Catherine Yass talks about the dizzying aspects of her film Lighthouse.
– See also Catherine Yass, HASENHERZ.– See also Lighthouse.
The word crisis stands for another cognate of aporia and paradox. It is related to a turning point that has to turn either one way or another.
The theory of the compossible space is set into action in the artistic practice ‘HASENHERZ or the Pleasures of the Moving Image and Word’. ‘HASENHERZ’ is both a work of art and an instrument for examining artworks.
Filming Manueline Architecture in Protugal: The Manueline architectural style tried to incorporate all the discoveries of the new worlds of that time and within it all the unknown as well.
Can dizziness be a resource? What remains after unsettledness and disorientation? And how can we see communities find their balance in uncertain situations? Particularly now, in times of ubiquitous invocations of global crisis, these questions of collective balancing and balancing collectives are more relevant than ever.
The workshop will shed new light on disorientation and on how film artists throughout history use (optical) disorientation and confusion as a paradigm in their work. What can be gained by losing one’s grip, by simply letting go? What pictures arise with dizziness?
“As agents of confusion you precede the agents of change”, claims the hermaphrodite being ‘Dizziness’ in Ruth Anderwald + Leonhard Grond’s film.
