Uncontained Images, 2017

Uncontained Images is an audio/video installation composed of five different animated films that are unified with one space, which was created by drawing frames of different film sequences. Photos of drawn frames (which are usually connected by motifs, genres, thematic or authorial links) fit into the stop motion animation, whose surroundings is made up by covers and pages of books from self-managing socialism. Animations represent infinite loops, respectively, they are cyclical articulations of time in endless motion. All five videos have separate sounds which are mixed up and supplemented within the same space. Those are the sounds of machine, the sound of waves and the sound of quick leaf through pages of the book.

Animated film which shows the train is derived of the sequences from movies such as From Russia With Love (1963), Billion Dollar Brain (1967) and Emperor of the North (1973), that are drawn on books from self-managing socialism in Socialist Federal Republic of Yugoslavia, such as The Collected Works of Josip Broz Tito, a great biography about Tito in three volumes titled Tito Party and Nature, Society and Human Settlements as a collection of texts by Marx, Engels and Lenin. The sequence that represents hands in the endless shift of relaxation and shrinkage in fists is from The Wrong Man (1967) and is located on the pages of the book titled Tenth Congress of the League of Communists of Yugoslavia. The kiss is from Rich and Strange (1932) and is drawn on the Encyclopedia of Self-managing Socialism. The sequence called The Gun was found in The Big Combo (1955) and is placed on the Social Critique written by Edward Kardelj, the main ideologue of self-managing socialism. The gun rises from the coat and returns back just at the moment when it is pointed towards the observer, while sequence with waves is from Clash by Night (1952), and as the background it has The Collected Works of one of the ideologues of self-managing socialism, Veljko Vlahović and Edvard Kardelj.

The selected film sequences are drastically recontextualized here. As such, they are almost entirely separated from their source. They make one of the two layers within the screen of the audio/video installation itself. The relation between the drawn layer, more precisely the layer resulting from the drawing of the film sequence and layer which is made up of the sheets of books from self-managing socialism, displays time, or a certain time logic. Designated logic is the logic of movement and as such it represents an analysis of motion that shows a certain anxiety state. In that manner, this work deals with the questioning of nature of the narrative and symbolic potentials of the film image, where the image on the Bergson’s track (Henri Bergson) is understood as more than a representation, and less than a full presence.


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