THE GHOSTS

Credits 2-Channel Video Installation

starrin
Jon Spencer
Jutta Koether
Claire Buckingham
Chris James

with
Lucy Gembitsky
Marissa Mickelberg
Marla Phelan
and Snoebelle

monologue texts
by Alissa Bennett

crew
camera: Jim Turner
lighting: Geoffrey Womack
pick up lighting: Matt Greene
audio tech: Chris Kilcullen
make-up: Gina Crozier
production coordinator: Tomas Tomczak
persian cat trainers: Pat and Ernie Marengo
online edit: David Matorin
set building: Jon Huron and Marie Catalano
Trans Am built by Michael Lee Nirenberg

hypnotic inductions by
Jutta Koether

'the Happy Rishikesh Song'
written by John Lennon,
re-recorded by Andy Comer

Runtime: 31:41 minutes

Filmed at Lorraine and Otsego, Red Hook Brooklyn, 2009-2011

"the Ghosts" was first presented at
the Park Avenue Armory in February 2011
by Art Production Fund
and the Park Avenue Armory
Exhibition Sponsored by Sothebys
Additional Support Provided by
Marianne Boesky Gallery,
and New York University
 

2011

Runtime: 31:41 Minutes

Excerpt from: Randy Kennedy’s ‘White Paint, Chocolate, and Postmodern Ghosts’, New York Times, January 26, 2011

In the winter of her bad year, the sun would set in Berlin around 4 in the afternoon, de Beer said. She started venturing out only at night, riding the U-Bahn subway trains alone with a notebook, trying to write. Then for two months she locked herself in a room with only a desk, a chair and a blanket, rarely coming out.

When she did, she had written the basic script for "The Ghosts," which follows three characters - a young woman, a record- store clerk and a money manager (played by Jon Spencer, singer and guitarist for the Jon Spencer Blues Explosion, whom Ms. de Beer persuaded to act for the first time) - as they seek the help of the hypnotist to deal with loss and longing.

In doing so, they conjure up ghosts - frightening-looking ones, who owe a visual debt to Ms. de Beer's long fascination with horror films and, lately, to the particularly bloody 1970s Italian subgenre known as giallo. The ghosts seem to be challenging the viewer to decide whether they are mere memories or phantasms of a more substantial sort - or whether, in the end, it really matters.