![]() ![]() “I am beginning to perceive this vicious loop,” Mosse wrote from Goma, “of subject and object. Film, photography, and sound recorded during these trips was used in the production of the Venice project. During a period of two years Mosse, Tweeten, and Frost inserted themselves as journalists within armed groups, which fight nomadically in a war zone plagued by frequent ambushes, massacres and systematic sexual violence. The Enclave was a mythic conflation of many discrete rebel enclaves in Eastern Congo. With the collaboration of cinematographer Trevor Tweeten and composer Ben Frost, Mosse created a highly immersive five-screen multimedia installation titled The Enclave. In the late 1960s, the medium was appropriated in artwork for rock musicians like the Grateful Dead or Jimi Hendrix, trickling into the popular imagination as the palette of psychedelic experience, eventually accumulating the aesthetic of kitsch. Infrared film found civilian uses among cartographers, agronomists, minerologists, and archaeologists, to reveal subtle changes in the landscape. Originally developed for camouflage detection, this aerial reconnaissance film registers an invisible spectrum of infrared light, rendering the green landscape in vivid hues of lavender, crimson, and hot pink. Richard Mosse brought to this subject the use of a discontinued military surveillance technology, a type of color infrared film called Kodak Aerochrome. For centuries, the Congo has compelled and defied the Western imagination. Mosse’s practice resides at the interface between documentary journalism and contemporary art. The Commissioner and Curator was Anna O’Sullivan, Director of the Butler Gallery, Kilkenny, Ireland. Richard Mosse represented Ireland in 2013 with The Enclave, a multi-media installation at the 55th International Art Exhibition. ![]()
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