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New site just launched specifically for my Extramission works

http://extramissions.com/


s/he is still inside you A film made for MattFlix (Matt's Gallery on-line gallery) June 2020



A short documentary on Lindsay Seers published by TateShots

https://www.youtube.com/watch?v=B0XqeAFS4Qk


Comments on the work (see Review's Page for more detail)

https://www.lindsayseers.info/reviews


A Review of Tetragrametic Chimerism
Author: Kjetil Røed
Source publication: VartLand
Press date: 26 January 2019

A human is something more concrete, something particular, that cannot be captured through their favourite music, or preferred car brand or on whether they like jazz or not. On the other side, it can be hard to find perspective from which we actually question the categories that are self-evident to us, either if it is to talk about the question of who we are or other ways for organising our reality.
This is where these works (by Lindsay Seers) have an explicit function: They lead us to a place where the self-evident order floats, replicates, or get an unforeseen form. Seers wants to confuse us, she wants to create a third place beyond subject and object, where we no longer see who we are, or what we look at is. Exactly what each and every one of us will see is not revealed by Seers – we have to figure it out by ourselves – but if we follow her through these works, maybe we too will get that double view.


A Review of 2052 Selves (a biography)

Author: Gilda Williams
Source publication: Art Monthly
Press date: September 2018

Women were treated to special inequality at Knole, where an ancient family law decreed that house and title could only be passed down the male line. Famously’ the writer Vita Sackville-West (1892-1962) was prevented from inheriting her beloved childhood home because she was a woman. The 1928 novel Orlando was ‘a love letter’ to Vita, as author Virginia Woolf described the multi-gendered fictional biography of her long-time friend and lover. Orlando’s original manuscript is held in the house archives, and in it Vita/Orlando survives miraculously intact across centuries- just like Knole itself. Impossible leaps in time also feature in Lindsay Seers’ beautifully shot films 2052 Selves (a biography), viewable online only. Presented across 4 principle chapters, and splitting the screen into a tryptic, Seers’ films are obliquely base on the ‘three V’s’ haunting Knole- Virginia, Vita and her mother Victoria- intertwined with the gender shifting actress Sara Sugarman, who offers a candid mesmerising performance.


A Review of Suffering
Author: Andrew Harper
Source publication: Artlink
Press date: October 2016

UK artist Lindsay Seers has been to Queenstown before and made vital work from her visits, but her latest work Suffering is an experience that is almost unprecedented. It is evocative and potent, and seeing it at this festival felt like a remarkable privilege. It is hard to avoid the hyperbolic response here, but Kelly’s work and Seer’s sensitive presentation made for a memorable experience. It was the highlight of The Unconformity for me. It also captured the focus on the people of this strange, beautiful mining town and the powerful sense of community.


A Review of Nowhere Less Now4
Author: Charlie Fox
Source publication: Sight and Sound
Press date: April 2015

Seers unravelled the film for me frame by frame with remarkable lucidity, showing that what sometimes appears to be a stream-of-consciousness flow is in fact meticulously ordered […]. With its associative swoops, sudden drifts and refractions, Seers’s work approximates the unaccountable experience of thinking itself: she has abandoned the familiar world of filmmaking in order to capture the wild terrain of the mind.
 


A Review of Nowhere Less Now4
Author: Chloe Hodge
Source publication: Aesthetica
Press date: October 2014

There are more facets to the narrative, some of which is factual, painstakingly researched by Seers, but she is an unreliable storyteller. She joyfully chops up the timelines as the action swirls backwards and forward through the centuries in a collage of antique photographs, film and animation that tumbles from the screens. The details come to us as recall of a half forgotten dream. We are left exhilarated…
 


A Review of Nowhere Less Now
Author: Gloriana Riggioni
Source publication: Spoonfed
Press date: 3 Sep 2012

‘Nowhere Less Now’ is a portal into this multidimensional contemporaneity: a notion as liberating as it is unsettling. Seers, a self professed perpetrator of our culture’s obsession with experiencing life through a lens by recording, cataloguing and then revisiting every single instant of our lives, leads us through archival and ancestral sources in an investigation of her paternal blood line.
A decidedly unique and immersive experience, ‘Nowhere Less Now’ challenges the sceptical mind to become open to the notion that human beings do not hold reality in the palm of their hands; that there are unseen machinations at large which only obtuse conservatism and lack of perception prevent them from observing.
A Review of Nowhere Less Now1
 


A Review of Nowhere Less Now
Author: Rachel Cooke
Source publication: The Observer
Press date: Sunday 2 September 2012

After 20 minutes the film ends. Too soon. As the lights come up, you're still puzzling things out (a feeling that will last for days, and probably for ever). It takes a moment, then, to notice what the dark previously concealed: that Seers has made her own additions to the folk-art interior of the tabernacle, and that you're sitting in what appears to be the upturned hull of a ship. Knock its sides with a knuckle and you will hear the stark clank of metal. The disorientation doesn't end here. Afterwards, free to explore, I wandered into a tiny side chapel. It has a medieval altar and a lectern whose base is – wait for it – a cloven hoof. The effect was uncanny. Outside, the traffic rumbled; Kilburn could not be more landlocked if it tried. But in the strange quiet of the Tin Tabernacle I was lost at sea, overwhelmed by a briny wave of doubt and confusion.
 


A Review of Monocular
Author: Kjetil Røed
Source publication: Aftenposten
Press date: 10/09/2011

By far the best work of the exhibition is Lindsay Seers' video installation Cyclops [Monocular]. The starting point of the work, is the story of a person who is about to lose sight in one eye, but serves as a reflection on repressed or forgotten aspects of one's life, and how these can still have an impact on someone who seems to have moved away from the past. Thoughts about lost opportunities and past perspectives end up re-emerging as the protagonist's self-reflection in the present awakens what was originally left behind. In other words, the work introduces an ambiguity; based both on actively remembering and utilizing what ordinarily remains in the unconscious.
The work is told through a voice-over and alternates between several layers of imagery - from documentary to stylized symbols. Seers' work is fully on par with the best of film essays – Chris Marker's Sans Soleil, for example, or Jean-Luc Godard's Histoire(s) du cinema – and it's exquisitely directed images in relation to the space the work is presented in.


A Review of It Has To Be This Way²
Robert Clark
Source publication:
Guardian: The Guide
Press date:
Feb 2011

A beautiful enigma of an installation. After years of experimentally using her body as a camera, Seers has made work of rare narrative charm. Cryptically titled It Has To Be This Way², the film kicks off with and alarming sentence, "I was her mother but she was never my daughter and now she has gone missing, I can honestly say I never loved her." The setting itself is peculiar as the film is projected onto a circular screen inside a structure apparently based on a Swedish fort on the West African Gold Coast. Tales of diamond smuggling accompany the central theme of the disappearance of the artist's stepsister, as the air of poetic reverie leaves one with a distinct uncertainty …
 


A Review of Extramission 6
Author: Adrian Searle
Source publication: The Guardian
Press date: Feb 2009

Which brings me to Lindsay Seers's Extramission 6 (Black Maria), one of the real finds of this exhibition. Seers shows a semi-autobiographical, quasi-documentary film about her life, screened in a mock-up shed whose design is a copy of Thomas Edison's Black Maria, his New Jersey film studio. The story is implausible, troubling, and beautifully told by different narrators.
As a child, Seers is so overwhelmed by visual stimulus that she cannot speak. As soon as she sees a photograph, she decides she wants to be a camera. She uses her mouth as the camera, and goes about with a black bag over her head. As she grows up, Seers stops being a camera, and wants instead to be a projector. She wears a model of Edison's studio on her head, projecting the movies in her mind. She struggles to illuminate the world.
The whole story is both dreamlike and moving. How much of it is true? There are interviews with Seers's mother and with a psychologist. Are they really who we think they are? As I staggered out, someone muttered "What is she on?"