© Noam Toran. All Rights Reserved
"Desire Management" by Noam Toran
Desire Management is a film by Noam Toran comprising five sequences in which objects are used as vehicles for dissident behaviour. In the film, the domestic space is defined as the last private frontier, a place where bespoke appliances provide unorthodox experiences for alienated people: An airline hostess with a unique relationship to turbulence, the owner of a mysterious box which men ritually visit to look inside, an elderly man who enjoys being vacuumed, a couple who engage in baseball driven fantasies, a man who is forced by his partner to cry into a strange device.
Part of the NY MoMA and Frac Ile-de-France collections.
Noam Tranによる映像作品「Desire Mnagement」。
Virginia Eleuteri Serpieri と Gianluca Abbateによるプロジェクト。
Virginia Eleuteri Serpieri & Gianluca Abbate
Microbioma is a video art project conceived as a series. The first work consists in projecting on a wall many tiny moving figures, which through the cyclic repetition in different sizes would create visual and rhythmical patterns. The figures are at first simple flowers, small jellyfish, and then a hemorrhage/drain swarming with objects, and they move shining over darker backgrounds which depict ancient frescoes and mosaic decorations.
The videos are in full HD (1920x1080), according to the destination technology, and they can be limited to a single channel screening or be adapted to multiscreening systems.
Microbioma recreates a ambient where the objects belonging to an imploded reality fluctuate as in a vortex. No perspective nor reflection, no research of sense, no transcendence, no ghost nor symbol, but an ocean of images, signs in a neverending combination. The frescoes on the background lose their meaning and they also become serial images, integrating themselves in the constellation of the objects-signs.
“While objects are neither flora nor fauna, they give the impression of being a proliferating vegetation; a jungle where the new savage of modern times has trouble finding the reflexes of civilization.” (JEAN BAUDRILLARD).
"370 New World" by Marcantonio Lunardi
370 New World is a work on the new solitude created by the economic and social crisis which crossed the whole Europe in the last ten years. The human isolation which is displayed to the spectator is, by now, part of the everyday life of many people. The author thus introduces his creative work as a kind of mirror in which the spectator may recognise some details of his or her own life. Despite the video focuses on the new media, Lunardi does not want to make any accusation. The work, in fact, is placed beyond the commonplace debate which stigmatizes technology and the social networks. The author simply tries to put in evidence the different solitudes which surround the various characters who live in his work.
The first solitude is imposed by an external circumstance, that is the economic crisis. The glances of the artisans, of the artists, of the workers are lost on a distant horizon, and lost into the research of a job which is, by now, disappeared. The crisis deprived them of their essence and they have freezed into a state of paralysis which transformed them into the living waste of an evolving society. New World focuses on the changes which are happening now, and which are happening too fastly to prevent people to break down.
The other solitude represented in this creative work is the one generated when the new means of communication replaced the human relationships. The mechanism itself, and not the social networks, is negatively judged, because it gives people a powerful excuse for mutual indifference. They actually are important tools, but they are often used compulsively so that the individual finally lives emotionally detached from everyday life. By indulging into the screen’s light, we are released from the real problems of life and of living together.
The work closes on a man who stubbornly seeds the asphalt. That peasant, with that peculiar gesture, strongly asserts his will to get back a certain concreteness, in the name of his link with the mother earth. Twisted, dried up, deprived of meaning, the earth is always there to prove our original essence of social and natural animals. The act of seeding becomes thus a fight against the asphalt which covers the square dominated by the monolith of an abandoned mill, which becomes the symbol of the industrial and economic decay. We do not know wether the peasant will win that unequal fight. But we do know that his battle is the only ethic choice possible.
All rights reserved - Bagni di Lucca ©2014
"Refreshment" by Johan Rijpma
Water is spilled on a stone pavement leaving a small stain. As time passes the stain dries up, shrinks and changes shape. Just before the water is completely evaporated the process is put on hold. The new shape of the stain is then being enlarged and recreated with new water. This process repeats and with these interventions the 'life' of the stain is artificially refreshed and extended to an unnatural length. Which allows new shapes to evolve that otherwise could never have existed.
© Johan Rijpma. All Rights Reserved
©Virginia Eleuteri Serpieri & Gianluca Abbate. All Rights Reserved
名曲"I Only Want to Be With You."にのせて繰り広げられる
"How She Makes It" by Ashley Connor
shot/edited/finished on 16mm film
A young woman recounts the first time she chose to wear underwear to the tune of "I Only Want to Be With You."
© Ashley Connor. All Rights Reserved
"BURACO // HOLE"
by Gisela MOTTA & Leandro LIMA
2007, video, loop
Contrasting images from small "no brand stores" were captured in São Paulo, BR, and then applied to the facades
of Helsinki, FI, so as to question our perception through
the different urban environments produced by these two cultures.
Gisela MOTTAとLeandro LIMA、二人のシンプルなコンセプトと
© Gisela MOTTA & Leandro LIMA. All Rights Reserved
© Gintarė Rakickaitė. All Rights Reserved
"THREE QUARTER" by Gintarė Rakickaitė
Every Sunday there are elder people clustering in The Vilnius Palace of Culture. They all come here because of the same intention. When a clockwise rings 5 p.m, the king of the dance Waltz starts to play. This is the place where the dance remove senility.
Director and writer: Gintarė Rakickaitė
Camera operator: Gintarė Rakickaitė
Boom operator: Egidijus Čilčius
Film editor: Gintarė Rakickaitė
Sound production: Egidijus Čilčius
© William Lamson. All Rights Reserved
montem issue #03でも取り上げているWilliam Lamsonの新作です。
"Hydrologies" by William Lamson
Hydrologies represents two interventionist projects set in opposite hemispheres in which the reciprocal acts of adding and removing water from the landscape become catalysts for generative works. Hydrologies Atacama involved irrigating linear sections of the Atacama desert in Chile with the hopes of activating the dormant seeds and creating a line of flowers across the landscape. Using a rolling irrigation device that I constructed, we walked back and forth across the fifty meter strips for eight hours a day pushing the apparatus and carrying a 100m hose that connected it to a water truck. The slow procession back and forth to awaken dormant seeds felt like a ritual, preparing the earth for a resurrection – a funeral in reverse. What grew on these sites however, was not the dense and highly visible line of flowers that I had imagined when starting this project, but a constellation of delicate Cristaria and Cryptantha seedlings spread throughout the irrigated areas, and which are only visible upon close examination of the rocky soil.
In Hydrologies Archaea, I performed an inversion of this action by removing gallons of super saline water from the Great Salt Lake near Spiral Jetty and installing it in an array of glassware at UMOCA two months prior to the opening of the exhibition. As the water evaporates, the salt crystals move over the edge of the glasses and down the sides, enveloping the vessels in a thick layer of salt that continues to spread out onto all the adjacent surfaces. Like the calcified remains of pottery found in caves after thousands of years, the glass installation appears to have undergone a similar geologic process in a fraction of the time. With both of these projects my intention was to engage the material agency of an ecological system and its geologic and cultural history.