더보기 see more – screening Event

Video screening during the exhibition ‘Spazio, solo tu’

with films by

collectif_fact
Andreas Fogarasi
Sophie Nys
Sasha Pirker
Sinae Yoo
more tba

’ 더보기 see more’
A screening series between Seoul and Europe
Organized by Namjoo Huh and Bianca Pedrina

The next screening in Seoul will be announced shortly.

More info:

collectif_fact
‚Hitchcock presents’ 2010, 6’26“

‘Hitchcock Presents’ features a soundtrack from a trailer for Alfred Hitchcock’s Psycho (1960) synched to a roaming video-tour of le Corbusier’s Maison blanche at La-chaux-de-fonds, Switzerland. As the master of suspense details the visit, La Maison blanche takes the leading role and becomes the setting for a thriller. The video brings to the fore the psychological austerity of le Corbursier’s proto-minimal home, and its hidden Gothic potential: built in 1912 for the architect’s parents, they found it unbearable and left it as soon as they could.

Andreas Fogarasi
‚Kultur und Freizeit‘ 2007, 5’20“– 6’00“

In his video installation “Culture and Leisure”, the artist shows six cultural centres in Budapest, some of which were founded in the 1950s under the communist government in Hungary, but some of which had already been established before as educational institutions for workers. With the fall of the Iron Curtain, their original function, the state-controlled education and cultural entertainment of workers, became obsolete in its original form. Fogarasi portrays the fate of these buildings to the present day and at the same time traces the potential of these spaces for the future.
We show a selection of this six-part installation.

Sophie Nys
‚Utopia Song‘ 2008/2010, 9’50“

The Ministry of Construction, like many business and public institutions in Japan, has its own anthem. The lyrics of Utopia Song, unchanged since 1948, include “asphalt blanketing the mountains and valleys…a splendid Utopia.”

Gone are the days when the Ministry of Construction of Japan simply poured wet concrete over hillsides. Today’s earthworks use concrete in countless inventive forms: slabs, steps, bars, bricks, tubes, spikes, blocks, protruding nipples, lattices, hexagons and wire nets.

Sasha Pirker
‚Carl Appel, UPWARDS’ 2009, 2’12“

“Where are you going?” asks the old man in the work coat. “Up”, answers the filmmaker from the elevator. “Yes, but where up?” - All the way up. But it doesn’t matter. - No, no, drive up and I’ll wait. … Did you push?” - “Not yet.” - “You must. There, on ‘roof’.” This film begins with this great dialogue between Sasha Pirker and a tenant. If you want to go all the way up, you have to press the button. Then the lift sets itself, and with it the camera, in motion, and through the narrow slits of the lift doors one sees the individual floors passing by. The Viennese architect Carl Appel (1911-1997) planned this 13-storey house built in 1955 as part of the Reconstruction Programme. The plan was to rebuild as many apartments as were originally available. However, because the building area of the destroyed building had meanwhile been partially rededicated to park areas, Appel was forced to house the mandated amount of square meters in a high-rise building.

Sasha Pirker
‚identical‘ 2017, 4’38“

Imagine the artist sitting in her residency in the South of Texas, in Marfa, thinking and letting her gaze drift to the window again and again. A white curtain moves back and forth in the breeze, hits the windowsill and unwinds a subtle play of light and shadow. With the interplay of concealment and revelation, the video ‘identical’ plays not only with the viewer’s expectations, but also refers with the picture of the curtain to the probably best-known contest in art history. Plinius reports in his ‘naturalis historia’ that Zeuxis, in competition with Parrhasios, painted grapes so authentic that birds flew in to peck at them. Parrhasios then presented his rival with a painting of a linen curtain. When Zeuxis impatiently asked Zeuxis to push it aside to finally see the supposed picture behind it, Parrhasios revealed to him that the curtain was only painted. While Zeuxis had managed to deceive animals, Parrhasios had managed to mislead the trained artist’s eye. “If you want to deceive a person, you only have to hold the image of a curtain in front of him, that is, the image of something beyond which he demands to see,” writes Lacan, alluding to the ancient legend. On the sound track we hear the voice of a man talking about himself and his brother and about his role as an architect. His brother is also an architect, they work together. In addition, the two are identical twins. ‘Identical’ not only triggers the viewer’s imagination, but also poses philosophical questions about the perception of space, identity and society and it stages the very act of showing through the image of the curtain.
(Text: Roman Grabner, freely translated)

Sinae Yoo
‚Dancing Eyes‘ 2017, 4’47“

The video ‚Dancing Eyes‘ captures dancers and performers hired to celebrate the opening of stores in public shopping districts in Seoul, and the light displays of illegal party buses that prey on a lonely, elderly audience. Exhibited on an oversized intercom interface, these images of gyrating dancers and fatigued mascots on break, place the viewer in the morally awkward position of monitoring from afar these faceless bodies, as they hover between exhaustion and spectacle.