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The Tool, The Image, The Action/
Szabolcs KissPįl |
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2008-04-01 |
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The Tool, The Image, The Action / Szabolcs KissPįl
1. Title: The Garden of the Blinds, 2003 Technique: single channel video installation, 3 min. recorded on MiniDv (from a Panasonic C-VHS feed, transferred on DVD-R 800 kbps) Première: For Some Reason - Maerz Gallery, Linz (A), 2005 + Synopsis: A camera is pointed into the Sun until it gets broken. (In the memory of J. F. Plateau.) 2. Title: Edging (2003) Technique: single channel video installation, 3,5 min loop, recorded on MiniDv (Sony TRV20, SP), transferred on DVD-R (800 kbps) Première: Poesis, Kunsthalle Budapest 2003 + Screenings, shows: Prague Biennial 2003 / IntVs03 Vaasa - Finland 2003 / The Oneminutes Salto TV- Amsterdam 2003 / A+A Gallery - Venice 2003 / Revolutions Reloaded Galleria Artra - Milano 2004 / Play Gallery Berlin 2004 / EU Positive Akademie der Kunste - Berlin 2004 / Nam June Paik Award show, Phoenixhalle, Dortmund, Germany / Media City Seoul 2004 / HAL-Hull UK / National Centre for Contemporary Arts Moscow / 18th Stuttgarter Filmwinter Exhibition / NBK Berlin /Traumzeit Festival Duisburg Germany/ ACCEA Yerevan Armenia / SKUC Gallery Ljubljana + Synopsis: The flight of 160 lonely birds against the blue sky seemingly bouncing back from the edges of the image. + “The flight of birds is unpredictable. If one points the camera towards the sky and starts the recording, a bird might fly across the image frame in the course of time. It may fly in from any direction and may direct its course to any point in space, but the tape may also run out before the bird appears. The image of the slowly altering clouds remains an infinite yet empty set of possibilities until the vector of a bird's flight traverses it. The event signifies the beginning and the end of the story and marks two distant points in space, that is where the bird has entered and left both the imaginary and the concrete space of the lense's visual pyramid. At this moment the spectacle becomes an event, whereas the image metamorphoses into a fact. “The world is the totality of facts, not of things” as we may have learnt from Wittgenstein, thus the only chance for the creator of the video is to wait until the featured object of the shooting perhaps reappears, like a gift with an inherent possibility for the story to be continued, at the same point where it left, and doomed the visual pyramid to emptiness. The flight of the birds however, is unpredictable, thus leaving us with the method as the only release from the factual prison of the image.” /Maria Marcos/ 3. Title: Grey, 2004, Technique: single channel video installation, 7 min loop, recorded on MiniDv (Sony TRV20, SP), transferred on DVD-R (800 kbps) Première: Gallery By Night - Studio Gallery Budapest, 2004 Screenings, shows: 2005 Directors Lounge - Club el Cultrśn, Berlin, 2004 Gallery By Night - Studio Gallery, Budapest / So Far, So Close - IG Bildende Kunst, Vienna / Travelling Without Moving - W139, Amsterdam / Transeuropean Picnic - Novi Sad + Synopsis: A six point star is being cut out from a blue tissue. When almost ready, both the colors and time flow direction are inverted. + “I was invited to a show which was supposed to be about identity. It was quite obvious to me that the sign for this issue should be of two components: something chosen by an individual and something projected onto him by a community. It took me months to realize that I was to search for a process that would model this dichotomy and would point out a bordering, overlapping territory, a neutral field. Without being aware I was in fact looking for a grey zone, for a situation which would suspend any judgements?????, a verdict-free vacuum that would surround a sign. For this I needed a never ending process and a quasi-present sign. I decided to cut out a star from blue tissue. When almost ready I stopped the recording, and on editing I inverted both the colors and time direction. The short transition between the normal and inverted footage resulted in a single completely grey frame. This frame became the point of reference for the piece’s symmetrical structure, from which the process of signmaking goes back and forth between presence and absence, intentional and unintended, the self and the others.” |