Rolf Pilarsky ::: erosion

Rolf Pilarsky ::: erosion

erosion ::: Andrea Schneemeier und Rolf Pilarsky

Videoprojektionen 26.11.05

Rolf Pilarsky : Die Videos “stumbler” und “erosion” sind eine Reise durch filmische Zeit. Nach dem Fall des Kommunismus und dem sozialen Verfall, welcher ungezügelten Turbokapitalismus begleitet, stellt sich die Frage, wieweit die Camera auf existierende Realität zugreifen kann, um diese zu ersetzen, neu zu schaffen oder auszuradieren. Die Videos sind Fußnoten zum Filmen, gleichzeitig ein lakonischer Kommentar zu den Bedingungen von Zivlisation und deren medialer Vermittlung. Beschleunigung und Wiederholung sind die strukturellen Prinzipien, welche den Spaziergang durch die Relikte der Zeit lenken. ::: [english] The videos “stumbler” and “erosion” examine the reality of post-ideological identity from within the coordinates of film. They are brief comments on the conditions of the environment and its representation in the media empire. After the collapse of communism and the social and environmental decay inherent in turbo capitalism, the camera records these structures, replaces them, both creates and erases. Speed, acceleration and end repetition are some of the structural elements of this approach.

“Man has defended himself, always against other man, against Nature. He has constantly violated Nature. The result is a civilization build on force, power, fear, dependence. All our “technical progress” has only provided us with comfort, a sort of standard. An instrument of violence for keeping power.” The Sacrifice, Andrei Tarkovsky

“The post-Communist reality was a time of forced conformism: political chaos and social decay left no space for critical discourse. Reality has nothing stable and defined. The thinking class accepted gangster capitalism as adding to the chances for personal success. New poverty was an addition to the freedom to create and travel. The glory of cynicism brought liberation from ideological moralism. Any critical position was ignored and considered as Communist nostalgia. The crystallization of critical discourse was complicated by the fact that with an ideology’s end there existed neither the political nor the aesthetic.”
“Russio Year Zero”, Viktor Misiano, Flash Art, Nr. 244, October 2005

see also

Andrea Schneemeier : In my latest projects I am mostly concentrating on the notions of culture and politics, but also on identity constructions, notions of locality, the mediating between particularity and universality, public spaces, and on the infiltration of artistic activity into urban life. This practice is based on the intention to broaden the territory of action outside the protecting walls of galleries, animate the public spaces as spaces of co-existence, confrontation of different views, as well as possible antagonisms. To apply these practices as a working method, my work also reflects on mechanisms ruling the art system in general. At the same time, this working method seeks to ‘inhabit’ cognitive space that intersects our everyday sense and our sense of the everyday, to restore open texts and response mechanisms to the texture of the everyday, and to create subversions designed to provoke spontaneous moments of curiosity or delight. In this sense my practice is dealing mostly with visual cliches, creating ‘logic bombs’ designed to explode the limited constructions of ‘common sense’.

Andrea Schneemeier ::: thrill ::: video