It's been 3
months since the last post, but I just do not have the time to write. Here’s a
summary of the last three months. I needed a moment of breath after a
continuous, long-term process: concept-shooting-editing-music. I got to the
point when I felt like having a shortness of breath.
I must also
mention that it took some time to prepare two new performances by SUKA OFF
(WHITE ROOM + DEEP RED remix and tranSfera7), but here is not the place for
it.
We have
focused more on testing new formal and narrative solutions. As I mentioned in
my earlier post, we return to develop glitch techniques in a collision with the
body.
There were
some not-so-successful tests with a narrative 2D scan, more tests are needed.
Unfortunately it’s impossible to do with only two people on set (the same 3D
scan).
We got stuck for now, the human factor is unfortunately irreplaceable.
On the other hand, the
technical development of our video equipment finally allowed us to test
simultaneous recording using 4 cctv cameras (6 in total).
You will see the final effects
in late autumn.
Two IF movies were created.
One of them, BLACKOUT, you can see on IF website (trailer is in the
SAMPLES section). The second one, RECYCLER, is a work ordered by our collector
and just like the movie "La Derniere Lecon" the fate of its public
presentation lies in the collector’s hands.
We have also shot material for
our next film LAST PARTY, referring to our old production WHITE FLESH in which
the action takes place in a techno club.
On the website you will also
find 7 new galleries. Sylvia presents her great solo cycle SKETCHES (XX, XXI),
which from a classical performative action became a sexual costume laboratory.
The lighter form of it you can find on her personal project page HERLOVELYGORE.
DEEP BLUE I / II is a draft
for a project I wrote about earlier (4 cameras, industrial) and which will also
aesthetically refer to what you have seen in the BLUE SUNSHINE session, i.e.
the admixture of cyberpunk elements.
BLACK OBJECT is a simple story
and work with a minimalist form. The images are stills from our next film for a
collector.
After the BLACK OBJECT session,
we've done a stylistically similar, but more extensive, BLACK CHAMBER session,
from which the gallery will be released later this month.
DIRTY CITY and THE WITCH were
created during our July stay in Berlin thanks to the support of CYBERESQUE.
Ultimately, these two sessions
will be combined in a rather backbreaking way in one film.
But back to the movies.
BLACKOUT is a bit of a return
to the road movie narrative that appeared in our FLOORS series. This time we go
down, together with the heroine (in this role again the amazing Delta Venus).
We are entering the area of something that is dirty and unpleasant (at first
glance). In the emptiness of darkness, however, the some form of matter lurks.
Darkness sharpens all senses, we feel it more intensely.
Basement spaces have already
appeared earlier (old work WHITE BLOOD, one of the parts of POSSESSION,
PUPPENHAUS photo cycle). It would be interesting to make something longer, for
example, wandering around the next cellar cells. Unfortunately the conditions
prevailing in these spaces have strongly affected our already worn-out
equipment.
RECYCLER is a short
story in post-apo aesthetics that we always wanted to shoot (as fans of gas
masks). Everytime we saw an interesting post-industrial space, it seemed too
infantile to shoot sex in the surrounding of old pipes, machines and dust,
without some overarching history.
In the end, we found an
interesting place that allowed us to create a narrative closer to the urban
vision of post-apo than to the classic picture of the decaying industry. Of
course, permanent aesthetic elements remain unchanged.
Information on external
projects.
We have finished (in the
production sense) our work on the publication of a DVD with full visuals for
the band MEDICO PESTE.
The release date has not yet been scheduled.
The release date has not yet
been scheduled.
The film for Leonard Wong is
still at the stage of editing. I am struggling with the selection of
appropriate narrative effects. Contrary to what I thought before, the project
turns out to be more labor-intensive and complex than, for example, the
previous ALCHEMY. Advice. Making fashion films based on a clear narrative and
in the s-f convention without a proper hardware back end is quite a risky
undertaking.
