Pelotari (2004)

Pelotari, Video Projection, Portugal 2004

The images used in this video are mostly from the documentary film of Julio Menden (Euskal Pilota, larrua harriren kontra – La Pelota Vasca, la Piel Contra la Piedra) ans is based, in general, on the attempt to destroy the media image that surrounds the Basque Country and it’s interlaced around a socio-political region in which this has become. The language, the victims, the landscapes and an entire political environment is the basis of the same building.

However, “Pelotari ‘is, as opposed to documentary, an entire surrender to the idyllic nature of the game, the image and especially sound. As we enter this Black Box, the first thing will happen to the viewer is experiencing a temporary blindness. Thus, the first feeling that plagues our souls is the loneliness and vulnerability to sound that evokes the possibility of finding ourselves in the midst of a war, a shooting. The physical response to this event, by any viewer, is to wait for the vision slowly acclimate to low light built into the projections, however when this happens again and regain consciousness we realize that we were transported in space and while, elsewhere, that is, to the center of a Basque game of Pelota.

While the black background makes us explain in our thoughts during our stay in the dark projection room, sound, pulls us into another reality, the reality of TV news, from mass media, the daily hell of bombings and violent information. It is impossible to leave the projection room without reaching the same violent thoughts, war … and the game, the game of Basque pelota, eventually moved to the background, when in reality is what it is in the video, a game (pelolta) between the viewer and his own thinking. A game where you create links entangled both in terms of perception, as in symbolic terms, an interstitial space where the viewer has to struggle with himself, with his memory fragments obtained from the media, the mass media. The intention is to create a field of experience in real time, converting the video projection in something more than a mere representation, but rather a measure of connectivity and unpredictable connection with the viewer in order to convert whatever the video is or seems to address, in a myriad of meanings in the viewer’s mind.

more info click here

25 Frames por Segundo

de Miguel Amado
Edição/reimpressão: 2007
Páginas: 218
Editor: Assírio & Alvim

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