MOVING STORIES 03/08 – 11/09
Moving Stories comprises co-operation between six European
partner organisations (from Austria, Belgium, Germany, France,
Italy and Poland), who have selected six artists to produce a new
work for the project. Each artist tells a story with the moving
image. Together, these six new works form a travelling exhibition
that is shown by the six European partner organisations. The
Mechelen-based art organisation Contour co-ordinates the project
and presents the exhibition at the Mont des Arts.
You can enjoy the six works (video, film, installations) for free in several locations at the Kunstberg/Mont des Arts (Central Station-Nicolas Provost, Bozar-Mihai Grecu, Square-Rainer Gamsjäger, Cinematek- Paweł Janicki. , Coudenberg-Masbedo, BIP-Candice Breitz).
Nicolas Provost (Central Station)
The new short fiction film from Nicolas Provost is made completely out of stock footage. Stock footage refers to film or video footage that already exists. For example: moving images of cities, famous buildings, dangerous wildlife. Filmmakers often use this prefabricated material as illustrative material in a very sober way. Provost wants to show that stock footage can also have an esthetic and cinematic value and that it can tell a story.
Nicolas Provost (BEL, 1969) is a filmmaker and visual artist who lives and works in Brussels. His work is a reflection on the grammar of cinema and the relation between visual art and the cinematic experience.
Mihai Grecu (Bozar)
‘UNDER THE CENTIPEDE SUN’ (2011)
This project is the portrait of a no man’s land. Burnt and sterile, the landscapes contain the traces of an invisible war. The theatre of post-destruction takes place in an almost unearthly landscape, beautiful and barren.
Mihai Grecu (ROU, 1981) lives and works in France. Recurring topics such as environment, water, city life and war articulate the whole of his exploration of mysterious and subconscious beginnings. These visual and poetic trips mix several techniques and styles and may be seen as propositions for a new dream-orientated technology.
‘GUARDARE SE STESSI GUARDARSI’ (2010)
‘Guardare se stessi guardarsi’ (‘Watching yourself watching yourself’) is a multiple-screen video installation deeply focused on the relationship between sound and image. This work is based on an existential theory that links artistic aggressiveness to melancholy. The audio is a live recording.
MASBEDO is an artistic duo that consists of Nicolò Massazza (ITA, 1973) and Lacopo Bedogni (ITA, 1970). From the very beginning, their artistic development has been transversal and multidisciplinary, involving them in various joint projects with writers, musicians and actors.
Paweł Janicki (Cinematek)
The scenario of ‘Oceanus’ is rooted in literature and myths associated with the sea. The physical arrangement of the interactive installation consists of a specially designed table with an integrated large-format touch screen. On a second, vertical, screen, visitors can track the linear result of processes, triggered by people manipulating the touch-screen interface.
Paweł Janicki (POL, 1974) creates interactive audiovisual systems, installations and performances.
Rainer Gamsjäger (Square)
‘Cluster’ is a monumental multi-channel video installation. White smoke almost seems to dance in front of a black background. It looks like a natural phenomenon, but in fact we see images of a smoke bomb.
Rainer Gamsjäger (AUT, 1974) creates computer-generated works, but is often inspired by nature. The artist made, amongst others, a series of works about natural phenomena to which ‘Cluster’ forms the epilogue. Gamsjäger uses self-programmed software to manipulate digital structures.
Candice Breitz (BIP)
‘THE CHARACTER’ (2011)
Fifteen children from a school located in the suburbs of Mumbai were each asked to watch a Bollywood movie prominently featuring a child character. Each of the fifteen participating children was filmed individually while portraying the fictional child in the movie that she/he had watched. The children portrayed in ‘The Character’ offer a range of insights into the role played by ‘the child’ (as character and as spectator) in mainstream Indian cinema.
Since the mid-1990s, Berlin-based artist Candice Breitz (ZAF, 1972) has produced a body of work treating various aspects of the structure of identity and psychological identification.