Round and Round and Consumed by Fire
2009 - Film & Video (Film & Video)
8 minutes
Claudia Joskowicz
The primary interest in the trilogy is Joskowicz’s use of cinematic space, with long tracking shots that portray resistance to habitual viewing experiences of film and television. Video plays a role in the relation between the use of her locations and the stories of actual figures depicted as central in the frame. The meaning behind these historical icons such as Che and Cassidy, speak to their stories as itinerant figures whom traveled in a preglobalized era through borders and cultures in order to escape the law or overthrow it. The camera work, and the stylistic and formal devices such as tracking and establishing shots, create narrativistic voids that offer the transference of new political or social meanings.
Claudia Joskowicz is a video and installation artist working at the intersection of landscape, history, and memory. Her works form unsettling scenes that reimagine public and private histories of Latin American individuals and communities. Blurring the line between documentary and fiction, these works often involve violent images to bring traumas to the present, and to offer a moment of catharsis for the ones who were affected by these incidents in some way. In her works, Joskowicz intentionally gives a great amount of power and agency to the camera, reminding the viewer of their passive role in the construction of history. In this way, the artist critiques technology as a medium that easily manipulates one’s interpretation of history, controlling what gets to survive in the public collective memory. As Joskowicz’s camera wanders around the landscape, or focuses on one of the protagonists in her stories, the rest of the scene—and with it, other possible perspectives—fall into the dark, constructing yet another subjective historical narrative. It’s easy to focus on the slow movement of the camera more so than the actual event being recorded, which Joskowicz harnesses to remind her viewers that history is man-made. When texts or events are taken out of their context and technology is present to create an imaginary cinematic space, any narrative is possible.
Colors:
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Sophie Blet — Pas tout à fait vides, peut-être juste impossibles — L'ahah Moret — Exhibition — Slash Paris Login Newsletter Twitter Facebook Sophie Blet — Pas tout à fait vides, peut-être juste impossibles — L'ahah Moret — Exhibition — Slash Paris English Français Home Events Artists Venues Magazine Videos Back Sophie Blet — Pas tout à fait vides, peut-être juste impossibles Exhibition Drawing, installation, photography, video Upcoming Sophie Blet, dissoudre — coaguler (détail), 2021 © Sophie Blet / Adagp, Paris, 2023 Sophie Blet Pas tout à fait vides, peut-être juste impossibles In 5 months: April 27 → May 18, 2024 commissariat : Diane Der Markarian vernissage le 27.04.24, 17h-21h exposition du 27.04 → 18.05.2024 L’ahah #Moret 24-26, rue Moret, 75011 Paris L’ahah est heureuse de soutenir et de présenter le projet de recherche et d’exposition réunissant la commissaire d’exposition et critique d’art Diane Der Markarian et l’artiste Sophie Blet : Pas tout à fait vides, peut-être juste impossibles...
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