dislock_ consists of a series of short tableaux. Two people, a woman and a man, are drawn together in a series of disarticulated movements.
Through the choreography’s unexpected contortions, the artist throws into relief the vast emptiness that surrounds the figures, employing her habitual techniques: particular textures, a way of fragmenting the image, a gaze often directed towards the invisible.
dislock_ is being presented for the first time with the soundtrack that shaped the editing and the arrhythmic irregularity of the sequences. The tableaux created to the sound of Patrick Watson’s Wooden Arms and Félicia Atkinson’s No Wedding were part of Videomusique presented at the Museum of Contemporary Art of Montreal in summer 2010.
Writer/director/producer: Dominique T. Skoltz
About Dominique T. Skoltz
A media artist, photographer and director, Dominique T. Skoltz spends her time between here and elsewhere, between creating work on commission and free creation.
Her polymorphous work carries an immediately discernible signature. Whatever her avatar, we recognize the lively, sensitive gaze which is most often turned on the invisible and is fascinated by the intersections between hyper control and breakdown, and intimate and the clinical.
As half of Skoltz_Kolgen, in collaboration with Herman Kolgen, she has created numerous installations, performances and films that delve into the organic relationship between sound and image.
The works of Skoltz_Kolgen, which often fall into the cracks between genres, have been presented on the international media arts circuit in Asia, Europe, and north and south America. These works have been presented and performed at over 50 festivals, events and museums including ISEA, the Venice Biennale and Transart (Italy), Transmediale (Berlin), Sonar (Barcelona), Sonic Arts (Amsterdam), Cinematics (Brussels), Némo (Paris), E-Arts (Shanghai), Mutek (Canada, Mexico, China), Elektra and the Montreal Museum of Contemporary Art, to name a few.
Over the years, many of these works have been recognized by prestigious competitions and become part of the collections of established institutions. The LUX competition, and Applied Arts and Communication Arts magazines have both applauded their work again and again.
‘Fluux:/Terminal’ earned an honourable mention from the prestigious Prix Ars Electronica. ‘Ether’ is now part of the Centre Pompidu’s collection in Paris. The film-poem Silent Room, which was recognized at the Festival of Independent Film and Video in New York and LA, is part of the collection of La Cinémathèque québécoise.
The launch of the art box/DVD of Silent Room – which won a prix Qwartz – crystallized the essence of Dominique’s performance work.
Dominique’s current work continues to manipulate organic matter as readily as digital. She practices a form of mutant cinema that simultaneously occupies numerous territories with porous borders: the photocinetic, animation, performance, installation, sound art and video clips. Her synergistic practice, which questions the elasticity of time and fiddles with perception, is articulated between accident and intent.
Architect of interiorities, Dominique is interested in the ineffable substance of life.