MARIO MERZ - IGLOOS
pdf από την έκθεση Igloos
https://d2snyq93qb0udd.cloudfront.net/HangarBicocca/wp-content/uploads/2018/10/Exhibition_Booklet_Mario_Merz_ENG.pdf
https://frieze.com/article/mario-merz-art-building-igloo
The igloo structure apparently came naturally to Merz: he had already built his first one before discovering that he was using the same construction techniques as the Inuit, after which he embraced the word to describe an ongoing series of works.
[...]
For Merz, the convex form of the igloo resonated with both the shape of the earth and that of his own cranium, enabling him to link contemporary society with the prehistoric past and to explore ideas about how we inhabit our world. Underlying the works, even the later ones, is the heady political optimism of 1968: a belief that a better society was possible. ‘The igloo is a womb […] Things can be born from the igloo,
Η ενασχόληση με την σπείρα στους Merz,Bourgeois,Robert Smithson.
SPIRAL JETTY - ROBERT SMITHSON
Paul Pfeiffer- Dutch Interior
I think for a long time, I’ve had this fascination with domestic interiors, and it goes back to my dollhouse-making days. And I suppose I’ve had a special interest in domestic interiors that also are scenes of horror or of the uncanny. And maybe what I am really interested in is what I think of as the uncanny—that moment when the familiar turns against itself and suddenly reveals itself to be, in fact, quite strange.
Μινιατούρα ανακατασκευασμένου χώρου από την ταινία The Amityville horror (1979) και μεγάλη προβολή βίντεο του χώρου της μινιατούρας όπου η προβολή είναι απευθείας μέσα από τη μινιατούρα. Όταν πλησιάζεις την προβολή,πάνω απ΄όπου προβάλλεται,υπάρχει μία τρύπα από την οποία αν κοιτάξεις βλέπεις την μινιατούρα.
PFEIFFER I think for a long time, I’ve had this fascination with domestic interiors, and it goes back to my dollhouse-making days. And I suppose I’ve had a special interest in domestic interiors that also are scenes of horror or of the uncanny. And maybe what I am really interested in is what I think of as the uncanny—that moment when the familiar turns against itself and suddenly reveals itself to be, in fact, quite strange. So, with the piece Dutch Interior—where that came from was another movie that features scary domestic interiors, that goes back to my early childhood imagination, and it’s the movie, The Amityville Horror.
Revisiting that movie, I think what is really interesting (because ultimately it’s kind of a bad movie) is how the camera becomes a stand in for the devil—so that the movie is really filmed with these very discomforting scenes, where you are viewing the family. And you’re viewing this otherwise ideal suburban house from behind a bush, or peeking around a tree, or peeking in through a window, or through some corner in the house that really wouldn’t be the place where a human being would stand. It’s either too low or too high, or from someplace that would really be uninhabitable to an adult human—maybe a child, but maybe not even that. I started watching it out of a curiosity about how the camera was really being used. And what I noticed is that, in that movie, the stairway plays a very important role. In a way, it’s the central corridor, along which a meeting of gazes occurs between the human inhabitants (the family) and this non-human inhabitant, the devil.
La Casa Lobo (Το σπίτι λύκος) 2018
Cristóbal León and Joaquín Cociña
Η ταινία είναι γυρισμένη σε stop - motion, οι κούκλες και τα σκηνικά είναι σε ανθρώπινο μέγεθος.
Η ταινία διαδραματίζεται στην Χιλή όπου ένα κορίτσι που ζει σε μια γερμανική αποικία και μια μέρα το σκάει από την αποικία για να αποφύγει μία τιμωρία. Βρίσκει καταφύγιο σε ένα μικρό σπίτι όπου το γυροφέρνει ένας λύκος. Άμεση αναφορά στην Colonia Dignidad η οποία ήταν ένας μυστικός οργανισμός που είχε ιδρυθεί από Γερμανούς τις δεκαετίες μετά από τον Δεύτερο Παγκόσμιο πόλεμο. Το διάστημα 1960 με 1990 την οργάνωση είχε υπό τον έλεγχο του ένας πρώην ναζί Paul Schäfer , ο οποίος ήταν παιδόφιλος και είχε κακοποιήσει πολλά παιδιά της αποικίας.
https://www.cartoonbrew.com/feature-film/the-ten-filmmaking-rules-of-la-casa-lobo-2018s-most-gonzo-stop-motion-feature-165108.html
pdf από την έκθεση Igloos
https://d2snyq93qb0udd.cloudfront.net/HangarBicocca/wp-content/uploads/2018/10/Exhibition_Booklet_Mario_Merz_ENG.pdf
https://frieze.com/article/mario-merz-art-building-igloo
The igloo structure apparently came naturally to Merz: he had already built his first one before discovering that he was using the same construction techniques as the Inuit, after which he embraced the word to describe an ongoing series of works.
[...]
For Merz, the convex form of the igloo resonated with both the shape of the earth and that of his own cranium, enabling him to link contemporary society with the prehistoric past and to explore ideas about how we inhabit our world. Underlying the works, even the later ones, is the heady political optimism of 1968: a belief that a better society was possible. ‘The igloo is a womb […] Things can be born from the igloo,
Igloo, Do We Go Around Houses, or Do Houses Go Around Us?
Η ενασχόληση με την σπείρα στους Merz,Bourgeois,Robert Smithson.
Cell XXVI (detail), 2003 Louise Bourgeois
SPIRAL JETTY - ROBERT SMITHSON
Paul Pfeiffer- Dutch Interior
I think for a long time, I’ve had this fascination with domestic interiors, and it goes back to my dollhouse-making days. And I suppose I’ve had a special interest in domestic interiors that also are scenes of horror or of the uncanny. And maybe what I am really interested in is what I think of as the uncanny—that moment when the familiar turns against itself and suddenly reveals itself to be, in fact, quite strange.
Μινιατούρα ανακατασκευασμένου χώρου από την ταινία The Amityville horror (1979) και μεγάλη προβολή βίντεο του χώρου της μινιατούρας όπου η προβολή είναι απευθείας μέσα από τη μινιατούρα. Όταν πλησιάζεις την προβολή,πάνω απ΄όπου προβάλλεται,υπάρχει μία τρύπα από την οποία αν κοιτάξεις βλέπεις την μινιατούρα.
PFEIFFER I think for a long time, I’ve had this fascination with domestic interiors, and it goes back to my dollhouse-making days. And I suppose I’ve had a special interest in domestic interiors that also are scenes of horror or of the uncanny. And maybe what I am really interested in is what I think of as the uncanny—that moment when the familiar turns against itself and suddenly reveals itself to be, in fact, quite strange. So, with the piece Dutch Interior—where that came from was another movie that features scary domestic interiors, that goes back to my early childhood imagination, and it’s the movie, The Amityville Horror.
Revisiting that movie, I think what is really interesting (because ultimately it’s kind of a bad movie) is how the camera becomes a stand in for the devil—so that the movie is really filmed with these very discomforting scenes, where you are viewing the family. And you’re viewing this otherwise ideal suburban house from behind a bush, or peeking around a tree, or peeking in through a window, or through some corner in the house that really wouldn’t be the place where a human being would stand. It’s either too low or too high, or from someplace that would really be uninhabitable to an adult human—maybe a child, but maybe not even that. I started watching it out of a curiosity about how the camera was really being used. And what I noticed is that, in that movie, the stairway plays a very important role. In a way, it’s the central corridor, along which a meeting of gazes occurs between the human inhabitants (the family) and this non-human inhabitant, the devil.
La Casa Lobo (Το σπίτι λύκος) 2018
Cristóbal León and Joaquín Cociña
Η ταινία είναι γυρισμένη σε stop - motion, οι κούκλες και τα σκηνικά είναι σε ανθρώπινο μέγεθος.
Η ταινία διαδραματίζεται στην Χιλή όπου ένα κορίτσι που ζει σε μια γερμανική αποικία και μια μέρα το σκάει από την αποικία για να αποφύγει μία τιμωρία. Βρίσκει καταφύγιο σε ένα μικρό σπίτι όπου το γυροφέρνει ένας λύκος. Άμεση αναφορά στην Colonia Dignidad η οποία ήταν ένας μυστικός οργανισμός που είχε ιδρυθεί από Γερμανούς τις δεκαετίες μετά από τον Δεύτερο Παγκόσμιο πόλεμο. Το διάστημα 1960 με 1990 την οργάνωση είχε υπό τον έλεγχο του ένας πρώην ναζί Paul Schäfer , ο οποίος ήταν παιδόφιλος και είχε κακοποιήσει πολλά παιδιά της αποικίας.
https://www.cartoonbrew.com/feature-film/the-ten-filmmaking-rules-of-la-casa-lobo-2018s-most-gonzo-stop-motion-feature-165108.html
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