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  1. Impressão jacto tinta sobre papel de algodão Hahnemühle, 82x48cmInkjet print on Hahnemühle cotton paper, 82x48cm

    Impressão jacto tinta sobre papel de algodão Hahnemühle, 82x48cm

    Inkjet print on Hahnemühle cotton paper, 82x48cm

    Coming & Going

    The motto for this work is in Roland Barthes’s book Empire of Signs (1982), where he mentions the fact of Japanese streets having no name sign on them.

    This domiciliary obliteration seems inconvenient to those (like us) who have been used to asserting that the most practical is always the most rational… (1982, p. 33)

    The way the film is shown denies the practicality of the usual way of showing moving images. The projection is made by an overhead projector with a lighting theatre scroller on top of it, that instead of the usual lighting filters has an optical vinyl print of eleven and a half meters, with all of the 720 images that were shot in black and white film (Ilford Delta 3200 ISO).

    By doing so, a barrier is added between the artwork and the immediate understanding of the very simple film that’s being depicted: the author/researcher going back and forth towards the edge of a wall facing the sea. The speed of the film projection is much lower than the standard 25fps, the weirdness of the setup gains sculptural qualities deflecting the attention from the screen to the projection setup. The screen is not masked thus the form is not rectangular but circular, allowing the viewers to see more than they are used to. The movement of the film is rough and bumpy. The viewers can move around the sculptural projection piece, see the individual frames moving, watch in detail how everything is constructed. Everything is made visible, the process of construction is shown, nothing is disguised.

    This is a work that has no discernible narrative – the projection shows a repetitive action - but is widely impregnated by the author’s own personal narrative. The projection and the photography links with the constant movement in and out of the research work, the installation set up has elements that relate to the researcher’s work outside the research project. The overhead projector links with the teaching activity and the theatre scroller to my professional activity as a theatre’s lighting technician.

    This work is also an example of the importance Gabriel Orozco had in this research. As in his works, the process of construction is exposed, albeit not in an obvious manner.

    When this work was first shown I was informed of a connection with Bas Jan Ader’s Fall films. Even though an actual fall never happens, there is a hovering tension that suggests it might happen at some point. This referential connection triggered the production of one of the Referential Repèrages’s films: Ader’s. By studying the artist’s work and life, it was possible to establish a parallel between Ader’s difficulties managing the teaching job with the artistic career (Dumbadze, 2013, p. 105) and the author’s/researcher’s own difficulties dealing with the same problem.

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    Instalation: HMI Overhead projector || Theatre colour changer (scroller) with 1200dpi print in optical vinyl (750 frames, 11,3m long) || Interface Sunlite SLESA U8 (dmx stand alone device) || DMX cable 5pin female to 3pin male;

    Inkjet print on Hahnemühle cotton paper, 82x48cm;

    2k (2560x1440) montage of the 720 photographies (Ilford Delta 3200ISO), no sound, loop (full version)

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    Instalação: Retroprojetor HMI || Scroller de teatro com impressão a 1200dpi’s em vinil óptico (750 fotogramas, 11,3m de comprimento) || Interface Sunlite SLESA U8 (dmx stand alone device) || Cabo DMX 5pin fêmea para 3pin macho;

    Impressão jacto tinta sobre papel de algodão Hahnemühle, 82x48cm;

    Montagem 2k (2560x1440) de 720 fotografias (Ilford Delta 3200ISO), sem som, em loop (versão completa)