Interobject (7'22")
The film "Interobject" is based on the filming of an action to create a street installation in Yaroslavl in 2012. The film features Georgy Dorokhov's play "Jerusalem Topinambur".
Representations of the play and plan performance-installation Interobject immediately revealed an implicit similarity. It lay in the related nature of sound textures, in particular the smooth, raw creaking, resulting from sliding with the force of the performer’s palm along the body piano and the abrupt, sharp sound from the unwinding of a roll of stretching film, main installation material.
In addition, it manifested itself in a programmatic appeal to objectivity, expressed in names: root crop - asymmetrical, shapeless, without a core, and an object-environment, obtained through aggregation of heterogeneous inclusions. "The name was given composition due to its form - just as spontaneous, not always correct. How - actually - the roots and stem of a given root crop” (from correspondence with G. Dorokhov).
Interobject is inspired in its
produced on the basis of the concept of intertextuality
“... every text absorbs another text... any text -
it is the absorption and transformation of some other text.” (Y. Kristeva).
“...texts are always written in the margins of other people’s texts, just in
certain epochs, these “fields” acquire self-sufficiency of constructive
principle." (A. Skidan).
In our case, the object acted as an analogue of the text and was transformed in the process of proliferation into interobject.
The video ultimately summarizes four levels of activity - installation, performance, documentation, video art. They are each other in relation to friend in an obvious connection: like Lévi-Strauss’s “raw” and “cooked”, or according to Marshall McLuhan’s idea that the content of one medium is always another medium.
The installation becomes the content of the performance, performance, in which characters represented by the authors participate, becomes the content documentation, documentation - video content.
This situation can be fairly assessed as cooperation mediums who are also in the process of mutual signification. But in structure there are also video works and apophatic an element that manifests itself in the conflict of media, in their struggle, in media machia.
We are talking about the medial rivalry between photography and video, one competes, fights with the other, replacing each other according to the criterion of mobility: the photo moves, and the video freezes in a freeze frame state. Medial the confrontation progresses to the level of “iconoclast strategy”, such complex of installation manipulations, the use of which “breaks through the surface” ( B. Groys). The variety of ways to disrupt the screen surface corresponds to declared strategy. Sequentially it looks like this:
- slow down to complete stop of moving images, their cooling, fixation, falling into another medium
- static the photographic image disintegrates into its component parts, pulsating like acoustic membranes,
- rotation cycles disk, mediate the processes of winding/unwinding photo, film, stretch films through grinding and mixing the textures of the object environment in the “mixer” - “...circular movement, which will find its completion in a roll of film rolled into a reel" (Fr. Kittler),
- exit to the next real, hardware doubling of the lens system, fractal structure of the image,
- patchwork image, destruction of the screen surface, detection of a black gap underneath - areas of imaginary visuality,
- screen resolution, crushing into square fragments, independent time run of each part and merging into a single static image,
- expanded triple projection inside the screen,
- addition of fragments scattered video “tags” into the original composition,
- determination of video by photo image with subsequent output it beyond the limits of visibility.
And even the final credits become a field of confrontation between mediums movable and static: the image is transferred from the center to the frame into its four projections.
Thus, the paradoxical combination of aggregation strategies and apophatics constitutes transmedial interobject.
P.S. The last few days.
Working on Interobject lasted from May 2012 to February 2013. On the very eve of the end of installation sad news came about the sudden death of Georgy Dorokhov (1984 - 2013). Invisible damage created a gaping. “Root extraction operation” of “Jerusalem artichoke” discovered an area of imaginary, edge disappearance.