THE INFINITE WHEEL OF TIME
Young Blood Initiative Showcase Berlin
Imola Nagy & Gábor Hartyáni: “VÁLTOZAT|LAN - CHANGE|LESS”
dance-music performance (20min)
CHANGE|LESS is an attempt to reflect on an individual’s cycle of life entangled and bound by the constraints and trajectories of her natural, cultural and social heritage. To what extent can we break free from the path we are set on by biology, our ancestors, the mainstream contemporary culture or even our daily routine? Every day, every generation, every individual is different yet the same. From a certain perspective change might not occur at all and at the same time change might be the only constant.
walking in circles
Anni Lattunen & Alex Zampini: PIGS & FISHES – dance-music performance (20min)
“PIGS AND FISHES” is the construction of a world, where cause and effect reveal themselves in an erratic, illogical order. Fully determined, yet infinitely unpredictable; a sphere of acausal relations, where the lived moment serves as the aggregate of all time, instead of merely time up until now. A composition that invites the participant to take refuge in a collection of events that cannot be told in terms of the past, for the effect itself may lie far away in the future.
Minna Etein: “STIRKA”- THE ACT OF WASHING THE PLASTIC BAGS (performance in video documentation, installation, involving remnants of documented video)
In “STRIKA” a mundane domestic endeavour is enacted to cleanse the objects that are considered disposable in everyday life. This performance is aiming to expose a gap between materiality and actuality. Through the absurd action of washing, drying, hanging and folding of plastic bags, the purpose is grounded in perceived ability of renewal. The action gains value, meaning and weight through repetition.
Minna collaborated with composer Nathan Fustec (based in London) who created a sound piece for the video of the performance. The sound piece is utilizing the raw recordings of the site sounds and actions at the time of the performance and working with the idea of cyclic repetition and the loop.
Tim van den Oudenhoven:
Perpetuals I & II (video work, infinite loop, presented as projection):
In “Perpetuals”, a trivial act is repeated endlessly, reflecting on everyday routines and timelessness. The video pieces are almost static/photographic, and before the action is discovered, they seem to represent time at a standstill. When the action is discovered, the experience becomes absurd.
HAVET (video work, infinite loop, presented on screen):
In HAVET, Tim references the Swedish poet Göran Palm’s poem entitled “Havet” or “The Sea” to explore the sense of being confronted with something larger than yourself, in the poem achieved by both nature’s as well as art’s overwhelming force on man. There is a sense of timelessness in the experience, because artists can leave impressions on people long after they’ve gone, so in the eyes of the spectator, the experience can be both humbling and overwhelming, depending on which you choose. In the poem, the Swedish word “Jaha” is crucial, because it can be used to interpret the poem’s meaning in a variety of ways, depending on how one feels about this humbling experience of being confronted with something that’s larger than life. It can signify solemn acceptance, doubt, sadness, confirmation, and more.
The video work uses various readings of the poem, trying to convey the multitude of possible meanings. The music, lingeringly intense cello music, provided by Gábor Hartyáni, underlines the timeless aspect of the experience, which may be seen as either melancholy or contemplative, that too is left for the viewer to decide…
I am standing in front of the sea.
There it is.
There is the sea.
I’m looking at it.
The sea. Jaha.
It’s just like at the Louvre.
- Göran Palm
UNTITLED (Lithography on Archive Paper with PVA on Linen):
The original object was a stained wood collage depicting a saint. This church object was created with the goal of preservation and as an attempt at immortalising the transgressive human image. Due to the environment and material, this image had succumb to termites and decay and thus even the attempt at pausing time fell victim to time itself. A photograph was then taken of this wood work and then printed on paper using lithography technique. This was the next and only option for the further freezing and preservation of the already decaying image. The end of this preservation process is now where my process of intervention begins. The lithography image is then spliced into many tiny components with a razor blade and rearranged to create an atmospheric surface and explosion of the original image. This new collage is then scanned and replicated through another printing process and then these new pieces are cut again and applied to a human scale on linen. This process and abstraction through repetition is pushing the original intention of the objective image of preservation into its own boundaries of intention. reflecting on the concept of immortality and the subsequent failure of transcending time.
UNTITLED (Archival Cotton Transport Bags with Plastic Resin on Canvas):
This collage work-in-process is taking the initial procedures and applying the same cyclical technique to new forms and meanings. The material of this collage originated in archival carrying bags made in cotton and linen. The bags have been torn and decayed for years far beyond their original purpose, thus being thrusted into a position of non-use. The bags, as done with the previous wooden image, are spliced into hundreds of components, furthering them from their origin of meaning. What once were used in the physical transportation of goods, now the same material of the bags can semiotically refer to a new form of transportation in their inherent meaning. These dissected scraps of bags now literally “carry” their own substantiated value in a textural representation of their earliest form and purpose.
29.09.2019 – Exhibition Day
OPEN 12 pm - 17 pm