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Fia-Stina Sandlund: Video still from Julie, 2010, 84’, color, sound. Courtesy of IASPIS and the artist. [384] Fia-Stina Sandlund: Video still from Julie, 2010, 84’, color, sound. Courtesy of IASPIS and the artist. [385]
Lina Selander When the sun sets it´s all red, then it disappears “When the Sun Sets It’s All Red, Then It Disappears” is an insistent work about the connections between word and image that analyses media constellations with extraordinary complexity, showing how the image returns in the word and how movement always exists in the still image. The tension between movement and stillness is a central condition of the work and is complicated by the fact that each image of the film is photographed with a flash reflected in the image. The instantaneous flash of a camera is in turn submitted to the duration of the shot. The instant is given a temporal extension in the time-based image, while the flash etches into the image a marker of the instant, a point in time. If “a word is what’s unsaid”, as the voice-over states, this is because what hasn’t been said is in the burnt-out white glare. The word is striving toward its material manifestation, and the image is invested with a reflection of, and on, technology and the relation of the image to history and the past, as well as to our social memory. The connections between media - the intermediary roles of the word and the image - are instead brought forward as the material conditions for the formation of social memory and the construction of a common past. The tension between stillness and movement is never resolved and it maintains the works’ analysis of the temporality of the image and the word in an age of reconfigured media intersections. (Modified excerpt from Trond Lundemos essay Mehr Licht! - On the Temporality of the Image and the Word in Lina Selander’s Work in the forthcoming book (ed. Fredrik Ehlin) The Space of Memory, Axl Books, Stockholm, 2010.) Când soarele apune este rosu, iar apoi dispare , [386] “Când soarele apune este roșu, iar apoi dispare” este o lucrare insistentă despre conexiunile dintre cuvânt și imagine, care analizează constelațiile media cu o complexitate extraordinară, arătând cum imaginea se întoarce în cuvânt și cum mișcarea există întotdeauna în imaginea statică. Tensiunea dintre mișcare și imobilitate este condiția centrală a lucrării și este complicată de faptul că fiecare cadru al filmului este fotografiat cu lumina flash-ului reflectată în imaginea statică. Blitzul aparatului fotografic este transferat duratei cadrului. Momentul este extins în imaginea determinată de timp, iar flashul gravează în imagine un indicator al momentului, un punct temporal. Dacă "un cuvânt nu este rostit" așa cum afirmă vocea naratorului, aceasta este pentru că ceea ce nu a fost spus se află în reflexia albă. Cuvântul tinde către manifestarea sa materială, iar imaginea este investită cu o reflecție asupra tehnologiei și relația imaginii cu istoria și trecutul, precum și memoria noastră socială. Conexiunile dintre medii - rolurile intermediare ale cuvântului și ale imaginii - sunt în schimb aduse în față drept condiții materiale pentru formarea memoriei sociale și construirea trecutului comun. Tensiunea dintre imobilitate și mișcare nu este niciodată rezolvată și menține analiza lucrării despre temporalitatea imaginii și a cuvântului într-o epocă a intersecțiilor reconfigurate ale mediilor. (Extras modificat din eseul lui Trond Lundemos "Mehr Licht! - On the Temporality of the Image and the Word in Lina Selander’s Work" în viitoarea carte (ed. Fredrik Ehlin) "The Space of Memory", Axl Books, Stockholm, 2010.) Lina Selander: When the sun sets it´s all red, then it disappears, 2008, video and sound installation. Size of the works: Dimensions variable. Video I: 9 min loop, colour, sound. Video II: 1 h 31 min loop, colour, silent. Courtesy of the artist. [387]
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PAVILION journal for politics and c
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COLUMN HANDLUNG. ON PRODUCING POSSI
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Handlung. On Producing Possibilitie
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ally occurred) can impossibly be re
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Handlung. Despre producţia posibil
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de ansamblu s-a intensificat iară
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“Better Dead than Communist!”.
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esis of a new political identity ca
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formed political party claiming con
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nizing hope.” In Octavian Paler
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goals were never fully attained”
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1999) References - “Alianţa Civi
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Universităţii, precum şi de repe
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mai proeminent purtător de cuvînt
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tece au creat o continuitate spirit
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lui Piaţa Universităţii, a fost
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Referinţe critice: - „Alianţa C
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meetings and the factory square mee
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din fabrică (obicei comunist de a
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materials; the simplification of th
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tion of life which destroys all of
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ile, iar evoluţia luptei proletari
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exces creativ. În al doilea rînd,
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gives the migrants long enough to m
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dwelling place for several families
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Notes: 1. NA. A previous version of
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periferie la alta, de la un adăpos
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spaţiile neocupate. În ciuda necu
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Exploring the Return of Repression
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Explorând întoarcerea represiunii
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Imaginary Radicalisms Notes on the
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to derive its historical intelligib
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hence art’s affirmative function
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ackward-looking conception of isms
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Radicalisme imaginare - însemnări
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modelul avangardist al istoriei art
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obiectul readymade. De fapt în ace
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erne asupra artei în sine, în cad
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Aesthetic realism, fictional docume
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far as Auerbach, in the first chapt
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the one presented by France Dimanch
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Realism estetic, documente ficţion
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ătălii (des étapes d’une lutte
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documentară), ci un instrument ce
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the self. Architecture thus not onl
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tage of a semicircular hall, by con
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the Assemblée fédérative des Ami
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etrageri şi tenacitate. Nu include
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şi a distanţărilor. Mai mult, or
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organizate în circul de la Palais-
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so many issues - bound all of us in
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Our notions of politics have been t
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lows always drifted sideways. For t
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as humans are through opinion polls
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This is exactly what happened when
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degree of realism that is injected
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De la Realpolitik la Dingpolitik sa
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va imagini înceţoşate ce “dove
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cu pasiune, adică ştiinţa, tehno
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întîi asupra politicienilor înş
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ar putea fi o problemă mult mai de
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sale experienţa trăită odată cu
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spectacol. Note: 1. Ron Suskind,
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we are better able to understand wh
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Democraţia agonistică şi politic
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nism agonistic: Hannah Arendt şi p
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including the politics embedded the
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oper and the rise of the signature
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money economy, and especially, the
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the building’s pulsating shell ha
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[278] cunoaştere, incluzînd şi p
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Page 145 and 146: înlocuită de un set de reprezent
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Page 151 and 152: extent take over their politics. As
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Page 155 and 156: parte încă dispersate şi teribil
Page 157 and 158: [310] the reality you are only reme
Page 159 and 160: Notes for a Declaration of the Righ
Page 161 and 162: EXTENT PARTICIPANTS AND VENUES OF B
Page 163 and 164: Magnus Bärtås Madame & Little Boy
Page 165 and 166: Kaucyila Brooke Tit for Twat: putem
Page 167 and 168: Cabello/Carceller ARCHIVE: DRAG MOD
Page 169 and 170: Elena Ciobanu Oda Bucuriei Ode to j
Page 171 and 172: Cláudia Cristóvão Standing Still
Page 173 and 174: Ângela Ferreira Abandoned Settler'
Page 175 and 176: Field Work/Lise Skou & Nis Rømer W
Page 177 and 178: Andrea Geyer Criminal Case 40/61: R
Page 179 and 180: Charlotte Ginsborg The Mirroring Cu
Page 181 and 182: Ion Grigorescu Electoral meeting Ma
Page 183 and 184: Bucharest and its Utopia I feel it'
Page 185 and 186: Is there anyone around who says nay
Page 187 and 188: omului în colectivitate. Multe au
Page 189 and 190: Stina Östberg Floating Island Floa
Page 191 and 192: Emily Roysdon A Motion Picture My w
Page 193: Fia-Stina Sandlund Julie The artist
Page 197 and 198: Åsa Sonjasdotter Small Potatoes Ma
Page 199 and 200: Pilvi Takala Players In the past te
Page 201: Lan Tuazon Riot City/ Parking Lot L
Page 204 and 205: Kalle Brolin Gorgeousaurus, foundin
Page 206 and 207: Pablo Bronstein & Eleanor Vonne Bro
Page 208 and 209: Ștefan Constantinescu An Infinite
Page 210 and 211: Nicoline van Harskamp Any other Bus
Page 212 and 213: Alexander Kluge News from ideologic
Page 214 and 215: Fereshteh Toosi The Only Reason Thi
Page 216 and 217: The Otolith Group Otolith Otolith i
Page 218 and 219: CENTRE FOR VISUAL INTROSPECTION CEN
Page 221 and 222: Maryam Jafri Independence Day 1936-
Page 223 and 224: Mona Vătămanu & Florin Tudor Poem
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Page 227 and 228: Zachary Formwalt: In Place of Capit
Page 229 and 230: Sabrina Gschwandtner Wartime Knitti
Page 231 and 232: Christine Meisner Recovery of an Im
Page 233 and 234: Asier Mendizabal Otxarkoaga (M-L)/U
Page 235 and 236: Olivia Plender & Unnar Örn Table R
Page 237 and 238: Société Réaliste Spectral Aerosi
Page 239 and 240: Judi Werthein Brinco Brinco, 2005,
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Page 243 and 244: Curator Felix Vogel Felix Vogel (b.
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Derrida, Michel Foucault and Gilles
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Londra și Viena. Expozițiile ei p
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London, the Jeu de Paume, Paris and
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Sweden în 2006 și a absolvit Acad
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Mellon School of Art. Printre expoz
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sions and debates connected to the
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Simultaneus parallel events Narrati
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ory, oral archive - testimony, writ
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2009-2010 Parallel Events Free Acad
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“Chestiunea realismului” are ca
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Media Partners: Official Coffee: Pr
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Felix Vogel - Handlung. On Producin
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