EXPERIMENTA during ART BASEL
Experimental Videos & Sound Installations
23-27 MAY 2013 (Thursday through Monday) 12-7pm
Gabriel Hošovský (Slovakia)/ Gheorghe Sfaiter (Romania) / Jonathan Ebron (Hong Kong)
Routinely and efficiently, Gabriel Hošovský (above photo) paves the way to his own downfall as he cuts off the branches he is sitting on. An understandable practice, it seems, for those who have lived behind the Iron Curtain. These performances, which are enacted in a post-Soviet scenario, affect the viewer as if they were the alarming message of a worldly-wise man.
It doesn’t matter if the rhetorics of socio-economic crises prove to be correct or not – or are we going to act as clever as he does ?
A summary of questions about existence and security of the future via their own steps.
Hošovský’s rule #1 says: ‘Life goes on.’ Hošovský lives and works in Bratislava, Slovakia
Experimenta : Your work is intense and you have put yourself in danger while filming it. Could you tell us your life experience that made you perform this work?
Gabriel Hošovský : Maybe it was from a desire for touch and danger as basic modes of existence. This is one of my several projects in which I seek answers to questions about our existence, what we do here and how we live. I try to answer these questions and to express them as clearly and as simply as possible. For me, the videoMiscellany XIII. brings simple and clean ways of acting to the edge of my experience while shooting. It is a search of some imaginary ‘zero point’. I am looking for a point that demands that I get rid of all formal elements of art. The question is, how much art is still left?
Who are the filmmakers or video artists who had inspired you?
I cannot name any particular inspirational source or medium. If I wanted to put my film in context, I would rather mention my series of booklets (Miscellanies) that I have been working on since 2010. My previous projects were not film related, they were photo-, text- and mixed media concepts.
As I have mentioned, seeking answers to essential questions – unlike in the art we experience nowadays – is part of my ongoing project to explore fundamental answers using simplified questions, such as: What? Where? What is art? Where is art? – series of photographs from my trip across Europe –Miscellany VIII and IX). I also work with the idea of “lost and found identity” by repainting found works by unknown dead naïve artist who used the same initials, ‘GH’ as I do. Additionally, I look for possible connections between published photographs that never had anything in common; or I intuitively search for new relations between common situations along with the presentation of human characters through their portraits (upcoming video project ‘victims and offenders’).
Gheorghe Sfaiter lives and works in Romania. ” First of all I have to mention that this film is my practical application of my PhD, entitled: „Fragmentation, ecletism and deconstruction in visual-cinetic arts” in which I have tried to see how a discrepant editing will work, after Isidor Isou`s model „Venom and Eternity”.
Usually the memory is revealing memories with many uncertainties, especially in the affective zone, so that the image of a further past becomes more or less deceitful. There are moments when you ask yourself: „is what I remember real or delusional?”
I have lived along with my parents some moments of material deprivation, but what deeply touched me were the lies and the hidious propaganda of the personality`s cult. And almost like a phisical pain was the lack of freedom of speech.
The found footage reveal a brutal reality, and to answer to your question, judged by the spectators they have a relevancy in the models more close to them, and your remark that the communism works on a tipical model (the soviet one), I`m sure it worked in general the same in Romania as it did in China.
About the sequence with the boy in black and white in the orchard, it is not a social-politic association, it`s more a life tied parabola in the most direct sensorial way, that of the Freudian libido, of the desire itself. In my years of television, I have met people that lived extremly hard times in concentration camps or in deportation, but who still, unwillingly, kept saying: „it was nice that we were young”. So, in this sequence, I try to evoke the spirit of the age, totally separated from social-political context. I kind of suffocation of the will (that is why the boy is represented in black and white, and the rest – the urges – in color).
Yes, a part of the found footage is from the television I work at, and the other part from an amateur cine-club where I began to approach film in the 1970`s, but are not captured by myself.
I would like the film to be presented in a contamporary art gallery, in a big hall with 12-14 screens, suspended on ropes, just like laundry, but in the same planes, and in different dimensions. On these screens I would like sequences of the film projected in a certain succesion, with an initiatory taste. This way, the incert image of the memory would be showed. “
Jonathan Ebron (Hong Kong)
“during the crash and the deflation of the duck, we sent the ducklings to the Victoria Harbour in Tsim Sha Shui, …silent from the artist ”
Jonathan Ebron during Art Basel, where he is routinely putting up our show stickers around town