BLACKBRIDGE OFFSPACE
黑桥OFF空间
以前PREVIOUS
KATRINA DASCHNER THE GREAT STAGE 伟大的舞台
FOLDER
Katrina Daschner / Dorit Margreiter / 吴漫 Jenny Man Wu
The great stage
Transferring performance and theatre languages as well as the design of backdrops and set situations into the cinematic and visual art space are central themes of this presentation.
An exhibition space also works as a stage on which gender-constellations are shown exemplary; a playing field on which power-relations and patterns of desire can be negotiated and re-constructed.
吴漫 Jenny Man Wu will be showing her new film "Crime scene". In this work she transfers text into the cinematic space via sound files. The text could have been taken from a script or from recorded live scenes. One can hear conversations; yet the place or the image of the protagonists remains open. Thus the scenery is generated in the viewers imagination, turning it into a transient place, an ever-changing space being constantly created in the mind of the viewer.
Dorit Margreiter deals with architectures (of exhibitions). Meticulous cinematic samples are generated, which allow architecture or self-made settings to be transformed into moving poems. Every now and then performers move in selective and minimal ways through these settings wherein they serve more as the backdrop than the emotionally charged space itself.
I will show my new film "Parole Rosette", in which a group of 12 queer performers are having an affair with the stage of the Teatro Reggio in Turin. The leading role in this film is the theater itself. The second film I will show is "FLAMING FLAMINGOS". Objects of the stage are filmed like performers; the objects turn into bodies. The linkage between these three artists is a moment of omitting, something of a blank space. They all deal with the translation of one genre into another, as well as with the analysis of different grammars as language of film, (sexualized) choreographies, or architecture.
伟大的舞台
大舞台 在此视觉映像展室中，戏剧与表演，以及舞台布景与情境之间的转换是其表现的主题。 展览的空间是一个大舞台，犹如设计为有性别色彩的星座。
在此，权力关系的角逐场域或欲望结构总是不断地重新被审视。
吴漫最近展示了她的新视觉映像作品“犯罪现场”。她播放的文本，有些是截取的一段电影剧情，有些是现场拍摄的画面，然后这些影像会在视觉映像展室 中通过声音文件播放。
人们可以听到对话，但对话者的所在地点和影像是开放的，场景会在脑海中浮现，但是每个观察者脑海中浮现出来的场景是一个非恒定的地点或空间，是一 个持续变换的场域。 多瑞特·玛格瑞特负责展室的布局设计，她的构想被嵌入视觉展室中。这个构想体现在这个视觉空间样本各个细微之处，其建构布局以及自设的背景犹如一 首流动的诗。
在这个空间里，局部反复在移动，表演者也极少，然而这个展室中大部分的布景却似被注入了情感。我自己展示的新作品是一个名为“玫瑰花暗号”视觉作 品。
在这个作品中，一支由12个同性恋演员组成的群体做表演，他们都与都灵皇家歌剧院有各种联系。
这个视觉作品里的主角其实是剧院本身。我的第二个视觉作品是“燃烧的弗拉门戈”，在这个作品里拍摄的对象是舞台上物体的外观，其中也包括表演者。
这三位艺术家的全部作品将删除、留白和播放组合在一起，如同将不同的句式（电影语言、个性化舞美设计和架构）同时放在一起分析。
黑桥OFF空间
以前PREVIOUS
KATRINA DASCHNER THE GREAT STAGE 伟大的舞台
FOLDER
Katrina Daschner / Dorit Margreiter / 吴漫 Jenny Man Wu
The great stage
Transferring performance and theatre languages as well as the design of backdrops and set situations into the cinematic and visual art space are central themes of this presentation.
An exhibition space also works as a stage on which gender-constellations are shown exemplary; a playing field on which power-relations and patterns of desire can be negotiated and re-constructed.
吴漫 Jenny Man Wu will be showing her new film "Crime scene". In this work she transfers text into the cinematic space via sound files. The text could have been taken from a script or from recorded live scenes. One can hear conversations; yet the place or the image of the protagonists remains open. Thus the scenery is generated in the viewers imagination, turning it into a transient place, an ever-changing space being constantly created in the mind of the viewer.
Dorit Margreiter deals with architectures (of exhibitions). Meticulous cinematic samples are generated, which allow architecture or self-made settings to be transformed into moving poems. Every now and then performers move in selective and minimal ways through these settings wherein they serve more as the backdrop than the emotionally charged space itself.
I will show my new film "Parole Rosette", in which a group of 12 queer performers are having an affair with the stage of the Teatro Reggio in Turin. The leading role in this film is the theater itself. The second film I will show is "FLAMING FLAMINGOS". Objects of the stage are filmed like performers; the objects turn into bodies. The linkage between these three artists is a moment of omitting, something of a blank space. They all deal with the translation of one genre into another, as well as with the analysis of different grammars as language of film, (sexualized) choreographies, or architecture.
伟大的舞台
大舞台 在此视觉映像展室中，戏剧与表演，以及舞台布景与情境之间的转换是其表现的主题。 展览的空间是一个大舞台，犹如设计为有性别色彩的星座。
在此，权力关系的角逐场域或欲望结构总是不断地重新被审视。
吴漫最近展示了她的新视觉映像作品“犯罪现场”。她播放的文本，有些是截取的一段电影剧情，有些是现场拍摄的画面，然后这些影像会在视觉映像展室 中通过声音文件播放。
人们可以听到对话，但对话者的所在地点和影像是开放的，场景会在脑海中浮现，但是每个观察者脑海中浮现出来的场景是一个非恒定的地点或空间，是一 个持续变换的场域。 多瑞特·玛格瑞特负责展室的布局设计，她的构想被嵌入视觉展室中。这个构想体现在这个视觉空间样本各个细微之处，其建构布局以及自设的背景犹如一 首流动的诗。
在这个空间里，局部反复在移动，表演者也极少，然而这个展室中大部分的布景却似被注入了情感。我自己展示的新作品是一个名为“玫瑰花暗号”视觉作 品。
在这个作品中，一支由12个同性恋演员组成的群体做表演，他们都与都灵皇家歌剧院有各种联系。
这个视觉作品里的主角其实是剧院本身。我的第二个视觉作品是“燃烧的弗拉门戈”，在这个作品里拍摄的对象是舞台上物体的外观，其中也包括表演者。
这三位艺术家的全部作品将删除、留白和播放组合在一起，如同将不同的句式（电影语言、个性化舞美设计和架构）同时放在一起分析。