Matthias Oostrik

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JONNA KINA

Arr. pour une scène
La force sonore de la scène de meurtre la plus célèbre du cinéma est étudiée. Deux artistes foley recréent la séquence de douche d’Hitchcock, déconstruisant les associations de signifiants auditifs et le pouvoir synesthésique du son. Jonna Kina contextualise ce phénomène étrange – la qualité trans-sensorielle du son – à la fois dans l’œuvre de Kina, ainsi que dans d’autres œuvres historiques et contemporaines à l’intérieur et à l’extérieur du domaine de l’art. Dans Arr. for a Scene (2017), Kina explore les structures et les formes du son cinématographique – en transformant une image emblématique – la scène de douche horrible dans Psycho d’Alfred Hitchcock (1960) – en fréquences sonores d’objets domestiques originaux et apparemment innocents.

Walid Raad

The Atlas Group

In the late 1990s Raad created a fictional foundation called The Atlas Group in order to accommodate and contextualise his growing output of works documenting the Lebanese Civil Wars, generally dated 1975–1990. Within Atlas Group Raad produces artworks, addressing the infrastructural, societal, and psychic devastation wrought by the wars, which he then re-dates and attributes to an array of invented figures who in turn are said to have donated these works directly or by proxy to The Atlas Group archive. Regardless of original medium of the documents, Raad processes and outputs all of his work digitally consciously adding another layer of documentary intervention to his overarching fictional conceit.

Jonna Kina

Arr. for a Scene

“The sonic force of cinema’s most famous murder scene is investigated.Two foley artists recreate Hitchcock’s shower sequence, deconstructing the associations of aural signifiers, and the synesthetic power of sound. Jonna Kina contextualize this uncanny phenomenon — the “trans-sensory” quality of sound – within both Kina’s oeuvre, as well as other historical and contemporary works inside and outside the realm of art. In Arr. for a Scene (2017), Kina explores the structures and forms of cinematic sound – transforming an iconic image — the horrific shower scene in Alfred Hitchcock’s Psycho (1960) – into the sonic frequencies of quirky, seemingly innocent, domestic objects.” Melissa Ragona

 

ROB MOONEN

360 degrees seascapes
Rob Moonen develops contextual installations with a wide variety of media. Due to the location-specific use of collected elements, his works are directly related to the area around their creation and are designed as a critical commentary on a current situation.

Liu Wa

2020 Got Me Like
As COVID-19 speeds around the world and continues to shut down more cities, people begin to consume Internet culture in order to escape the apocalyptic anxiety in 2020, allowing Internet memes to go viral across the globe. Built upon social media, this work merges everyday sentiments with classical movie scenes to deconstruct the common imagination of “apocalypse” in entertainment industry. The video also incorporates the artist’s footage during protests, turning memes into public commentary and political satire. In this eventful year, meme does more than hijacking and decontextualizing meanings, it has become a form of silent revolt against the absurd.

MARIN SAWA

Марин Савва
مارين سوا

Algaerium
Algaerium is an in-vitro aesthetic photosynthesis system of microalgae for spatial installation of algal biotechnology in the urban environment. As a collective family, each member of Algaerium represents an urban bio-repository, floating biota, in which to preserve the microorganisms for their future biotechnological use such as bio-energy. Through displacement into the urban environment, Algaerium re-contextualises the sterile environment of the algae culture laboratory. I have incorporated and manipulated the endogenous yet ‘re-programmable’ biological processes of photosynthesis and bioluminescence.

BABAK GOLKAR

Grounds for standing and understanding
Babak Golkar is a multi-disciplinary artist whose practice, at its fundamental roots, takes aim to deconstruct, recontextualize and rearrange our perceptions of the world around us. Marked by an intellectual iconoclasm and an unbridled philosophical spirit of inquiry, many of Golkarʼs works mischievously reveal that the fixity of meaning is merely an illusion, which he systematically disassembles and exposes. Like Zen koans, Golkarʼs work seems to arrive at new understandings by setting up impossible questions; ultimately focusing on the nature of truth; a truth unobstructed by the oppositions or differentiations of language, or perspective.

Justin Hodges

Romance & The Landscape
Romance & The Landscape by Justin Hodges disrupts the banality of the day to day by re-contextualizing images and objects and highlighting the intricacy of our relationship to our planet. According to the artist, the natural world is a container of sorts for many things, both human and otherwise. With that, he encourages us to think about the routines and convenience of our interactions.

Budor Dora

The Architect, Mind Falls Apart
Exploring cultural phenomena surrounding mainstream cinema in America, Dora Budor creates sculptures and films that expose the technical and otherwise overlooked elements of movies. Budor most regularly engages with movie props—objects which are inherently fake or flawed, yet appear real and perfect on-screen—in order to “reanimate” them and give them a second life through recontextualization

Elmgreen & Dragset

Couple Fig.25
Elmgreen & Dragset have been working together since 1995 at the crossroads of art and architecture, performance and installation. Preoccupied with objects and their settings, and the discourse that can arise when those objects are radically recontextualized, Elmgreen & Dragset push against the normal modes for the display of art.more

ANDREI TARKOVSKY

أندريه تاركوفسكي
塔可夫斯基
アンドレイ·タルコフスキー
Андрей Тарковский
el sacrificio
Para comenzar a hablar de este poema, es recomendable hacerlo utilizando las mismas palabras de Andrei, en su libro ‘Esculpir en el tiempo’, página 44:
“Normalmente se busca una puesta en escena más expresiva, porque con ella se quiere mostrar de forma inmediata la idea, el sentido de la escena y su subtexto. También Eisenstein trabajó de este modo. Además se parte de la base de que la escena cobra así la necesaria profundidad, una expresividad dictada por el sentido. Esto es una idea primitiva, sobre cuya base surgen muchas convenciones superfluas, que diluyen el tejido vivo de la imagen artística”
Esta reflexión estética ya confirma en Tarkovski un artista asombroso, muy superior a prácticamente todos sus coetáneos, principalmente porque pudo contextualizarla en su labor como director, más que nunca en ‘Sacrificio’, como también llevó hasta sus últimas consecuencias su idea del cine como una captura del tiempo real. Y lo hizo homenajeando a Bergman sin perder su propia esencia, y a otros admirados cineastas como Kurosawa, el primero en dirigir una ficción en torno a la amenaza nuclear (lógico, siendo Japón el primer país que sufrió sus aterrador poder de devastación) en ‘Crónica de un ser vivo’ (‘Ikimono no kiroku’, 1955). Los primeros ochenta, con los coletazos finales del imperio soviético y la paranoia sobre una inminente guerra nuclear, vieron nacer la que probablemente sea la obra magna sobre el tema, ‘Terminator’ (‘The Terminator’, James Cameron, 1984), que Tarkovski pudo ver en el Festival de Londres antes del rodaje de su última película, sintiéndose impresionado por ella a pesar de despreciar su extrema brutalidad.
Hablar con Dios
cinema full