MIA FORREST (Australia)

2016 / 12’ 55’’
Banda Sonora / Soundtrack: Samuel Pankhurst

Dos mujeres se cruzan en un motel; un cliente retirándose para tener ocio y un ama de casa resistiéndose a ello.

Leisure se libera a sí mismo de una narrativa dramática; tomas largas de detalles y momentos insignificantes se convierten en los sujetos operativos de esta película, donde el excedente de realidad, complementado con el incremento de la duración, ofrece una dramaturgia mundana, si se quiere. Al canalizar el simple efecto del estilo minimal-hiperrealista, Leisure se recrea en la representación literal de no-eventos rutinarios del ocio corporal y del trabajo de los cuerpos encontrándose en sus respectivas circunstancias cotidianas, tal y como relajarse con un baño caliente o limpiando el cuarto de aseo. Representando la cotidianeidad  a través de los detalles del día a día de dos mujeres comparando sus vidas, estoy investigando vidas ordinarias – las rutinas a las que nadie presta atención, registrando estos momentos pequeños, por lo que luego cuando los vemos, podemos hacernos conscientes de nuestra propia cotidianeidad y evaluar qué es lo que estamos haciendo con nuestras vidas.

 

Two women traverse around one another in a motel; a guest retiring to leisure, and a housekeeper resisting it.

Leisure frees itself from dramatic narrative; long takes of insignificant details and events become the films’ operative subjects, in which the surplus of reality complemented with the accrual of duration, offers a mundane dramaturgy, if you will. By channeling the simple effect of a minimal-hyperrealist style, Leisure relishes in the literal depiction of routine (non)events of the leisure body and the labor body engaging in their respective quotidian circumstances, such as relaxing in the hot tub or cleaning the toilet. In representing everydayness through the quotidian details of two womens’ contrasting lives, I am investigating ordinary lives – the routines that no-one pays attention to, registering these minimal moments, so that when we see them, we acknowledge our own “everydayness” and evaluate what we are doing with our own lives.

“The origin of stones” questions the ideals of the past and their validity in the present through the decay and fall of monuments built to preserve a historic memory. With a text based on a debate that puts in doubt the efficiency of a scale used to document the proportion and appearance of archaeological remains, this work looks to ruins as elements of live content linked to the present and emphasizes the powerful yet fragile nature of the narratives of history. Therefore, it mirrors the impossibility to imagine the promises of a future on the ruins of the recent past, representing in this way a model of a fallen utopia.


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