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3 Minutes in Beijing

This piece addresses the astonishing rate of transformation in the contemporary Chinese cityscape, presenting an ironic vision of Chinese architecture out of control. I have taken buildings of the most well known architectural projects from the Beijing skyscape and reconstructed them so they become an undoable spectacle. The Chinese Government is deliberately producing awe-inspiring architecture to persuade and convince foreign observers of their hyper-modernist perspective. More importantly, while visiting Beijing it became evident that the Communist Party is also deliberately using architecture to persuade and convince their national audience of the Party’s insightful perspective on their own future.

3 Minutes in Beijing

NR 2009
frame

The beginning of frame is similar to a drive through the city: "Let´s go for a ride," high energy. The camera pans swiftly from left to right, looking at what´s going on. The beat sets the tempo. The car´s put into gear: Take-off. The story plays out in the viewers´ head rather than in front of their eyes. [n:ja] shows nothing more than pure motion along spatial coordinates which is driven by Radian´s pulsing soundtrack. So much "reality" – in other words details, color and representation – has been removed from the original views of this ride that solely remnants and a basic structure comprise the video image. In the first "shot" we seem to recognize passers-by hurrying in different directions. The point-of-view moves in the opposite direction, following individuals until two parallel lines running from left to right enter the frame as a graphic element, seeming to set our eyes on a rail.

frame

NR 2002
Canon

This video is a piece of pure visual music: a synchronous visual and musical canon. Each musical phrase corresponds to a visual movement: in this case, a filling of the visual plane with a color. The color fields are flat, corresponding to an unadorned melody, and the animated transitions give a visual form to the musical form. The animation is offset in time and composited atop itself to create a visual analog to a musical canon. Each visual layer fills the plane just as each musical tone of each voice is heard. Harmony of counterpoint is achieved visually with these overlapping layers.

Canon

NR 2002