sans clothing in the spirit of Contemporary Art Month at a location set up with many porta potties to be used as impromptu art galleries.




Among other endurance and public nude guerrilla acts of street art she directed by implementing her fake documentary filmmaking manifesto for a film series mocked after the name Foxy and other words, she presented 16 different versions of the same 54 minute mock-performance to blur theater and performance art in short experimental takes of video art exploration, proving BA-HACK-ANANA—a fate of Bananas hacking into computers that came from a mystic cyber space of dream reality that manifested as a fake documentary faking what's fake in order to deliberately not be a fake documentary but the deconstruction of it.


​


Laura has approached the idea of conceptualizing a number of her films using her Anti Art-Art filmmaking manifestos such as the Fake Mockumentary Manifesto, Counterfeit Film Manifesto, Junk Film Manifesto and Acid Video Art Film Manifesto—all of which pay homage to Lars Von Trier's Dogma 95 and Fabrizio Federico's Pink 8 Manifesto.


​


Robles eventually gave herself an official moniker that would inspire one of her many alter egos—Birthday Gurl Video Artist, a San Antonio native, experimental filmmaker with a name that let her fall in love with a toy birthday princess tiara she put on to make herself feel special and young. This name would define her identity as a dedicated artist practicing a career of party-gurl mentality to have fun, get crazy and cry when disrupted from escaping reality. The artist felt that it was her destiny to instinctively celebrate her imagination as though every day was a time to embrace new gifts of creativity as if it were her way of being reborn again and again.



At this point of long-inspired bodies of work, Laura developed somewhat of an internet presence on YouTube. This enabled the artist to emerge in public as a video artist for the first time with video installation and single-channel projections for highly-regarded national and international acts for 80s hip-hop legend Rakim, Grammy Award Winner Marcel Rodriguez Lopez of the Mars Volta, and Gordon Raphael, the Producer of The Strokes. She has also opened shows for Com Truise and The Octopus Project, exhibited in San Antonio's top gallery, Presa House Gallery, and The South Texas Museum of Pop Culture, and other venues, and participated in several underground street happenings.


​Laura's love for this No Wave Era of guerrilla film expression led to the founding of The Straight Jacket Guerrilla Film Festival, alongside Fabrizio Federico, United Kingdom's underground punk film legend and pioneer rebellion that forged the PINK 8 Filmmaking Manifesto. A manifesto that paved the way for many filmmakers to take risks. This became the style of films this film festival was encouraged to showcase in an attempt to destroy Hollywood's cage of standards that stifles many artists with dreams of movie making.



Later on a United Kingdom director with the alias Rubber Cripple featured Birthday Gurl talking about her films and film making philosophies in a feature foreign film titled Mondo Lizard A Guide To Gonzo CInema, a film dedicated to anti-film making pioneers that have proven themselves to be the rebels of DIY guerrilla film making.


The rebirth of the Anti-Art Art Film label for avant-garde and experimental cinema are true experimentalism that allows moving imagery the significance of freedom of interpretation and cannot be easily defined but are more of a spiritual media.



With this in mind, Birthday Gurl poses to herself a challenge to explode her creativity as a resource for the unlimited boundaries she sets for herself by her imagination, transforming ideas based on dream interpretation, using digital video as a way to distort the world with psychedelic rainbows that do not yet exist and that remain hidden beneath the pop diversions that infest the masses in order to supersede the camera she's always dreamed of having.

Unique traits: New Punk Cinema Avant-Garde Cinema Experimental Video Art Moving Imagery Anti-Art Art Film Acid Pop Video Art Film Dream Experiments