Exposition

DAYS IN BETWEEN (2020)

Marianna Christofides

About this exposition

en
In accordance to generic tropes in the way the Balkans are represented, conflicts in the region are repeatedly ‘naturalized’ in their description, and attributed geological-seismological features. With the essay film Days In Between Marianna Christofides and her collaborator Bernd Bräunlich recursively visited the Balkans between 2011 and 2015, at first seeking out littoral borders where the course of the boundary remains indefinite. Rivers as invisible yet politically instrumental borders was one of the initial narrative strands. Having lost the first few years worth of audiovisual material, the data on the hard drive being unretrievable, they decided to return, only to find that the places no longer existed in the same way. Both topography and social fabric in ceaseless flux. Their approach extended accordingly, now focusing on loss, omissions, obfuscation and disappearance. The appropriation of nature’s workings in political discourse came to the fore. As did the filmmaker’s inhibiting yet empowering fringe location. Through a reflective lens of doubt agency was re-calibrated. The project grew wider in a recurring attempt at approaching, and began to expand, up until the present and in multiple iterations. Within this non-finite process the constant failure, and the beginning anew, became integral parts of the narrative.

sv
Generiska troper i skildringen av Balkan infrias genom att konflikter i regionen återkommande beskrivs som ”inplanterade” eller i geologisk-seismologiska ordalag. I och med essäfilmen Days In Between (Mellandagar) reste Marianna Christofides och hennes samarbetspartner Bernd Bräunlich, återkommande till Balkan mellan 2011 och 2015. Till en början för att utforska littorala skiljelinjer vars gränser förblir obestämbara. Föreställningen om floderna som osynliga, men politiskt centrala gränser var en initial narrativ tråd. Men efter att ha förlorat deras första år av audiovisuellt material – hårddiskarnas information gick inte att längre att komma åt – bestämde de sig för att återvända, bara för att nu upptäcka att platserna de tidigare besökt inte längre existerade på samma sätt. Både den topografiska och sociala vävnaden i oupphörlig förvandling. Deras infallsvinkel breddades således och kom att fokusera på förlust, utelämnanden, förvillelse och flykt. Den politiska diskursens beslagtagande av naturens kraft hamnade i förgrunden. Vilken även filmarens begränsade, men samtidigt berättigade plats i utkanten också gjorde. Genom en reflekterande lins av tvivel omkalibrerades ingripandet. Och i ett slags återkommande försök till ett närmande utvidgades projektet, började växa och har fram tills nu antagit multipla former. Inom denna obegränsade process blir det konstanta misslyckandet, och att börja om på nytt, till väsentliga delar av berättelsen.
typeresearch exposition
keywordsEssay Film, Balkan Peninsula, Southeast Europe, othering, Kaiser-Panorama, doubt, deceleration, processuality, liminality, landscape, memory, earthquake, affective strategies, (hi)stories, taxidermy, rivers, western gaze, fault lines, jagged narratives, in-betweenness, intervals, loss
date01/06/2019
published02/03/2020
last modified02/03/2020
statuspublished
share statusprivate
copyrightMarianna Christofides
licenseCC BY-NC-ND
languageEnglish
urlhttps://www.researchcatalogue.net/view/639633/674432/30/50
doihttps://doi.org/10.22501/vis.639633
published inVIS – Nordic Journal for Artistic Research
portal issue3. VIS Issue 3


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