CASH: IX Shiryaevo Biennale of Contemporary Art



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галим маданов, зауреш маданова | galim madanov, zauresh madanova

the differences


смотри также:

мартин роджерс
о видеопроекте
the differences

on the way to the other
or the borderline logic of everyday life

the video-project "the differences" ( the authors: galim madanov and zauresh madanova) is an attempt to represent the image of everyday life by means of audio-visual devices.

The interest of contemporary artists to the sphere of tactile sensations has been caused by the fact that the source of more "saturated", deeper experience of the objective world is our tactile sensations, originating as a result of different bodies' touching one another.

Many theorists of contemporary art are trying to develop this intuition, as they believe that "in the phantasmagoric sensorium of our time a war with the privileges of audio-visual information is going on". Opposing the domination of optical experience, a famous Russian art critic Valery Savchuk in his essay "An image, escaping from reality" points out that " nowadays aesthetics has lost its bodily component, as culture forms are dominating experience, the imaginative - the empirical, the exactness of performance - improvisation, conscientiousness - a movement without reflection.

Audio-visual information cliches and formats our conscience, and we start to perceive everything in the mode of indifference to our bodily experience.

( Maksimka, # 5)

Proceeding from the assumption that our culture is chiefly the culture, where video is undividedly dominating, the authors considered it necessary, using video as a means, to present on the basis of a model situation such a tactile plane, that would have made it possible to arrange separate fragments into whole series of various associative rows. Besides, it would help to work out the question of how our most general notions and concepts of culture as an expression of everyday life are formed on the "molecular" level of everyday experience.

The direction of this video composition is minimal. A universal language of conveying the visual plane has been found. Though the means are simple, the range of manipulations is extremely wide. A seemingly banal act of consuming food has turned into a completely unique event, fraught with unusual associations.

The thing is, that the character in the focus of a camera is an Englishman, making a table-speech.

In front of him one can see a plate with bishbarmak, a dish of Kazakh cuisine, and he is eating it using his hands, according to tradition. To the left of the plate there is a bottle, from which the character is periodically pouring something into his glass. In the process of eating the character's right hand, constantly making various manipulations, is creating around it a "tactile zone", where this hand is perceived as a separate, independent creature.

This seemingly eventless film contains an attempt to capture the whole eternity-reaching world, which is a background for the drama of everyday life. To convey the unexpressive nature of this film the authors didn't have to resort to montage or other avant-garde devices, aimed at shocking the public. As a result, the film demonstrates the desire of the authors to bring visual and tactile planes to synthesis.

An excerpt from the article by a Kazakh philosopher Zhanat Baimukhamedov