"Il Contratto: the silent sound track" - The remaking of a feature film made by migrants in 1953, Melbourne, left unfinished with a silent sound track. Using the figure of the migrant, as a poetical trope and social subject, my film art work will recollect, analogies and correspondences, between the silent images of the archived film and sound images from another place and time - like an abandoned house, reinhabited by a foreign, itinerant, provisional occupant.
Cities that have experienced social and economical decay seem to attract narratives that are not able to overcome these concerns. Starting from this assumption, I attempt to develop a different regard on the subject of modern failure in urban areas, a regard that doesn’t point to neutrality but lives in the desire of it.From Detroit to Charleroi, I try to express cities through installations that force on the everyday and are kept together by their linguistic approach: an exercise that revolves around something we together call the subject and contains what we may experience of it.
"and_counting" is a follow-up study of Project Bosch. In 2012 and 2013, we transformed materials that we found on the streets in Brussels, mostly illegal waste, into monumental artefacts, that then was put back on the streets. We did this without permission from the authorities or passersby, because we want to find out how a public space reacts to artistic intervention. In total we've put some 50 interventions in public space. They stood there without notice, name and signature, without defense or justification, surrendered to the street and its users or owners. Filmed by a webcam that recorded the movement around and the life span of the work. Over 5000 hours of footage was created, containing a massive amount of stories.
"Osha" - Who wants to understand Cuba, needs to understand “Santeria” or “Regla de Osha”, the mysterious religion practised in secret by more than 70% of the Cuban population. Returning to the magical–realistic world of Santeria in my home country Cuba, revealing in an intimistic way, and, torn between religion and science, between docu and fiction. In this first part of the project I would like to integrate or merge different documentary styles or modes; interwearving the portrayal of this tradition of rules and ritualistic intitiations with social documentary, my personal experiences/interactions and audio-visual recreations, performance and poetry. I have been doing research and documenting for this project more than 7 years which allows the project to also portray de evolution of video recording or the documenting media's.
There are no images / Não há imagens
(2015/13'51”) This research project will explore some propositions of dissecting the so called western cultural identity by the construction of otherness. During the research period that this project alludes to, I will explore, reflect and research the political, social and cultural structures and processes of Dehumanisation that lead to the production of Otherness from a micro level (Brussels/ Belgium/ Northern Europe) but alluding to the meta level of concern: the Empire. The qualitative research methodology to be applied during this process may refer to Anthropological studies as well as other fields of Social Sciences, yet the main approach on the results is expected to reflect on the political realm of Aesthetics.
“The Last Super 8 mm Film“ / 100 minutes of personal cinema" - There is a personal urge to connect my present life with my past. 10 hours of digitised Super 8mm film archive are chosen to be the material. I have had a few Super 8mm cameras in my life. This medium has followed me through the time and I worked on it for thirty years in different film forms, as a web cinema and as a cinematographic database installation. The metadata of our private analogue archives often contain both chronological and subject indexing that reveal what the saved data actually is. Content of this visual narrative to come I see as a film literary originated from the identity which films and writes, from the soundtrack related to places and mental states and from the memory of unrecalled and the unforgettable that engraves the personal code and vocation.
"Oh, for some amusement!" takes the form of a multi-media installation that unfolds in space and time, operating as an experimental platform where major and minor “national” narratives —within the context of contemporary states-nations of the previous Ottoman Empire— come together and cross over through cinematic, theatrical and reading formats. By looking back at the moment of transition from the domination of the voice of one speaking for many in non-presentational, eastern participatory forms of spectacle (Karagoz & Ortaoyunu) to the domination of the image in representational, mass-media spectacle (first silent movies and first national cinemas —Turkish, Greek, Egyptian, etc—), the work examines how conditions of spectatorship affect questions of citizenship and social bonding today.
"Le Geste Cercle" is the third part of a project called "TRYPTIQUE (au niveau du sol )" which started in October 2012 together with my encounter with a man who decided 6 years ago to make “the outside” his territory, and live with no walls around him apart from a few and well chosen walls of flesh. The 1st 2 chapters consist of a video and a book mixing writings and photographs. The last chapter is a sound and video project currently being shot between Brussels, Tangeer, Fez and Casablanca, on a basis of uncertainty and random wandering as an attempt to follow the different tracks drawn through this man’s voice and body (from space to individuals)."I will teach you Martial Arts, your feet, they are your base, they are turned towards the outside" he said.We accompany each other, he defines a situation and guides my look, the eye has to adapt to the environment he embraces, the pupil dilates itself to be more aware. Create a form in which my gestures speak of his gestures and vice versa: a common battle.