It’s been a prevalent notion. Fallen sparks. Fragments of vessels broken at the Creation. And someday, somehow, before the end, a gathering back to home. A messenger from the Kingdom, arriving at the last moment. But I tell you there is no such message, no such home – only the millions of last moments... nothing more. Our history is an aggregate of last moments.” Thomas Pynchon, Gravity’s Rainbow A(nother) collaboration between film artists Ben Rivers and Ben Russell, the figures in this installation represent a conceptual prequel to the inquiry present in their feature project *A Spell to Ward Off the Darkness*. Taking its title from the Greek tragedian Aeschulys, *CALL NO MAN HAPPY UNTIL HE IS DEAD* presents a group of viking re-enactors whose vertiginous actions are variably synched to an explosive real-time collage of early black metal recordings. Man and violence, ritual and play, death as the dream of infinity.
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It’s been a prevalent notion. Fallen sparks. Fragments of vessels broken at the Creation. And someday, somehow, before the end, a gathering back to home. A messenger from the Kingdom, arriving at the last moment. But I tell you there is no such message, no such home – only the millions of last moments... nothing more. Our history is an aggregate of last moments.” Thomas Pynchon, Gravity’s Rainbow A(nother) collaboration between film artists Ben Rivers and Ben Russell, the figures in this installation represent a conceptual prequel to the inquiry present in their feature project *A Spell to Ward Off the Darkness*. Taking its title from the Greek tragedian Aeschulys, *CALL NO MAN HAPPY UNTIL HE IS DEAD* presents a group of viking re-enactors whose vertiginous actions are variably synched to an explosive real-time collage of early black metal recordings. Man and violence, ritual and play, death as the dream of infinity.
Ben Rivers
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