domingo, junio 24, 2012

miércoles, junio 20, 2012

doc 13 - 3





"Alter Bahnhof" es una pieza de la serie "Walks" de Janet Cardiff y George Bures Miller, cada espectador recibe un I Pod a través del cual sigue un relato audiovisual que, a la vez, lo guía en la estación de trenes de la ciudad (Kassel Hauptbanhof). El I pod es a la vez la cámara que el espectador utiliza como si en realidad estuviera encuadrando el mismo lo que está viendo. 


Mientras se transita el escenario real de la estación, en los mismos exactos espacios, el I Pod superpone una realidad paralela: el recorrido de la artista por esos mismos sitios, el espacio filmado siendo intervenido con performances, danzas, situaciones climáticas distintas y personajes diversos. Una voz cálida da cuenta, en primera persona, de su estado emocional e introduce reflexiones disparadas por su paseo en la estación 
pero también se convierte en una guía precisa y directa que, como en una búsqueda del tesoro, nos dice por dónde ir, dónde esperar, cuando seguir. El tesoro es, finalmente, la experiencia misma de esa caminata y esa intermitente transformación en transeunte, espectador, cameraman.  


Lo brillante de la pieza es esa doble dimensión que enrarece completamente el lugar habitual de un espectador cinematográfico. Hecho de varios planos secuencia con una cámara subjetiva hermosamente filmada, vemos la mirada de la artista transitando esos mismos lugares y cuando corremos los ojos de la pantalla, descubrimos en nuestra propia mirada un nuevo relato que se articula perfectamente con el que nos fue dado. Mientras seguimos las huellas de esa película, internamente vamos montando otra con las imágenes de este paseo asombroso. 

Aquí va un link a otras piezas de la serie.

Doc13 - 2

Ceal Floyer.



doc13 - 1

Statements (October 12, 1969) 
Lawrence Weiner


I do not mind objects, but I do not care to make them.
The object – by virtue of being a unique commodity – becomes something that might make it impossible for people to see the art for the forest.
People, buying my stuff, can take it wherever they go and can rebuild it if they choose. If they keep it in their heads, that’s fine too. They don’t have to buy it to have it – they can have it just by knowing it. Anyone making a reproduction of my art is making art just as valid as art as if I had made it.
Industrial and socioeconomic machinery pollutes the environment and the day the artist feels obligated to muck it up further art should cease being made. If you can’t make art without making a permanent imprint on the physical aspects of the world, then maybe art is not worth making. In this sense, any permanent damage to ecological factors in nature not necessary for the furtherance of human existence, but only necessary for the illustration of an art concept, is a crime against humanity. For art being made by artists for other human beings should never be utilized against human beings, unless the artist is willing to renounce his position as an artist and take on the position of a god. Being an artist means doing a minimum of harm to other human beings.
Big egocentric expensive works become very imposing. You can’t put twenty-four tons of steel in the closet.
If art has a general aspect to it and if someone receives a work in 1968 and chooses to have it built, then either tires of looking at it or needs the space for a new television set, he can erase it. If – in 1975 – he chooses to have it built again – he has a piece of 1975 art. As materials change, the person who may think about the art, as well as the person who has it built, approach the material itself in a contemporary sense and help to negate the preciousness of 1968materials . . . I personally am more interested in the idea of the material than in the material itself.
Art that imposes conditions – human or otherwise – on the receiver for its appreciation in my eyes constitutes aesthetic fascism.
My own art never gives directions, only states the work as an accomplished fact:

      The artist may construct the piece;
      the piece may be fabricated;
      the piece need not be built.

      Each being equal and consistent
      with the intent of the artist
      the decision as to condition
      rests with the receiver upon the
      occasion of receivership 

Fuente: http://www.ubu.com/papers/weiner_statements.html