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El documEntal Expandido: pantalla y Espacio UOC PRESS
Suspended free from the wall the paper the photographs are printed on is
grabbed by iron rods. It becomes a vulnerable body, visible as bearer of the
image.
In the accompanying projection of the winter cityscape moving past, the
visual frame disintegrates, and at the same time in a pseudo-pornographic
film the visual sharpness vanishes: you are not seeing what you see, you are
seeing what you know.
Juego de formatos, tamaños, color y texturas. Pantallas de
diversas formas que rompen el cuadrado del marco. Un diálogo
de contrapuntos y asociaciones que hablan del cuerpo y la mirada,
a la vez que de la representación del cuerpo en materiales diver-
sos, y la sugestión de la mirada: no ves lo que ves, ves lo que sabes.140
A.1.3) Sarajevo/November 1993 - November 1996
Johan van der Keuken:
In November 1993, my friend and colleague Frank Vellenga and I went
to Sarajevo to show several films at the festival held there amidst Serbian
gunfire and sniper ambushes. We also shot a fourteen-minute film showing
moments in the day-to-day life of a city under siege with the underlying ques-
tion: What purpose does it serve to make a film on art in wartime? Our main
character was Marijela Margeta, an architecture student who risked her life
to attend all the films at the festivals. Exactly three years later, we went back
to see Marijela and Sarajevo again.
Strip construction, light, air and space. New architecture. Here an ordi-
nary post-war neighbourhood has turned into a pre-war neighbourhood.
Stratified images of disfigured skin once again in strata placed one after
another.
Fotografías impresas de diversos tamaños y formas cuelgan
desde el techo de la sala. Las texturas y las sobreimpresiones de
las fotos crean una narrativa abstracta pero fulminante. El docu-
mental de 14 minutos en un monitor completa el cuadro sobre
140. Ibíd., pág. 27.