Papillon d'Amour

Nicolas Provost. 2003. Belgium. Sin diálogo 4’

By subjecting fragments from the Akira Kurosawa's film Rashomon to a mirror effect, Provost creates a hallucinatory scene of a woman's reverse chrysalis into an imploding butterfly. This physical audiovisual experience produces skewed reflections upon Love, its lyrical monstrosities, and a wounded act of disappearance.

http://www.nicolasprovost.com/  

Provost aplica el efecto "espejo" a fragmentos de la película Rashomon de Akira Kurasawa para crear una escena alucinatoria de una transformación de crisálida-mujer a mariposa que implosiona. Una experiencia física audiovisual que produce originales reflexiones sobre el Amor y sus monstruosidades líricas.

Removed

Naomi Uman. 1999. United States of America. 6’

Using a fragment of 1970's porn, nail polish and bleach, the filmmaker has worked frame by frame upon the film body. This erasure creates a new pornography, a film in which the woman exists only as an empty, animated hole. As a result the new porn movie shows us the missing woman's body. Caressing and copulating with a vacuum or with a body of light.

Una película porno manipulada nos muestra el cuerpo ausente de la mujer. Acariciando y copulando con el vacío, o con un cuerpo de luz.

Wahab

 



Toni Serra, 3 min, 1994 Tánger

Dusty Egyptian songs, found and lost. Tangier.

Some papers flying in the wind in an alley in Tangiers, the dance of the ephemeral, the fragility of the moment. Newspapers, plastic bags, tissues, all of them destined to disappear. But contemplation collapsesthe time of the instant and opens a door to another place without measure. Here it is the eternal dance of meetings and missed meetings; now between a newspaper and a plastic bag that touch each other, caught in a swirl of dust. The page of the newspaper opens, the bag capriciously comes to rest a moment on it, and they repeat the game, over and over. Someone passes by taking no notice of the scene, invisible without the state of contemplation. And there we feel that it is life that takes us, that carries us in its arms, that makes us find each other in the loss. All of the possibles and impossibles of our stories are there, luck is their need and chance is their destiny...

www.al-barzaj.org

Polvorientas canciones egípcias, la danza de lo efimero. Unos papeles al viento en un callejón tangerino, la danza de lo efímero, la fragilidad del instante. Diarios, bolsas de plástico, pañuelos de papel, todos ellos destinados a desparecer. Pero la contemplación colapsa el tiempo del instante y abre una puerta a otro lugar sin medida. Aquí es el eterno baile de los encuentros y desencuentros, ahora en forma de un diario y una bolsa de plástico que se rozan atrapados en un remolino de polvo. La hoja del diario se abre, caprichosamente la bolsa se posa sobre ella, y vuelven a repetir una y otra vez el juego. Alguien pasa ajeno a la escena desapercibida, invisible sin el estado de contemplación. Y allí sentimos que es la vida la que nos toma, la que nos lleva en brazos, la que nos hace encontrarnos en la pérdida. Allí están todos los posibles e imposibles de nuestras historias, el azar es su necesidad y la casualidad su destino...

The Passing

Bill Viola. 1991. United States of America. 54’

Considered to be one of Viola’s most important and accessible works, The Passing was made as a personal response to the spiritual extremes of birth and death in the family and speaks eloquently to human experience at its most profound. Black-and-white nocturnal imagery and underwater scenes depict a twilight world hovering on the borders of human perception and consciousness.

"I would say that time is the fundamental basis, the basic material of my work .(...) I will have succeeded if a person leaves with an image, a thought, a discovery, a feeling that I can use in your life, even though he can not remember my name. Things have fallen far behind in the contemporary art world. These are the essential things about art, and the criticism and analytic practices that dominate our lives as art professionals are secondary functions.

"Yo diría que el tiempo es la base fundamental, el material básico de mi trabajo.(...) Habré tenido éxito si una persona se marcha con una imagen, un pensamiento, un descubrimiento, un sentimiento que pueda utilizar en su vida, incluso aunque no pueda recordar mi nombre. Las cosas se han atrasado mucho en el mundo del arte contemporáneo. Estas son las cosas esenciales sobre el arte, y las prácticas analíticas críticas que dominan nuestras vidas como profesionales del arte son funciones secundarias". 

Dar al Ajira

Abu Ali

Dar el Ajira. [La Ultima Morada]
Video 7 minutos
Serie: El Hamdulillah Tapes * Pirate Utopias & European Renegadoes.
2004 Marrakesh.

A strange Sheikh in a barely-glimpsed place: "Destiny is as wide as a hand and four fingers, the width of a grave. The man who owns 40 buses, what does he really have? The man who owns 4 houses, poor fellow! What does he have? A grave!...?

Istishara [french]

Abu Ali
Video 14 minutos  
Serie: El Hamdulillah Tapes * Fez Ciudad Interior.2004 Marrakesh 




Dream stories. Dreams as a passage into parallel worlds, erasing the limits between the real and the unreal, between life and death. 

Vanishing

Emiliano Ponzi
http://www.emilianoponzi.com/portfolio