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Videoinstallation in kleinem Raum mit 3 Projektionen

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Videoinstallation in kleinem Raum mit 3 Projektionen

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Rainer Maria Rilke "Briefe an einen jungen Dichter"

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Rainer Maria Rilke "Briefe an einen jungen Dichter"

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Kapitel 6.2; 01:40 "Einsamkeit als Arbeit"

Kapitel 7.4; Nachkommen

Kapitel 7.5; Der weibliche Mensch

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Eine Beziehung mit einem Menschen ist ein Projekt

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Lyrics

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"Die Frauen meiner Kindheit sind ein Element, ein Ozean, meine Meere"

"Als Frau drohte einem ein Gegenstand zu werden, oder ein Ozean zu werden"

Kind wünscht sich Feuer im Herz für Meer (das das Eis auftaut) und Sackmesser im Bauch (zum Aufschneiden der 7 Häute von innen) für Peer

"Familie ist die Verbindung, die durch das Vererben persönlicher Traumata entstehen, Kultur die Verbindung, die durch das Vererben kollektiver Traumata entsteht."

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Interview FKA Twigs @05:20 "Throughout history there have been these amazing women that have given so much like emotional labor to somebody else. These people like Mary Magdalena have had such a huge part in history and they did it selflessly."

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FKA twigs "home with you" Official Lyrics & Meaning | Verified

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"As females in patriarchal culture, we are not slaves of love; most of us were and are salves of longing - yearning for a master who will set us free and claim us because we cannot claim ourselves."

"Patriarchy has always seen love as womans work, degraded and devalued labor. And it has not cared when woman failed how to learn how to love, for patriarchal men have been the most willing to substitute care for love, submission for respect."

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ganz rechts

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There have been written so many lines about emotional labor and love of course. I want to use this huge archive of text that grows day by day since hundreds of years

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"Die Fähigkeit Mitgefühl auszudrücken - die Gefühle andere nachzuvollziehen und zu teilen - wird durch den Stress begrenzt, den es erzeugt, sich unter Fremden aufzuhalten."

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Spiel zwischen Leinwand und Schatten der Skulptur

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Spiel zwischen Leinwand und Schatten der Skulptur

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Material Projektionsfläche?? Stoff?

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Nadija Mustapić - An Afternoon Without Gravity - documentation (2 channel video installation), 2010

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“An Afternoon Without Gravity” / “POSLIJEPODNE BEZ GRAVITACIJE”
Nadija Mustapić, 2010

Two-channel video installation with four-channel sound 
HD video, PAL, color, 16:9, 14’41’’, loop, 4.0 surround sound

(Each projection is minimum 3 m x 1.68 m size. The videos are projected onto two screens stretched on erected scaffolding that constructs a 90-degree-angled architectural corner. Scaffolding is rusty and used.)

Synopsis:
A curious game occurs in an abandoned industrial setting, an old Torpedo factory in Rijeka, Croatia.  A logical action in an actual space becomes transformed into surreal. The sounds we hear start to unwind the time of this building's past. Under the afternoon sun, we are taken on a journey through waves of fiction and reality to join a (perhaps) imaginary protagonist in a game of discovery.

Ivana Meštrov: from her text for the exhibition catalogue at SC Gallery (08.12.-22.12.2010.)
“A sense of discovery is being introduced through a curious game, in this space where location’s hermetic quality and the porosity of time continuously alternate. The two-channel image sometimes function as a mirror reflection, depending on the representations of the heroine’s symbolic appropriation of space. The sound is also treated as a “symphonic” reflection of spatial impressions of the industrial building, where documentary sound recordings of launched torpedoes, sounds of wind and of functionless space, and the sounds of author’s presence, simultaneously exchange. Nadija Mustapić captures the spatial dynamics in a way that could be linked to the Situations practice of psycho-geography. She threads visual strategies to research urban and geographical environments, and measures how much spaces transform individual and collective actions and vice versa, how the individual actions transform spaces - in the time of neo-liberal reality.”
 
Dalibor Pranjčević: from his text for the art magazine Kontura
"The architectural frame for "An Afternoon Without Gravity" (2010) is the launching station of the Torpedo factory in Rijeka. The levitational component suggested by the title of this two-channel video installation is visually present in the skeleton of this dilapidated abandoned industrial building, in which the upper, heavier part stands on rusty metal columns, which are visually weakened by the pulsating surface of the sea. The narrative problematizes the current moment, but also the past times. Different "timely" components are being distinguished by different sounds. The author's exploration of found objects, relics of functional items from the past, is in a dialogue with the sounds of nature, confirming the unity of the place and time in which the narrative is situated. The field of divergences in this piece is described by the swinging action that seems to move not only the static devastated architecture, but also the mental "time machine". The sound then becomes artificial and reminiscent of sliding and launching of torpedoes, while the time-lapse method enables the visualization of the "enveloping" of time. It becomes clear that Nadija Mustapić references the places of her own identity. In this context, the artist shifts her work from previously used non-descriptive spaces into a recognizable architectural location, and by doing so questions the stability of her geographic origin."
 
Ksenija Orelj: from her text for the exhibition catalogue at Gallery MKC (05.11.-19.11.2010.)
''We swing on the waves of fiction and reality, maybe in an imaginary building, maybe with an imaginary character. The experience of a logical action in a real time is being baffled by the use of close ups, inserted sequences and double editing, and cedes in front of an overall sense of parallel development of different events, interpretations of two-folded meanings – simultaneous immersion and distancing of the actors and the scene. These passages through time are being used to interrupt the one-dimensional level of representation, and point at the author’s thoughtful use of the medium. They disrupt our frames of view and our frames of personal reference. The internal world of the character lives in the internal world of the video medium, the very immaterial reality, which is experienced in the mind of the subject, and exists as a lucid reminder of the answer to the question where does “I” live.'

Production specifications:
Nadija Mustapić: director, producer, performer, camera, editing, image/color correction
Marin Lukanović: camera
Toni Meštrović: camera, quadriphonic sound editing
Marin Alvir: sound composition

Co-financed by:
The City of Rijeka Office for Culture
The Ministry of Culture of Republic Croatia