Artists > Simon Lee & Algis Kizys

Simon Lee & Algis Kizys



Simon Lee works in photography, video and installation. His public arts project, Bus Obscura, was part of Art Basel Miami Beach in 2004 and has since toured extensively in the US and abroad. He has shown work at the Tinguely Museum in Basel; The Passenger’s Festival in Warsaw; Roebling Hall, New York; Pierogi, Brooklyn; University of Hertforshire, London; Colgate University, Hamilton; and Locks Gallery, Philadelphia. He has received many awards including a grant from the Experimental Music and Performance Center, New York; a Pollock-Krasner Foundation award and several New York Foundation for the Arts awards. He was born in Yorkshire and lives and works in Brooklyn, New York.

Algis Antanas Kizys has played bass/toured/recorded with Swans, Foetus, Pigface, Teenage Jesus and the Jerks, Of Cabbages and Kings, The Glenn Branca Ensemble, Bag People, The Problem Dogs, and NeVAh amongst others, and non- bass in Prowers, The Termites and The Hallicrafters-- a short-wave radio ensemble. Through the years he has had the delight to have worked with Alex Hacke, Lydia Lunch, Nels Cline, Jonathan Bepler, Eve Sussman, Matthew Barney, among others. Film credits include Eve Sussman’s The Rape of the Sabine Women and whiteonwhite:algorithmicthriller, and Gus Van Sant’s Finding Forrester. He has also participated in Experimental Skeleton, Inc. and their Dream Machine Project.

based on
CROW: The Life and Songs of the Crow,  by Ted Hughes.

Where is the Black Beast? begins with Lineage, a poem that abridges The Book of Genesis into 21 lines and from which the protagonist Crow emerges. A journey begins that takes us from Oedipus’ familial catastrophe to Crow’s mad battle with the sun.  Deaf to all but his own cries of importance the film finally returns Crow to his roots: “trembling, featherless, elbows in the nests filth”.

Where is the Black Beast? was created by stringing thousands of found snapshots together into a visual narrative based on the poetry of Ted Hughes. This collaboration with hundreds of anonymous photographers realizes the intensity of Hughes’ poetry in a cinematic form.

The provenance of the original photos crosses both geographic and temporal boundaries suggesting that the stories, histories and emotions that Hughes expresses are not confined to one culture or moment in time but rather have a timeless universality.

The piece is set to an original sound track with specially commissioned readings of the poetry. Using field recordings and time shifts in tandem with original and existing compositions the process of editing the film was a constant negotiation between sound, picture, poetry and spoken voice.


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