“Gebrochene Lichter” at “Uncharted”, 267 Quartiere für zeitgenössische Kunst und Fotografie Braunschweig, 2013

Christine de la Garenne: GEBROCHENE LICHTER (2013), 05:44min video loops, synchronized 3 channel video installation with sound The three-channel video installation GEBROCHENE LICHTER projects scenes from the hunt of a solitary hunter. The focus, however, lies not on the kill.…

"Gebrochene Lichter" at "Uncharted", 267 Quartiere für zeitgenössische Kunst und Fotografie Braunschweig, 2013

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Christine de la Garenne: GEBROCHENE LICHTER (2013), 05:44min video loops, synchronized 3 channel video installation with sound

The three-channel video installation GEBROCHENE LICHTER projects scenes from the hunt of a solitary hunter. The focus, however, lies not on the kill. Rather, the hunt serves as a starting point for a shift in perception.
Through the eyes of the hunter, GEBROCHENE LICHTER portrays a mental disorientation. The camera (the viewer) tracks the hunter’s observations. Focus shifts from animal (hunt) to landscape (contemplation), and ultimately to human (delusion).
The hunter’s observations change from a seemingly objective surveillance of the serene surrounding woods to the subjective perception of his own body. The surrounding stillness gets under the hunter’s own skin. The magnification of every small movement or sound is echoed in the hunter’s own perception of self. The hunter becomes increasingly agitated by the recognition of his own fear. In conclusion, contemplating nature triggers an awareness of his own mental fragility. Splitting the action between three screens contributes significantly to the complexity of the perceptual processes. As long as the three projections assemble a coherent picture, they suggest an attitude of sovereignty. But when individual scenes break out from the panoramic arrangement, a dissociation is already announced.
The video is conceived as a continuous loop. The individual loops are approximately the same length, but differ by minute shifts and subtle changes of scenery. The uncertainty of the hunter meets the uncertainty of the viewer, whose own discomfort is triggered by manipulations in the timing and the sequence of scenes. The three projection screen medium facilitates a transference process, making the adrenaline feuled state of the hunter palpable for the viewer.

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