Pash Buzari’s installation “modificazione ps1” consists of a five-minute video loop and a series of photographs.
Taking a look at the video, the first thing you see is two L-shaped constructions. They are moving against a background that looks like blinds with light coming through. In a colour-distorted, blurry episode from the console game Wipeout, a flying object flies over a virtual landscape. A motif of three blurred bodies appears like a painting by Rothko. Coming into focus, we see three square blocks. They start moving, rotating once around their own axis. The constructions seen at the beginning appear again, this time coloured black. They slide to and fro in front of a slightly curved chequered pattern. Then the loop starts.
A lamp casts light on the photographs. Some are of buildings, reminiscent of Bauhaus: a hangar by Jean Prouvé, a Russian test laboratory from the twenties. Next to it an aerial photo of fields on a wide plain, forming a chequered pattern, and the impression of a painting based on an interference pattern.
The photos do not explain the film. Rather, both – the film and the photos – link up to the broad subject in between. What forms do we move in? What are the constructions and the building forms that create the artistic objects of our world? How are they manifested on the surface? The jagged forms of the virtual space shuttle and the smooth aluminium shell of a hangar both have the same intention. Wherever constructions are made there is a calculated world spanning its pattern of co-ordinates, lines and grids over the objects. The calculations behind things serve the purpose of being confused with the reality of a movement.
Artists / Authors
- Pash Buzari
, Apr 8, 2004
- artistic production
- abstraction |
- media art |
- installation |
- computer animation |