Dora Budor Interview: Acting Things

[Music] as humans why do we need to create fictions and what even like in evolutionary sense like what benefits do fictions give to humanity I was I was reading this this research paper from two anthropologists and basically they were they were saying that there is no evolutionary reasoning behind it why we write novels why we make films they said that it's more something that we are vulnerable to so they described it almost like a disease or addiction to which I thought is a really kind of strange way it also kind of switched towards the ways that that these fictions are produced and mass-produced and kind of how do they reflect socio-political reality outside and how they kind of become disick speculative mirrors of what's happening and then that kind of interest led me to film ecologies or like this like you know interrelated objects that exist and are made for the eye of the camera and not human eye so I started thinking about these things and the way that they kind of fake or represent reality and different levels how they you know succeed in that or not I didn't feel the need to make new things it depends on the object what is this external like memory of the object right so it all becomes about kind of that moment that is on screen so objects on its own doesn't kind of mean the same thing it just becomes kind of site of projection and holder of of memory and kind of fantasy in a way so I was kind of really interested how this you know kind of imperfect desperate think and can hold so much inside of it I use the term reanimate or reanimation of objects and ideas and placing them in a different object in the different setting in different kind of ecology they started to have different meaning although they still hold on to their primary kind of like source but they can become something else so it's also idea of this production of everything produced spaces bodies parts replicas of every object that is around us for films those things kind of are stuck in this limbo of just kind of collecting after utterly films so I kind of repurpose them and then try to give them the six second Second Life when you encounter some of the works some of them react to you and like without the human kind of agent in the space it's things just don't happen they don't exist like with the installation adaptation of an instrument and that series of works they all need our human presence otherwise they're just inactive by using our architectural structures how you can induce certain emotion and how you can narrow it almost in an abstract way I've been using different kind of types of architectures but also sub architectures like infrastructures and things that enable us to live in space [Music] foreigner pendants addition to the sculpture which was part of the ephemeral show rosanna - which was commissioned by a buyer for my sitacles for their Cruiser the girl they called the pleasure boat which was cruising in Rhineland during the colon Fair I was interested in how that specific environment was commissioned from you know from a suitable company and they said that they didn't want it to represent any of their products but that they wanted him to create a space that will kind of imply this new synthetic lifestyles and that would trigger this idea that verner panton was also interested which was not for form for function but the form follows fantasy so it was all about kind of this like added layer of architectures where it actually creates desire verner panton environment then became kind of like almost like a template for science fiction films of that era imagining what what were what would the spaces of the future look like this idea of being able to see multiple points in time from one vantage point has been something that have always been kind of obsessed with as a kid I was reading these books which always have like whichever route you decide to take like the forking paths' but there is always an alternate route imagining things as what-if scenario if things would have been different what would the world look like or if certain things haven't happened what would the reality be so I kind of want to use art as this field where I can explore parallel you know scenarios [Music] the piece adaptation of the oven instrument which is a series of different works uses film props from from Paul Thomas Anderson's Magnolia I was reading the interview with the director where he was describing his sources frogs they have been used as indicator species so what is today known as indicator species but but in Rome there was a saying that you can judge a society by the health of its frogs so I thought that that is also something very kind of symbolic animal that we treat as kind of like less worthy but that disgusting gross thing it kind of has all of our effects that we have produced towards the world around us [Music] there is a reason why I'm not making films or at least not making them now but I'm creating you know experiences in spaces or environments or just kind of like evolving structures where where the film is such a such an incredible medium where you basically for this two or three or six hours you completely become embedded in it and you kind of do not exist as a viewer or you were kind of processing it so what I was interested in to creating this different type of film experience where you as a viewer are placed in the middle of it and it is happening kind of on your body like you have to react and part of you reacting to it and you being like an integral part of the structure was really important so yeah I kind of want a visitor to project things and then bounce things off and and try to explain it like the experience or explore it in a certain way [Music] you [Music]

Channel: Louisiana Channel

Views: 8,944

Rating: 4.9361701 out of 5

Keywords: Louisiana Channel, Louisiana Museum, art

Id: mCvOmzCXaBM

Length: 8min 58sec (538 seconds)

Published: Tue Oct 10 2017