Dear Gerald starts as a reflection on the medium of the home movie and the nature of the archive but slowly reveals the problematic side effects of publishing private images. What do authorship and consent mean in an online environment? The film is conceived as a response to an online review of one of the home movies from Jasper Rigole’s IICADOM archive.
Jasper Rigole’s film comes just at the right time, now that “Why is this film still relevant today?” has become not only a key question in discussions about cinema, but a discrete ideology of perceiving art (as well as history) in utilitarian terms. Of course, cinema can do a lot — for a netizen named Gerald, one of the anonymous home movies uploaded by the filmmaker on his online platform proves that society used to be much less modest and rigid about non-sexual nudity. An affirmation to which Rigole responds, fascinated and troubled, through this video essay, re-editing the film without the nudity scenes: because the responsibilities of the archivist are different from those of the artist. (Călin Boto)
Jasper Rigole is a multimedia-artist who works on the border between film and media-arts. He graduated from the film department of the academy in Ghent (KASK) in 2004, and subsequently did a postgraduate in visual arts (HISK), and a PhD in audiovisual arts (KASK/Ugent). Next to his artistic practice, he currently is active as a professor and researcher at KASK. In his work, Rigole focuses on the re-use of existing footage to reflect on the closely related themes of memory and archive. His largest project up to date, The International Institute for Conserving, Archiving and Distribution of Other people’s Memories (IICADOM), is an overarching project focusing on collecting and (re-)evaluating anonymous home-movies sourced from flea markets and thrift stores. His work has been shown at festivals, galleries and museums such as IDFA, IFFR, SMAK Ghent, Manifesta or Courtisane.