Lucy Cordes Engelman

artistiek onderzoek - audiovisueel - ecologie - experimenteel - film - gender - installatie - literair - natuur - sociaal-maatschappelijk - video

I make films and videos, considering 'the cinema' as a space of sensorial ritual and potential communion, but also possible rupture. I have a background in theater / performance and script writing. Currently I'm playing primarily with analog film, digital phone footage, archival records, and fictional writing, enmeshing the 'precious' material of film with the endless digital realm. At times, these multivocal worlds expand beyond the screen and if so they may have a performative element. Often I collaborate with fellow artists, poets, and musicians. I am currently asking questions about fluid fragmentary narratives as escape routes from existing infrastructure. I'm also thinking about ritual as a method of re-enchantment with all that (we) have been violently separated from. I am looking to the tides of the ocean, the flows of converging deltas, both tonic and toxic, as potential guides for other ways of sensing - both theoretically but also materially.


Nehalennia, Awake; Part 1 (2021-2022) - Work in progress, Super 8 projected with sound. Sound Compositions: Allie Armstrong and Lucy Cordes Engelman Instrumental Music: Galatea, by Igor Yachmenov with permission by the artist Vocal Music: Traditional Livonian folk song, sung by folk group, Skandinieki. Texts: Ada Hondius Crone, The Temple of Nehalennia at Domburg, 1955 Astrida Neimanis, Hydrofeminism: Or, On Becoming a Body of Water, 2012 Lucy Cordes Engelman, Temple, Altar, Imprint -- 2020
Earth Remembered Me (love-lies-bleeding) (2021) - Installation view, The POLE, Rotterdam. Looped projection of Super 8 transferred to HD, 05:21, colour, sound. Audio arrangement 1:20:00 on loop. Mirror, plants, bedframe. What does it mean to be dreamt rather than to dream? To be claimed by a place? To be in direct experience with specificity of land. The wilderness calls to us, to rejoin the more than human world, and as part of this process we find ourselves confronted with evidence of ancient rituals and other ways of being in communion with the thriving animate cosmos. Knowledge transferred in touch and breath. Through artistic research I seek what lies hidden beneath, within stone, tree, water, and animal, and also my own consciousness. To reconnect and be made knowable, to sense, shift, and expand beyond my limited self. I spent two to three weeks researching the ancient giant hunebedden in Drenthe as I prepared to partake in a wilderness vigil visiting these stone formations. In tandem with trying to understand these megaliths, I worked with the writings of eco spiritual philosopher Joanna Macy and the poets Mary Oliver and Bhanu Kapil. I did preliminary readings, listened to lectures and excavated data and records, spoke to local archaeologists and geographers about their conclusions and also sought pagan mythology surrounding the accepted and also fringe theories of the hunebedden. Who or what made them? Were they solely for burials or were there any other purposes? Is memory and mourning inscribed in stone?
Love-lies-bleeding (2021) - Object view, wooden pole, wool yarn, love-lies-bleeding dried plant, thread, dried roses, ink, dried dahlias. I spent two to three weeks researching the ancient giant hunebedden in Drenthe as I prepared to partake in a wilderness vigil visiting these stone formations. In tandem with trying to understand these megaliths, I worked with the writings of eco spiritual philosopher Joanna Macy and the poets Mary Oliver and Bhanu Kapil. I did preliminary readings, listened to lectures and excavated data and records, spoke to local archaeologists and geographers about their conclusions and also sought pagan mythology surrounding the accepted and also fringe theories of the hunebedden. Who or what made them? Were they solely for burials or were there any other purposes? Is memory and mourning inscribed in stone?
Tell Me A Vision (2021) - The pathway leads nowhere. The viewfinder cannot focus. The island is a fatamorgana. Seaweed, lichen, foam, grass, and dirt caress the viewer towards an encounter with something unknowable save through direct experience. In this exploration of oscillating visions, tunnels and telescopes indicate the futile attempts of a disembodied eye, while breath opens space for a vision that is haptic and sensuous, immersive and expansive. Video work for VAPORI screening series with VISUAL CONTAINER TV. HD video 03’42’’, 1920×1080, colour, stereo, 2021
The Taste Undid Our Eyes! (2020) - Super 8 transferred to HD video with mobile phone footage, 7:09. With Stephanie Sibbald - Editing Allie Armstrong - Compositions Zewiditu Jewel - VO Moon/June Hyeisoo Kim - VO Desire/Visions Of Alejandra Lopez -Visions Of Naomi Hattler - VO August Colleen Cordes - VO Distance Daniel Mullen - Camera Red Dancer Wim van Egmond - Microbe Footage original Special thanks to Marg Van Eenbergen Thanks to ARTIS Micropia and Super 8 Reversal Lab
Water Drips, Vanishes (2020) - Super 8 transferred to digital video, 3:32. A short collaborative work between myself and artist Zewiditu Jewel, shot on location at my childhood home in the same town where Zewiditu was born. A poem film that ruminates on the experience of returning home to find that things have inevitably changed, the grass has died, the house was sold, the beach disappeared and was washed away due to the rising seas...
Our Earth May Depend Upon (2020) - Fine Art print on dibond, Hahnemuhle German Etching, 45.5 x 59.1cm. Part of the SOLASTALGIA SERIES: A thematic work consisting of a book of 60 pages on A5 recycled paper, with 9 photograph prints on dibond of varying sizes. Here I draw upon the writings of feminist filmmakers as a departure point. Elements of ecological longing, fluidity, and the urgency of embodiment continue to surface in this series of photographs that expand into a dialogue with a small book of poem fragments. Interested in the image as presence, not as symbol, the artist composes the work in collaboration with the water, wind and other various ever changing forces.
THESE HAUNTING BODILY DREAMS: Fragments of Cinema, Feminism, and Sensuous Ecology (2019) - Honorable Mention KABK MA Thesis Prize. Small book on recycled paper, 155 pages, 25 copies. Dimensions: 18cmX13cmX2cm. Born of writings between three fictional filmmakers, this novella takes the nebulous form of an ongoing rumination -- or meditation, or meandering -- through a personal genealogy of feminist, haptic, and queer cinemas that brush up against each other. Focusing on thresholds of movement bridging the once, the here now, and the almost, this body of work proposes that there might be an opening in such alternative ways of both making and viewing films that invite us to encounter the world anew. In a sensorial, ecologically committed, feminist filmic ‘elsewhere’ there might be a means of reconnecting to and recalling our deep dependence on the wider-than-human world as we reckon with climatic shifts.
OPTICAL? ORALITY? ORACLE! (2019) - Winner KABK - MAR Department Award. Installation view. Three channel film with daily screenings on the hour, 15:30. Solastalgia Cinema/Chapel (Installation space). Three canvas screens at 160cmX120cm, hanging cheesecloth, soundproof insulation floor, jute mat, cast off rug, colored tissue paper, plywood table, shells, stones, candles, jambu liquor, a film, and a glass of water. Dimensions of space: variable.
SARA, BY ASTRID — ROOM #2 (2018) - Installation view. Three channel video on TV monitors (videos on loop at 1:15:00), shag carpet, white shelf, candle, grey faux vinyl linoleum, grey wash/white mesh curtains, mirror, beige mat, faded pink ball cap, fake rose, real rose, white number “2”. Dimensions of room: 3x2 meters (height: 2.4 meters). A 3-channel "feature" film functioning as a shifting docudrama. An investigation into the fragmentation of narrative through a breakdown of self and subject. The typical relationship between filmed and filmmaker is destabilized. Here, the ‘road trip’ doesn’t follow a linear progression. It's not about knowing the whole story, but the disintegration and disorientation that is held within the reverberations of trauma.