Der Wunsch nach Erkenntnis war eine Triebfeder fĂŒr Muybridges (Tier)Bewegungsstudien und damit die Geburtsstunde der Chronofotographie als VorlĂ€ufer des Kinos. Tiere als Protagonisten blieben dem Film seit jeher auch in seinen experimentellen Erscheinungsformen erhalten: als fremdartige Wesen, als Studienobjekte und als Spiegel fĂŒr des Menschen eigene BestialitĂ€t. Ein Programm der Begegnungen (Gerald Weber)
every body and Antarctic Traces are part of this great program! Thanks Geri
I’ll be giving an artist talk at The School of avant-garde film in Belgrade on Wednesday Jan 27th at 17 MEZ/11 EST. I will talk about how my work transformed from the beginning as part of the Austrian Abstract movement to producing nature essays. I will focus on key topics of my work like the relationship of moving image and sound, the boundaries of abstraction and representation, my art in the triangle of single channel work, installations and live-performance, the interrelationship of space-perceiver-performer and how all that started when a mosquito got trapped in my eye while biking and changed my ideas about perception forever.
There is much to see and discover in this fifth edition of BIM. There are more than 200 works offered to the viewer by the menu of this digital edition and more than 70 artists from different continents. The list ranges from well-known Argentine artists such as Ana Gallardo, Silvia Rivas and Florencia Levy, to some completely unknown here, like Yanyun Chen, from Singapore. So the aesthetic and poetic diversity is vast. Exploring these two hundred audiovisual pieces, it is possible to find very simple but forceful and effective works, such as We Are Still Alive, by the Brazilian group Janelas disobedientes, which âwithout images, only with audiosâ records the protests from the windows and balconies of San Pablo for the expressions of President Jair Bolsonario about the coronavirus pandemic.
But there are also works of great complexity, such as those by Delgado and Testoni, Mokotomoro and Gustavo Galuppo reviewed in these same pages.
It would be a shame, in the possible routes of this extensive diversity, not to notice two pieces. One, „LejĂa“, by the Argentine Mariela Yeregui. Another, âEdge of Doomâ âwhich could be translated as âon the edge of disasterâ -, by the Austrian-Canadian duo of Michaela Grill and Sophie Trudeau. The video âBleachâ shows in the foreground the hands of a woman who sprays disinfectant on a sweet potato, an onion, a lemon, and then rubs them obsessively, repetitively with a cloth, in a kind of ritual that âone intuitsâ is fulfilled daily in millions of homes around the world since the pandemic began. „It is almost aâ hygienist mantra âbased on antiviral conflagration actions on food, rhythmizing a temporality that reconnects me with my interior space but also with an outside that carries viruses,“ the artist declares.
„Edge of Doom“ is a gem composed of scenes that Trudeau and Grill took from the silent film, taking advantage of their expressionism to address the emotions that emerged during the months of confinement: fear, discouragement, despair, pain. The piece is as short as it is beautiful and powerful.
