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FILM / VIDEO SCREENINGS : RELOCATED IDENTITIES Part I : OVEREXPOSURE

Sunday 5th June 5pm - PSWAR

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NETHERLANDS MEADIA ART INSTITUTE - MONTEVIDEO / TIME BASED ARTS

Have chosen two short films that investigate, in very particular ways,
the relationship between artist and reality. The point of departure
for these films is the identity of the creator as an outsider.



Your Blood Is As Red As Mine......... Julika Rudelius (2004, 16min)


An investigation into identity and the meaning of black and white.
In her film Your Blood Is As Red as Mine, the filmmaker and artist
Julika Rudelius piles up all the cliches about black and white. Even
though she is not passing any judgements, the film demonstrates the
absurdness of prejudice. Your Blood Is As Red as Mine (2004) is one
of the most direct films of Rudelius' oeuvre - for the first time
she appears on-screen both as maker and as interviewer, posing the
question of how those featured want themselves to be portayed. Both
her photographic works and her videos examine the perception of
reality, by delving deep into the meaning of the filmed reality. In
other words, what appears at first to be a random observation of an
everyday situation, is revealed to be more constructed and sometimes
even staged, than we as viewers would like to believe.


_imovie_[one]: The Agony of Silence....... Els Opsomer (2004, 12min)


In places that are so marked by conflict and violence and where noise
omnipresent, silence has a grim character. It brings no peace, but is
always the forerunner of a new disaster. And as long as you do not
know where or when that disaster will strike, it could be hovering
over your head. The Agony of Silence is a personal visual report of a
short journey through Israel and Palestine. For this purpose, Opsomer
made use of the photos she took on her trip, which she refilmed with
a video camera, and then edited the images in Imovie, a
DIY-processing program from Apple. The video camera appears to be
looking for traces of what it felt like to be there, but the frozen
images of streets, barriers, checkpoints, and even the faces of the
people, reveal very little in that respect. This retrospective
investigation is provided with subtitles that include a letter from
Opsomer to some friends, which she wrote when in the area. Where the
images fail, it is the words that indeed manage to convey something
of the huge impact of this experience. An experience in which not
only the loud bangs of explosions and gunfire, but also the silences
in between, have an overwhelming effect.


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