Catherine Yass talks about the dizzying aspects of her film Lighthouse.
– See also Catherine Yass, HASENHERZ.– See also Lighthouse.
It's an ambivalent term…
Photos of 'Navigating the Unknown – Fears and Pleasures of Dizziness' at CCA-Tel Aviv
It's one thing to write a text, but another to read it out loud and in front of an audience, where one becomes vulnerable. On the other hand, through this act of reaching out, potentially, it touches people more directly than through the written word. Voice is limited to a place, at a specific time. It's intimate: one speaks, the other listens.
How does an artist live and work in isolation? How can he/she follow up on exhibition commitments? What kind of artistic strategies should be developed in order to maintain a presence and contact with the public in this situation? What would then be the role of the curator, and of the institution in general, in extreme situations where mobility is imperiled?
The series focuses, in feature films and short films or with video and performance, on future concepts beyond apocalyptic catastrophes or technical utopias that develop positive action patterns of social and economic coexistence.
The question of art’s ability to speak to that which is unknowable, unspeakable and alien has been a long tradition held in Romanticism and Realism, the former being associated with the subjective physiologies of the individual and the latter being associated with more objective and scientific aims.
