In our society, the borders between public and private are more and more blurry and the private is not anymore a principle to oppose to the public, but rather the place of representation of our most truthful feelings.
According to Richard Sennet in his book “The fall of Public Man”, the desperate research of authenticity, of a true self, within our intimate life, instead of ehnancing or intensifying the relationship with the other, isolate, estrange and alienate us more and more. With this project I want to investigate how do we identify ourself and the other in an intimate relationship.
The proposed project is a short art film to be shot in a rural village in West Bank Palestine. While many documentaries have been produced in the Palestinian territories regarding the hardships of life under occupation and the trauma of the local population, this film will silently show these issues through the aesthetics of everyday life in the village.
For quite some time and as a consequence of our previous artistic work we share a mutual fascination for the ‘feeling of home’ and the quest in defining this mental concept. The interest in the notion of home implies the questioning of the problematics of displacement, disconnection and alienation inherent to an egomaniacal generation and an emerging audiovisual dominance of the media. The aim for the project is to visualize the complex relations we have with localities marked by a personal perception. Particular places tagged with or own personal memories and affections form the subject for the setup.
A familiarity with all kinds of violence– from the scars of an internal conflict that lasted over three decades to everyday petty robbery –a life behind bars and high walls, life as prisoners in the kingdom of impunity has become the norm in Guatemala city.
"LETTRE À MOHAMED" is a proposal for a documentary about a journey to Tunisia, collecting stories about living in a country without freedom of speech for more than two decades.
Born and raced in Austria, I lived in Tunis/Tunisia for one year in 2004, going back and forth the following years for various reasons: conducting research for my Master Thesis at the University of Vienna, visiting my boyfriend, whom I met there, and getting involved in the Human Rights as well as the artistic scene in Tunis. Both were largely suppressed.
The formal and aesthetic approach is the result of the necessities imposed to us by the particular situation of this story.
The ?nal editing will ideally include both the footage shot by the protagonist and our own, trying to give a very clear formal distinction between the two. Such distinction will be provided by the fact that the protagonist's videos (as shown in the editing attached to this project) are shot with a hand-held camera, whereas we will use a tripod during all our own shootings, giving an impression of detachment, where the irony will arise from the very way we will be present into the situation..
The project, 24 Rue de Monastere is about an apartment located at this address. I lived there for four years. Since I left, the building was demolished. The apartment I used to rent there was actually a single space with a mezzanine. To one side a single bay window replaced a wall. As time went by, this window became the embodiment of what is known in theatre as “the fourth wall”: the window invited the passer-by to observe my interior from the outside. In addition to this, the bay window opened onto a sloping garden, which was reminiscent of bench. Overall, the apartment had the feel of a theatric scene.
The documentary 'Blackbox' brings a story in which the act of 'watching birds' is used as a metaphor for, and is inspired by, our contemporary digital or network culture.
The amateur bird watcher (birder, bird lover, bird spotter or ?eld ornithologist) portrayed in this ?lm should be selected carefully. Generally we can ?nd three types of bird watchers. First of all, the professional ornithologists, the scientists. Then you have twitchers. They are making lists and compete with each other, trying to see as many rare species as possible. And then there are the bird lovers, watching birds out of a remarkable fascination and passion, paying attention to every bird crossing their daily paths.
With my Infinite Jetz I would like to go on researching and experimenting processes of fracturing time. In addition I am interested in the perception of time that can be put under certain rules or conditions: a perception that is ambiguous, fragmented, fractured:
-What if narration is not a closed continuum but constantly changing?
-Can you change your perception of narration through repetition and reproduction?
I would like to portray a story or a person from Brussels and work on the documentation and dramatization of this story.
It was the third time I left my home in Israel and move to Europe, and still I realized there was something in this state of being a stranger I'm curious about… I decided to go deep into this matter and explore this theme.
Today in our society there’s a widespread phenomenon of human voluntary migration.
My artists friends, as modern-day gypsies, were also traveling the world. sometimes in search of inspiration, sometimes work or meaningful connections. Other People even traveling just like that, without any particular reason, some other traveling to question their original religion, nationality, and culture, as if they were looking for something behind rules, traditions and laws, looking for something more universal.
« Rassounidabadzaranana, known as Tampane » Is a anticolonialist tragi-comedy in 3 or 5 acts (mixing classical rhymes – Alexandrins - with prose…), which takes place in Madagascar at the end of 1896 and the beginning of 1897, as France is building its colonial empire, threatening the malagacy’s royalty power and violently achieving the control of the Island.