procession

‘…being on the lookout, I am on the lookout for something to happen that says to me: this troubles me, this affects me.’ ‘I don’t believe in culture; I believe, in a way, in encounters.’ Gilles Deleuze

‘And so to give the sensation of life, to feel objects, to prove that stone is stone, there is what is known as art.’ V. Chklovski

Part of the beauty of art, whether in films, books, music, painting or any other medium is to make a collective event which, nonetheless, affects each individual uniquely. And so we spend our lives travelling hopefully, looking out for encounters – encounters which transform us, which move us, which affect us. ‘Useless things’ which make life more worthwhile.

On three consecutive days, I visited Anish Kapoor’s work Leviathan and, hidden secretly behind a revolving door, I was able to see the wonder and surprise of all those who emerged from a long queue to face a monumental object, a form, a colour. With this immense red darkness the artist suggested to us a night in which we all shared, located in some vague and imprecise place, almost as if we were being offered a glimpse into our memory of the womb.

In the video, if on one hand the continuous stream of curious visitors passing through the revolving doors seemed to me to constantly renew the vitality of this manmade landscape, on the other hand, by freezing the frames, I aimed to extend time, prolonging the moment in which each person breaks free from the automatism that engulfs us in our daily lives in order to reconnect, if only for a moment, with the feeling of being alive.

The title ‘Procession’ is intended not only to maintain the mystery of what visitors saw in front of them but, at the same time, to evoke each individual’s spiritual experience.

This is a homage to Kapoor and to all those who were moved by his scarlet darkness invading our collective unconscious, ‘as familiar as turning your face towards the sun, eyes closed, and feeling the red blood flowing between your eyelids and its intense light’.

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